A cena contemporânea aos pedaços : observação de um experimento pedagógico

We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Ceará, in 2010. Using the methodology of "pesquisa-ação", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater

A cena contemporânea aos pedaços : observação de um experimento pedagógico

We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Ceará, in 2010. Using the methodology of "pesquisa-ação", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater

A cena contemporânea aos pedaços : observação de um experimento pedagógico

We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Ceará, in 2010. Using the methodology of "pesquisa-ação", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater

Gesturing elsewhere: the identity politics of the Balinese death/thrash metal scene

This essay explores the political significance of Balinese death/thrash fandom. In the early 1990s, the emergence of a death/thrash scene in Bali paralleled growing criticism of accelerated tourism development on the island. Specifically, locals protested the increasing ubiquity of Jakarta, 'the centre', cast as threatening to an authentically 'low', peripheral Balinese culture. Similarly, death/thrash enthusiasts also gravitated toward certain fringes, although they rejected dominant notions of Balinese-ness by gesturing elsewhere, toward a global scene. The essay explores the ways in which death/thrash enthusiasts engaged with local discourses by coveting their marginality, and aims to demonstrate how their articulations of 'alien-ness' contributed in important ways to a broader regionalism.

Creating a scene: Balinese punk's beginnings

The promotion of alternative music by deregulated television and recording industries, together with the increasingly felt presence of the metropolis, converged on Balinese cultural and physical landscapes in the 1990s. Mirroring developments in broader society, a regionalist discourse, which polarized notions of ‘centre’ and ‘periphery’, emerged among Balinese youth in the context of the local band scene. For certain musicians, musical authenticity was firmly rooted in a cultural and geographical locale, and was articulated by their abhorrence for socializing at shopping malls. In contrast, these Balinese alternative (including punk) musicians sought authenticity in a metropolitan elsewhere. This article is a case study of the indigenization of a ‘global’ code in a non-western periphery. It contests arguments for the ‘post-imperial’ nature of globalization, and demonstrates the continued salience of centre–periphery dialectics in local discourses. At the same time, the study attests to the progressive role a metropolitan superculture can play in cultural renewal in the periphery.

High Culture as Subculture : Brisbane's Contemporary Chamber Music Scene

The aim of the dissertation is to discover the extent to which methodologies and conceptual frameworks used to understand popular culture may also be useful in the attempt to understand contemporary high culture. The dissertation addresses this question through the application of subculture theory to Brisbane’s contemporary chamber music scene, drawing on a detailed case study of the contemporary chamber ensemble Topology and its audiences. The dissertation begins by establishing the logic and necessity of applying cultural studies methodologies to contemporary high culture. This argument is supported by a discussion of the conceptual relationships between cultural studies, high culture, and popular culture, and the methodological consequences of these relationships. In Chapter 2, a brief overview of interdisciplinary approaches to music reveals the central importance of subculture theory, and a detailed survey of the history of cultural studies research into music subcultures follows. Five investigative themes are identified as being crucial to all forms of contemporary subculture theory: the symbolic; the spatial; the social; the temporal; the ideological and political. Chapters 3 and 4 present the findings of the case study as they relate to these five investigative themes of contemporary subculture theory. Chapter 5 synthesises the findings of the previous two chapters, and argues that while participation in contemporary chamber music is not as intense or pervasive as is the case with the most researched street-based youth subcultures, it is nevertheless possible to describe Brisbane’s contemporary chamber music scene as a subculture. The dissertation closes by reflecting on the ways in which the subcultural analysis of contemporary chamber music has yielded some insight into the lived practices of high culture in contemporary urban contexts.

Scene invariant crowd counting for real-time surveillance

Automated crowd counting allows excessive crowding to be detected immediately, without the need for constant human surveillance. Current crowd counting systems are location specific, and for these systems to function properly they must be trained on a large amount of data specific to the target location. As such, configuring multiple systems to use is a tedious and time consuming exercise. We propose a scene invariant crowd counting system which can easily be deployed at a different location to where it was trained. This is achieved using a global scaling factor to relate crowd sizes from one scene to another. We demonstrate that a crowd counting system trained at one viewpoint can achieve a correct classification rate of 90% at a different viewpoint.

Vision only pose estimation and scene reconstruction on airborne platforms

We aim to demonstrate unaided visual 3D pose estimation and map reconstruction using both monocular and stereo vision techniques. To date, our work has focused on collecting data from Unmanned Aerial Vehicles, which generates a number of significant issues specific to the application. Such issues include scene reconstruction degeneracy from planar data, poor structure initialisation for monocular schemes and difficult 3D reconstruction due to high feature covariance. Most modern Visual Odometry (VO) and related SLAM systems make use of a number of sensors to inform pose and map generation, including laser range-finders, radar, inertial units and vision [1]. By fusing sensor inputs, the advantages and deficiencies of each sensor type can be handled in an efficient manner. However, many of these sensors are costly and each adds to the complexity of such robotic systems. With continual advances in the abilities, small size, passivity and low cost of visual sensors along with the dense, information rich data that they provide our research focuses on the use of unaided vision to generate pose estimates and maps from robotic platforms. We propose that highly accurate (�5cm) dense 3D reconstructions of large scale environments can be obtained in addition to the localisation of the platform described in other work [2]. Using images taken from cameras, our algorithm simultaneously generates an initial visual odometry estimate and scene reconstruction from visible features, then passes this estimate to a bundle-adjustment routine to optimise the solution. From this optimised scene structure and the original images, we aim to create a detailed, textured reconstruction of the scene. By applying such techniques to a unique airborne scenario, we hope to expose new robotic applications of SLAM techniques. The ability to obtain highly accurate 3D measurements of an environment at a low cost is critical in a number of agricultural and urban monitoring situations. We focus on cameras as such sensors are small, cheap and light-weight and can therefore be deployed in smaller aerial vehicles. This, coupled with the ability of small aerial vehicles to fly near to the ground in a controlled fashion, will assist in increasing the effective resolution of the reconstructed maps.

Scene invariant crowd counting

This paper describes a scene invariant crowd counting algorithm that uses local features to monitor crowd size. Unlike previous algorithms that require each camera to be trained separately, the proposed method uses camera calibration to scale between viewpoints, allowing a system to be trained and tested on different scenes. A pre-trained system could therefore be used as a turn-key solution for crowd counting across a wide range of environments. The use of local features allows the proposed algorithm to calculate local occupancy statistics, and Gaussian process regression is used to scale to conditions which are unseen in the training data, also providing confidence intervals for the crowd size estimate. A new crowd counting database is introduced to the computer vision community to enable a wider evaluation over multiple scenes, and the proposed algorithm is tested on seven datasets to demonstrate scene invariance and high accuracy. To the authors' knowledge this is the first system of its kind due to its ability to scale between different scenes and viewpoints.

Scene invariant crowd counting and crowd occupancy analysis

In public places, crowd size may be an indicator of congestion, delay, instability, or of abnormal events, such as a fight, riot or emergency. Crowd related information can also provide important business intelligence such as the distribution of people throughout spaces, throughput rates, and local densities. A major drawback of many crowd counting approaches is their reliance on large numbers of holistic features, training data requirements of hundreds or thousands of frames per camera, and that each camera must be trained separately. This makes deployment in large multi-camera environments such as shopping centres very costly and difficult. In this chapter, we present a novel scene-invariant crowd counting algorithm that uses local features to monitor crowd size. The use of local features allows the proposed algorithm to calculate local occupancy statistics, scale to conditions which are unseen in the training data, and be trained on significantly less data. Scene invariance is achieved through the use of camera calibration, allowing the system to be trained on one or more viewpoints and then deployed on any number of new cameras for testing without further training. A pre-trained system could then be used as a ‘turn-key’ solution for crowd counting across a wide range of environments, eliminating many of the costly barriers to deployment which currently exist.

Unusual scene detection using distributed behaviour model and sparse representation

The ability to detect unusual events in surviellance footage as they happen is a highly desireable feature for a surveillance system. However, this problem remains challenging in crowded scenes due to occlusions and the clustering of people. In this paper, we propose using the Distributed Behavior Model (DBM), which has been widely used in computer graphics, for video event detection. Our approach does not rely on object tracking, and is robust to camera movements. We use sparse coding for classification, and test our approach on various datasets. Our proposed approach outperforms a state-of-the-art work which uses the social force model and Latent Dirichlet Allocation.

Scene invariant multi camera crowd counting

Automated crowd counting has become an active field of computer vision research in recent years. Existing approaches are scene-specific, as they are designed to operate in the single camera viewpoint that was used to train the system. Real world camera networks often span multiple viewpoints within a facility, including many regions of overlap. This paper proposes a novel scene invariant crowd counting algorithm that is designed to operate across multiple cameras. The approach uses camera calibration to normalise features between viewpoints and to compensate for regions of overlap. This compensation is performed by constructing an 'overlap map' which provides a measure of how much an object at one location is visible within other viewpoints. An investigation into the suitability of various feature types and regression models for scene invariant crowd counting is also conducted. The features investigated include object size, shape, edges and keypoints. The regression models evaluated include neural networks, K-nearest neighbours, linear and Gaussian process regresion. Our experiments demonstrate that accurate crowd counting was achieved across seven benchmark datasets, with optimal performance observed when all features were used and when Gaussian process regression was used. The combination of scene invariance and multi camera crowd counting is evaluated by training the system on footage obtained from the QUT camera network and testing it on three cameras from the PETS 2009 database. Highly accurate crowd counting was observed with a mean relative error of less than 10%. Our approach enables a pre-trained system to be deployed on a new environment without any additional training, bringing the field one step closer toward a 'plug and play' system.

Dealing with shadows : capturing intrinsic scene appearance for image-based outdoor localisation

In outdoor environments shadows are common. These typically strong visual features cause considerable change in the appearance of a place, and therefore confound vision-based localisation approaches. In this paper we describe how to convert a colour image of the scene to a greyscale invariant image where pixel values are a function of underlying material property not lighting. We summarise the theory of shadow invariant images and discuss the modelling and calibration issues which are important for non-ideal off-the-shelf colour cameras. We evaluate the technique with a commonly used robotic camera and an autonomous car operating in an outdoor environment, and show that it can outperform the use of ordinary greyscale images for the task of visual localisation.