A system to evaluate the accuracy of a visual mosaicking methodology

When underwater vehicles navigate close to the ocean floor, computer vision techniques can be applied to obtain motion estimates. A complete system to create visual mosaics of the seabed is described in this paper. Unfortunately, the accuracy of the constructed mosaic is difficult to evaluate. The use of a laboratory setup to obtain an accurate error measurement is proposed. The system consists on a robot arm carrying a downward looking camera. A pattern formed by a white background and a matrix of black dots uniformly distributed along the surveyed scene is used to find the exact image registration parameters. When the robot executes a trajectory (simulating the motion of a submersible), an image sequence is acquired by the camera. The estimated motion computed from the encoders of the robot is refined by detecting, to subpixel accuracy, the black dots of the image sequence, and computing the 2D projective transform which relates two consecutive images. The pattern is then substituted by a poster of the sea floor and the trajectory is executed again, acquiring the image sequence used to test the accuracy of the mosaicking system

A proposal to estimate the motion of an underwater vehicle through visual mosaicking

This thesis proposes a solution to the problem of estimating the motion of an Unmanned Underwater Vehicle (UUV). Our approach is based on the integration of the incremental measurements which are provided by a vision system. When the vehicle is close to the underwater terrain, it constructs a visual map (so called "mosaic") of the area where the mission takes place while, at the same time, it localizes itself on this map, following the Concurrent Mapping and Localization strategy. The proposed methodology to achieve this goal is based on a feature-based mosaicking algorithm. A down-looking camera is attached to the underwater vehicle. As the vehicle moves, a sequence of images of the sea-floor is acquired by the camera. For every image of the sequence, a set of characteristic features is detected by means of a corner detector. Then, their correspondences are found in the next image of the sequence. Solving the correspondence problem in an accurate and reliable way is a difficult task in computer vision. We consider different alternatives to solve this problem by introducing a detailed analysis of the textural characteristics of the image. This is done in two phases: first comparing different texture operators individually, and next selecting those that best characterize the point/matching pair and using them together to obtain a more robust characterization. Various alternatives are also studied to merge the information provided by the individual texture operators. Finally, the best approach in terms of robustness and efficiency is proposed. After the correspondences have been solved, for every pair of consecutive images we obtain a list of image features in the first image and their matchings in the next frame. Our aim is now to recover the apparent motion of the camera from these features. Although an accurate texture analysis is devoted to the matching pro-cedure, some false matches (known as outliers) could still appear among the right correspon-dences. For this reason, a robust estimation technique is used to estimate the planar transformation (homography) which explains the dominant motion of the image. Next, this homography is used to warp the processed image to the common mosaic frame, constructing a composite image formed by every frame of the sequence. With the aim of estimating the position of the vehicle as the mosaic is being constructed, the 3D motion of the vehicle can be computed from the measurements obtained by a sonar altimeter and the incremental motion computed from the homography. Unfortunately, as the mosaic increases in size, image local alignment errors increase the inaccuracies associated to the position of the vehicle. Occasionally, the trajectory described by the vehicle may cross over itself. In this situation new information is available, and the system can readjust the position estimates. Our proposal consists not only in localizing the vehicle, but also in readjusting the trajectory described by the vehicle when crossover information is obtained. This is achieved by implementing an Augmented State Kalman Filter (ASKF). Kalman filtering appears as an adequate framework to deal with position estimates and their associated covariances. Finally, some experimental results are shown. A laboratory setup has been used to analyze and evaluate the accuracy of the mosaicking system. This setup enables a quantitative measurement of the accumulated errors of the mosaics created in the lab. Then, the results obtained from real sea trials using the URIS underwater vehicle are shown.

The strength of the system and my experiences of it, was that in fact, oddly enough, it was actually a very collaborative enterprise already

Video:35 mins, 2006. The video shows a group of performers in a studio and seminar situation. Individually addressing the camera they offer personal views and experiences of their own art production in relation to the institution, while reflecting on their role as teachers. The performance scripts mainly originate from a series of real interviews with a diverse group of artist teachers, who emphasise the collaborative, performative and subversive nature of teaching. These views may seems symptomatic for contemporary art practices, but are ultimately antagonistic to the ongoing commodification of the system of art education.

Modeling camera orientation and 3D structure from a sequence of images taken by a perambulating commercial video camera

In this paper we report the degree of reliability of image sequences taken by off-the-shelf TV cameras for modeling camera rotation and reconstructing 3D structure using computer vision techniques. This is done in spite of the fact that computer vision systems usually use imaging devices that are specifically designed for the human vision. Our scenario consists of a static scene and a mobile camera moving through the scene. The scene is any long axial building dominated by features along the three principal orientations and with at least one wall containing prominent repetitive planar features such as doors, windows bricks etc. The camera is an ordinary commercial camcorder moving along the axial axis of the scene and is allowed to rotate freely within the range +/- 10 degrees in all directions. This makes it possible that the camera be held by a walking unprofessional cameraman with normal gait, or to be mounted on a mobile robot. The system has been tested successfully on sequence of images of a variety of structured, but fairly cluttered scenes taken by different walking cameramen. The potential application areas of the system include medicine, robotics and photogrammetry.

Narrativising the facts: acting in screen and stage docudrama

This article presents findings and seeks to establish the theoretical markers that indicate the growing importance of fact-based drama in screen and theatre performance to the wider Anglophone culture. During the final decade of the twentieth century and the opening one of the twenty-first, television docudrama and documentary theatre have grown in visibility and importance in the UK, providing key responses to social, cultural and political change over the millennial period. Actors were the prime focus for the enquiry principally because so little research has been done into the special demands that fact-based performance makes on them. The main emphasis in actor training (in the UK at any rate) is, as it always has been, on preparation for fictional drama. Preparation in acting schools is also heavily geared towards stage performance. Our thesis was that performers called upon to play the roles of real people, in whatever medium, have added responsibilities both towards history and towards real individuals and their families. Actors must engage with ethical questions whether they like it or not, and we found them keenly aware of this. In the course of the research, we conducted 30 interviews with a selection of actors ranging from the experienced to the recently-trained. We also interviewed a few industry professionals and actor trainers. Once the interviews started it was clear that actors themselves made little or no distinction between how they set about their work for television and film. The essential disciplines for work in front of the camera, they told us, are the same whether the camera is electronic or photographic. Some adjustments become necessary, of course in the multi-camera TV studio. But much serious drama for the screen is made on film anyway. We found it was also the case that young actors now tend to get their first paid employment before a camera rather than on a stage. The screen-before-stage tendency, along with the fundamental re-shaping that has gone on in the British theatre since at least the early 1980s, had implications for actor training. We have also found that theatre work still tends to be most valued by actors. For all the actors we interviewed, theatre was what they liked doing best because it was there they could practice and develop their skills, there they could work most collectively towards performance, and there they could more directly experience audience feedback in the real time of the stage play. The current world of television has been especially constrained in regard to rehearsal time in comparison to theatre (and, to a lesser extent, film). This has also affected actors’ valuation of their work. Theatre is, and is not, the most important medium in which they find work. Theatre is most important spiritually and intellectually, because in theatre is collaborative, intensive, and involving; theatre is not as important in financial and career terms, because it is not as lucrative and not as visible to a large public as acting for the screen. Many actors took the view that, for all the industrial differences that do affect them and inevitably interest the academic, acting for the visible media of theatre, film and television involved fundamentally the same process with slightly different emphases.

Implications of the altitude of transient 630-nm dayside auroral emissions

The altitude from which transient 630-nm (“red line”) light is emitted in transient dayside auroral breakup events is discussed. Theoretically, the emissions should normally originate from approximately 250 to 550 km. Because the luminosity in dayside breakup events moves in a way that is consistent with newly opened field lines, they have been interpreted as the ionospheric signatures of transient reconnection at the dayside magnetopause. For this model the importance of these events for convection can be assessed from the rate of change of their area. The area derived from analysis of images from an all-sky camera and meridian scans from a photometer, however, depends on the square of the assumed emission altitude. From field line mapping, it is shown for both a westward and an eastward moving event, that the main 557.7-nm emission comes from the edge of the 630 nm transient, where a flux transfer event model would place the upward field-aligned current (on the poleward and equatorward edge, respectively). The observing geometry for the two cases presented is such that this is true, irrespective of the 630-nm emission altitude. From comparisons with the European incoherent scatter radar data for the westward (interplanetary magnetic field By > 0) event on January 12, 1988, the 630-nm emission appears to emanate from an altitude of 250 km, and to be accompanied by some 557.7-nm “green-line” emission. However, for a large, eastward moving event observed on January 9, 1989, there is evidence that the emission altitude is considerably greater and, in this case, the only 557.7-nm emission is that on the equatorward edge of the event, consistent with a higher altitude 630-nm excitation source. Assuming an emission altitude of 250 km for this event yields a reconnection voltage of >50 kV during the reconnection burst but a contribution to the convection voltage of >15 kV. However, from the motion of the event we infer that the luminosity peaks at an altitude in the range of 400 and 500 km, and for the top of this range the reconnection and average convection voltages would be increased to >200 kV and >60 kV, respectively. (These are all minimum estimates because the event extends in longitude beyond the field-of-view of the camera). Hence the higher-emission altitude has a highly significant implication, namely that the reconnection bursts which cause the dayside breakup events could explain most of the voltage placed across the magnetosphere and polar cap by the solar wind flow. Analysis of the plasma density and temperatures during the event on January 9, 1989, predicts the required thermal excitation of significant 630-nm intensities at altitudes of 400-500 km.

Regurgitated bodies: presenting and representing trauma in 'The Act of Killing'

Focusing on The Act of Killing, this chapter examines how an “ethics of realism” operates on three key cinematic arenas: genre, authorship and spectatorship. As far as genre is concerned, the film’s realist commitment emerges from where it is least expected, namely from Hollywood genres, such as the musical, the film noir and the western, which are used as documentary, that is to say, as a fantasy realm where perpetrators can confess to their crimes without restraints or fear of punishment, but which nonetheless retains the evidentiary weight of the audiovisual medium. Authorship, in turn, translates as Oppenheimer’s unmistakable auteur signature through his role of self-confessed “infiltrator” who disguises as a sympathiser of the criminals in order to gain first-hand access to the full picture of their acts. One of them, the protagonist Anwar Congo, is clearly affected by post-traumatic stress disorder, and his repetitive reliving of his killings is made to flare up in front of the camera so as to bring back the dead to the present time in their material reality, through his own body, including a harrowing scene of the actor’s unpredictable and uncontrollable retching as he re-enacts the killing of his victims through strangulation. Finally, in the realm of spectatorship, the usual process of illusionistic identification on the part of the spectator is turned onto its head by means of disguising these criminals as amateur filmmakers, led to shoot, act within, and then watch their own film within the film so as to force them to experience beyond any illusion the suffering they had caused.

Aesthetical and narrative uses of the trench in the Hollywood cinema of 1918-1930

Throughout history of painting, the representation of landscape has been considered a laboratory for the human gaze on the world. The First World War and its new approach to the battlefield altered deeply the classical forms of representation, and replaced them with a mechanised and fragmentary vision, which was related with the development of photography and cinema. As Vicente J. Benet has analysed, Hollywod cinema used these deep changes in its filmic versions of the conflict, although it organised them following a narrative logic. In this text we intend to study how the battlefield and, particularly, the trench, are inserted in this logic of the history of landscape painting. We do so through some Hollywood films from the period 1918-1930. Firstly, we approach the trench as a composition value which can structure the image and guide the camera movement. In the second place, we study how it creates a dialog between its inside, melodrama scenery, and the outside, battlefield and danger. In both cases, we conclude that the trench as a form and as a narrative element plays a structuring and integrative role with the storytelling logic.

The fluorescence detector of the Pierre Auger Observatory

The Pierre Auger Observatory is a hybrid detector for ultra-high energy cosmic rays. It combines a surface array to measure secondary particles at ground level together with a fluorescence detector to measure the development of air showers in the atmosphere above the array. The fluorescence detector comprises 24 large telescopes specialized for measuring the nitrogen fluorescence caused by charged particles of cosmic ray air showers. In this paper we describe the components of the fluorescence detector including its optical system, the design of the camera, the electronics, and the systems for relative and absolute calibration. We also discuss the operation and the monitoring of the detector. Finally, we evaluate the detector performance and precision of shower reconstructions. (C) 2010 Elsevier B.V All rights reserved.

The Fiftieth Gate : an Australian case study in twentieth-century 'popular' publishing

On Sunday 6 April 1997, historian Mark Baker's first non-academic book was launched at Melbourne's iconic migrant portal, Station Pier. The guest list of over 500 invitees included representatives of many print media organisations, most of whom interviewed the author. His photograph was reproduced a week later in the 'Agenda' section of The Age newspaper. In this portrait, Baker leans on the railings beside the massive structure of Station Pier. Framed by sea and sky, he is caught glancing pensively over his shoulder past the camera and into the middle distance. He is alone. The day is bleak. Here, the reader is invited to surmise, is a man with much on his mind. In a flash of inspiration the sub-editor has prefaced the accompanying caption, 'Back to the future', linking the story with the mass media of film and television.

Classifying and learning cricket shots using camera motion

This paper presents a method to classify and learn cricket shots. The procedure begins by extracting the camera motion parameters from the shots. Then the camera parameter values are converted to symbolic form and combined to generate a symbolic description that defines the trajectory of the cricket bell. The description generated is used to classify the cricket shot and to dynamically expand or update the system's knowledge of shots. The first novel aspect of this approach is that by using the camera motion parameters, a complex and difficult process of low level image segmenting of either the batsman or the cricket ball from video images is avoided. Also the method does not require high resolution images. Another novel aspect of this work is the use of a new incremental learning algorithm that enables the system to improve and update its knowledge base. Unlike previously developed algorithms which store training instances and have simple method to prime their concept hierarchies, the incremental learning algorithm used in this work generates compact concept hierarchies and uses evidence based forgetting. The results show that the system performs well in the task of classifying four types of cricket shots.

Illumination-invariant face recognition from a single image across extreme pose using a dual dimension AAM ensemble in the thermal infrared spectrum

Over the course of the last decade, infrared (IR) and particularly thermal IR imaging based face recognition has emerged as a promising complement to conventional, visible spectrum based approaches which continue to struggle when applied in practice. While inherently insensitive to visible spectrum illumination changes, IR data introduces specific challenges of its own, most notably sensitivity to factors which affect facial heat emission patterns, e.g. emotional state, ambient temperature, and alcohol intake. In addition, facial expression and pose changes are more difficult to correct in IR images because they are less rich in high frequency detail which is an important cue for fitting any deformable model. In this paper we describe a novel method which addresses these major challenges. Specifically, when comparing two thermal IR images of faces, we mutually normalize their poses and facial expressions by using an active appearance model (AAM) to generate synthetic images of the two faces with a neutral facial expression and in the same view (the average of the two input views). This is achieved by piecewise affine warping which follows AAM fitting. A major contribution of our work is the use of an AAM ensemble in which each AAM is specialized to a particular range of poses and a particular region of the thermal IR face space. Combined with the contributions from our previous work which addressed the problem of reliable AAM fitting in the thermal IR spectrum, and the development of a person-specific representation robust to transient changes in the pattern of facial temperature emissions, the proposed ensemble framework accurately matches faces across the full range of yaw from frontal to profile, even in the presence of scale variation (e.g. due to the varying distance of a subject from the camera). The effectiveness of the proposed approach is demonstrated on the largest public database of thermal IR images of faces and a newly acquired data set of thermal IR motion videos. Our approach achieved perfect recognition performance on both data sets, significantly outperforming the current state of the art methods even when they are trained with multiple images spanning a range of head views.

Coathanger : Finalist in the 2014 Bowness Prize

In the attempt to understand how the camera works I built a camera obscura and discovered that photography exists without us. That nature produces pinholes of light that form images came as a revelation. This spawned a new way of exploring the body in motion through photography. Guided by instinctual body memory of light and space I impose rules on how and when I shoot. In this series I ‘performed’ states of motion by combining elements together - a pas de trois of gravity, water and body mass caught in a flash, the action commonly known as ‘bombing’. I continue to ‘choreograph’ the moment in photoshop just like dance notation as if it could be read and repeated.

Target coverage in camera networks for manufacturing workplaces

In this paper, we investigate the camera network placement problem for target coverage in manufacturing workplaces. The problem is formulated to find the minimum number of cameras of different types and their best configurations to maximise the coverage of the monitored workplace such that the given set of target points of interest are each k-covered with a predefined minimum spatial resolution. Since the problem is NP-complete, and even NP-hard to approximate, a novel method based on Simulated Annealing is presented to solve the optimisation problem. A new neighbourhood generation function is proposed to handle the discrete nature of the problem. The visual coverage is modelled using realistic and coherent assumptions of camera intrinsic and extrinsic parameters making it suitable for many real world camera based applications. Task-specific quality of coverage measure is proposed to assist selecting the best among the set of camera network placements with equal coverage. A 3D CAD of the monitored space is used to examine physical occlusions of target points. The results show the accuracy, efficiency and scalability of the presented solution method; which can be applied effectively in the design of practical camera networks.

Stillness and movement: a bodily approach to photography

My paper will address both Duration and temporality of the ‘still’ imageand Sensorial and bodily experience of photography through a discussion of a recent body of work ‘Fly Rhythm’, a series of photographs and video works exhibited in a gallery context.By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between performance and photography. Fly Rhythm was conceived through a performative somatic process. Through using a custom made camera I was able to negotiate time and space to create a visual drawing of movement and stillness together in photography. The resultant images are discussed as a notation of body movement – a record of bodily history enabled through a self imposed discipline of learning to read light.I initially constructed a human size camera to understand how photography works. Spending time inside observing the way light moves and affects the formation of sight is also a way of embodying the act of photography. I responded by making a bespoke camera that enabled light to be captured during extended periods while moving. My project is dependent upon a self-imposed discipline of intuiting light’s strength and erratic changes, a skill developed by making analogue prints while inside a camera obscura. Once I had developed an ability to read light’s changes and gain an understanding of camera mechanics I made durational recordings moving through the landscape on Bruny Island Tasmania and industrial sites in Melbourne, photographs exhibited as part of Fly Rhythm. I will discuss these prints in context with the idea that light is a conduit through which past and present fuse together in a bodily act of photographing and processing images.I will explore durational aspects of photography by discussing light’s relative motion while taking photographs without using the viewfinder or composing images in the traditional way. Rather, the camera at the end of my arm is directed through how I read light therefore a choreography notated in the prints – a kind of body signatureMy practice enables a new the way of seeing, in a spontaneous hand held process creating a sense of embodiment. By analyzing process my paper will consider how the body together with analogue and 21st century digital technology coalesce cross-disciplinary practice combining visual art, performance and photographic disciplines.I also explored limitations of digital light in contrast with ‘natural’ light by a making a gamut of dissolving colour determined by the software based on two pixels. Projected into the ambient light ‘Glide’ is an 11minute durational work installed at the Substation Contemporary Art Space in Melbourne Australia.