Street art : Mirror reflections on and meshing with urban agriculture

Street Art: Mirror Reflections on urban AgricultureThis chapter will look at the way socio-political commentary exists in street art and how it has tended in recent times to be displayed overlooking community urban gardens. The urgency with which inner suburban councils in Melbourne Australia have dedicated themselves to carving out recreational spaces is a reflection on the expectations of multi-cultural groups whose culture incorporates the growth of vegetable and fruits close to their place of residence. Street art, famous for its commentary on urban ugliness, has integrated its philosophy and aesthetics, along side notable community gardens in Melbourne. The images incorporate the aims of urban agriculture whilst often simultaneously critiquing the alienation of the urban dweller cut so relentlessly from the means of growing food and from accessing land that might produce it. Community gardens in the twenty-first century go some way to reversing a state of being in which ‘workers’ were alienated from the source of their labor and their survival. This chapter will also probe the extent to which street art in the inner laneways of Melbourne incorporate in to their designs fauna and flora. This reference to all that is organic in environments devoid of vegetation draws attention not only to that absence but also for the need to address it. This work will therefore deal with two interrelating themes: 1. Street art that complements community gardens; 2. Street art that engages with agricultural imagery and images of fauna and flora with the aim of subverting the continual growth of unregulated concrete jungles. The chapter will be informed by interviews with well known Australian street artists and will also explore the work they have done in Paris, Jamaica, London and Miami on both themes stipulated above.

Sparse representation with multi-manifold analysis for texture classification from few training images

Texture classification is one of the most important tasks in computer vision field and it has been extensively investigated in the last several decades. Previous texture classification methods mainly used the template matching based methods such as Support Vector Machine and k-Nearest-Neighbour for classification. Given enough training images the state-of-the-art texture classification methods could achieve very high classification accuracies on some benchmark databases. However, when the number of training images is limited, which usually happens in real-world applications because of the high cost of obtaining labelled data, the classification accuracies of those state-of-the-art methods would deteriorate due to the overfitting effect. In this paper we aim to develop a novel framework that could correctly classify textural images with only a small number of training images. By taking into account the repetition and sparsity property of textures we propose a sparse representation based multi-manifold analysis framework for texture classification from few training images. A set of new training samples are generated from each training image by a scale and spatial pyramid, and then the training samples belonging to each class are modelled by a manifold based on sparse representation. We learn a dictionary of sparse representation and a projection matrix for each class and classify the test images based on the projected reconstruction errors. The framework provides a more compact model than the template matching based texture classification methods, and mitigates the overfitting effect. Experimental results show that the proposed method could achieve reasonably high generalization capability even with as few as 3 training images, and significantly outperforms the state-of-the-art texture classification approaches on three benchmark datasets. © 2014 Elsevier B.V. All rights reserved.

Efficient and accurate set-based registration of time-separated aerial images

This paper addresses the task of time-separated aerial image registration. The ability to solve this problem accurately and reliably is important for a variety of subsequent image understanding applications. The principal challenge lies in the extent and nature of transient appearance variation that a land area can undergo, such as that caused by the change under illumination conditions, seasonal variations, or the occlusion by non-persistent objects (people, cars). Our work introduces several major novelties (i) unlike previous work on aerial image registration, we approach the problem using a set-based paradigm; (ii) we show how image space local, pair-wise constraints can be used to enforce a globally good registration using a constraints graph structure; (iii) we show how a simple holistic representation derived from raw aerial images can be used as a basic building block of the constraints graph in a manner which achieves both high registration accuracy and speed; (iv) lastly, we introduce a new and, to the best of our knowledge, the only data corpus suitable for the evaluation of set-based aerial image registration algorithms. Using this data set, we demonstrate (i) that the proposed method outperforms the state-of-the-art for pair-wise registration already, achieving greater accuracy and reliability, while at the same time reducing the computational cost of the task and (ii) that the increase in the number of available images in a set consistently reduces the average registration error, with a major difference already for a single additional image.

Localization and degmentation of 3D intervertebral discs in MR Images by data driven estimation

This paper addresses the problem of fully-automatic localization and segmentation of 3D intervertebral discs (IVDs) from MR images. Our method contains two steps, where we first localize the center of each IVD, and then segment IVDs by classifying image pixels around each disc center as foreground (disc) or background. The disc localization is done by estimating the image displacements from a set of randomly sampled 3D image patches to the disc center. The image displacements are estimated by jointly optimizing the training and test displacement values in a data-driven way, where we take into consideration both the training data and the geometric constraint on the test image. After the disc centers are localized, we segment the discs by classifying image pixels around disc centers as background or foreground. The classification is done in a similar data-driven approach as we used for localization, but in this segmentation case we are aiming to estimate the foreground/background probability of each pixel instead of the image displacements. In addition, an extra neighborhood smooth constraint is introduced to enforce the local smoothness of the label field. Our method is validated on 3D T2-weighted turbo spin echo MR images of 35 patients from two different studies. Experiments show that compared to state of the art, our method achieves better or comparable results. Specifically, we achieve for localization a mean error of 1.6-2.0 mm, and for segmentation a mean Dice metric of 85%-88% and a mean surface distance of 1.3-1.4 mm.

Cameras and body memory create new blends of performance with visual art practice

I propose that a learnt somatic experience of dance can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. I have developed two series of art works of prints and video made in response to the Australian landscape. By analyzing my method of movement and photography I will describe how an embodied dance language can result in a material outcome – a series of drawings of light and movement, a body signature made possible through old and new technology. I have activated a performative state while capturing images discovering new ways of using technology reliant upon my knowledge of dance, performance and photography. Making a human size camera to make analogue prints I gained an intuitive knowledge of light – a skill that has become foundational in performance and photography. In response to space and light in the Australian landscape I then built a custom made camera that allows for the longest possible time to capture an image. I move while taking the image and use the camera as if an eye at the end of my arm. In this way I activate dance skills and embodied knowledge of space, timing and light, opening up a radical space for new thinking, making and performing.Furthermore this process engages memory and sentiment embodied through age. Many artists have responded to the unique qualities of the Australian landscape and by using a performative/photographic approach I have engaged with my own body memory. Being brought up in the landscape and training in ballet my body has acquired memories at a cellular level. My method has given memory a voice. In doing these works I have become conscious of how unconscious memories of the space and light in the landscape is a movement vocabulary activated in a way that ‘feels’ like dancing. As an ageing person this experience is profound and the resultant materialisation of the photographs and videos leave a material record of the event. The sentiments evoked through my process bridge the past with the present, the body with the mind, memory with body and space connecting disciplines in a new way.The materialisation of artworks itself continues cross-disciplinary processes using a technique that is a continuum of the performative. Through using technology I release memory of the landscape and pixel by pixel build imagery that relies on and is a part of the performative process. It is a photographic performance dance manifesting as pigment on paper exhibited a gallery context. The exhibition allows a space for the viewer to respond - re-membering the universal the act of moving. The works titled ‘body signatures’ and ‘Fly Rhythm’ become a communicative device in the gallery context.My paper through an analysis of process and methods used in making the two series will talk to several of the subjects listed and reveal a new way of connecting performance and visual art and old and new technologies.

Groupwise registration of aerial images

This paper addresses the task of time separated aerial image registration. The ability to solve this problem accurately and reliably is important for a variety of subsequent image understanding applications. The principal challenge lies in the extent and nature of transient appearance variation that a land area can undergo, such as that caused by the change in illumination conditions, seasonal variations, or the occlusion by non-persistent objects (people, cars). Our work introduces several novelties: (i) unlike all previous work on aerial image registration, we approach the problem using a set-based paradigm; (ii) we show how local, pairwise constraints can be used to enforce a globally good registration using a constraints graph structure; (iii) we show how a simple holistic representation derived from raw aerial images can be used as a basic building block of the constraints graph in a manner which achieves both high registration accuracy and speed. We demonstrate: (i) that the proposed method outperforms the state-of-the-art for pair-wise registration already, achieving greater accuracy and reliability, while at the same time reducing the computational cost of the task; and (ii) that the increase in the number of available images in a set consistently reduces the average registration error.

The art of being together: a social constructionist perspective on dialogic methods in the organizational context

The purpose of this project is to understand, under a social constructionist approach, what are the meanings that external facilitators and organizational members (sponsors) working with dialogic methods place on themselves and their work. Dialogic methods, with the objective of engaging groups in flows of conversations to envisage and co-create their own future, are growing fast within organizations as a means to achieve collective change. Sharing constructionist ideas about the possibility of multiple realities and language as constitutive of such realities, dialogue has turned into a promising way for transformation, especially in a macro context of constant change and increasing complexity, where traditional structures, relationships and forms of work are questioned. Research on the topic has mostly focused on specific methods or applications, with few attempts to study it in a broader sense. Also, despite the fact that dialogic methods work on the assumption that realities are socially constructed, few studies approach the topic from a social constructionist perspective, as a research methodology per se. Thus, while most existing research aims at explaining whether or how particular methods meet particular results, my intention is to explore the meanings sustaining these new forms of organizational practice. Data was collected through semi-structured interviews with 25 people working with dialogic methods: 11 facilitators and 14 sponsors, from 8 different organizations in Brazil. Firstly, the research findings indicate several contextual elements that seem to sustain the choices for dialogic methods. Within this context, there does not seem to be a clear or specific demand for dialogic methods, but a set of different motivations, objectives and focuses, bringing about several contrasts in the way participants name, describe and explain their experiences with such methods, including tensions on power relations, knowledge creation, identity and communication. Secondly, some central ideas or images were identified within such contrasts, pointing at both directions: dialogic methods as opportunities for the creation of new organizational realities (with images of a ‘door’ or a ‘flow’, for instance, which suggest that dialogic methods may open up the access to other perspectives and the creation of new realities); and dialogic methods as new instrumental mechanisms that seem to reproduce the traditional and non-dialogical forms of work and relationship. The individualistic tradition and its tendency for rational schematism - pointed out by social constructionist scholars as strong traditions in our Western Culture - could be observed in some participants’ accounts with the image of dialogic methods as a ‘gym’, for instance, in which dialogical – and idealized –‘abilities’ could be taught and trained, turning dialogue into a tool, rather than a means for transformation. As a conclusion, I discuss what the implications of such taken-for-granted assumptions may be, and offer some insights into dialogue (and dialogic methods) as ‘the art of being together’.

Multi-wavelength holographic profilometry - art. no. 60272L

A novel method for surface profilometry by holography is presented. We used a diode laser emitting at many wavelengths simultaneously as the light source and a Bi12TiO20 (BTO) crystal as the holographic medium in single exposure processes. The employ of multi-wavelength, large free spectral range (FSR) lasers leads to holographic images covered of interference fringes corresponding to the contour lines of the studied surface. In order to obtain the relief of the studied surface, the fringe analysis was performed by the phase stepping technique (PST) and the phase unwrapping was carried out by the Cellular-automata method. We analysed the relief of a tilted flat metallic bar and a tooth prosthesis.

O educador e a leitura de images

Pós-graduação em Artes - IA

Processing of spectrally resolved x-ray images of inertial confinement fusion implosion cores recorded with multimonochromatic x-ray imagers

[EN] We discuss the processing of data recorded with multimonochromatic x-ray imagers (MMI) in inertial confinement fusion experiments. The MMI records hundreds of gated, spectrally resolved images that can be used to unravel the spatial structure of the implosion core. In particular, we present a new method to determine the centers in all the array of images, a better reconstruction technique of narrowband implosion core images, two algorithms to determine the shape and size of the implosion core volume based on reconstructed broadband images recorded along three-quasiorthogonal lines of sight, and the removal of artifacts from the space-integrated spectra.

Implementation of a robust optical flow method for color images

We analyse the influence of colour information in optical flow methods. Typically, most of these techniques compute their solutions using grayscale intensities due to its simplicity and faster processing, ignoring the colour features. However, the current processing systems have minimized their computational cost and, on the other hand, it is reasonable to assume that a colour image offers more details from the scene which should facilitate finding better flow fields. The aim of this work is to determine if a multi-channel approach supposes a quite enough improvement to justify its use. In order to address this evaluation, we use a multi-channel implementation of a well-known TV-L1 method. Furthermore, we review the state-of-the-art in colour optical flow methods. In the experiments, we study various solutions using grayscale and RGB images from recent evaluation datasets to verify the colour benefits in motion estimation.

Still/moving images. Il rapporto dialettico tra cinema e fotografia nelle pratiche artistiche contemporanee.

Tra le plurime conseguenze dell’avvento del digitale, la riarticolazione dei rapporti tra immagine statica e immagine in movimento è certamente una delle più profonde. Sintomatica dei cambiamenti in atto sia nei film studies sia nella storia dell’arte, tale riarticolazione richiede un ripensamento dei confini disciplinari tradizionali entro cui il cinema e la fotografia sono stati affrontati come oggetti di studio separati e distinti. Nell’adottare un approccio molteplice, volto a comprendere prospettive provenienti dalla New Film History e dalla media archaeology, dalla teoria dell’arte e dagli studi visuali, questo lavoro esplora l’esistenza di una relazione dialettica tra il cinema e la fotografia intesa in modo duplice: come tensione costitutiva tra due media indissolubilmente connessi – non tanto in considerazione di un medesimo principio realistico di rappresentazione quanto, piuttosto, in virtù di uno scambio incessante nella modellizzazione di categorie quali il tempo, il movimento, l’immobilità, l’istante, la durata; come istanza peculiare della pratica artistica contemporanea, paradigma di riferimento nella produzione estetica di immagini. La tesi si suddivide in tre capitoli. Il primo si concentra sul rapporto tra l’immobilità e il movimento dell’immagine come cifra in grado di connettere l’estetica delle attrazioni e la cronofotografia a una serie di esperienze filmiche e artistiche prodotte nei territori delle avanguardie. Il secondo capitolo considera l’emergenza, dagli anni Novanta, di pratiche artistiche in cui l’incontro intermediale tra film e fotografia fornisce modelli di analisi volti all’indagine dell’attuale condizione estetica e tecnologica. Il terzo offre una panoramica critica su un caso di studio, la GIF art. La GIF è un formato digitale obsoleto che consente di produrre immagini che appaiono, simultaneamente, come fisse e animate; nel presente lavoro, la GIF è discussa come un medium capace di contraddire i confini attraverso cui concepiamo l’immagine fissa e in movimento, suggerendo, inoltre, un possibile modello di pensiero storico-cronologico anti-lineare.

The Presence of Words in Visual Art from Surrealism to Conceptualism

Without a doubt, one of the biggest changes that affected XXth century art is the introduction of words into paintings and, in more recent years, in installations. For centuries, if words were part of a visual composition, they functioned as reference; strictly speaking, they were used as a guideline for a better perception of the subject represented. With the developments of the XXth century, words became a very important part of the visual composition, and sometimes embodied the composition itself. About this topic, American art critic and collector Russell Bowman wrote an interesting article called Words and images: A persistent paradox, in which he examines the American and the European art of the XXth century in almost its entirety, dividing it up in six “categories of intention”. The aforementioned categories are not based on the art history timeline, but on the role that language played for specific artists or movements. Taking inspiration from Bowman's article, this paper is structured in three chapters, respectively: words in juxtaposition and free association, words as means of exploration of language structures, and words as means for political and personal messages. The purpose of this paper is therefore to reflect on the role of language in contemporary art and on the way it has changed from artist to artist.

The EU’s Trouble with Mashups: From Disabling to Enabling a Digital Art Form

New tools for editing of digital images, music and films have opened up new possibilities to enable wider circles of society to engage in ’artistic’ activities of different qualities. User-generated content has produced a plethora of new forms of artistic expression. One type of user-generated content is the mashup. Mashups are compositions that combine existing works (often) protected by copyright and transform them into new original creations. The European legislative framework has not yet reacted to the copyright problems provoked by mashups. Neither under the US fair use doctrine, nor under the strict corset of limitations and exceptions in Art 5 (2)-(3) of the Copyright Directive (2001/29/EC) have mashups found room to develop in a safe legal environment. The contribution analyzes the current European legal framework and identifies its insufficiencies with regard to enabling a legal mashup culture. By comparison with the US fair use approach, in particular the parody defense, a recent CJEU judgment serves as a comparative example. Finally, an attempt is made to suggest solutions for the European legislator, based on the policy proposals of the EU Commission’s “Digital Agenda” and more recent policy documents (e.g. “On Content in the Digital Market”, “Licenses for Europe”). In this context, a distinction is made between non-commercial mashup artists and the emerging commercial mashup scene.