Olkapään alueen makroskooppinen anatomia – video-opetusmateriaali anatomian opiskeluun

Anatomian opiskelu perustuu edelleen pitkälti kirjojen piirrettyihin kuviin. Opinnäytetyöni on tarkoitettu täydentämään kirjojen sisältöä ja tukemaan anatomian opiskelua. Tarkoituksena oli tuottaa havainnollinen videomateriaali olkapään alueesta käytettäväksi Turun yliopiston lääketieteellisen tiedekunnan anatomian kursseilla sekä itseopiskelumateriaalina. Videolla keskitytään kahteen erilliseen isoon kokonaisuuteen: kiertäjäkalvosimeen sekä lapaluuhun ja siihen kiinnittyviin lihaksiin. Suomenkielisen opetusvideon avulla opiskelijat voivat ymmärtää paremmin olkapään kolmiulotteista anatomiaa ja hahmottaa rakenteiden välisiä suhteita oikeassa kehossa. Ennen videon kuvaamista kertasin olkapään alueen anatomian, suunnittelin videon sisällön sekä harjoittelin preparointitekniikoita. Preparointia harjoiteltiin yhdellä formaliinivainajalla ja yhdellä tuorevainajalla. Avaussalityöskentelyssä tein yhteistyötä neljän muun opiskelijan kanssa. Kuvasimme kukin omien opinnäytetöidemme aiheet samasta tuorevainajasta yhden viikonlopun aikana 19.–22.12.2014. Video kuvattiin kokonaisuudessaan Turun yliopiston Medisiina- laitosrakennuksen anatomian opetusavaussalissa. Kuvaamisessa käytettiin Kliinisten taitojen oppimiskeskuksen Portin kameraa ja kuvausvälineistöä. Kuvausmateriaali muokattiin lopulliseksi videoksi käyttämällä Adobe Premiere Pro CC 2014 -videonmuokkausohjelmaa. Jälkikäteen videoon lisättiin ääniraita sekä anatomian käsitteitä selventämään videon kulkua. Lopullinen opetusvideo on noin 12 minuuttia kestävä tiivis kokonaisuus olkapään alueen anatomiasta. Se koostuu kolmesta osasta. Ensimmäinen osa on suurin kokonaisuus, jossa käsitellään lapaluun merkittävimmät luiset rakenteet sekä lapaluuhun kiinnittyvät lihakset erikseen edestä ja takaa. Toisessa osassa keskitytään kliinisesti merkittävään olkapään rakenteeseen, kiertäjäkalvosimeen, josta esitellään tarkasti kaikki neljä lihasta ja niiden sijainnit kuvattuna eri suunnista ja eri etäisyyksiltä. Videon lopuksi käydään läpi vielä olkapään kymmenen eri liikettä, jotka esitetään videolla.

Efficient Image and Video Representations for Retrieval

Image (Video) retrieval is an interesting problem of retrieving images (videos) similar to the query. Images (Videos) are represented in an input (feature) space and similar images (videos) are obtained by finding nearest neighbors in the input representation space. Numerous input representations both in real valued and binary space have been proposed for conducting faster retrieval. In this thesis, we present techniques that obtain improved input representations for retrieval in both supervised and unsupervised settings for images and videos. Supervised retrieval is a well known problem of retrieving same class images of the query. We address the practical aspects of achieving faster retrieval with binary codes as input representations for the supervised setting in the first part, where binary codes are used as addresses into hash tables. In practice, using binary codes as addresses does not guarantee fast retrieval, as similar images are not mapped to the same binary code (address). We address this problem by presenting an efficient supervised hashing (binary encoding) method that aims to explicitly map all the images of the same class ideally to a unique binary code. We refer to the binary codes of the images as `Semantic Binary Codes' and the unique code for all same class images as `Class Binary Code'. We also propose a new class­ based Hamming metric that dramatically reduces the retrieval times for larger databases, where only hamming distance is computed to the class binary codes. We also propose a Deep semantic binary code model, by replacing the output layer of a popular convolutional Neural Network (AlexNet) with the class binary codes and show that the hashing functions learned in this way outperforms the state­ of ­the art, and at the same time provide fast retrieval times. In the second part, we also address the problem of supervised retrieval by taking into account the relationship between classes. For a given query image, we want to retrieve images that preserve the relative order i.e. we want to retrieve all same class images first and then, the related classes images before different class images. We learn such relationship aware binary codes by minimizing the similarity between inner product of the binary codes and the similarity between the classes. We calculate the similarity between classes using output embedding vectors, which are vector representations of classes. Our method deviates from the other supervised binary encoding schemes as it is the first to use output embeddings for learning hashing functions. We also introduce new performance metrics that take into account the related class retrieval results and show significant gains over the state­ of­ the art. High Dimensional descriptors like Fisher Vectors or Vector of Locally Aggregated Descriptors have shown to improve the performance of many computer vision applications including retrieval. In the third part, we will discuss an unsupervised technique for compressing high dimensional vectors into high dimensional binary codes, to reduce storage complexity. In this approach, we deviate from adopting traditional hyperplane hashing functions and instead learn hyperspherical hashing functions. The proposed method overcomes the computational challenges of directly applying the spherical hashing algorithm that is intractable for compressing high dimensional vectors. A practical hierarchical model that utilizes divide and conquer techniques using the Random Select and Adjust (RSA) procedure to compress such high dimensional vectors is presented. We show that our proposed high dimensional binary codes outperform the binary codes obtained using traditional hyperplane methods for higher compression ratios. In the last part of the thesis, we propose a retrieval based solution to the Zero shot event classification problem - a setting where no training videos are available for the event. To do this, we learn a generic set of concept detectors and represent both videos and query events in the concept space. We then compute similarity between the query event and the video in the concept space and videos similar to the query event are classified as the videos belonging to the event. We show that we significantly boost the performance using concept features from other modalities.

Video documental biográfico de Eliécer Cárdenas Espinoza y su labor como editorialista de diario El Tiempo: Técnicas y Métodos periodísticos audiovisuales

Presentar en un Video Documental Biográfico, la trayectoria periodística de Eliécer Cárdenas Espinoza como editorialista y articulista en Diario el Tiempo. Además se complementara esta investigación no sólo a través de su lado profesional, también como el hombre de familia y amigo. De igual manera, se podrá visualizar el papel que cumple como Gestor Cultural, Cronista de la ciudad y literato, en el que nos habla de su principal obra Polvo y Ceniza. El video también pone énfasis en la labor que cumple el periodista, el papel de las universidades en la formación de los futuros comunicadores, las nuevas tecnologías que invaden el campo de la comunicación y el futuro del periodismo en las sociedades actuales. El proyecto cuenta con la intervención de docentes y periodistas especializados en el campo de la comunicación, los mismos que aportaron con valiosos testimonios sobre la trayectoria de nuestro personaje y el componente actual en la información. El objetivo de este proyecto es dejar un registro audiovisual académico realizado a base de técnicas y métodos periodísticos muy bien aplicados.

Active Foreground Region Extraction and Tracking for Sports Video Annotation

Automatic video segmentation plays a vital role in sports videos annotation. This paper presents a fully automatic and computationally efficient algorithm for analysis of sports videos. Various methods of automatic shot boundary detection have been proposed to perform automatic video segmentation. These investigations mainly concentrate on detecting fades and dissolves for fast processing of the entire video scene without providing any additional feedback on object relativity within the shots. The goal of the proposed method is to identify regions that perform certain activities in a scene. The model uses some low-level feature video processing algorithms to extract the shot boundaries from a video scene and to identify dominant colours within these boundaries. An object classification method is used for clustering the seed distributions of the dominant colours to homogeneous regions. Using a simple tracking method a classification of these regions to active or static is performed. The efficiency of the proposed framework is demonstrated over a standard video benchmark with numerous types of sport events and the experimental results show that our algorithm can be used with high accuracy for automatic annotation of active regions for sport videos.

Football Video Annotation Based on Player Motion Recognition Using Enhanced Entropy

This paper presents a semi-parametric Algorithm for parsing football video structures. The approach works on a two interleaved based process that closely collaborate towards a common goal. The core part of the proposed method focus perform a fast automatic football video annotation by looking at the enhance entropy variance within a series of shot frames. The entropy is extracted on the Hue parameter from the HSV color system, not as a global feature but in spatial domain to identify regions within a shot that will characterize a certain activity within the shot period. The second part of the algorithm works towards the identification of dominant color regions that could represent players and playfield for further activity recognition. Experimental Results shows that the proposed football video segmentation algorithm performs with high accuracy.

Video - Guía de servicios actualizados e información general dirigido a usuarios de la Clínica de Optometría, Universidad de la Salle

Bogotá (Colombia): Universidad de la Salle. Programa de Optometría

International workshop on "Different survey methods for coral reef fish, including methods based on underwater video"

In September 2013, staff from the University of the South Pacific (USP) Honiara campus, the Secretariat of the Pacific Community (SPC) and IFREMER (UR LEADNC, AMBIO project) in New Caledonia, and the French Institute for Pacific Coral Reefs (IRCP) in Moorea, French Polynesia, co-facilitated a workshop entitled “Different survey methods of coral reef fish, including the methods based on underwater video”. The workshop was attended by students from USP, NGO and fisheries officers. They were trained to several underwater visual census techniques and to the STAVIRO video-based technique, including both field work and data analysis.

A Phylogenetic Classification of the Video-Game Industry’s Business Model Ecosystem

Part 8: Business Strategies Alignment

The incorporation of violence by women video artists

This paper examines the way in which women video artists embodied violence in their video pieces as a strategy of critique of the patriarchal regime. Since the 1960s several generations of women artists used different strategies of self-harm or explored the physical and mental limits of their bodies to express the anguish of those who are excluded from the patriarchal society on sexist and/or racist grounds. Considering the guiding line that covers three fields – art, gender, and feminist social movements – as well as their key thinkers and scholars in Sociology, Fine Arts and the Humanities, we have built the object of study of this essay, namely, the relationship between women's video art focused on the body, violence and gender along with feminist social movements in the period ranging from 1967 to 2007, in a Western context. The methodology used had as its primary goal to create a link between the micro-sociological level of expressions, body gestures and behaviours in the videos and the macro-sociological level of broader, institutionalized social forces that are at the origin of inequalities, such as dimensions of gender and «race». This study concluded that at least since the 1960s there is the denunciation by women video artists of the general circumstances women live under, while enduring violence of various kinds, such as socio-cultural, psychological and sexual violence against women.

Self determination, embodied languages and landscapes in women's video art.

This paper addresses how, since the 1960s to the present, part of women's video art has broken the traditional representation of women’s body and proposed new forms of recording women's images, explicit or symbolic, using body part close-ups, and not sparing any efforts to ensure the prevention of the cataloguing of women’s bodies according to normative categories, such as gender, race and age, and in this way challenging the Western representation codes that objectify women. The methodology employed had as its primary purpose the examination of the association existing between the micro-sociological level of body gestures and performances in women's videos and the macro-sociological level of social forces such as the dimensions of gender and sexuality. This study concluded that narratives of identity and self-determination are present in women's video pieces contributing to women's empowerment through visual discourses that could possibly point to the production of new signs and symbols, new values and models, but also for the formation of new types of social roles and even a new type of interpersonal relationships.

Implementación de un sistema de monitoreo a través de cámaras de video en el albergue para adulto mayor Hogar Casa Nostra

65 p.

Video-produkciós projektek a marketingoktatásban

Cikkünk oktatás-módszertani fejlesztői prezentáció, két eltérő profilú felsőoktatási intézmény többéves együttműködéséből létrejövő projektsorozat bemutatása. Egyedülálló oktatási programunkban, mely a Budapesti Corvinus Egyetem, Marketing és Média Intézete és Dunaújvárosi Főiskola (DUF) Déri János Kommunikációs Intézete, egy üzleti és egy műszaki orientációjú intézet közös munkája marketing mesterszakos közgazdász hallgatók számukra ismeretlen, nem kipróbált szerepekben rendezőként, operatőrként, vágóként, riporterként hoznak létre egy filmes produkciót. A DUF technikai háttere televíziós stúdiója, hangstúdiója, vágó és fotó stúdiói lehetővé teszik mind hallgatóink és mind oktatóink számára, hogy a ma vezető szakembereitől megkövetelt szereplési készségeket elsajátítsák – legyen az előadói verbális és nem verbális forma -, megismerjék saját nyilvános megnyilvánulásaik minőségét és fejlesztésének irányait. Előadásunk célja annak bemutatása, hogy a projekt megoldásának folyamata „csapatban megoldani egy ismeretlen komplex feladatot”, „feldolgozni egy szorosan nem szakmai értelemben vett témát” – egyben egy csapatépítő projektív kutatói technika.

Loop openness: a video reflection on the open work of art

The objective of this article is to reflect on the video art work in its loop production to perceive the possibility of it being received as an open work. In order to contextualize this reflection the text is anchored in the concept of image-crystal from Gilles Deleuze. For the purpose of empirically explore theoretical concepts such as video art, open work and image-crystal it was produced a practical project of video art that intends to reflect on the notion of time in a context of a loop exhibition. Therefore this project aims to motivate the reflection on the loop as a mechanism to contour the ephemeral character of video art and, at the same time, it seeks to emphasize questions about the element of multiplicity and plurality in art. It is a scientific and artistic project in which the practical component supports the dialectic between theory and practice, action and reflection. In this sense, based on the video entitled "The Walk" this article demonstrates how the theoretical concepts were used to support the artistic creation. Finally the conclusions sustain that the work of video art, when presented in loop, is a creative and expository strategy which encourages multiple interpretations that vary according to the narrative, the context in which it takes place and the attitude and the background of the spectator.