Entropy in Image Analysis II

Image analysis is a fundamental task for any application where extracting information from images is required. The analysis requires highly sophisticated numerical and analytical methods, particularly for those applications in medicine, security, and other fields where the results of the processing consist of data of vital importance. This fact is evident from all the articles composing the Special Issue "Entropy in Image Analysis II", in which the authors used widely tested methods to verify their results. In the process of reading the present volume, the reader will appreciate the richness of their methods and applications, in particular for medical imaging and image security, and a remarkable cross-fertilization among the proposed research areas

Colour for behavioural success

Colour information not only helps sustain the survival of animal species by guiding sexual selection and foraging behaviour but also is an important factor in the cultural and technological development of our own species. This is illustrated by examples from the visual arts and from state-of-the-art imaging technology, where the strategic use of colour has become a powerful tool for guiding the planning and execution of interventional procedures. The functional role of colour information in terms of its potential benefits to behavioural success across the species is addressed in the introduction here to clarify why colour perception may have evolved to generate behavioural success. It is argued that evolutionary and environmental pressures influence not only colour trait production in the different species but also their ability to process and exploit colour information for goal-specific purposes. We then leap straight to the human primate with insight from current research on the facilitating role of colour cues on performance training with precision technology for image-guided surgical planning and intervention. It is shown that local colour cues in two-dimensional images generated by a surgical fisheye camera help individuals become more precise rapidly across a limited number of trial sets in simulator training for specific manual gestures with a tool. This facilitating effect of a local colour cue on performance evolution in a video-controlled simulator (pick-and-place) task can be explained in terms of colour-based figure-ground segregation facilitating attention to local image parts when more than two layers of subjective surface depth are present, as in all natural and surgical images

Cuypers : a semi-automatic hypermedia generation system

The report describes the architecture of emph{Cuypers, a system supporting second and third generation Web-based multimedia. First generation Web-content encodes information in handwritten (HTML) Web pages. Second generation Web content generates HTML pages on demand, e.g. by filling in templates with content retrieved dynamically from a database or transformation of structured documents using style sheets (e.g. XSLT). Third generation Web pages will make use of rich markup (e.g. XML) along with metadata (e.g. RDF) schemes to make the content not only machine readable but also machine processable --- a necessary pre-requisite to the emph{Semantic Web. While text-based content on the Web is already rapidly approaching the third generation, multimedia content is still trying to catch up with second generation techniques. Multimedia document processing has a number of fundamentally different requirements from text which make it more difficult to incorporate within the document processing chain. In particular, multimedia transformation uses different document and presentation abstractions, its formatting rules cannot be based on text-flow, it requires feedback from the formatting back-end and is hard to describe in the functional style of current style languages. We state the requirements for second generation processing of multimedia and describe how these have been incorporated in our prototype multimedia document transformation environment, emph{Cuypers. The system overcomes a number of the restrictions of the text-flow based tool sets by integrating a number of conceptually distinct processing steps in a single runtime execution environment. We describe the need for these different processing steps and describe them in turn (semantic structure, communicative device, qualitative constraints, quantitative constraints, final form presentation), and illustrate our approach by means of an example. We conclude by discussing the models and techniques required for the creation of third generation multimedia content

Towards Second and Third Generation Web-Based Multimedia

First generation Web-content encodes information in handwritten (HTML) Web pages. Second generation Web content generates HTML pages on demand, e.g. by filling in templates with content retrieved dynamically from a database or transformation of structured documents using style sheets (e.g. XSLT). Third generation Web pages will make use of rich markup (e.g. XML) along with metadata (e.g. RDF) schemes to make the content not only machine readable but also machine processable - a necessary pre-requisite to the emphSemantic Web. While text-based content on the Web is already rapidly approaching the third generation, multimedia content is still trying to catch up with second generation techniques. Multimedia document processing has a number of fundamentally different requirements from text which make it more difficult to incorporate within the document processing chain. In particular, multimedia transformation uses different document and presentation abstractions, its formatting rules cannot be based on text-flow, it requires feedback from the formatting back-end and is hard to describe in the functional style of current style languages. We state the requirements for second generation processing of multimedia and describe how these have been incorporated in our prototype multimedia document transformation environment, emphCuypers. The system overcomes a number of the restrictions of the text-flow based tool sets by integrating a number of conceptually distinct processing steps in a single runtime execution environment. We describe the need for these different processing steps and describe them in turn (semantic structure, communicative device, qualitative constraints, quantitative constraints, final form presentation), and illustrate our approach by means of an example. We conclude by discussing the models and techniques required for the creation of third generation multimedia content

How Do We See Art: An Eye-Tracker Study

We describe the pattern of fixations of subjects looking at figurative and abstract paintings from different artists (Molina, Mondrian, Rembrandt, della Francesca) and at modified versions in which different aspects of these art pieces were altered with simple digital manipulations. We show that the fixations of the subjects followed some general common principles (e.g., being attracted to saliency regions) but with a large variability for the figurative paintings, according to the subject’s personal appreciation and knowledge. In particular, we found different gazing patterns depending on whether the subject saw the original or the modified version of the painting first. We conclude that the study of gazing patterns obtained by using the eye-tracker technology gives a useful approach to quantify how subjects observe art

Who is the director of this movie? Automatic style recognition based on shot features

We show how low-level formal features, such as shot duration, meant as length of camera takes, and shot scale, i.e. the distance between the camera and the subject, are distinctive of a director's style in art movies. So far such features were thought of not having enough varieties to become distinctive of an author. However our investigation on the full filmographies of six different authors (Scorsese, Godard, Tarr, Fellini, Antonioni, and Bergman) for a total number of 120 movies analysed second by second, confirms that these shot-related features do not appear as random patterns in movies from the same director. For feature extraction we adopt methods based on both conventional and deep learning techniques. Our findings suggest that feature sequential patterns, i.e. how features evolve in time, are at least as important as the related feature distributions. To the best of our knowledge this is the first study dealing with automatic attribution of movie authorship, which opens up interesting lines of cross-disciplinary research on the impact of style on the aesthetic and emotional effects on the viewers

Spotlighting Truth and Beauty: Willa Cather\u27s Tenebraic Word Pictures

This thesis explores the way Willa Cather’s writing parallels visual art’s tenebrism – a dramatic way of illuminating a single person, object or idea by juxtaposing light against dark. Throughout her career, Cather uses this technique to convey truths relating to self realization, aestheticism, spirituality, and social awakening

The Aesthetics and Psychology Behind Horror Films

We usually define “fear” as a negative emotion, which is unpleasant. Normally, we desperately want to avoid this emotion because it causes distress and terror. However, the aesthetics and psychology behind horror films explain “fear” can be a pleasurable experience. “Fear” is an essential element in horror genre, which is why we consistently crave the adrenaline rush in scary films. Neuroscientists, psychologists, and filmmakers constantly study viewers’ fear responses to see which techniques can terrify audiences. This thesis demonstrates the different methods filmmakers create to attract the audience in enjoying horror films. As well as, including psychological and scientific studies to explain how scary films affect our brain and body