977 resultados para contour tracing


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The visual analysis of surface shape from texture and surface contour is treated within a computational framework. The aim of this study is to determine valid constraints that are sufficient to allow surface orientation and distance (up to a multiplicative constant) to be computed from the image of surface texture and of surface contours.

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Winter, Rudolf; Jones, A.R.; Florian, P.; Massiot, D., (2005) 'Tracing the reactive melting of glass-forming silicate batches by in situ Na-23 NMR', Journal of Physical Chemistry B 109(10) pp.4324-4332 RAE2008

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Space carving has emerged as a powerful method for multiview scene reconstruction. Although a wide variety of methods have been proposed, the quality of the reconstruction remains highly-dependent on the photometric consistency measure, and the threshold used to carve away voxels. In this paper, we present a novel photo-consistency measure that is motivated by a multiset variant of the chamfer distance. The new measure is robust to high amounts of within-view color variance and also takes into account the projection angles of back-projected pixels. Another critical issue in space carving is the selection of the photo-consistency threshold used to determine what surface voxels are kept or carved away. In this paper, a reliable threshold selection technique is proposed that examines the photo-consistency values at contour generator points. Contour generators are points that lie on both the surface of the object and the visual hull. To determine the threshold, a percentile ranking of the photo-consistency values of these generator points is used. This improved technique is applicable to a wide variety of photo-consistency measures, including the new measure presented in this paper. Also presented in this paper is a method to choose between photo-consistency measures, and voxel array resolutions prior to carving using receiver operating characteristic (ROC) curves.

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An improved Boundary Contour System (BCS) and Feature Contour System (FCS) neural network model of preattentive vision is applied to large images containing range data gathered by a synthetic aperture radar (SAR) sensor. The goal of processing is to make structures such as motor vehicles, roads, or buildings more salient and more interpretable to human observers than they are in the original imagery. Early processing by shunting center-surround networks compresses signal dynamic range and performs local contrast enhancement. Subsequent processing by filters sensitive to oriented contrast, including short-range competition and long-range cooperation, segments the image into regions. The segmentation is performed by three "copies" of the BCS and FCS, of small, medium, and large scales, wherein the "short-range" and "long-range" interactions within each scale occur over smaller or larger distances, corresponding to the size of the early filters of each scale. A diffusive filling-in operation within the segmented regions at each scale produces coherent surface representations. The combination of BCS and FCS helps to locate and enhance structure over regions of many pixels, without the resulting blur characteristic of approaches based on low spatial frequency filtering alone.

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The Boundary Contour System neural vision model reproduces perceptual illusory boundary formation by a conjunctive boundary completion process within a large cellular receptive field. The conjunctive chain allows the same kind of conjunction to occur across multiple receptive fields, which allows for sharper, more flexible boundary completion.

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Illusory contours can be induced along directions approximately collinear to edges or approximately perpendicular to the ends of lines. Using a rating scale procedure we explored the relation between the two types of inducers by systematically varying the thickness of inducing elements to result; in varying amounts of "edge-like" or "line-like" induction. Inducers for om illusory figures consisted of concentric rings with arcs missing. Observers judged the clarity and brightness of illusory figures as the number of arcs, their thicknesses, and spacings were parametrically varied. Degree of clarity and amount of induced brightness were both found to be inverted-U functions of the number of arcs. These results mandate that any valid model of illusory contour formation must account for interference effects between parallel lines or between those neural units responsible for completion of boundary signals in directions perpendicular to the ends of thin lines. Line width was found to have an effect on both clarity and brightness, a finding inconsistent with those models which employ only completion perpendicular to inducer orientation.

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An improved Boundary Contour System (BCS) neural network model of preattentive vision is applied to two images that produce strong "pop-out" of emergent groupings in humans. In humans these images generate groupings collinear with or perpendicular to image contrasts. Analogous groupings occur in computer simulations of the model. Long-range cooperative and short-range competitive processes of the BCS dynamically form the stable groupings of texture regions in response to the images.

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An improved Boundary Contour System (BCS) and Feature Contour System (FCS) neural network model of preattentive vision is applied to two large images containing range data gathered by a synthetic aperture radar (SAR) sensor. The goal of processing is to make structures such as motor vehicles, roads, or buildings more salient and more interpretable to human observers than they are in the original imagery. Early processing by shunting center-surround networks compresses signal dynamic range and performs local contrast enhancement. Subsequent processing by filters sensitive to oriented contrast, including short-range competition and long-range cooperation, segments the image into regions. Finally, a diffusive filling-in operation within the segmented regions produces coherent visible structures. The combination of BCS and FCS helps to locate and enhance structure over regions of many pixels, without the resulting blur characteristic of approaches based on low spatial frequency filtering alone.

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Illusory contours can be induced along direction approximately collinear to edges or approximately perpendicular to the ends of lines. Using a rating scale procedure we explored the relation between the two types of inducers by systematically varying the thickness of inducing elements to result in varying amounts of "edge-like" or "line-like" induction. Inducers for our illusory figures consisted of concentric rings with arcs missing. Observers judged the clarity and brightness of illusory figures as the number of arcs, their thicknesses, and spacings were parametrically varied. Degree of clarity and amount of induced brightness were both found to be inverted-U functions of the number of arcs. These results mandate that any valid model of illusory contour formation must account for interference effects between parallel lines or between those neural units responsible for completion of boundary signals in directions perpendicular to the ends of thin lines. Line width was found to have an efFect on both clarity and brightness, a finding inconsistent with those models which employ only completion perpendicular to inducer orientation.

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We have developed an alternative approach to optical design which operates in the analytical domain so that an optical designer works directly with rays as analytical functions of system parameters rather than as discretely sampled polylines. This is made possible by a generalization of the proximate ray tracing technique which obtains the analytical dependence of the rays at the image surface (and ray path lengths at the exit pupil) on each system parameter. The resulting method provides an alternative direction from which to approach system optimization and supplies information which is not typically available to the system designer. In addition, we have further expanded the procedure to allow asymmetric systems and arbitrary order of approximation, and have illustrated the performance of the method through three lens design examples.

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Transsynaptic tracing has become a powerful tool used to analyze central efferents that regulate peripheral targets through multi-synaptic circuits. This approach has been most extensively used in the brain by utilizing the swine pathogen pseudorabies virus (PRV)(1). PRV does not infect great apes, including humans, so it is most commonly used in studies on small mammals, especially rodents. The pseudorabies strain PRV152 expresses the enhanced green fluorescent protein (eGFP) reporter gene and only crosses functional synapses retrogradely through the hierarchical sequence of synaptic connections away from the infection site(2,3). Other PRV strains have distinct microbiological properties and may be transported in both directions (PRV-Becker and PRV-Kaplan)(4,5). This protocol will deal exclusively with PRV152. By delivering the virus at a peripheral site, such as muscle, it is possible to limit the entry of the virus into the brain through a specific set of neurons. The resulting pattern of eGFP signal throughout the brain then resolves the neurons that are connected to the initially infected cells. As the distributed nature of transsynaptic tracing with pseudorabies virus makes interpreting specific connections within an identified network difficult, we present a sensitive and reliable method employing biotinylated dextran amines (BDA) and cholera toxin subunit b (CTb) for confirming the connections between cells identified using PRV152. Immunochemical detection of BDA and CTb with peroxidase and DAB (3, 3'-diaminobenzidine) was chosen because they are effective at revealing cellular processes including distal dendrites(6-11).

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The musical period of Neoclassicism began in the 1920's, between the first and second world wars. It was initiated by French composers and eventually spread to other countries. One of the most important themes to emerge from the movement was to escape from the formless, rather emotional music of the Romantic era and instead, emphasize balance, order, objectivity and clarity in musical form. Many popular clarinet repertoires are enjoyed by performers and listeners because the music is enjoyable to play and easy to listen to. In particular, classically influenced clarinet music is quite interesting because it features musical elements from both the past and contemporary musical styles. For instance, some composers have integrated preexisting, more traditional styles of composition with lighter styles of modern culture such as popular music and Jazz. It is difficult to discover purely neoclassical clarinet repertoires even though many composers created their pieces during the neoclassical era. What we most commonly find are both neoclassical and non-neoclassical influences in compositions from that time period. Thus, I aim to trace the influence of neoclassicism in selected clarinet repertoires that exist today. It is my hope that increased awareness and knowledge about accessible clarinet music may encourage the general public to develop a deeper interest in a wider sphere of clarinet music, beyond what is considered popular today. The works performed and discussed in this dissertation are the following: (Recital I) Duo Concertante by Darius Milhaud; Sonata by Leonard Bernstein; Sonata for Two Clarinets by Francis Poulenc; Duos for Flute and Clarinet, Op. 34 by Robert Muczynski; Dance Preludes by Witold Lutoslawski, (Recital II) Sonatine by Arthur Honegger; Time pieces by Robert Muczynski; Suite for Clarinet, Violin and Piano by Darius Milhaud; Sonate for Clarinet, Flute and Piano by Maurice Emmanuel; Tarantelle for Flute, Clarinet and Piano, Op. 6 by Camille Saint-Saëns, (Recital III) Sonatina by Joseph Horovitz; Suite from L'histoire du Soldat for Clarinet, Violin and Piano by Igor Stravinsky; Contrasts for Clarinet, Violin and Piano by Béla Bartók The recitals that took place on December 1, 2012 and on April 25, 2013 were performed in the Ulrich Recital Hall of the Clarice Performing Arts Center in College Park, Maryland. The recital that took place on November 2, 2013 was performed at the Gildenhorn Recital Hall of the same performing arts center.

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