Multi-resolution texture classification based on local image orientation

The aim of this paper is to evaluate quantitatively the discriminative power of the image orientation in the texture classification process. In this regard, we have evaluated the performance of two texture classification schemes where the image orientation is extracted using the partial derivatives of the Gaussian function. Since the texture descriptors are dependent on the observation scale, in this study the main emphasis is placed on the implementation of multi-resolution texture analysis schemes. The experimental results were obtained when the analysed texture descriptors were applied to standard texture databases

Investigating the Feasibility of Integrating Pavement Friction and Texture Depth Data in Modeling for INDOT PMS

Under INDOT’s current friction testing program, the friction is measured annually on interstates but only once every three years on non-interstate roadways. The state’s Pavement Management System, however, would require current data if friction were to be included in the PMS. During routine pavement condition monitoring for the PMS, texture data is collected annually. This study explored the feasibility of using this pavement texture data to estimate the friction during those years when friction is not measured directly. After multi0ple approaches and a wide variety of ways of examining the currently available data and texture measuring technologies, it was determined that it is not currently feasible to use the texture data as a surrogate for friction testing. This is likely because the lasers used at this time are not capable of capturing the small-scale pavement microtexture. This situation may change, however, with advances in laser or photo interpretation technologies and improved access to materials data throughout the INDOT pavement network

Practice led research into stream-form composition methods, freeassociation, and synaesthesia in audio/visual compostion.

.haul / S is a portfolio of audio/visual works, all with a common start point, synaesthesia: a powerful and highly personal phenomenon. In this portfolio I examine my own synaesthetic perceptions of sound and image, and how they direct my compositional decisions and aesthetic tastes. These perceptions, and the resulting compositions, are compared to the experiences of synaesthete composers, and their goals in composing from such an abstract source material, as well as synaesthetes not engaged in musical endeavours. In doing so, I speculate how the act of making from such personal, abstract, and ultimately indescribable and unsharable experiences affects an audience’s reception of the pieces produced. As such, I produce works that are as close to being about nothing as I could posit: pieces that feature no defined subject, theme, or narrative, outside of their constituent parts. This nothingness, or lack of concrete reference is speculative, aiming to open discussion on perception and synaesthesia (which I do not consider a special condition only experienced by few), and strives to inform further work actively influenced by this composer/audience feedback loop. The compositions in this portfolio are also the result of practice-led research into stream form composition methods, and examinations of free-association in audio/visual composition. The aim of this research is to open discussion on intuitive composition practices, and composers’ aesthetic judgments and decisions when producing a work. It also examines synaesthesia as a compositional tool, as a means of suggesting further research in a field which is still poorly understood

Inchcolm project

Inchcolm Project is part of an interdisciplinary research project which develops new ways of designing for the moving body across media, by combining aesthetics and design methods from contemporary performance practice and video games. As such, it brought a video game (Dear Esther, The Chinese Room, 2012) to life on a Scottish island (Inchcolm island in the Firth of Forth). During the two hour experience on Inchcolm the audience/players wander freely on the island encountering geo-tagged audio, live music, performers and installation spaces evocative of the game world, a playthrough of the game projected in the 12th century Inchcolm abbey, and an orchestral performance of the video game’s soundtrack (composed by Jessica Curry, arranged by Luci Holland and David Jamieson, performed by Mantra Collective)

Samuel Zyman’s "Concerto for Cello and Orchestra": An Analytical Approach

A professor at The Juilliard School since 1986, Zyman is one of Mexico’s foremost composers of today. His cello concerto (1990) exhibits solid technique, intense expression, and effective interaction between soloist and orchestra. The author demonstrates much stylistic and formal freedom. His opus mixes both antique and modern references within traditional instrumental usage and prevailing neomodal flair. One outstanding feature is the full exploitation of a basic melody to generate an interrelated musical idiom that reveals both unity and variety. The appendix contains an interview with the Mexican artist

Mimesis stories: composing new nature music for the shakuhachi

Nature is a widespread theme in much new music for the shakuhachi (Japanese bamboo flute). This article explores the significance of such music within the contemporary shakuhachi scene, as the instrument travels internationally and so becomes rooted in landscapes outside Japan, taking on the voices of new creatures and natural phenomena. The article tells the stories of five compositions and one arrangement by non-Japanese composers, first to credit composers’ varied and personal responses to this common concern and, second, to discern broad, culturally syncretic traditions of nature mimesis and other, more abstract, ideas about the naturalness of sounds and creative processes (which I call musical naturalism). Setting these personal stories and longer histories side by side reveals that composition creates composers (as much as the other way around). Thus it hints at much broader terrain: the refashioning of human nature at the confluence between cosmopolitan cultural circulations and contemporary encounters with the more-than-human world

A survey of exemplar-based texture synthesis

Exemplar-based texture synthesis is the process of generating, from an input sample, new texture images of arbitrary size and which are perceptually equivalent to the sample. The two main approaches are statistics-based methods and patch re-arrangement methods. In the first class, a texture is characterized by a statistical signature; then, a random sampling conditioned to this signature produces genuinely different texture images. The second class boils down to a clever "copy-paste" procedure, which stitches together large regions of the sample. Hybrid methods try to combine ideas from both approaches to avoid their hurdles. The recent approaches using convolutional neural networks fit to this classification, some being statistical and others performing patch re-arrangement in the feature space. They produce impressive synthesis on various kinds of textures. Nevertheless, we found that most real textures are organized at multiple scales, with global structures revealed at coarse scales and highly varying details at finer ones. Thus, when confronted with large natural images of textures the results of state-of-the-art methods degrade rapidly, and the problem of modeling them remains wide open.Comment: v2: Added comments and typos fixes. New section added to describe FRAME. New method presented: CNNMR

The National Library of Argentina: exhibiting astronomy-related rare books

Astronomical and cosmological knowledge up to the dawn of modern science was profoundly embedded in myth, religion and superstition. Many of these inventions of the human mind remain today stored in different supports: medieval engravings, illuminated manuscripts, and of course also in old and rare books.Comment: to appear in The Role of Astronomy in Society and Culture: Proceedings of the IAU Symposium 260, D. Valls-Gabaud and A. Boksenberg (eds), Cambridge: Cambridge University Press, IAU Symposia Serie

Recovering superhydrophobicity in nanoscale and macroscale surface textures

Here, we investigate complete drying of hydrophobic cavities in order to elucidate its dependence on the size of confinement, its geometry, and the degree of hydrophobicity. Two complementary theoretical approaches are adopted: a macroscopic one based on classical capillarity and a microscopic classical density functional theory. This combination allows us to pinpoint unique drying mechanisms at the nanoscale and to clearly differentiate them from the mechanisms operational at the macroscale. Nanoscale hydrophobic cavities allow the thermodynamic destabilization of the confined liquid phase over an unexpectedly broad range of conditions, including pressures as large as 10 MPa and contact angles close to 90°. On the other hand, for cavities on the micron scale, such destabilization occurs only for much larger contact angles and close to liquid-vapor coexistence. These scale-dependent drying mechanisms are used to propose design criteria for hierarchical superhydrophobic surfaces capable of spontaneous self recovery over a broad range of operating conditions. In particular, we detail the requirements under which it is possible to realize perpetual superhydrophobicity at positive pressures on surfaces with micron-sized textures by exploiting drying, facilitated by nanoscale coatings. Concerning the issue of superhydrophobicity, these findings indicate a promising direction both for surface fabrication and for the experimental characterization of perpetual surperhydrophobicity. From a more basic perspective, the present results have an echo on a wealth of biological problems in which hydrophobic confinement induces drying, such as in protein folding, molecular recognition, and hydrophobic gating