Knowledge modelling for the motion detection task

In this article knowledge modelling at the knowledge level for the task of moving objects detection in image sequences is introduced. Three items have been the focus of the approach: (1) the convenience of knowledge modelling of tasks and methods in terms of a library of reusable components and in advance to the phase of operationalization of the primitive inferences; (2) the potential utility of looking for inspiration in biology; (3) the convenience of using these biologically inspired problem-solving methods (PSMs) to solve motion detection tasks. After studying a summary of the methods used to solve the motion detection task, the moving targets in indefinite sequences of images detection task is approached by means of the algorithmic lateral inhibition (ALI) PSM. The task is decomposed in four subtasks: (a) thresholded segmentation; (b) motion detection; (c) silhouettes parts obtaining; and (d) moving objects silhouettes fusion. For each one of these subtasks, first, the inferential scheme is obtained and then each one of the inferences is operationalized. Finally, some experimental results are presented along with comments on the potential value of our approach

Human factors in the perception of stereoscopic images

Research into stereoscopic displays is largely divided into how stereo 3D content looks, a field concerned with distortion, and how such content feels to the viewer, that is, comfort. However, seldom are these measures presented simultaneously. Both comfortable displays with unacceptable 3D and uncomfortable displays with great 3D are undesirable. These two scenarios can render conclusions based on research into these measures both moot and impractical. Furthermore, there is a consensus that more disparity correlates directly with greater viewer discomfort. These experiments, and the dissertation thereof, challenge this notion and argue for a more nuanced argument related to acquisition factors such as interaxial distance (IA) and post processing in the form of horizontal image translation (HIT). Indeed, this research seeks to measure tolerance limits for viewing comfort and perceptual distortions across different camera separations. In the experiments, HIT and IA were altered together. Following Banks et al. (2009), our stimuli were simple stereoscopic hinges, and we measured the perceived angle as a function of camera separation. We compared the predictions based on a ray-tracing model with the perceived 3D shape obtained psychophysically. Participants were asked to judge the angles of 250 hinges at different camera separations (IA and HIT remained linked across a 20 to 100mm range, but the angles ranged between 50° and 130°). In turn, comfort data was obtained using a five-point Likert scale for each trial. Stimuli were presented in orthoscopic conditions with screen and observer field of view (FOV) matched at 45°. The 3D hinge and experimental parameters were run across three distinct series of experiments. The first series involved replicating a typical laboratory scenario where screen position was unchanged (Experiment I), the other presenting scenarios representative of real-world applications for a single viewer (Experiments II, III, and IV), and the last presenting real-world applications for multiple viewers (Experiment V). While the laboratory scenario revealed greatest viewer comfort occurred when a virtual hinge was placed on the screen plane, the single-viewer experiment revealed into-the-screen stereo stimuli was judged flatter while out-of-screen content was perceived more veridically. The multi-viewer scenario revealed a marked decline in comfort for off-axis viewing, but no commensurate effect on distortion; importantly, hinge angles were judged as being the same regardless of off-axis viewing for angles of up to 45. More specifically, the main results are as follows. 1) Increased viewing distance enhances viewer comfort for stereoscopic perception. 2) The amount of disparity present was not correlated with comfort. Comfort is not correlated with angular distortion. 3) Distortion is affected by hinge placement on-screen. There is only a significant effect on comfort when the Camera Separation is at 60mm. 4) A perceptual bias between into the depth orientation of the screen stimuli, in to the screen stimuli were judged as flatter than out of the screen stimuli. 5) Perceived distortion not being affected by oblique viewing. Oblique viewing does not affect perceived comfort. In conclusion, the laboratory experiment highlights the limitations of extrapolating a controlled empirical stimulus into a less controlled “real world” environment. The typical usage scenarios consistently reveal no correlation between the amount of screen disparity (parallax) in the stimulus and the comfort rating. The final usage scenario reveals a perceptual constancy in off-axis viewer conditions for angles of up to 45, which, as reported, is not reflected by a typical ray-tracing model. Stereoscopic presentation with non-orthoscopic HIT may give comfortable 3D. However, there is good reason to believe that this 3D is not being perceived veridically. Comfortable 3D is often incorrectly converged due to the differences between distances specified by disparity and monocular cues. This conflict between monocular and stereo cues in the presentation of S3D content leads to loss of veridicality i.e. a perception of flatness. Therefore, correct HIT is recommended as the starting point for creating realistic and comfortable 3D, and this factor is shown by data to be far more important than limiting screen disparity (i.e. parallax). Based on these findings, this study proposes a predictive model of stereoscopic space for 3D content generators who require flexibility in acquisition parameters. This is important as there is no data for viewing conditions where the acquisition parameters are changed

The cinepheur: post-cinematic passage, post-perceptual passage

This thesis develops a hermeneutic commensurate with the aesthetic and ontological challenges of what Steven Shaviro describes as a post-cinematic media ecology, and Shane Denson describes as an emergent post-perceptual media ecology. I consider canonicity and cinephilia as frustrated efforts to contain and comprehend this new cinematic media object, offering a third unit of interpretation in their place, which I describe as the cinetopic anecdote. I associate the cinetopic anecdote with a particular way of moving between cinema and cinematic infrastructure, which I label cinetopic passage, and with a subject position that I label the cinepheur. Drawing on Walter Benjamin’s theory of the flâneur, I argue that the cinetopic anecdote precludes the extraction of a privileged cinematic moment in the manner characteristic of Christian Keathley’s cinephilic anecdote, but instead compels the cinepheur to instantiate, embody or physically recreate the infrastructural conditions that produced it, dovetailing production and consumption into what Axel Bruns has described as the emergent category of produsage; “unfinished artifacts, continuing process.” Having elaborated the cinetopic anecdote, I apply it to postmodern, post-cinematic and post-perceptual media ecologies, in order to evoke the peculiar forms of attachment and obsession bound up with the Criterion and Netflix platforms. In the process, I draw on Franco Moretti’s conception of distant reading to frame the cinetopic anecdote as a unit of distant viewing, offering distant viewings of Angela Christlieb and Stephen Kijak’s Cinemania, Sidney Lumet’s Garbo Talks and Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom. Just as distant reading takes “the great unread” as its object of enquiry, so the cinetopic anecdote speaks to a media ecology preoccupied by the “great unviewed,” in which cinematic scarcity increasingly ramifies as an elegaic object

The cinepheur: post-cinematic passage, post-perceptual passage

This thesis develops a hermeneutic commensurate with the aesthetic and ontological challenges of what Steven Shaviro describes as a post-cinematic media ecology, and Shane Denson describes as an emergent post-perceptual media ecology. I consider canonicity and cinephilia as frustrated efforts to contain and comprehend this new cinematic media object, offering a third unit of interpretation in their place, which I describe as the cinetopic anecdote. I associate the cinetopic anecdote with a particular way of moving between cinema and cinematic infrastructure, which I label cinetopic passage, and with a subject position that I label the cinepheur. Drawing on Walter Benjamin’s theory of the flâneur, I argue that the cinetopic anecdote precludes the extraction of a privileged cinematic moment in the manner characteristic of Christian Keathley’s cinephilic anecdote, but instead compels the cinepheur to instantiate, embody or physically recreate the infrastructural conditions that produced it, dovetailing production and consumption into what Axel Bruns has described as the emergent category of produsage; “unfinished artifacts, continuing process.” Having elaborated the cinetopic anecdote, I apply it to postmodern, post-cinematic and post-perceptual media ecologies, in order to evoke the peculiar forms of attachment and obsession bound up with the Criterion and Netflix platforms. In the process, I draw on Franco Moretti’s conception of distant reading to frame the cinetopic anecdote as a unit of distant viewing, offering distant viewings of Angela Christlieb and Stephen Kijak’s Cinemania, Sidney Lumet’s Garbo Talks and Pier Paolo Pasolini’s Salò, or The 120 Days of Sodom. Just as distant reading takes “the great unread” as its object of enquiry, so the cinetopic anecdote speaks to a media ecology preoccupied by the “great unviewed,” in which cinematic scarcity increasingly ramifies as an elegaic object

Interdisciplinarity in the Age of the Triple Helix: a Film Practitioner's Perspective

This integrative chapter contextualises my research including articles I have published as well as one of the creative artefacts developed from it, the feature film The Knife That Killed Me. I review my work considering the ways in which technology, industry methods and academic practice have evolved as well as how attitudes to interdisciplinarity have changed, linking these to Etzkowitz and Leydesdorff’s ‘Triple Helix’ model (1995). I explore my own experiences and observations of opportunities and challenges that have been posed by the intersection of different stakeholder needs and expectations, both from industry and academic perspectives, and argue that my work provides novel examples of the applicability of the ‘Triple Helix’ to the creative industries. The chapter concludes with a reflection on the evolution and direction of my work, the relevance of the ‘Triple Helix’ to creative practice, and ways in which this relationship could be investigated further

The copyright protection of musical works : a historical and contextual analysis

This work is concerned with an analysis of the copyright protection of musical works. Musical works form part of the categories of works protected under copyright law. It would be easy to dismiss musical works as not warranting a serious study, as would for example, be warranted for “industrial property” rights such as patents and geographical indicators, or more “serious” copyrights such as architectural works and computer software. Such a perspective would however, not be cognisant of the significant contribution that the music industry, as part of the broader cultural and creative industries makes to the global economy. It has, for example, been shown that in 2013, the global cultural and creative industries contributed some US$2,250b, employing some 29,5 million people, with the music industry being one of the top three employers and with its revenues exceeding those of radio.1 A single successful musician can earn in excess of US$100m per annum,2 making the industry ripe for litigious claims. For this reason therefore a consideration of the legal rules that apply to the protection of musical works is crucial. There is currently no clear exposition and systematic analysis of the legal principles applicable to the field of music copyright and no work devoted to the in-depth delineation of the rights and sub-rights relating to musical copyright protection. This study seeks to address this research and knowledge gap by providing a historical and contextual analysis of the protection of musical works. The aim is to provide a complete picture of the milieu of music copyright protection to enable the reader to feel empowered in dealing with the subject-matter. This the writer does by mapping the historical development of music copyright protection in particular from eighteenth century England when the first copyright legislation was enacted, until the enactment of the British Copyright Act of 1911, which signalled the emergence of the “common law” copyright system. The writer then shows how this enactment shaped the development of modern music copyright law, and concludes by presenting a contextual consideration of the current South African law of music copyright and highlighting the challenges it is faced with.Mercantile LawLL. D