A Dataset of Multi-Illumination Images in the Wild

Collections of images under a single, uncontrolled illumination have enabled the rapid advancement of core computer vision tasks like classification, detection, and segmentation. But even with modern learning techniques, many inverse problems involving lighting and material understanding remain too severely ill-posed to be solved with single-illumination datasets. To fill this gap, we introduce a new multi-illumination dataset of more than 1000 real scenes, each captured under 25 lighting conditions. We demonstrate the richness of this dataset by training state-of-the-art models for three challenging applications: single-image illumination estimation, image relighting, and mixed-illuminant white balance.Comment: ICCV 201

Neural Precomputed Radiance Transfer

OPAL-MesoInternational audienceRecent advances in neural rendering indicate immense promise for architectures that learn light transport, allowing efficient rendering of global illumination effects once such methods are trained. The training phase of these methods can be seen as a form of pre-computation, which has a long standing history in Computer Graphics. In particular, Pre-computed Radiance Transfer (PRT) achieves real-time rendering by freezing some variables of the scene (geometry, materials) and encoding the distribution of others, allowing interactive rendering at runtime. We adopt the same configuration as PRT – global illumination of static scenes under dynamic environment lighting – and investigate different neural network architectures, inspired by the design principles and theoretical analysis of PRT. We introduce four different architectures, and show that those based on knowledge of light transport models and PRT-inspired principles improve the quality of global illumination predictions at equal training time and network size, without the need for high-end ray-tracing hardware

Appropriating interaction

This thesis is concerned with the fact that people routinely appropriate interactive technology. Much of the work in this project was conducted at The Public, an interactive art gallery in West Bromwich. Examples of appropriation that are presented range from interactive art, the game Minecraft™, to mundane objectsencountered in daily life.Research Questions posed in this study are:• What are the dynamics of appropriation?• What is the relationship of appropriation to affordance?• How do individuals experience appropriation?Appropriation is the mechanism by which we make objects in the world relevant and personal. This PhD has revealed three dimensions of appropriation namely:• Control: both in terms of ownership and virtuosity.• Ensoulment: the mechanism through which we ascribe personal significance to artefacts.• Affordance: the experiential relationship to artefacts concerned with action on and with them.Appropriation is revealed as a mechanism through which people understand potential action with technology. A traditional view is that people learn how to use a system and once its canonical use is established new uses or appropriations are discovered.What is revealed in this study is that appropriation is bound to our perception of action with technology, commonly explained through the concept of affordance. Appropriation is revealed as the initial act in human encounters with technology

Performance and Safety Enhancement Strategies in Vehicle Dynamics and Ground Contact

Recent trends in vehicle engineering are testament to the great efforts that scientists and industries have made to seek solutions to enhance both the performance and safety of vehicular systems. This Special Issue aims to contribute to the study of modern vehicle dynamics, attracting recent experimental and in-simulation advances that are the basis for current technological growth and future mobility. The area involves research, studies, and projects derived from vehicle dynamics that aim to enhance vehicle performance in terms of handling, comfort, and adherence, and to examine safety optimization in the emerging contexts of smart, connected, and autonomous driving.This Special Issue focuses on new findings in the following topics:(1) Experimental and modelling activities that aim to investigate interaction phenomena from the macroscale, analyzing vehicle data, to the microscale, accounting for local contact mechanics; (2) Control strategies focused on vehicle performance enhancement, in terms of handling/grip, comfort and safety for passengers, motorsports, and future mobility scenarios; (3) Innovative technologies to improve the safety and performance of the vehicle and its subsystems; (4) Identification of vehicle and tire/wheel model parameters and status with innovative methodologies and algorithms; (5) Implementation of real-time software, logics, and models in onboard architectures and driving simulators; (6) Studies and analyses oriented toward the correlation among the factors affecting vehicle performance and safety; (7) Application use cases in road and off-road vehicles, e-bikes, motorcycles, buses, trucks, etc

Digital Light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media. While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database. Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu

Digital light

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media.While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database.Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu

Managing creativity in magazine publishing: the 4Ps of creativity

With deep historical roots in culture and even myth, ‘creativity’ travels from its first formal English dictionary entry at the end of 19th Century (Kaufman & Glaveneau 2019) to becoming central in the re-branding of cultural industries as creative (Hesmondhalgh & Baker 2011) in the proceeding century. However, despite being studied with academic rigour since the 1950s (Sawyer 2012), there is no agreed theory of creativity (Sternberg & Lubart 1999, Hennessey & Amabile 2010). Given this epic rise in its cultural and industrial importance, there have been many attempts in recent decades at explaining the nature of creativity, including whether it can be aided or even managed from an economic perspective. This thesis aims to join this this specific and on-going challenge by looking at creativity in the industrial context of magazine publishing: an established cultural industry and one on the cusp of what could be called ‘digital change’ in the last decade. In an attempt at adding to the definitional and methodological understanding of creativity in media, this thesis adopts a componential or holistic ‘4 Ps’ conceptualisation (first discussed by Mel Rhodes, 1961), by considering creativity in People, Process, Place and Products. A key element of this work, the ‘4Ps’ model developed is used to interpret a theorised relationship between four variables by way of proximal ‘measures’ – ones instrumentalised by reviewing cultural theory (such as genius and ‘Big C’ creativity of Weisburg 1993 and Csikszentmihaly 1988) and the social psychology confluence theories of ‘Small C’, everyday creativity (Sternberg & Lubart 1991, Amabile 1983, 1996). Through qualitative research methods, individual and group interviews, as well as organisational autoethnographic accounts from magazine publishers, editors, entrepreneurs and employees (including two ‘historical’ magazines cases), nine case study findings have been used to form structured qualitative datasets, aiding interpretation of interrelatedness of the ‘4 Ps of creativity’. A primary contribution of the thesis is therefore located within the ontological contention of empirical ‘measurement’ – and its approach to creativity judgement in the fields of cultural studies, the emerging field of media management (Malmelin & Virta, 2016, Virta & Malmelin 2017) and creative industries study (Kung 2008a, 2008b). In addition to the research’s approach, the creativity and media management insights aim to shine a light on an industry facing an existential threat from the digital shift. Where magazines today are shown to perhaps need less ‘heroic’ personality-defined People creativity (unlike the 1990s), creativity in the digital era is important in other ways. In nuancing different types of ‘Big C’ and ‘Small C’ creativity in contemporary magazine work, the study makes a case for adapting creativity management models such as Amabile’s (1996 and Amabile & Pratt 2016) and Tan (1998) by focusing on Process aspects of skills and knowledge development, aided through differentiated environmental Place culture factors suited to magazine genres, clients and audiences in changing fields with new domains of knowledge