Digital Image Access & Retrieval

The 33th Annual Clinic on Library Applications of Data Processing, held at the University of Illinois at Urbana-Champaign in March of 1996, addressed the theme of "Digital Image Access & Retrieval." The papers from this conference cover a wide range of topics concerning digital imaging technology for visual resource collections. Papers covered three general areas: (1) systems, planning, and implementation; (2) automatic and semi-automatic indexing; and (3) preservation with the bulk of the conference focusing on indexing and retrieval.published or submitted for publicatio

Natural Image Statistics for Digital Image Forensics

We describe a set of natural image statistics that are built upon two multi-scale image decompositions, the quadrature mirror filter pyramid decomposition and the local angular harmonic decomposition. These image statistics consist of first- and higher-order statistics that capture certain statistical regularities of natural images. We propose to apply these image statistics, together with classification techniques, to three problems in digital image forensics: (1) differentiating photographic images from computer-generated photorealistic images, (2) generic steganalysis; (3) rebroadcast image detection. We also apply these image statistics to the traditional art authentication for forgery detection and identification of artists in an art work. For each application we show the effectiveness of these image statistics and analyze their sensitivity and robustness

Giving eyes to ICT!, or How does a computer recognize a cow?

Het door Schouten en andere onderzoekers op het CWI ontwikkelde systeem berust op het beschrijven van beelden met behulp van fractale meetkunde. De menselijke waarneming blijkt mede daardoor zo efficiënt omdat zij sterk werkt met gelijkenissen. Het ligt dus voor de hand het te zoeken in wiskundige methoden die dat ook doen. Schouten heeft daarom beeldcodering met behulp van 'fractals' onderzocht. Fractals zijn zelfgelijkende meetkundige figuren, opgebouwd door herhaalde transformatie (iteratie) van een eenvoudig basispatroon, dat zich daardoor op steeds kleinere schalen vertakt. Op elk niveau van detaillering lijkt een fractal op zichzelf (Droste-effect). Met fractals kan men vrij eenvoudig bedrieglijk echte natuurvoorstellingen maken. Fractale beeldcodering gaat ervan uit dat het omgekeerde ook geldt: een beeld effectief opslaan in de vorm van de basispatronen van een klein aantal fractals, samen met het voorschrift hoe het oorspronkelijke beeld daaruit te reconstrueren. Het op het CWI in samenwerking met onderzoekers uit Leuven ontwikkelde systeem is mede gebaseerd op deze methode. ISBN 906196502

Content-based image retrieval and its benefits for the stock photography market

The development of powerful low-cost desktop computer systems has changed the pre-press business where tight deadlines must be met per sistently. An increasing number of newspapers and magazines are acquiring, handling, and storing images digitally while the use of hardcopies and slides decreases. Today\u27s computers and high capacity storage-media enable stock pho tography agencies to build digital image databases, giving users fast access to large numbers of images. However, the transition from analog to digital image archives imposes new problems: with thousands of images at hand, the search for a particular image may turn into the search for the needle in a haystack. The first image Database Management Systems (DBMSs) were extended text DBMSs, which stored the image data along with a set of manually entered descriptive keywords. The major problem with this approach is that there is no generally agreed-upon language to describe images. Even sophis ticated DBMSs are unable to detect synonyms; hence, an image described with certain properties such as curvy may not be found if a user enters wavy as a search criterion. Furthermore, some image properties are hard to describe with keywords. A search is likely to fail if properties were not described at the database population stage when images are added to the database. Finally, assigning a sufficient set of keywords to every image adds a tremendous amount of labor to the population stage. Research at many scientific institutions and companies is geared towards overcoming the shortcomings of image DBMSs with keyword-based search engines. Pattern recognition which allows for comparing images based on their visual content is being introduced to image DBMSs, improving the accuracy of search engines. Sketches, sample images, and other means of describing the visual content of images may be used as search criteria in addition to keywords. This thesis project summarizes the basics of pattern recognition and its applications in image database management for contentbased image retrieval. The purpose of this thesis project is to determine the impact of contentbased image retrieval on the stock photography market in the near future. In order to obtain the necessary information, two different questionnaires were sent out to a number of selected stock photography agencies, newspapers, and magazines. The evaluation of the replies was conducted for the three groups separately. The replies from stock photography agencies showed a high interest in digital image archives. They also showed concerns about increased overhead with digital archives. The estimated amount of work required for categoriz ing images and assigning keywords ranged from fifty to ninety percent as compared to ten to fifty percent for scanning. All survey participants agreed that pattern recognition can improve the accuracy of keyword-based search engines. However, they all denied that this approach would reduce the need for assigning keywords. Different needs could be determined for newspaper and magazines. Newspapers rely heavily on keywords since images are often chosen based upon the circumstances under which they were taken while their visual con tent may be secondary. Therefore, newspapers\u27 profits from content-based image retrieval are minute. For magazines, the visual content of images seemed to have a higher priority and the appreciation for corresponding search capabilities was accordingly higher. To summarize, users of digital image archives can profit from contentbased image retrieval if the visual content is an important issue. For image providers, there are a number of reasons that delay the transition to contentbased image retrieval. Currently, there is only one shrink-wrapped commer cial product available that meets the needs of stock photography agencies. This product requires additional work for fully exhausting its capabilities. Finally, many companies have already built their image database and the transition to another system is time-consuming, expensive, and risky

Combined Industry, Space and Earth Science Data Compression Workshop

The sixth annual Space and Earth Science Data Compression Workshop and the third annual Data Compression Industry Workshop were held as a single combined workshop. The workshop was held April 4, 1996 in Snowbird, Utah in conjunction with the 1996 IEEE Data Compression Conference, which was held at the same location March 31 - April 3, 1996. The Space and Earth Science Data Compression sessions seek to explore opportunities for data compression to enhance the collection, analysis, and retrieval of space and earth science data. Of particular interest is data compression research that is integrated into, or has the potential to be integrated into, a particular space or earth science data information system. Preference is given to data compression research that takes into account the scien- tist's data requirements, and the constraints imposed by the data collection, transmission, distribution and archival systems

Interface: Technology & Portraiture

In Interface, five Kentucky-area artists explore a new language of representation with the aid of digital tools like Artificial Intelligence (AI) and Automatic Facial Recognition Software (AFR). Some artists use algorithms to alter celebrity faces beyond recognition, others feed data sets of existing art to AI models in an attempt to generate portraits of no one in particular. Others still create tools for understanding the very act of facial recognition or obfuscation. All have one thing in common: they wish to stretch the limits of and critique the genre of portraiture, as well as to cause viewers to question their assumptions about the genre’s scope and function.https://uknowledge.uky.edu/art_exhibitioncat_2023/1001/thumbnail.jp

Global motion compensated visual attention-based video watermarking

Imperceptibility and robustness are two key but complementary requirements of any watermarking algorithm. Low-strength watermarking yields high imperceptibility but exhibits poor robustness. High-strength watermarking schemes achieve good robustness but often suffer from embedding distortions resulting in poor visual quality in host media. This paper proposes a unique video watermarking algorithm that offers a fine balance between imperceptibility and robustness using motion compensated wavelet-based visual attention model (VAM). The proposed VAM includes spatial cues for visual saliency as well as temporal cues. The spatial modeling uses the spatial wavelet coefficients while the temporal modeling accounts for both local and global motion to arrive at the spatiotemporal VAM for video. The model is then used to develop a video watermarking algorithm, where a two-level watermarking weighting parameter map is generated from the VAM saliency maps using the saliency model and data are embedded into the host image according to the visual attentiveness of each region. By avoiding higher strength watermarking in the visually attentive region, the resulting watermarked video achieves high perceived visual quality while preserving high robustness. The proposed VAM outperforms the state-of-the-art video visual attention methods in joint saliency detection and low computational complexity performance. For the same embedding distortion, the proposed visual attention-based watermarking achieves up to 39% (nonblind) and 22% (blind) improvement in robustness against H.264/AVC compression, compared to existing watermarking methodology that does not use the VAM. The proposed visual attention-based video watermarking results in visual quality similar to that of low-strength watermarking and a robustness similar to those of high-strength watermarking

Aesthetic complexity: practice and perception in art & design

My research investigates the aesthetics of visual complexity in the practice and perception of visual art and design. The aim is to understand visual complexity in terms of the relationship between the objective properties of images and subjective properties of perception. I take a computational and empirical approach to this subject, incorporating methods from information theory, computer graphics, complexity theory and experimental psychology. For testing, I create cellular automata programs to generate stimulus images, and borrow other types of visual material from students and professional artists, designers and craftspeople. Visual complexity is measured in two ways: Firstly, an objective measure of complexity is based on the compression of digital image files, which provides an information-based scale of order to randomness. Secondly, psychophysical techniques are employed to measure the subjective complexity of the images and other aesthetic judgements. Research in complex systems theory and experimental aesthetics suggests that we can expect an inverted ‘U’ correlation between the two measures of complexity