Human Emotional Care Purposed Automatic Remote Portrait Drawing Generation and Display System Using Wearable Heart Rate Sensor and Smartphone Camera with Depth Perception

We propose a system that automatically generates portrait drawings for the purpose of human emotional care. Our system comprises two parts: a smartphone application and a server. The smartphone application enables the user to take photographs throughout the day while acquiring heart rates from the smartwatch worn by the user. The server collects the photographs and heart rates and displays portrait drawings automatically stylized from the photograph for the most exciting moment of the day. In the system, the user can recall the exciting and happy moment of the day through admiring the drawings and heal the emotion accordingly. To stylize photographs as portrait drawings, we employ nonphotorealistic rendering (NPR) methods, including a portrait etude stylization proposed in this paper. Finally, the effectiveness of our system is demonstrated through user studies

Efficient Example-Based Painting and Synthesis of 2D Directional Texture

We present a new method for converting a photo or image to a synthesized painting following the painting style of an example painting. Treating painting styles of brush strokes as sample textures, we reduce the problem of learning an example painting to a texture synthesis problem. The proposed method uses a hierarchical patch-based approach to the synthesis of directional textures. The key features of our method are: 1) Painting styles are represented as one or more blocks of sample textures selected by the user from the example painting; 2) image segmentation and brush stroke directions defined by the medial axis are used to better represent and communicate shapes and objects present in the synthesized painting; 3) image masks and a hierarchy of texture patches are used to efficiently synthesize high-quality directional textures. The synthesis process is further accelerated through texture direction quantization and the use of Gaussian pyramids. Our method has the following advantages: First, the synthesized stroke textures can follow a direction field determined by the shapes of regions to be painted. Second, the method is very efficient; the generation time of a synthesized painting ranges from a few seconds to about one minute, rather than hours, as required by other existing methods, on a commodity PC. Furthermore, the technique presented here provides a new and efficient solution to the problem of synthesizing a 2D directional texture. We use a number of test examples to demonstrate the efficiency of the proposed method and the high quality of results produced by the method.published_or_final_versio

Artistic rendering enhancing global structure

Non-photorealistic rendering techniques usu- ally produce abstracted images. Most existing methods consider local rendering primitives, and global struc- tures may be easily obscured. Inspired by artists, we propose a novel image abstraction method that con- siders preserving or even enhancing global structures in the input images. Linear structures are particularly considered due to their wide existence and the avail- ability of techniques for their reliable detection. Based on various computer vision techniques, the algorithm is fully automatic. As demonstrated in the paper, artistic looking results are obtained for various types of images. The technique is orthogonal to many non-photorealistic rendering techniques and can be combined with them

Painterly rendering techniques: A state-of-the-art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd

Failing In My Own Class

This research statement summarizes how my artwork has shifted from my performance-lecture Say It After Me to the painting-installation Becoming Dysfluent. To understand that shift in my practice, an account of my performance-lecture Say It After Me is explained in order to understand how it’s similar and different to Joseph Beuys’s performances with blackboards. Next, the relationship between the American educational system and my identity is explained in order to understand how my experiences as an instructor in higher education informed the creation of my performance persona Professor Castro. After discussing my identity as a Puerto Rican-American, my decision to engage in a conversation about stuttering through text, sound, and abstraction will be elaborated. Last but not least, a formal analysis and description of the painting-installation Becoming Dysfluent is explained in order to understand how my artistic practice is about visualizing and performing dysfluency

Drivable 3D Gaussian Avatars

We present Drivable 3D Gaussian Avatars (D3GA), the first 3D controllable model for human bodies rendered with Gaussian splats. Current photorealistic drivable avatars require either accurate 3D registrations during training, dense input images during testing, or both. The ones based on neural radiance fields also tend to be prohibitively slow for telepresence applications. This work uses the recently presented 3D Gaussian Splatting (3DGS) technique to render realistic humans at real-time framerates, using dense calibrated multi-view videos as input. To deform those primitives, we depart from the commonly used point deformation method of linear blend skinning (LBS) and use a classic volumetric deformation method: cage deformations. Given their smaller size, we drive these deformations with joint angles and keypoints, which are more suitable for communication applications. Our experiments on nine subjects with varied body shapes, clothes, and motions obtain higher-quality results than state-of-the-art methods when using the same training and test data.Comment: Website: https://zielon.github.io/d3ga

The Social Dimensions of Idea Work in Haute Cuisine: A Bourdieusian Perspective

This paper analyzes idea work in haute cuisine through three case studies. Mobilizing Bourdieu’s praxeology, we consider idea work as a practice, an activity that takes sense and meaning in the social world. Thus, idea work reflects the position of the agent in the field and the struggles to maintain or improve this position. In grand restaurants, the chefs play a key role in idea work, even if they involve other people. Idea work is rooted in their personal experience, but is also shaped by the restaurant’ style and haute cuisine rules. Idea work relates to chefs’ reflection as well as emotions and feelings.Bourdieu; Creativity; Field; Habitus; Haute Cuisine; Gastronomy; Practice

The Social Dimensions of Idea Work in Haute Cuisine: A Bourdieusian Perspective

Nous proposons de définir la production d'idées comme une pratique, c'est-à-dire comme une activité qui prend son sens et sa valeur dans un contexte social, pour analyser le travail créatif dans les cuisines de trois grands restaurants.Créativité ; Gastronomie ; Idées ; Pratique

From image to text to speech : The effects of speech prosody on information sequencing in audio description

Given the extensive body of research in audio description – the verbal-vocal description of visual or audiovisual content for visually impaired audiences – it is striking how little attention has been paid thus far to the spoken dimension of audio description and its para-linguistic, prosodic aspects. This article complements the previous research into how audio description speech is received by the partially sighted audiences by analyzing how it is performed vocally. We study the audio description of pictorial art, and one aspect of prosody is examined in detail: pitch, and the segmentation of information in relation to it. We analyze this relation in a corpus of audio described pictorial art in Finnish by combining phonetic measurements of the pitch with discourse analysis of the information segmentation. Previous studies have already shown that a sentence-initial high pitch acts as a discourse-structuring device in interpreting. Our study shows that the same applies to audio description. In addition, our study suggests that there is a relationship between the scale in the rise of pitch and the scale of the topical transition. That is, when the topical transition is clear, the rise of pitch level between the beginnings of two consecutive spoken sentences is large. Analogically, when the topical transition is small, the change of the sentence-initial pitch level is also rather small.Given the extensive body of research in audio description – the verbal-vocal description of visual or audiovisual content for visually impaired audiences – it is striking how little attention has been paid thus far to the spoken dimension of audio description and its para-linguistic, prosodic aspects. This article complements the previous research into how audio description speech is received by the partially sighted audiences by analyzing how it is performed vocally. We study the audio description of pictorial art, and one aspect of prosody is examined in detail: pitch, and the segmentation of information in relation to it. We analyze this relation in a corpus of audio described pictorial art in Finnish by combining phonetic measurements of the pitch with discourse analysis of the information segmentation. Previous studies have already shown that a sentence-initial high pitch acts as a discourse-structuring device in interpreting. Our study shows that the same applies to audio description. In addition, our study suggests that there is a relationship between the scale in the rise of pitch and the scale of the topical transition. That is, when the topical transition is clear, the rise of pitch level between the beginnings of two consecutive spoken sentences is large. Analogically, when the topical transition is small, the change of the sentence-initial pitch level is also rather small.Peer reviewe

Artistic minimal rendering with lines and blocks

Many non-photorealistic rendering techniques exist to produce artistic effects from given images. Inspired by various artists, interesting effects can be produced by using a minimal rendering, where the minimum refers to the number of tones as well as the number and complexity of the primitives used for rendering. Our method is based on various computer vision techniques, and uses a combination of refined lines and blocks (potentially simplified), as well as a small number of tones, to produce abstracted artistic rendering with sufficient elements from the original image. We also considered a variety of methods to produce different artistic styles, such as colour and 2-tone drawings, and use semantic information to improve renderings for faces. By changing some intuitive parameters a wide range of visually pleasing results can be produced. Our method is fully automatic. We demonstrate the effectiveness of our method with extensive experiments and a user study