Towards Benchmarking Scene Background Initialization

Given a set of images of a scene taken at different times, the availability of an initial background model that describes the scene without foreground objects is the prerequisite for a wide range of applications, ranging from video surveillance to computational photography. Even though several methods have been proposed for scene background initialization, the lack of a common groundtruthed dataset and of a common set of metrics makes it difficult to compare their performance. To move first steps towards an easy and fair comparison of these methods, we assembled a dataset of sequences frequently adopted for background initialization, selected or created ground truths for quantitative evaluation through a selected suite of metrics, and compared results obtained by some existing methods, making all the material publicly available.Comment: 6 pages, SBI dataset, SBMI2015 Worksho

Creative Graphical Coding via Pipelined Pixel Manipulation

Creative coding is the act of computer programming intended to create aesthetic artifacts in one or more digital media such as graphical images, animated videos, computer games, or musical performances. Visual artists and musicians use computers to compose, to render, and to perform. Algorithms remain as important as they are for any computer program, but their intent is to inspire, or at least to entertain, in contrast to more utilitarian applications of algorithms. This paper outlines the software structures and aesthetic perspectives of two novel algorithms for the creative manipulation of pixels in the Processing language. The first algorithm focuses on manipulating a digital canvas after it has been painted by a set of animated virtual paintbrushes. The metaphor is visual memory, where a digital canvas remembers what was painted during prior animated frames, making manipulation of those memories accessible to the artist. The second algorithm focuses on using an image processing pipeline to analyze and fragment copies of a photographic image for use in screening the original image. The inspiration is visual processing by the brain, in which different areas of the brain handle different aspects of stimuli arriving via the optic nerves before integrating them into a composite image

Implementation of computer visualisation in UK planning

PhD ThesisWithin the processes of public consultation and development management, planners are required to consider spatial information, appreciate spatial transformations and future scenarios. In the past, conventional media such as maps, plans, illustrations, sections, and physical models have been used. Those traditional visualisations are at a high degree of abstraction, sometimes difficult to understand for lay people and inflexible in terms of the range of scenarios which can be considered. Yet due to technical advances and falling costs, the potential for computer based visualisation has much improved and has been increasingly adopted within the planning process. Despite the growth in this field, insufficient consideration has been given to the possible weakness of computerised visualisations. Reflecting this lack of research, this study critically evaluates the use and potential of computerised visualisation within this process. The research is divided into two components: case study analysis and reflections of the author following his involvement within the design and use of visualisations in a series of planning applications; and in-depth interviews with experienced practitioners in the field. Based on a critical review of existing literature, this research explores in particular the issues of credibility, realism and costs of production. The research findings illustrate the importance of the credibility of visualisations, a topic given insufficient consideration within the academic literature. Whereas the realism of visualisations has been the focus of much previous research, the results of the case studies and interviews with practitioners undertaken in this research suggest a ‘photo’ realistic level of details may not be required as long as the observer considers the visualisations to be a credible reflection of the underlying reality. Although visualisations will always be a simplification of reality and their level of realism is subjective, there is still potential for developing guidelines or protocols for image production based on commonly agreed standards. In the absence of such guidelines there is a danger that scepticism in the credibility of computer visualisations will prevent the approach being used to its full potential. These findings suggest there needs to be a balance between scientific protocols and artistic licence in the production of computer visualisation. In order to be sufficiently credible for use in decision making within the planning processes, the production of computer visualisation needs to follow a clear methodology and scientific protocols set out in good practice guidance published by professional bodies and governmental organisations.Newcastle upon Tyne for awarding me an International Scholarship and Alumni Bursar

Can DMD obtain a scene background in color?

A background model describes a scene without any foreground objects and has a number of applications, ranging from video surveillance to computational photography. Recent studies have introduced the method of Dynamic Mode Decomposition (DMD) for robustly separating video frames into a background model and foreground components. While the method introduced operates by converting color images to grayscale, we in this study propose a technique to obtain the background model in the color domain. The effectiveness of our technique is demonstrated using a publicly available Scene Background Initialisation (SBI) dataset. Our results both qualitatively and quantitatively show that DMD can successfully obtain a colored background model

Can DMD obtain a scene background in color?

A background model describes a scene without any foreground objects and has a number of applications, ranging from video surveillance to computational photography. Recent studies have introduced the method of Dynamic Mode Decomposition (DMD) for robustly separating video frames into a background model and foreground components. While the method introduced operates by converting color images to grayscale, we in this study propose a technique to obtain the background model in the color domain. The effectiveness of our technique is demonstrated using a publicly available Scene Background Initialisation (SBI) dataset. Our results both qualitatively and quantitatively show that DMD can successfully obtain a colored background model

Self-reflexive videogames: observations and corollaries on virtual worlds as philosophical artifacts

Self-reflexive videogames are videogames designed to materialize critical and/or satirical perspectives on the ways in which videogames themselves are designed, played, sold, manipulated, experienced, and understood as social objects. This essay focuses on the use of virtual worlds as mediators, and in particular on the use of videogames to guide and encourage reflections on technical, interactive, and thematic conventions in videogame design and development. Structurally, it is composed of two interconnected parts: 1) In the first part of this essay, I will discuss NECESSARY EVIL (Gualeni et al., 2013), an experimental videogame that I designed as a self-reflexive virtual artifact. With the objective of clarifying the philosophical aspirations of self-reflexive videogames – and in order to understand how those aspirations can be practically pursued – I will dissect and examine the design decisions that contributed to the qualities of NECESSARY EVIL as an example of “playable philosophy”. 2) Taking off from the perspectives on self-reflexive videogames offered in the first part of the essay, the second half will focus on virtual worlds as viable mediators of philosophical thought more in general. In this section, I will argue that, both through the practice of game design and through the interactive experiences of virtual worlds, twenty-first century philosophers have the possibility to challenge the often-unquestioned understanding of written discourse as the only context in which philosophical thought can emerge and be developed

Diversity in virtual reality landscape modelling

This paper examines the range of decisions that landscape architects need to consider in communicating the future of the landscape. The objective of this research paper was to investigate the issues affecting the landscape modelling process. It also aimed to provide a better understanding of the creators of landscape visualisations and the role they play in determining what audiences, often from many disciplines, see and debate. Interviews were conducted to gather ideas from practice and academia. The paper acknowledges that this was a limited exploration with the intention of establishing a base for a further study. Issues relating to the diversity of audiences, diversity of interpretation, appropriate levels of representation and representing the passage of time in VR models and technologies currently available for VR modelling were the focus of the interviews