31 research outputs found
Multifaceted Analysis of Fine-Tuning in Deep Model for Visual Recognition
In recent years, convolutional neural networks (CNNs) have achieved
impressive performance for various visual recognition scenarios. CNNs trained
on large labeled datasets can not only obtain significant performance on most
challenging benchmarks but also provide powerful representations, which can be
used to a wide range of other tasks. However, the requirement of massive
amounts of data to train deep neural networks is a major drawback of these
models, as the data available is usually limited or imbalanced. Fine-tuning
(FT) is an effective way to transfer knowledge learned in a source dataset to a
target task. In this paper, we introduce and systematically investigate several
factors that influence the performance of fine-tuning for visual recognition.
These factors include parameters for the retraining procedure (e.g., the
initial learning rate of fine-tuning), the distribution of the source and
target data (e.g., the number of categories in the source dataset, the distance
between the source and target datasets) and so on. We quantitatively and
qualitatively analyze these factors, evaluate their influence, and present many
empirical observations. The results reveal insights into what fine-tuning
changes CNN parameters and provide useful and evidence-backed intuitions about
how to implement fine-tuning for computer vision tasks.Comment: Accepted by ACM Transactions on Data Scienc
Rock Art Documentation in the Digital Age: The Rafter Z Site (24RB2809) in Rosebud County, Montana
The Rafter Z site was a previously unrecorded rock art site located on private land in Rosebud County, Montana. The resulting thesis provided an opportunity to systematically document the site and conduct important rock art research within southeastern Montana. The thesis project was sectioned into two phases. The first phase provided the documentation of the Rafter Z site, surveying of 170-acres of private land, documentation of three additional cultural sites, and a comprehensive analysis of the Rafter Z site. This research showed that the Rafter Z site constitutes one of the larger rock art sites in Rosebud County and the greater southeastern Montana region. Housing 36 shield-bearing warriors and 14 freestanding shields, the site offers a unique perspective into the Plains warrior ethos from the Late Prehistoric period. In addition, the site provides insight into early Crow and the Kiowa/ Kiowa Apache use of the region during the mid-to-late Prehistoric period with its mixture of Castle Garden and Timber Creek style rock art figures. The second phase of the proposed project utilized two digital techniques recently applied to rock art documentation: photogrammetry and reflectance transformation imaging (RTI). Several variables were tested to ascertain the best methods to effectively render 3D models using photogrammetry and conduct RTI on the sandstone substrate. Overall, these digital documentation methods heightened the interpretive and archival quality of the site documentation and data collected. Enhancing the archival quality of rock art will allow future research to occur when access may be limited
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Voices that matter : hearing the corseted body in American domestic performance
Musical performance and curation provided artistic outlets for middle- to upper-class women in the nineteenth-century U.S. and their resulting collections, called binderâs volumes, provide a valuable record of their musical practices. Moving beyond earlier musicological studies which use binderâs volumes to reconstruct performance practice, I argue that binderâs volumes can, when taken in dialogue with womenâs other material goods and the material of their actual bodies, show how women created and expressed their own identities through material culture and how the continual intra-actions among their bodies and objects impacted their lives, performances, and contemporary notions of femininity.
In this dissertation, I examine the material agents involved in womenâs musical and gendered performances in the nineteenth-century United States, as well as their material and ideological repercussions. Specifically, I consider the intra-actions of the body, the corset, musical curation, and musical and gendered performances to understand how performance animates the body, how music, marketing, and mass products alter the body, and how the body experiences and impacts performance. I argue that the practice of corseting had a concrete impact on womenâs singing and both corseting and popular song performance impacted the body, the voice, and notions of ideal femininity. Considering musical performance through and beyond performativityâas an act that has tangible bodily repercussionsâbrings the âmaterial turnâ of recent feminist theory into dialogue with musicological studies. Going beyond considerations of embodiment and performativity to consider the material impacts of art on bodies, as well as the impact of bodies on music and social constructions deepens our understanding of musical and gendered performances, and also allows the body to act as a locus of performersâ agency.Musi
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Sacrificing the Jaguar Baby : understanding a classic Maya myth on codex-style pottery
textThe Jaguar Baby vessels belong to a large corpus of Late Classic Maya pictorial ceramics dubbed Codex-style pottery and originating from archaeological sites, such as El Mirador and Nakbe, in the north-central area of Peten, Guatemala, where they were made for a brief period shortly before and/or after the turn of the eighth century AD.
Through strategic juxtapositions of images and words, the vessels convey the story of a
rain god and a death spirit who, in the darkness between the sunâs setting and dawn, sacrifice an infant, a jaguar, or an infant with jaguar traits on a mountain in the midst of water, as an offering during the conjuring of an elderly deity. New evidence from a fragmentary Codex-style vessel recovered from the site of Calakmul in the southern half of Campeche, Mexico, suggests that the sacrifice is part of a pre-accession ritual serving to endow royal heirs with the ability to conjure, which, in turn, was integral to assuming the throne.Art Histor
The Art of Power: Ambiguity, Adornment, and the Performance of Social Position in the Pompeian House.
In the tumultuous period between 80 BCE and 79 CE, social actors in the Italian Peninsula struggled to effectively articulate their positions in connection to the new political landscape of Rome. For these individuals, power was constructed visually; visual markers from jewelry and wall paintings to monumental temples and arches all acted as materializations of personal and social power intended to express physical presence and to reinforce personal, social, and political boundaries; while such boundaries are a mental construct, they are performed and maintained in the physical world, and thus require such material mediations to be made real. This dissertation asserts that self-presentation creates social realities, and that by examining material evidence associated with such acts of self-presentationâjewelry and depictions of jewelryâwe can access and explore social tensions. It offers up a new paradigm for the interpretation of jewelry and depictions of dress practices in the archaeological record of Pompeii, stepping away from a system that privileges words over images to explore the ways in which interactions between adornment and viewership elucidate the creation and maintenance of social hierarchies in Pompeii. The dissertation concludes that jewelry is far more than an indicator of wealth, that adornment practices are themselves a form of socially determined knowledge, that the positive transformative power of adornment should be understood as a catalyst, and that this underutilized corpus of material offers up myriad opportunities for future research.PHDClassical Art and ArchaeologyUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/116772/1/nmcferri_1.pd
The Routledge Handbook of Refugee Narratives
This Handbook presents a transnational and interdisciplinary study of refugee narratives, broadly defined. Interrogating who can be considered a refugee and what constitutes a narrative, the thirty-eight chapters included in this collection encompass a range of forcibly displaced subjects, a mix of geographical and historical contexts, and a variety of storytelling modalities. Analyzing novels, poetry, memoirs, comics, films, photography, music, social media, data, graffiti, letters, reports, eco-design, video games, archival remnants, and ethnography, the individual chapters counter dominant representations of refugees as voiceless victims. Addressing key characteristics and thematics of refugee narratives, this Handbook examines how refugee cultural productions are shaped by and in turn shape socio-political landscapes. It will be of interest to researchers, teachers, students, and practitioners committed to engaging refugee narratives in the contemporary moment.
The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license
Changing bodies and minds: âCrippled childrenâ and their movement in the United States, 1890-1960
âChanging Bodies and Minds: âCrippled Childrenâ and Their Movement in the United States, 1890-1960â traces disabled activism within the âcrippled childrenâs movement,â an early twentieth-century effort to promote the care, education, and support of children with orthopedic disabilities headquartered in the Great Lakes region of the US. Such work is often credited to non-disabled male philanthropists or Progressive reformers. Through examining this movement, I argue that the limited influence of disabled people in organizations supposedly designed to support them is a far more recent development than is commonly believedâthat is, that the rallying slogan ânothing about us without usâ used by the disability rights movement was a response to conditions created in the mid-twentieth century. Disabled men and women, particularly former âcrippled childrenâ such as polio survivor Blanche Van Leuven Browne, played essential roles in creating and backing this movement. They claimed authority and promoted movement policies based on their own experiences of âcrippled childhood.â In looking at these claims to authority based on experience, I offer a new periodization for histories of disability and disability activism. Claims from experience underlay the origins of the movement, rooted in Browneâs Detroit hospital-school, and appeared throughout the rise of its central organization, the International Society for Crippled Children, in the pages of movement periodicals and institutional publications. Even as philanthropists, doctors, and social workers increased their control over the movement in the 1930s, the experience of âcrippled childhoodâ continued to exercise power through disabled activistsâ and childrensâ writing. Ultimately, however, these voices lost influence to medical and philanthropic alliances for polio prevention by midcentury. To put it quite simply, this dissertation explores a brief moment when disabled people proclaimed themselves experts in their own lives and gained access to platforms through which they could voice this expertise, and argues that these efforts are obscure, not due to their lack of importance but to a later reinvention of the causes and organizations they created
Chincoteague in Transition: Vernacular Art and Adaptation in Community Heritage
In addition to serving aesthetic or representational purposes, art can express values related to heritage and identity politics. This dissertation discusses the ways in which the vernacular arts of hunting decoy and decorative wildfowl carving in Chincoteague, Virginia, as well as the closely related tradition of wildfowl hunting, express understandings of various forms of heritage in touristic and community exchange, representing and helping tell the story of the ways in which this locale's rural population has adapted to, resisted, and at times encouraged changes related to tourism development and environmental regulation. In the process this project considers how embodied cultural knowledge is presented through carving and closely related practices such as hunting, how environmental and community values relate to carving and carving-related traditions, and the ways in which community members negotiate identity and maintain the integrity of their communities through the production and appreciation of localized artistic expression.
Research supporting this dissertation consists primarily of systematic participant observation and key informant interviewing with hunting decoy and decorative wildfowl carvers. It was conducted over the course of nearly two years living on Chincoteague Island, developing close relationships with wildfowl carvers and others associated with this tradition, for example shop owners, arts organizations, local historians, hunters, and museum specialists
Creating a Tatar Capital: National, Cultural, and Linguistic Space in Kazan, 1920-1941
This dissertation examines the introduction and implementation of Soviet nationalities policies among Russians and Tatars in the city of Kazan, an important cultural, educational, and industrial capital in the heart of Soviet Russia. Following the Bolshevik Revolution of 1917 and the creation of the Tatar Republic in 1920, Kazan functioned as a laboratory in which Party-state authorities experimented with incorporating national minorities into the new socialist society under construction. Soviet nationalities policies allowed Tatars to pursue educational, political, and social opportunities denied them under the tsarist regime. Initiatives such as korenizatsiia (indigenization) and the âRealization of the Tatar Languageâ sought to bring national minorities into the mainstream of Soviet life by recruiting and training them to work in local Party-state apparatuses, industrial enterprises, and academic institutions. Supporting native cadres would make Soviet power seem indigenous, rather than something imposed by a new form of Russian colonialism. While these endeavors constantly ran into various roadblocks, over time they did attain some success in promoting indigenous minorities into positions of authority within the local Party-state apparatus, giving them an active role in shaping their own system of rule. Speaking to the fields of nationalities studies and urban history, this dissertation shows how residents of Kazan navigated ethnolinguistic differences and political changes in the physical and cultural spaces around them in order to create their own sense of belonging within a new kind of city, a Tatar capital whose public spaces reflected its diverse population. The first three chapters analyze the education, training, and employment of Tatars in schools, universities, and factories. The last three chapters discuss the evolution of Tatar culture, namely its expression in theater, architecture, and public festivals, as a product of I. V. Stalinâs famous dictum that Soviet minoritiesâ culture be ânational in form and socialist in content.â Ultimately, I argue that urban space mediated how residents experienced, articulated, and responded to Soviet nationalities policies, leading to a new understanding of the place and purpose of Tatars and their traditions in Kazan.Doctor of Philosoph