Specific-to-General Learning for Temporal Events with Application to Learning Event Definitions from Video

We develop, analyze, and evaluate a novel, supervised, specific-to-general learner for a simple temporal logic and use the resulting algorithm to learn visual event definitions from video sequences. First, we introduce a simple, propositional, temporal, event-description language called AMA that is sufficiently expressive to represent many events yet sufficiently restrictive to support learning. We then give algorithms, along with lower and upper complexity bounds, for the subsumption and generalization problems for AMA formulas. We present a positive-examples--only specific-to-general learning method based on these algorithms. We also present a polynomial-time--computable ``syntactic'' subsumption test that implies semantic subsumption without being equivalent to it. A generalization algorithm based on syntactic subsumption can be used in place of semantic generalization to improve the asymptotic complexity of the resulting learning algorithm. Finally, we apply this algorithm to the task of learning relational event definitions from video and show that it yields definitions that are competitive with hand-coded ones

Grounding the Lexical Semantics of Verbs in Visual Perception using Force Dynamics and Event Logic

This paper presents an implemented system for recognizing the occurrence of events described by simple spatial-motion verbs in short image sequences. The semantics of these verbs is specified with event-logic expressions that describe changes in the state of force-dynamic relations between the participants of the event. An efficient finite representation is introduced for the infinite sets of intervals that occur when describing liquid and semi-liquid events. Additionally, an efficient procedure using this representation is presented for inferring occurrences of compound events, described with event-logic expressions, from occurrences of primitive events. Using force dynamics and event logic to specify the lexical semantics of events allows the system to be more robust than prior systems based on motion profile

A Probabilistic Logic Programming Event Calculus

We present a system for recognising human activity given a symbolic representation of video content. The input of our system is a set of time-stamped short-term activities (STA) detected on video frames. The output is a set of recognised long-term activities (LTA), which are pre-defined temporal combinations of STA. The constraints on the STA that, if satisfied, lead to the recognition of a LTA, have been expressed using a dialect of the Event Calculus. In order to handle the uncertainty that naturally occurs in human activity recognition, we adapted this dialect to a state-of-the-art probabilistic logic programming framework. We present a detailed evaluation and comparison of the crisp and probabilistic approaches through experimentation on a benchmark dataset of human surveillance videos.Comment: Accepted for publication in the Theory and Practice of Logic Programming (TPLP) journa

The professionalization of festival organizations : A relational approach to knowledge management

In this article we examine the emergence of knowledge management (KM) within the professionalisation of festivals and events. The growing complexity of festival management places pressure on organisations to effectively manage ‘knowledge’ in order to succeed. Knowledge is commonly conceptualised as information that can be stored or itemised through checklists. We offer an alternative conceptualisation of KM as a relational construction shaped by the organisational culture and structure. We develop this relational approach through a case study of the Queensland Music Festival (QMF) to examine the construction of KM roles and responsibilities. Our ethnographic research and qualitative analysis identifies how QMF implicitly utilises chief knowledge officer, knowledge broker, and knowledge worker roles. These roles were successfully performed over a short duration and yet they were not defined or explicitly stated. We discuss how the culture and spatial organisation of work teams contributed to a collective understanding of the value of sharing and creating knowledge. With growing professionalisation we argue that festival organisations will increasingly develop a more self-conscious awareness of the significance of KM language and practice. The findings will enable festival managers to better understand how KM processes are embedded within an organisational culture and contribute to organisational learning.Peer reviewedFinal Accepted Versio

The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

Exploring sensor data management

The increasing availability of cheap, small, low-power sensor hardware and the ubiquity of wired and wireless networks has led to the prediction that `smart evironments' will emerge in the near future. The sensors in these environments collect detailed information about the situation people are in, which is used to enhance information-processing applications that are present on their mobile and `ambient' devices.\ud \ud Bridging the gap between sensor data and application information poses new requirements to data management. This report discusses what these requirements are and documents ongoing research that explores ways of thinking about data management suited to these new requirements: a more sophisticated control flow model, data models that incorporate time, and ways to deal with the uncertainty in sensor data

Naval Integration into Joint Data Strategies and Architectures in JADC2

NPS NRP Technical ReportAs Joint capabilities mature and shape into the Joint All Domain C2 Concept, Services, COCOMs and Coalition Partners will need to invest into efforts that would seamlessly integrate into Joint capabilities. The objective for the Navy is to study the options for Navy, including Naval Special Warfare Command under SOCOM, on how to integrate Navy's data strategy and architecture under the unifying JADC2 umbrella. The other objectives are to explore alternatives considered by the SOCOM and the Air Force, which are responsible for JADC2 Information Advantage and Digital Mission Command & Control. A major purpose of Joint, Services/COCOMs, agencies and Coalition Partners capabilities is to provide shared core of integrated canonical services for data, information, and knowledge with representations for vertical interoperability across all command levels and JADC2, lateral interoperability between Naval Service/COCOMs, and any combination of JADC2 constituents, agencies, and coalition partners. Our research plan is to explore available data strategy options by leveraging previous NRP work (NPS-20-N313-A). We will participate in emerging data strategy by Navy JADC2 project Overmatch. By working with MITRE our team will explore Air Force JADC2 data strategy implemented in ABMS DataOne component. Our goal is to find a seamless integration between Naval Data Strategy and data strategies behind JADC2 Information Advantage and Digital Mission Command & Control capabilities. Our plan includes studying Service-to-Service and Service-to-COCOM interoperability options required for Joint operations with a goal to minimize OODA's loop latency across sensing, situation discovery & monitoring, and knowledge understanding-for-planning, deciding, and acting. Our team realizes JADC2 requires virtual model allowing interoperability between subordinate C2 for services, agencies, and partner. Without such flexible 'joint' intersection organizational principal hierarchical structure it would be impossible to define necessary temporal and spatial fidelities for each level of organizational command required for implanting JADC2. Research deliverables will document the results of the exploration of Joint, COCOM, Agency and Partner Data Strategies approaches as JADC2 interoperability options to the emerging JADC2. We strive for standard JADC2 interface. Keywords: JADC2, ABMS, DataOne, Information Advantage, Digital Mission Command, IntegrationN2/N6 - Information WarfareThis research is supported by funding from the Naval Postgraduate School, Naval Research Program (PE 0605853N/2098). https://nps.edu/nrpChief of Naval Operations (CNO)Approved for public release. Distribution is unlimited.

The kinesfield : a study of movement-based interactive and choreographic art

Merged with duplicate record 10026.1/680 on 14.03.2017 by CS (TIS)Through the exploration of practice and theory, this thesis aims to elucidate the characteristics of movement-based interactive art and the kinesfield, a term developed during the course of the research to describe the publics' body-medium. Movement-based interactive art is based on choreographed movements of the body, media and specialized technologies which facilitate new forms of participatory movement experience. This emergent art form has initiated new methods of experiencing and presenting dance in the public domain. lt is argued that this leads to new artistic developments which may constitute a paradigm shift of the concept of the body-medium in the field of dance. To understand whether the shift is indeed paradigmatic, and to contribute to the development of dance and technology, this study introduces and applies the concept of the kinesfield to extend the theory of the body-medium as kinesphere, first proposed by Laban, and to challenge its characteristics in the context of movement-based interactive art. The concept of the kinesfield is employed to describe the relational dynamic of movement interactions which traverse the body and material forms in unbounded space. By this account, the body-medium is not defined geometrically, as in Laban's theory, but as a temporal and spatial field. The kinesfield accounts for a complexity of movement characteristics which pertain to the dynamic and relational experiences which occur between the biological body and its natural and atmospheric surroundings, natural forces, and its socio-cultural milieu. The argument unfolds as a triangulation of three movement-based interactive artworks (Shifting Ground, trajets, and Raumspielpuzzle) presented during the course of the thesis, my physical and experiential knowledge in the field of dance and an interdisciplinary literature investigation in the fields of dance, physiology/psychology/cognitive science, philosophy and sociology, plastic arts and cinema. This written document is accompanied by a CD-ROM which serves as an electronic appendix including images, videos and diagrams of the works referenced in the written thesis.This thesis is a discussion of the experiential and conceptual characteristics which underpin the choreographic research of three movement-based interactive artworks I, Shifting Ground ( 1999), trajets (2000) and Raumspielpuzzle (2003). 2 In addition to elucidating an emergent mode of choreographic practice,3 this thesis proposes a new term which offers a description of the body-medium4 materialised in choreographic movement-based interactive art, namely the kinesfield