Prêt-à-Médiatiser by House of POLLYFIBRE

Prêt-à-Médiatiser by House of POLLYFIBRE is a performance/film that takes the fashion show catwalk as a site for exploration, with a focus on the dialogue between liveness and mediatisation. The performance showcases a clothing collection that has been designed to be documented and thus is challenged in the context of the live event. Motivated by the 2-dimensionality and biased perspective of mediated images such as magazine photography, social network profiles images and the surfaces of digital interfaces, the garments are one sided and obstruct the models in their attempt to play out familiar fashion poses, unless they align themselves 'correctly' for the lense. There is material metaphor and wordplay throughout, for example the clothing pieces are made from interfacing fabrics that are physically cut, pasted and layered to create the rigid flat silhouettes. The performance is accompanied by live sound created by tools of the fashion industry (including scissors and camera clicks) that have been adapted and amplified to be used as instruments. The audience and press are invited to document the live event and the subsequent film is made using footage collated from the crew, the audience and the official press

A survey of human motion analysis using depth imagery

Analysis of human behaviour through visual information has been a highly active research topic in the computer vision community. This was previously achieved via images from a conventional camera, but recently depth sensors have made a new type of data available. This survey starts by explaining the advantages of depth imagery, then describes the new sensors that are available to obtain it. In particular, the Microsoft Kinect has made high-resolution real-time depth cheaply available. The main published research on the use of depth imagery for analysing human activity is reviewed. Much of the existing work focuses on body part detection and pose estimation. A growing research area addresses the recognition of human actions. The publicly available datasets that include depth imagery are listed, as are the software libraries that can acquire it from a sensor. This survey concludes by summarising the current state of work on this topic, and pointing out promising future research directions.

Quantifying the relationship between temperature regulation in the ear and floret development stage in wheat (Triticum aestivum L.) under heat and drought stress

Thermal imaging is a valuable tool for the elucidation of gas exchange dynamics between a plant and its environment. The presence of stomata in wheat glumes and awns offers an opportunity to assess photosynthetic activity of ears up to and during flowering. The knowledge of spatial and temporal thermodynamics of the wheat ear may provide insight into interactions between floret developmental stage (FDS), temperature depression (TD) and ambient environment, with potential to be used as a high-throughput screening tool for breeders. A controlled environment study was conducted using six spring wheat (Triticum aestivum L.) genotypes of the elite recombinant inbred line Seri/Babax. Average ear temperature (AET) was recorded using a hand held infrared camera and gas exchange was measured by enclosing ears in a custom built cuvette. FDS was monitored and recorded daily throughout the study. Plants were grown in pots and exposed to a combination of two temperature and two water regimes. In the examined wheat lines, TD varied from 0.1°C to 0.6°C according to the level of stress imposed. The results indicated that TD does not occur at FDS F3, the peak of active flowering, but during the preceding stages prior to pollen release and stigma maturity (F1-F2). These findings suggest that ear temperature during the early stages of anthesis, prior to pollen release and full extension of the stigma, are likely to be the most relevant for identifying heat stress tolerant genotypes.

Video surveillance : past, present, and now the future

Video surveillance is a part of our daily life, even though we may not necessarily realize it. We might be monitored on the street, on highways, at ATMs, in public transportation vehicles, inside private and public buildings, in the elevators, in front of our television screens, next to our baby?s cribs, and any spot one can set a camera.

Parallel pipelined histogram architecture via c-slow retiming

A parallel pipelined array of cells suitable for realtime computation of histograms is proposed. The cell architecture builds on previous work to now allow operating on a stream of data at 1 pixel per clock cycle. This new cell is more suitable for interfacing to camera sensors or to microprocessors of 8-bit data buses which are common in consumer digital cameras. Arrays using the new proposed cells are obtained via C-slow retiming techniques and can be clocked at a 65% faster frequency than previous arrays. This achieves over 80% of the performance of two-pixel per clock cycle parallel pipelined arrays.

Back to the margins in search of the core: foreign land's geography of exclusion

The crisis of the national project in the early 1990s, caused by a short-lived but disastrous government, led Brazilian art cinema, for the first time, to look at itself as periphery and re-approach the old colonial centre, Portugal. Terra estrangeira/Foreign Land (Walter Salles & Daniela Thomas, Brazil/Portugal, 1995), a film about Brazilian exiles in Portugal, is the best illustration of this perspective shift aimed at providing a new sense of Brazil’s scale and position within a global context. Shot mainly on location in São Paulo, Lisbon and Cape Verde, it promotes the encounter of Lusophone peoples who find a common ground in their marginal situation. Even Portugal is defined by its location at the edge of Europe and by beliefs such as Sebastianism, whose origins go back to the time when the country was dominated by Spain. As a result, notions of ‘core’ or ‘centre’ are devolved to the realm of myth. The film’s carefully crafted dialogues combine Brazilian, Portuguese and Creole linguistic peculiarities into a common dialect of exclusion, while language puns trigger visual rhymes which refer back to the Cinema Novo (the Brazilian New Wave) repertoire and restage the imaginary of the discovery turned into unfulfilled utopia. The main characters also acquire historical resonances, as they are depicted as descendants of Iberian conquistadors turned into smugglers of precious stones in the present. Their activities define a circuit of international exchange which resonates with that of globalized cinema, a realm in which Foreign Land, made up of citations and homage to other cinemas, tries to retrieve a sense of belonging.

Spatial and radiometric fidelity of airborne multispectral imagery in the context of land-cover change analyses

The goal was to quantitatively estimate and compare the fidelity of images acquired with a digital imaging system (ADAR 5500) and generated through scanning of color infrared aerial photographs (SCIRAP) using image-based metrics. Images were collected nearly simultaneously in two repetitive flights to generate multi-temporal datasets. Spatial fidelity of ADAR was lower than that of SCIRAP images. Radiometric noise was higher for SCIRAP than for ADAR images, even though noise from misregistration effects was lower. These results suggest that with careful control of film scanning, the overall fidelity of SCIRAP imagery can be comparable to that of digital multispectral camera data. Therefore, SCIRAP images can likely be used in conjunction with digital metric camera imagery in long-term landcover change analyses.

C-slow retimed parallel histogram architectures for consumer imaging devices

A parallel pipelined array of cells suitable for real-time computation of histograms is proposed. The cell architecture builds on previous work obtained via C-slow retiming techniques and can be clocked at 65 percent faster frequency than previous arrays. The new arrays can be exploited for higher throughput particularly when dual data rate sampling techniques are used to operate on single streams of data from image sensors. In this way, the new cell operates on a p-bit data bus which is more convenient for interfacing to camera sensors or to microprocessors in consumer digital cameras.

The distribution of interplanetary dust between 0.96 and 1.04 au as inferred from impacts on the STEREO spacecraft observed by the heliospheric imagers

The distribution of dust in the ecliptic plane between 0.96 and 1.04 au has been inferred from impacts on the two Solar Terrestrial Relations Observatory (STEREO) spacecraft through observation of secondary particle trails and unexpected off-points in the heliospheric imager (HI) cameras. This study made use of analysis carried out by members of a distributed web-based citizen science project Solar Stormwatch. A comparison between observations of the brightest particle trails and a survey of fainter trails shows consistent distributions. While there is no obvious correlation between this distribution and the occurrence of individual meteor streams at Earth, there are some broad longitudinal features in these distributions that are also observed in sources of the sporadic meteor population. The different position of the HI instrument on the two STEREO spacecraft leads to each sampling different populations of dust particles. The asymmetry in the number of trails seen by each spacecraft and the fact that there are many more unexpected off-points in the HI-B than in HI-A indicates that the majority of impacts are coming from the apex direction. For impacts causing off-points in the HI-B camera, these dust particles are estimated to have masses in excess of 10−17 kg with radii exceeding 0.1 μm. For off-points observed in the HI-A images, which can only have been caused by particles travelling from the anti-apex direction, the distribution is consistent with that of secondary ‘storm’ trails observed by HI-B, providing evidence that these trails also result from impacts with primary particles from an anti-apex source. Investigating the mass distribution for the off-points of both HI-A and HI-B, it is apparent that the differential mass index of particles from the apex direction (causing off-points in HI-B) is consistently above 2. This indicates that the majority of the mass is within the smaller particles of this population. In contrast, the differential mass index of particles from the anti-apex direction (causing off-points in HI-A) is consistently below 2, indicating that the majority of the mass is to be found in larger particles of this distribution.

A survey for planetary transits in the field of NGC 7789

We present results from 30 nights of observations of the open cluster NGC 7789 with the Wide Field Camera on the Isaac Newton Telescope, La Palma. From ~900 epochs, we obtained light curves and Sloan r'-i' colours for ~33000 stars, with ~2400 stars having better than 1 per cent precision. We expected to detect ~2 transiting hot Jupiter planets if 1 per cent of stars host such a companion and a typical hot Jupiter radius is ~1.2R_J. We find 24 transit candidates, 14 of which we can assign a period. We rule out the transiting planet model for 21 of these candidates using various robust arguments. For two candidates, we are unable to decide on their nature, although it seems most likely that they are eclipsing binaries as well. We have one candidate exhibiting a single eclipse, for which we derive a radius of 1.81+0.09-0.00R_J. Three candidates remain that require follow-up observations in order to determine their nature.

Chaos, culture and fantasy: The television plays of Howard Schuman

The single plays of American ex-pat playwright Howard Schuman produced for British television between 1973 and 1983 have received little critical attention. Written in a distinctly un-British madcap, non-naturalistic and often pulpy 'B movie' style, they centre around caricatured, hysterical and/or camp characters and make frequent references to popular culture. This article provides a general survey of Schuman's plays and analyses his sensibility as a screenwriter, drawing extensively on material from interviews with the writer. The article's particular focus is how and why different cultural forms including music, film and theatre are used and referred to in Schuman's plays, and how this conditions the plays' narrative content and visual and aural form. It also considers the reception of Schuman's plays and their status as non-naturalistic dramas that engage heavily with American pop culture, within the context of British drama. Finally, it explores the writer's relationship to style and aesthetics, and considers how his written works have been enhanced through creative design decisions, comparing his directions (in one of his scripts) with the realized play to reflect on the use of key devices.

The look: style, technology and televisuality in the New Who

This chapter explores the distinctive qualities of the Matt Smith era Doctor Who, focusing on how dramatic emphases are connected with emphases on visual style, and how this depends on the programme's production methods and technologies. Doctor Who was first made in the 1960s era of live, studio-based, multi-camera television with monochrome pictures. However, as technical innovations like colour filming, stereo sound, CGI and post-production effects technology have been routinely introduced into the programme, and now High Definition (HD) cameras, they have given Doctor Who’s creators new ways of making visually distinctive narratives. Indeed, it has been argued that since the 1980s television drama has become increasingly like cinema in its production methods and aesthetic aims. Viewers’ ability to view the programme on high-specification TV sets, and to record and repeat episodes using digital media, also encourage attention to visual style in television as much as in cinema. The chapter evaluates how these new circumstances affect what Doctor Who has become and engages with arguments that visual style has been allowed to override characterisation and story in the current Doctor Who. The chapter refers to specific episodes, and frames the analysis with reference to earlier years in Doctor Who’s long history. For example, visual spectacle using green-screen and CGI can function as a set-piece (at the opening or ending of an episode) but can also work ‘invisibly’ to render a setting realistically. Shooting on location using HD cameras provides a rich and detailed image texture, but also highlights mistakes and especially problems of lighting. The reduction of Doctor Who’s budget has led to Steven Moffat’s episodes relying less on visual extravagance, connecting back both to Russell T. Davies’s concern to show off the BBC’s investment in the series but also to reference British traditions of gritty and intimate social drama. Pressures to capitalise on Doctor Who as a branded product are the final aspect of the chapter’s analysis, where the role of Moffat as ‘showrunner’ links him to an American (not British) style of television production where the preservation of format and brand values give him unusual power over the look of the series.

Estimation of visual motion parameters used for bio-inspired navigation

Visual motion cues play an important role in animal and humans locomotion without the need to extract actual ego-motion information. This paper demonstrates a method for estimating the visual motion parameters, namely the Time-To-Contact (TTC), Focus of Expansion (FOE), and image angular velocities, from a sparse optical flow estimation registered from a downward looking camera. The presented method is capable of estimating the visual motion parameters in a complicated 6 degrees of freedom motion and in real time with suitable accuracy for mobile robots visual navigation.

“There’s something very familiar about all this”: generic play and performance in the Back to the Future trilogy (Robert Zemeckis, 1985, 1989, 1990)

The Back to the Future Trilogy incorporates several different generic elements, including aspects of the fifties teen movie, science fiction, comedy and the western. These different modes playfully intertwine with each other creating a complex world of repetitions, echoes and modulations. This essay seeks to interrogate the construction of generic elements and the play between them through a close analysis of a repeated performance. Genre is signalled through various strategies employed within the construction of mise-en-scène, a significant portion of this, as I would like to argue, is transmitted through performance. The material detail of a performance – incorporating gesture, movement, voice, and even surrounding elements such as costume – as well as the way it its presented within a film is key to the establishment, invocation and coherence of genre. Furthermore, attention to the complexity of performance details, particularly in the manner in which they reverberate across texts, demonstrates the intricacy of genre and its inherent mutability. The Back to the Future trilogy represents a specific interest in the flexibility of genre. Within each film, and especially across all three, aspects of various genres are interlaced through both visual and narrative detail, thus constructing a dense layer of references both within and without the texts. To explore this patterning in more detail I will interrogate the contribution of performance to generic play through close analysis of Thomas F. Wilson’s performance of Biff/Griff/Burford Tannen and his central encounter with Marty McFly (Michael J. Fox) in each film. These moments take place in a fifties diner, a 1980s retro diner and a saloon respectively, each space contributing the similarities and differences in each repetition. Close attention to Wilson’s performance of each related character, which contains both modulations and repetitions used specifically to place each film’s central generic theme, demonstrates how embedded the play between genres and their flexibility is within the trilogy.

Effort and affect: engaging with film performance

In order to consider our emotional and physical involvement with film this chapter explores the rapport between camera and performer and how this impacts on the construction of engagement, drawing on critical approaches across the disciplines of film, dance and philosophy to describe our spatial, emotional and sensuous relationship to characters and bodies on-screen. Concern with the relationship between what is happening on screen and the shaping of our engagement is developed through attention to the effort of a particular performance, using close analysis to make sense of the affect invited by qualities of movement and how they are presented in moment from Rosemary’s Baby (Polanski, 1968).