Efeitos da terapia fonoaudiológica miofuncional em adolescentes vivendo com HIV/AIDS e lipoatrofia facial

A AIDS deixou de ser uma doença aguda, tendo como desfecho morte imediata. Com o advento da terapia antirretroviral potente, controlou-se o vírus da imunodeficiência humana, tornando a AIDS uma doença crônica. Entretanto, a terapia antirretroviral potente possui reações adversas, sendo uma delas a síndrome lipodistrófica do HIV. Uma das manifestações desta síndrome é a lipoatrofia facial: perda de gordura na face. O Ministério da Saúde do Brasil normatizou a aplicação de polimetilmetacrilato para reabilitação da face. Porém, crianças e adolescentes não podem realizar tal procedimento. Para esta população, o presente trabalho propõe a terapia miofuncional. Objetivo: Verificar os efeitos da terapia fonoaudiológica miofuncional em adolescentes vivendo com HIV/AIDS, contraído por transmisão vertical, com lipoatrofia facial. Métodos: Realizou-se avaliação fonoaudiológica antes e depois de 12 sessões de terapia fonoaudiológica, utilizando avaliação estrutural, medidas antropométricas da face, registro fotográfico, peso e altura, índice de lipoatrofia facial (ILA) e índice de incapacidade facial índice de bem-estar social (IIF-IBES). Na terapia fonoaudiológica, utilizou-se exercícios isotônicos e isométricos para face, bochechas e língua. Foram coletados os últimos dados, como a contagem de CD4, a carga viral, e o histórico da terapia antirretroviral utilizada. Resultados: Dos 15 pacientes estudados, 10 tinham lipoatrofia facial, mensurada através do ILA. Quatro completaram as todas as sessões de terapia fonoaudiológica. Nestes pacientes, as medidas antropométricas da face ficaram mais harmônicas, corroborando com os achados do registro fotográfico e da avaliação estrutural. Aumentou-se sutilmente o ILA em três pacientes. Conclusão: A terapia fonoaudiológica mostrou-se eficaz no tratamento da lipoatrofia facial leve. Considera-se importante a readequação das funções estomatognáticas quando necessário. Outras demandas fonoaudiológicas surgiram na população estudada.

Real time feature-based facial tracking using Lie algebras

We have developed a novel human facial tracking system that operates in real time at a video frame rate without needing any special hardware. The approach is based on the use of Lie algebra, and uses three-dimensional feature points on the targeted human face. It is assumed that the roughly estimated facial model (relative coordinates of the three-dimensional feature points) is known. First, the initial feature positions of the face are determined using a model fitting technique. Then, the tracking is operated by the following sequence: (1) capture the new video frame and render feature points to the image plane; (2) search for new positions of the feature points on the image plane; (3) get the Euclidean matrix from the moving vector and the three-dimensional information for the points; and (4) rotate and translate the feature points by using the Euclidean matrix, and render the new points on the image plane. The key algorithm of this tracker is to estimate the Euclidean matrix by using a least square technique based on Lie algebra. The resulting tracker performed very well on the task of tracking a human face.

An algorithm for removing facial makeup disturbances based on high dimensional imaginal geometry

In this paper, a novel algorithm for removing facial makeup disturbances as a face detection preprocess based on high dimensional imaginal geometry is proposed. After simulation and practical application experiments, the algorithm is theoretically analyzed. Its apparent effect of removing facial makeup and the advantages of face detection with this pre-process over face detection without it are discussed. Furthermore, in our experiments with color images, the proposed algorithm even gives some surprises.

Creation of Computer Animation from Story Descriptions

This report describes a computer system that creates simple computer animation in response to high-level, vague, and incomplete descriptions of films. It makes its films by collecting and evaluating suggestions from several different bodies of knowledge. The order in which it makes its choices is influenced by the focus of the film. Difficult choices are postponed to be resumed when more of the film has been determined. The system was implemented in an object-oriented language based upon computational entities called "actors". The goal behind the construction of the system is that, whenever faced with a choice, it should sensibly choose between alternatives based upon the description of the film and as much general knowledge as possible. The system is presented as a computational model of creativity and aesthetics.

The benefit of context for facial composite construction.

Purpose - The aim of this study was to investigate whether the presence of a whole-face context during facial composite production facilitates construction of facial composite images. Design/Methodology - In Experiment 1, constructors viewed a celebrity face and then developed a facial composite using PRO-fit in one of two conditions: either the full-face was visible while facial features were selected, or only the feature currently being selected was visible. The composites were named by different participants. We then replicated the study using a more forensically-valid procedure: In Experiment 2 non-football fans viewed an image of a premiership footballer and 24 hours later constructed a composite of the face with a trained software operator. The resulting composites were named by football fans. Findings - In both studies we found that presence of the facial context promoted more identifiable facial composite images. Research limitations/implications – Though this study uses current software in an unconventional way, this was necessary to avoid error arising from between-system differences. Practical implications - Results confirm that composite software should have the whole-face context visible to witnesses throughout construction. Though some software systems do this, there remain others that present features in isolation and these findings show that these systems are unlikely to be optimal. Originality/value - This is the first study to demonstrate the importance of a full-face context for the construction of facial composite images. Results are valuable to police forces and developers of composite software.

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.