Some Aspects of Pattern Recognition by Computer

A computer may gather a lot of information from its environment in an optical or graphical manner. A scene, as seen for instance from a TV camera or a picture, can be transformed into a symbolic description of points and lines or surfaces. This thesis describes several programs, written in the language CONVERT, for the analysis of such descriptions in order to recognize, differentiate and identify desired objects or classes of objects in the scene. Examples are given in each case. Although the recognition might be in terms of projections of 2-dim and 3-dim objects, we do not deal with stereoscopic information. One of our programs (Polybrick) identifies parallelepipeds in a scene which may contain partially hidden bodies and non-parallelepipedic objects. The program TD works mainly with 2-dimensional figures, although under certain conditions successfully identifies 3-dim objects. Overlapping objects are identified when they are transparent. A third program, DT, works with 3-dim and 2-dim objects, and does not identify objects which are not completely seen. Important restrictions and suppositions are: (a) the input is assumed perfect (noiseless), and in a symbolic format; (b) no perspective deformation is considered. A portion of this thesis is devoted to the study of models (symbolic representations) of the objects we want to identify; different schemes, some of them already in use, are discussed. Focusing our attention on the more general problem of identification of general objects when they substantially overlap, we propose some schemes for their recognition, and also analyze some problems that are met.

Rapid Losses of Surface Elevation following Tree Girdling and Cutting in Tropical Mangroves.

Discussion Conclusions Materials and Methods Acknowledgments Author Contributions References Reader Comments (0) Figures Abstract The importance of mangrove forests in carbon sequestration and coastal protection has been widely acknowledged. Large-scale damage of these forests, caused by hurricanes or clear felling, can enhance vulnerability to erosion, subsidence and rapid carbon losses. However, it is unclear how small-scale logging might impact on mangrove functions and services. We experimentally investigated the impact of small-scale tree removal on surface elevation and carbon dynamics in a mangrove forest at Gazi bay, Kenya. The trees in five plots of a Rhizophora mucronata (Lam.) forest were first girdled and then cut. Another set of five plots at the same site served as controls. Treatment induced significant, rapid subsidence (−32.1±8.4 mm yr−1 compared with surface elevation changes of +4.2±1.4 mm yr−1 in controls). Subsidence in treated plots was likely due to collapse and decomposition of dying roots and sediment compaction as evidenced from increased sediment bulk density. Sediment effluxes of CO2 and CH4 increased significantly, especially their heterotrophic component, suggesting enhanced organic matter decomposition. Estimates of total excess fluxes from treated compared with control plots were 25.3±7.4 tCO2 ha−1 yr−1 (using surface carbon efflux) and 35.6±76.9 tCO2 ha−1 yr−1 (using surface elevation losses and sediment properties). Whilst such losses might not be permanent (provided cut areas recover), observed rapid subsidence and enhanced decomposition of soil sediment organic matter caused by small-scale harvesting offers important lessons for mangrove management. In particular mangrove managers need to carefully consider the trade-offs between extracting mangrove wood and losing other mangrove services, particularly shoreline stabilization, coastal protection and carbon storage.

Agency and animation: the performance of interactive game characters

As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.

Qualitative evaluation of KA24 (Knowledge Access 24)

Durbin, J. & Urquhart, C. (2003). Qualitative evaluation of KA24 (Knowledge Access 24). Aberystwyth: Department of Information Studies, University of Wales Aberystwyth. Sponsorship: Knowledge Access 24 (NHS)

The Cuban Missile Crisis And The Threat Of Nuclear War: Lessons From History

Scott, Len, The Cuban Missile Crisis And The Threat Of Nuclear War: Lessons From History (London: Continuum, 2007), pp.xii+222 RAE2008

The Correspondence of Iolo Morganwg, 1770-1826

Jenkins, G.; Jones, F.; and Jones, D. (Eds.). (2007). The Correspondence of Iolo Morganwg: Vols. I, II and III. Cardiff: University of Wales Press. RAE2008

A Concise History of France

Price, Roger, A Concise History of France (Cambridge: Cambridge University Press, 2005), pp.xiii+491 RAE2008

La Bugonia

Sibona, Bruno, 'La Bugonia', Pallas, Revue d'?tudes antiques (2002) 60, pp.345-361

O Arsenal Farmacêutico da Antiguidade Clássica e da Idade Média

Projeto de Pós-Graduação/Dissertação apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Ciências Farmacêuticas

An Historical and Theological Analysis of Campus Crusade for Christ's Evangelistic Practice in Two American University Contexts

This dissertation, an exercise in practical theology, consists of a critical conversation between the evangelistic practice of Campus Crusade for Christ in two American university contexts, Bryan Stone's ecclesiologically grounded theology of evangelism, and William Abraham's eschatologically grounded theology of evangelism. It seeks to provide these evangelizing communities several strategic proposals for a more ecclesiologically and eschatologically grounded practice of evangelism within a university context. The current literature on evangelism is long on evangelistic strategy and activity, but short on theological analysis and reflection. This study focuses on concrete practices, but is grounded in a thick description of two particular contexts (derived from qualitative research methods) and a theological analysis of the ecclesiological and eschatological beliefs embedded within their evangelistic activities. The dissertation provides an historical overview of important figures, ideas, and events that helped mold the practice of evangelism inherited by the two ministries of this study, beginning with the famous Haystack Revival on Williams College in 1806. Both ministries, Campus Crusade for Christ at Bowling Green State University (Ohio) and at Washington State University, inherited an evangelistic practice sorely infected with many of the classic distortions that both Abraham and Stone attempt to correct. Qualitative research methods detail the direction that Campus Crusade for Christ at Bowling Green State University (Ohio) and Washington State University have taken the practice of evangelism they inherited. Applying the analytical categories that emerge from a detailed summary of Stone and Abraham to qualitative data of these two ministries reveals several ways evangelism has morphed in a manner sympathetic to Stone's insistence that the central logic of evangelism is the embodied witness of the church. The results of this analysis reveal the subversive and pervasive influence of modernity on these evangelizing communities—an influence that warrants several corrective strategic proposals including: 1) re-situating evangelism within a reading of the biblical narrative that emphasizes the present, social, public, and realized nature of the gospel of the kingdom of God rather than simply its future, personal, private, and unrealized dimensions; 2) clarifying the nature of the evangelizing communities and their relationship to the church; and 3) emphasizing the virtues that characterize a new evangelistic exemplar who is incarnational, intentional, humble, and courageous.

Laminar Cortical Dynamics of Visual Form and Motion Interactions During Coherent Object Motion Perception

How do visual form and motion processes cooperate to compute object motion when each process separately is insufficient? A 3D FORMOTION model specifies how 3D boundary representations, which separate figures from backgrounds within cortical area V2, capture motion signals at the appropriate depths in MT; how motion signals in MT disambiguate boundaries in V2 via MT-to-Vl-to-V2 feedback; how sparse feature tracking signals are amplified; and how a spatially anisotropic motion grouping process propagates across perceptual space via MT-MST feedback to integrate feature-tracking and ambiguous motion signals to determine a global object motion percept. Simulated data include: the degree of motion coherence of rotating shapes observed through apertures, the coherent vs. element motion percepts separated in depth during the chopsticks illusion, and the rigid vs. non-rigid appearance of rotating ellipses.

CONFIGR: A Vision-Based Model for Long-Range Figure Completion

CONFIGR (CONtour FIgure GRound) is a computational model based on principles of biological vision that completes sparse and noisy image figures. Within an integrated vision/recognition system, CONFIGR posits an initial recognition stage which identifies figure pixels from spatially local input information. The resulting, and typically incomplete, figure is fed back to the “early vision” stage for long-range completion via filling-in. The reconstructed image is then re-presented to the recognition system for global functions such as object recognition. In the CONFIGR algorithm, the smallest independent image unit is the visible pixel, whose size defines a computational spatial scale. Once pixel size is fixed, the entire algorithm is fully determined, with no additional parameter choices. Multi-scale simulations illustrate the vision/recognition system. Open-source CONFIGR code is available online, but all examples can be derived analytically, and the design principles applied at each step are transparent. The model balances filling-in as figure against complementary filling-in as ground, which blocks spurious figure completions. Lobe computations occur on a subpixel spatial scale. Originally designed to fill-in missing contours in an incomplete image such as a dashed line, the same CONFIGR system connects and segments sparse dots, and unifies occluded objects from pieces locally identified as figure in the initial recognition stage. The model self-scales its completion distances, filling-in across gaps of any length, where unimpeded, while limiting connections among dense image-figure pixel groups that already have intrinsic form. Long-range image completion promises to play an important role in adaptive processors that reconstruct images from highly compressed video and still camera images.

The What-And-Where Filter: A Spatial Mapping Neural Network for Object Recognition and Image Understanding

The What-and-Where filter forms part of a neural network architecture for spatial mapping, object recognition, and image understanding. The Where fllter responds to an image figure that has been separated from its background. It generates a spatial map whose cell activations simultaneously represent the position, orientation, ancl size of all tbe figures in a scene (where they are). This spatial map may he used to direct spatially localized attention to these image features. A multiscale array of oriented detectors, followed by competitve and interpolative interactions between position, orientation, and size scales, is used to define the Where filter. This analysis discloses several issues that need to be dealt with by a spatial mapping system that is based upon oriented filters, such as the role of cliff filters with and without normalization, the double peak problem of maximum orientation across size scale, and the different self-similar interpolation properties across orientation than across size scale. Several computationally efficient Where filters are proposed. The Where filter rnay be used for parallel transformation of multiple image figures into invariant representations that are insensitive to the figures' original position, orientation, and size. These invariant figural representations form part of a system devoted to attentive object learning and recognition (what it is). Unlike some alternative models where serial search for a target occurs, a What and Where representation can he used to rapidly search in parallel for a desired target in a scene. Such a representation can also be used to learn multidimensional representations of objects and their spatial relationships for purposes of image understanding. The What-and-Where filter is inspired by neurobiological data showing that a Where processing stream in the cerebral cortex is used for attentive spatial localization and orientation, whereas a What processing stream is used for attentive object learning and recognition.

The Role of Edges and Line-Ends in Illusory Contour Formation

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.

Laminar Cortical Dynamics of Visual Form and Motion Interactions During Coherent Object Motion Perception

How do visual form and motion processes cooperate to compute object motion when each process separately is insufficient? Consider, for example, a deer moving behind a bush. Here the partially occluded fragments of motion signals available to an observer must be coherently grouped into the motion of a single object. A 3D FORMOTION model comprises five important functional interactions involving the brain’s form and motion systems that address such situations. Because the model’s stages are analogous to areas of the primate visual system, we refer to the stages by corresponding anatomical names. In one of these functional interactions, 3D boundary representations, in which figures are separated from their backgrounds, are formed in cortical area V2. These depth-selective V2 boundaries select motion signals at the appropriate depths in MT via V2-to-MT signals. In another, motion signals in MT disambiguate locally incomplete or ambiguous boundary signals in V2 via MT-to-V1-to-V2 feedback. The third functional property concerns resolution of the aperture problem along straight moving contours by propagating the influence of unambiguous motion signals generated at contour terminators or corners. Here, sparse “feature tracking signals” from, e.g., line ends, are amplified to overwhelm numerically superior ambiguous motion signals along line segment interiors. In the fourth, a spatially anisotropic motion grouping process takes place across perceptual space via MT-MST feedback to integrate veridical feature-tracking and ambiguous motion signals to determine a global object motion percept. The fifth property uses the MT-MST feedback loop to convey an attentional priming signal from higher brain areas back to V1 and V2. The model's use of mechanisms such as divisive normalization, endstopping, cross-orientation inhibition, and longrange cooperation is described. Simulated data include: the degree of motion coherence of rotating shapes observed through apertures, the coherent vs. element motion percepts separated in depth during the chopsticks illusion, and the rigid vs. non-rigid appearance of rotating ellipses.