MRI Artefact Augmentation: Robust Deep Learning Systems and Automated Quality Control

Quality control (QC) of magnetic resonance imaging (MRI) is essential to establish whether a scan or dataset meets a required set of standards. In MRI, many potential artefacts must be identified so that problematic images can either be excluded or accounted for in further image processing or analysis. To date, the gold standard for the identification of these issues is visual inspection by experts. A primary source of MRI artefacts is caused by patient movement, which can affect clinical diagnosis and impact the accuracy of Deep Learning systems. In this thesis, I present a method to simulate motion artefacts from artefact-free images to augment convolutional neural networks (CNNs), increasing training appearance variability and robustness to motion artefacts. I show that models trained with artefact augmentation generalise better and are more robust to real-world artefacts, with negligible cost to performance on clean data. I argue that it is often better to optimise frameworks end-to-end with artefact augmentation rather than learning to retrospectively remove artefacts, thus enforcing robustness to artefacts at the feature level representation of the data. The labour-intensive and subjective nature of QC has increased interest in automated methods. To address this, I approach MRI quality estimation as the uncertainty in performing a downstream task, using probabilistic CNNs to predict segmentation uncertainty as a function of the input data. Extending this framework, I introduce a novel decoupled uncertainty model, enabling separate uncertainty predictions for different types of image degradation. Training with an extended k-space artefact augmentation pipeline, the model provides informative measures of uncertainty on problematic real-world scans classified by QC raters and enables sources of segmentation uncertainty to be identified. Suitable quality for algorithmic processing may differ from an image's perceptual quality. Exploring this, I pose MRI visual quality assessment as an image restoration task. Using Bayesian CNNs to recover clean images from noisy data, I show that the uncertainty indicates the possible recoverability of an image. A multi-task network combining uncertainty-aware artefact recovery with tissue segmentation highlights the distinction between visual and algorithmic quality, which has the impact that, depending on the downstream task, less data should be discarded for purely visual quality reasons

Authentication of Amadeo de Souza-Cardoso Paintings and Drawings With Deep Learning

Art forgery has a long-standing history that can be traced back to the Roman period and has become more rampant as the art market continues prospering. Reports disclosed that uncountable artworks circulating on the art market could be fake. Even some principal art museums and galleries could be exhibiting a good percentage of fake artworks. It is therefore substantially important to conserve cultural heritage, safeguard the interest of both the art market and the artists, as well as the integrity of artists’ legacies. As a result, art authentication has been one of the most researched and well-documented fields due to the ever-growing commercial art market in the past decades. Over the past years, the employment of computer science in the art world has flourished as it continues to stimulate interest in both the art world and the artificial intelligence arena. In particular, the implementation of Artificial Intelligence, namely Deep Learning algorithms and Neural Networks, has proved to be of significance for specialised image analysis. This research encompassed multidisciplinary studies on chemistry, physics, art and computer science. More specifically, the work presents a solution to the problem of authentication of heritage artwork by Amadeo de Souza-Cardoso, namely paintings, through the use of artificial intelligence algorithms. First, an authenticity estimation is obtained based on processing of images through a deep learning model that analyses the brushstroke features of a painting. Iterative, multi-scale analysis of the images is used to cover the entire painting and produce an overall indication of authenticity. Second, a mixed input, deep learning model is proposed to analyse pigments in a painting. This solves the image colour segmentation and pigment classification problem using hyperspectral imagery. The result is used to provide an indication of authenticity based on pigment classification and correlation with chemical data obtained via XRF analysis. Further algorithms developed include a deep learning model that tackles the pigment unmixing problem based on hyperspectral data. Another algorithm is a deep learning model that estimates hyperspectral images from sRGB images. Based on the established algorithms and results obtained, two applications were developed. First, an Augmented Reality mobile application specifically for the visualisation of pigments in the artworks by Amadeo. The mobile application targets the general public, i.e., art enthusiasts, museum visitors, art lovers or art experts. And second, a desktop application with multiple purposes, such as the visualisation of pigments and hyperspectral data. This application is designed for art specialists, i.e., conservators and restorers. Due to the special circumstances of the pandemic, trials on the usage of these applications were only performed within the Department of Conservation and Restoration at NOVA University Lisbon, where both applications received positive feedback.A falsificação de arte tem uma história de longa data que remonta ao período romano e tornou-se mais desenfreada à medida que o mercado de arte continua a prosperar. Relatórios revelaram que inúmeras obras de arte que circulam no mercado de arte podem ser falsas. Mesmo alguns dos principais museus e galerias de arte poderiam estar exibindo uma boa porcentagem de obras de arte falsas. Por conseguinte, é extremamente importante conservar o património cultural, salvaguardar os interesses do mercado da arte e dos artis- tas, bem como a integridade dos legados dos artistas. Como resultado, a autenticação de arte tem sido um dos campos mais pesquisados e bem documentados devido ao crescente mercado de arte comercial nas últimas décadas.Nos últimos anos, o emprego da ciência da computação no mundo da arte floresceu à medida que continua a estimular o interesse no mundo da arte e na arena da inteligência artificial. Em particular, a implementação da Inteligência Artificial, nomeadamente algoritmos de aprendizagem profunda (ou Deep Learning) e Redes Neuronais, tem-se revelado importante para a análise especializada de imagens.Esta investigação abrangeu estudos multidisciplinares em química, física, arte e informática. Mais especificamente, o trabalho apresenta uma solução para o problema da autenticação de obras de arte patrimoniais de Amadeo de Souza-Cardoso, nomeadamente pinturas, através da utilização de algoritmos de inteligência artificial. Primeiro, uma esti- mativa de autenticidade é obtida com base no processamento de imagens através de um modelo de aprendizagem profunda que analisa as características de pincelada de uma pintura. A análise iterativa e multiescala das imagens é usada para cobrir toda a pintura e produzir uma indicação geral de autenticidade. Em segundo lugar, um modelo misto de entrada e aprendizagem profunda é proposto para analisar pigmentos em uma pintura. Isso resolve o problema de segmentação de cores de imagem e classificação de pigmentos usando imagens hiperespectrais. O resultado é usado para fornecer uma indicação de autenticidade com base na classificação do pigmento e correlação com dados químicos obtidos através da análise XRF. Outros algoritmos desenvolvidos incluem um modelo de aprendizagem profunda que aborda o problema da desmistura de pigmentos com base em dados hiperespectrais. Outro algoritmo é um modelo de aprendizagem profunda estabelecidos e nos resultados obtidos, foram desenvolvidas duas aplicações. Primeiro, uma aplicação móvel de Realidade Aumentada especificamente para a visualização de pigmentos nas obras de Amadeo. A aplicação móvel destina-se ao público em geral, ou seja, entusiastas da arte, visitantes de museus, amantes da arte ou especialistas em arte. E, em segundo lugar, uma aplicação de ambiente de trabalho com múltiplas finalidades, como a visualização de pigmentos e dados hiperespectrais. Esta aplicação é projetada para especialistas em arte, ou seja, conservadores e restauradores. Devido às circunstâncias especiais da pandemia, os ensaios sobre a utilização destas aplicações só foram realizados no âmbito do Departamento de Conservação e Restauro da Universidade NOVA de Lisboa, onde ambas as candidaturas receberam feedback positivo

Underwater image restoration: super-resolution and deblurring via sparse representation and denoising by means of marine snow removal

Underwater imaging has been widely used as a tool in many fields, however, a major issue is the quality of the resulting images/videos. Due to the light's interaction with water and its constituents, the acquired underwater images/videos often suffer from a significant amount of scatter (blur, haze) and noise. In the light of these issues, this thesis considers problems of low-resolution, blurred and noisy underwater images and proposes several approaches to improve the quality of such images/video frames. Quantitative and qualitative experiments validate the success of proposed algorithms

Multi-Object Face Recognition Using Local Binary Pattern Histogram and Haar Cascade Classifier on Low-Resolution Images

This study aims to build a face recognition prototype that can recognize multiple face objects within one frame. The proposed method uses a local binary pattern histogram and Haar cascade classifier on low-resolution images. The lowest data resolution used in this study was 76 × 76 pixels and the highest was 156 × 156 pixels. The face images were preprocessed using the histogram equalization and median filtering. The face recognition prototype proposed successfully recognized four face objects in one frame. The results obtained were comparable for local and real-time stream video data for testing. The RR obtained with the local data test was 99.67%, which indicates better performance in recognizing 75 frames for each object, compared to the 92.67% RR for the real-time data stream. In comparison to the results obtained in previous works, it can be concluded that the proposed method yields the highest RR of 99.67%