Hybrid learning-based model for exaggeration style of facial caricature

Prediction of facial caricature based on exaggeration style of a particular artist is a significant task in computer generated caricature in order to produce an artistic facial caricature that is very similar to the real artist’s work without the need for skilled user (artist) input. The exaggeration style of an artist is difficult to be coded in algorithmic method. Fortunately, artificial neural network, which possesses self-learning and generalization ability, has shown great promise in addressing the problem of capturing and learning an artist’s style to predict a facial caricature. However, one of the main issues faced by this study is inconsistent artist style due to human factors and limited collection on image-caricature pair data. Thus, this study proposes facial caricature dataset preparation process to get good quality dataset which captures the artist’s exaggeration style and a hybrid model to generalize the inconsistent style so that a better, more accurate prediction can be obtained even using small amount of dataset. The proposed data preparation process involves facial features parameter extraction based on landmark-based geometric morphometric and modified data normalization method based on Procrustes superimposition method. The proposed hybrid model (BP-GANN) combines Backpropagation Neural Network (BPNN) and Genetic Algorithm Neural Network (GANN). The experimental result shows that the proposed hybrid BP-GANN model is outperform the traditional hybrid GA-BPNN model, individual BPNN model and individual GANN model. The modified Procrustes superimposition method also produces a better quality dataset than the original one

Variations and Application Conditions Of the Data Type »Image« - The Foundation of Computational Visualistics

Few years ago, the department of computer science of the University Magdeburg invented a completely new diploma programme called 'computational visualistics', a curriculum dealing with all aspects of computational pictures. Only isolated aspects had been studied so far in computer science, particularly in the independent domains of computer graphics, image processing, information visualization, and computer vision. So is there indeed a coherent domain of research behind such a curriculum? The answer to that question depends crucially on a data structure that acts as a mediator between general visualistics and computer science: the data structure "image". The present text investigates that data structure, its components, and its application conditions, and thus elaborates the very foundations of computational visualistics as a unique and homogenous field of research. Before concentrating on that data structure, the theory of pictures in general and the definition of pictures as perceptoid signs in particular are closely examined. This includes an act-theoretic consideration about resemblance as the crucial link between image and object, the communicative function of context building as the central concept for comparing pictures and language, and several modes of reflection underlying the relation between image and image user. In the main chapter, the data structure "image" is extendedly analyzed under the perspectives of syntax, semantics, and pragmatics. While syntactic aspects mostly concern image processing, semantic questions form the core of computer graphics and computer vision. Pragmatic considerations are particularly involved with interactive pictures but also extend to the field of information visualization and even to computer art. Four case studies provide practical applications of various aspects of the analysis

Tartu Ülikooli toimetised. Tööd semiootika alalt. 1964-1992. 0259-4668

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A complex systems approach to education in Switzerland

The insights gained from the study of complex systems in biological, social, and engineered systems enables us not only to observe and understand, but also to actively design systems which will be capable of successfully coping with complex and dynamically changing situations. The methods and mindset required for this approach have been applied to educational systems with their diverse levels of scale and complexity. Based on the general case made by Yaneer Bar-Yam, this paper applies the complex systems approach to the educational system in Switzerland. It confirms that the complex systems approach is valid. Indeed, many recommendations made for the general case have already been implemented in the Swiss education system. To address existing problems and difficulties, further steps are recommended. This paper contributes to the further establishment complex systems approach by shedding light on an area which concerns us all, which is a frequent topic of discussion and dispute among politicians and the public, where billions of dollars have been spent without achieving the desired results, and where it is difficult to directly derive consequences from actions taken. The analysis of the education system's different levels, their complexity and scale will clarify how such a dynamic system should be approached, and how it can be guided towards the desired performance

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music