Deformación de modelos 2D casi rígidos

Deformed Invaders es un juego de plataformas para tablets con sistema operativo Android. Su principal característica es la posibilidad de diseñar personajes usando geometrías deformables en dos dimensiones. Estas geometrías están constituidas por una malla generada a partir del contorno de un polígono simple. A estas geometrías se les pueden aplicar ciertas trasformaciones para deformarlas sin perder su aspecto original. Estas trasformaciones se describen en el algoritmo de deformación As-Rigid-As-Possible de Takeo Igarashi

Content-preserving image stitching with piecewise rectangular boundary constraints

This paper proposes an approach to content-preserving image stitching with regular boundary constraints, which aims to stitch multiple images to generate a panoramic image with a piecewise rectangular boundary. Existing methods treat image stitching and rectangling as two separate steps, which may result in suboptimal results as the stitching process is not aware of the further warping needs for rectangling. We address these limitations by formulating image stitching with regular boundaries in a unified optimization. Starting from the initial stitching results produced by the traditional warping-based optimization, we obtain the irregular boundary from the warped meshes by polygon Boolean operations which robustly handle arbitrary mesh compositions. By analyzing the irregular boundary, we construct a piecewise rectangular boundary. Based on this, we further incorporate line and regular boundary preservation constraints into the image stitching framework, and conduct iterative optimization to obtain an optimal piecewise rectangular boundary. Thus we can make the boundary of the stitching results as close as possible to a rectangle, while reducing unwanted distortions. We further extend our method to video stitching, by integrating the temporal coherence into the optimization. Experiments show that our method efficiently produces visually pleasing panoramas with regular boundaries and unnoticeable distortions

The Tracking Performance of Distributed Recoverable Flight Control Systems Subject to High Intensity Radiated Fields

It is known that high intensity radiated fields (HIRF) can produce upsets in digital electronics, and thereby degrade the performance of digital flight control systems. Such upsets, either from natural or man-made sources, can change data values on digital buses and memory and affect CPU instruction execution. HIRF environments are also known to trigger common-mode faults, affecting nearly-simultaneously multiple fault containment regions, and hence reducing the benefits of n-modular redundancy and other fault-tolerant computing techniques. Thus, it is important to develop models which describe the integration of the embedded digital system, where the control law is implemented, as well as the dynamics of the closed-loop system. In this dissertation, theoretical tools are presented to analyze the relationship between the design choices for a class of distributed recoverable computing platforms and the tracking performance degradation of a digital flight control system implemented on such a platform while operating in a HIRF environment. Specifically, a tractable hybrid performance model is developed for a digital flight control system implemented on a computing platform inspired largely by the NASA family of fault-tolerant, reconfigurable computer architectures known as SPIDER (scalable processor-independent design for enhanced reliability). The focus will be on the SPIDER implementation, which uses the computer communication system known as ROBUS-2 (reliable optical bus). A physical HIRF experiment was conducted at the NASA Langley Research Center in order to validate the theoretical tracking performance degradation predictions for a distributed Boeing 747 flight control system subject to a HIRF environment. An extrapolation of these results for scenarios that could not be physically tested is also presented

Creation of Large Scale Face Dataset Using Single Training Image

Face recognition (FR) has become one of the most successful applications of image analysis and understanding in computer vision. The learning-based model in FR is considered as one of the most favorable problem-solving methods to this issue, which leads to the requirement of large training data sets in order to achieve higher recognition accuracy. However, the availability of only a limited number of face images for training a FR system is always a common problem in practical applications. A new framework to create a face database from a single input image for training purposes is proposed in this dissertation research. The proposed method employs the integration of 3D Morphable Model (3DMM) and Differential Evolution (DE) algorithms. Benefitting from DE\u27s successful performance, 3D face models can be created based on a single 2D image with respect to various illumination and pose contexts. An image deformation technique is also introduced to enhance the quality of synthesized images. The experimental results demonstrate that the proposed method is able to automatically create a virtual 3D face dataset from a single 2D image with high performance. Moreover the new dataset is capable of providing large number of face images equipped with abundant variations. The validation process shows that there is only an insignificant difference between the input image and the 2D face image projected by the 3D model. Research work is progressing to consider a nonlinear manifold learning methodology to embed the synthetically created dataset of an individual so that a test image of the person will be attracted to the respective manifold for accurate recognition

Essai sur une complémentarité art-sciences : "seconde interactivité", de la déconstruction à l'évolution

Ce manuscrit expose, sous forme de dualité, un cheminement de l’art et des sciences, autant historiquement, conceptuellement, que d’un point de vue pratique. Autour d’une réflexion théorique, est développée une œuvre de la seconde interactivité, Mélancolie des étoiles, en coécriture avec Edwige Armand, artiste plasticienne docteure en art et dont elle en est l’initiatrice. Sa mise en place a nécessité l’emploi et le développement d’outils informatiques, ainsi que leur mise en commun. Mais, pour conserver une cohérence au propos, tout ce qui est d’ordre purement technique a été relayé en annexes. Une partie est consacrée au rapport des arts et des sciences, comme un parallèle à une certaine vision du monde. D’un point de vue historique puis conceptuel, des changements paradigmatiques (Thomas Kuhn [111]) jusqu’au passage de la première à la seconde cybernétique, initiée par Heinz von Foerster [84, 87] et développée par Edgar Morin [131,135], en rapport avec la nécessaire évolution vers la pensée complexe. Elle s’attache à l’évolution des concepts tant scientifiques que philosophiques dont un modèle peut être partagé par toute une communauté avant de devenir définitivement caduque, à l’instar du déterminisme. Une deuxième présente l’œuvre numérique développée dans ce projet. Partant de l’idée de déconstruction du langage (Jacques Derrida [64, 68]), et plus particulièrement de l’opposition du langage à la réalité (Henri Bergson [19, 23]), cette partie développe le cheminement qui a amené à la pièce Mélancolie des étoiles. La voix des spectateurs, décomposée en phonèmes, est matérialisée par des touches colorées ayant le rôle de cellules. Elles devront apprendre à survivre, tout en étant confrontées à des buts antagonistes. Les implications scientifiques y sont présentées, exposant sa mise en œuvre aussi bien au niveau de la reconnaissance vocale, de la synthèse d’images, de la programmation massivement parallèle que de la vie artificielle. La conclusion revient sur les cybernétiques par un rapprochement avec la vie artificielle et les œuvres de la seconde interactivité (au sens d’Edmond Couchot [55, 56]) avec l’émergence de la complexité. Elle s’interroge sur les problèmes liés aux pratiques aussi bien scientifiques qu’artistiques, d’un point de vue d’une certaine idée de progrès, de la recherche ou de l’éducation (Paul Feyerabend [79, 83]). Et plus généralement ce que méthodes et pratiques engendrent en tant que responsabilité éthique.This manuscript presents, in a duality form, a progression of Art and Sciences, in a historically, conceptually, and practical standpoint as well. From a theorical thought, a second interactivity artwork has been created: Mélancolie des étoiles, in cooperation with Edwige Armand, PhD graduate in art, who is the originator of the piece. Its implementation requires the use and development of computer tools as well as their sharing. But, in the aim to maintain consistency, all that is purely technical is relayed in annexes. A part is devoted to the connection between Arts and Sciences, as a parallel to a particular worldview. In a historically then conceptually standpoint, from paradigmatic changes (Thomas Samuel Kuhn [111]) up to the transition from the first to the second cybernetics, initiated by Heinz von Foerster [86, 87] and developed by Edgar Morin [131, 135], in relation with the necessary evolution towards complex thought. It focuses on the evolution of both scientific and philosophical concepts of which a model can be shared by a whole community before becoming definitely obsolete, like determinism. A second one presents the digital work developed in this project. Starting from the idea of language deconstruction (Jacques Derrida [64, 65]), especially the opposition of language to reality (Henri Bergson [19,23]), this part develops the progression that led to the work Mélancolie des étoiles. The voice of the audience, broken down into phonemes, is represented by colored touches in the role of cells. They have to learn to survive while being faced with conflicting goals. The scientific implications are presented, exposing its implementation at the level of speech recognition, image synthesis, massively parallel programming and artificial life. The conclusion comes back to cybernetics by a connection with artificial life and second interactivity artworks (in the meaning of Edmond Couchot [55, 56]) with the emergence of complexity. It questions the issues of both scientific and artistic practices, from some idea of progress, research or education (Paul Feyerabend [79, 83]). And more generally what methods and practices generate as ethical responsibility