SleepyWheels: An Ensemble Model for Drowsiness Detection leading to Accident Prevention

Around 40 percent of accidents related to driving on highways in India occur due to the driver falling asleep behind the steering wheel. Several types of research are ongoing to detect driver drowsiness but they suffer from the complexity and cost of the models. In this paper, SleepyWheels a revolutionary method that uses a lightweight neural network in conjunction with facial landmark identification is proposed to identify driver fatigue in real time. SleepyWheels is successful in a wide range of test scenarios, including the lack of facial characteristics while covering the eye or mouth, the drivers varying skin tones, camera placements, and observational angles. It can work well when emulated to real time systems. SleepyWheels utilized EfficientNetV2 and a facial landmark detector for identifying drowsiness detection. The model is trained on a specially created dataset on driver sleepiness and it achieves an accuracy of 97 percent. The model is lightweight hence it can be further deployed as a mobile application for various platforms.Comment: 20 page

The EU in the World 2013: A Statistical Portrait

This publication The EU in the world 2013 provides you with a selection of important and interesting statistics on the EU – considered as a single entity – in comparison with the 15 non-EU countries from the Group of Twenty (G20). Drawing from the huge amount of data available at Eurostat and from other international and national sources, we aim to give an insight into the European economy, society and environment in comparison with the major economies in the rest of the world

Has Instagram Fundamentally Altered the 'Family Snapshot'?

This paper considers how parents use the social media platform Instagram to facilitate the capture, curation and sharing of ‘family snapshots’. Our work draws upon established cross-disciplinary literature relating to film photography and the composition of family albums in order to establish whether social media has changed the way parents visually present their families. We conducted a qualitative visual analysis of a sample of 4,000 photographs collected from Instagram using hashtags relating to children and parenting. We show that the style and composition of snapshots featuring children remains fundamentally unchanged and continues to be dominated by rather bland and idealised images of the happy family and the cute child. In addition, we find that the frequent taking and sharing of photographs via Instagram has inevitably resulted in a more mundane visual catalogue of daily life. We note a tension in the desire to use social media as a means to evidence good parenting, while trying to effectively manage the social identity of the child and finally, we note the reluctance of parents to use their own snapshots to portray family tension or disharmony, but their willingness to use externally generated content for this purpose

Inventory for a Reverse Journey. Photographic Image and Found Object - An investigation of travel and material transformation as a paradigm of artist's practice: Ed Ruscha, Douglas Huebler, Bas jan Ader, Jimmie Durham, Gustav Metzger, Kurt Schwitters & Cian Quayle.

Inventory for Reverse Journey is the title of a collection of photographic artefacts and found objects, which I have collected over the last twenty years. The title refers to one specific type of artist's journey, which is applicable to the `chronotope' of my archive, as a `metaphorical journey in space and time' (Bakhtin 1981, p. 81). The `city',`provincial town', `road', `threshold' and `interior' are recurrent motifs, which Bakhtin fused together to describe the historical evolution of the novel in relation to its different genres. Bakhtin's motifs are expanded as the basis of an evolutionary nomenclature of the artist's-journey, as a form of spatial mapping and identity formation. Alongside other sources from literature (Alain Robbe-Grillet), cinema (Michelangelo Antonioni), psychoanalysis (Kierkegaard) and critical theory (Walter Benjamin) I have developed a theoretical framework, which initially originated in an empirical process, that is reflected in the antecedents of this project. The research process, as a journey itself, has concretised this approach within a systems-based practice. This is mirrored in the work of the artists under investigation, as their differences and similarities are highlighted within a broad contextual analysis. Accordingly the tone of the writing shifts its register at different points in the thesis. My journey is just one example of several paradigmatic formations of `travel' as a strategy, which investigates the work of six different artists, as a voluntary or involuntary form of exile. A deskilled use of the photographic image is examined in the work of Ed Ruscha, Douglas Huebler and Bas jan Ader in the spatial mapping of their chosen locations. The work of these artists manifests travel, as a strategy, in a benign form of regional and expatriate exile. The investigation shifts its focus from the New World to Europe, where the work of Jimmie Durham, Gustav Metzger and Kurt Schwitters is analysed in relation to their transformation of found objects and materials, and their relationship with a former 'home'. Their position registers different degrees of the `impossibility of return' to a point of origin, which exists in the mind rather than as a physical location. The transience of their work, and use of disparate materials, is counterbalanced by their physical presence in the work. Conversely Ader, Huebler and Ruscha are linked by a scale of decreasing visibility, as they are sublimated within their work in the formation of, what is now construed as, a unique photographic presence. The starting point for which is a return to the formative years of conceptualism in the 1960's, which set the scene for Durham and Metzger from the 1970's onwards. The spectre of Schwitters practice of forming (Formung) and unforming (Entformung) is significant for my analysis of the dematerialisation of the art-work and artist, by processes of series and repetition, distance and proximity, movement and stasis. Although `travel' is a ubiquitous term, I continue to use it as a portmanteau, which carries with it the themes and `salient' features of a typology of artist's journeys. In a moment of perceived obsolescence as digital information systems engender a culture of `selective-amnesia', these thoughts have informed my work, which runs parallel to the artist case-studies, and the material transformation of the photographic image and found object

Knowledge Organization System of Visual Art Resources in West Bengal:A Study

Abstract: Visual art resource collections specially art works like, painting, sculpture, installation art form are totally ignored for retrieving this kind of information sources. The main concept of visual art resource is visual form and esthetic value of non textual content. They kept in museums and art galleries. West Bengal is a cultural hub of visual art resources. There are many art museum and art gallery which preserves art resources. Transforming visual code into written code and visual information into textual description is very challenging work. Content of painting, sculpture or installation arts are significant challenges to concept-based indexing. The main motto of this research project is how to access, process and manage this type of iconographic resources. In terms of library and information science knowledge organization is a vital part. It’s made easy retrieval and identification of concern users

Industrial Concentration and Quality of Life

The purpose of this study is to examine the effects of industrial concentration at the county level on quality of life among residents of US counties. Data on various aspects of quality of life and industrial characteristics were collected for all United States counties. Four quality of life-related variables (infant mortality, percent of female-headed households, the burglary rate, and income inequality) were regressed on industrial concentration percentage and industrial concentration types. Industrial concentration was associated with an increase in infant mortality, a decrease in the burglary rate, and had no effect on the percent of female headed households or income inequality. Examining specific industry types, manufacturing proved significant in increasing the percent of female headed households, was less effective in reducing burglaries compared to other industry types, and was generally worse on quality of life than any other industry types

Seeking the Family Face An experiment in and investigation of portraiture

I look at portraiture in the context of its use in history, contemporary use and social practice: how and why to paint at a time when photography is ubiquitous. Some artists are happy to use photographs as studies and source material, while others prefer to work only from a live sitter or model. I prefer to work from life rather than photographs, but had to reassess my own working preferences and find ways to interpret and use photographic and other sources when I chose my family as a subject. (None of them lived close by, and I included some from previous generations who are now dead). In doing so I have developed practice in drawing on memory and emotion as part of the relationship between artist and sitter or absent motif, which I now find to be a core part of the endeavour. I learned to develop my judgment to distinguish between attempting simply to capture the features of the sitter (as a snapshot or passport photograph might do), and an insightful portrait. I have gained more awareness of social and political implications of who, how and why I and others try to depict or just record peoples’ features, whether as works of art or the many other ways they are used, or mis-used, in modern society as in the past. Portraiture has evolved as a genre in form and representation, from the earliest periods of human history through to the present, and now appears ubiquitous. In all its forms it is always a search for and acknowledgment of the person the artist perceives and wants to portray. Its basis in our interest in genealogy, familial and social groupings and the projection of rank and position remain a fascination across our cultures as well as time

The Handheld Image: Art, History and Embodiment

This thesis investigates how images become present through movement and bodily performance. Inspiring this investigation are the contemporary practices of viewers engaging with still and moving images of people on their handheld screen devices. These practices are not only central to contemporary visuality, they also provide a focus for two wider themes relating to images of people: first, the dynamic tension between image control and circulation; and second, the mutual contestation of the physical and the virtual. To explore the struggle between image control and circulation, this thesis compares the dissemination of the twenty-first-century digital image with two historical instances of the handheld image: the sixteenth-century portrait miniature and the nineteenth-century carte de visite photographic portrait. While the physical control of the portrait miniature was paramount, the carte de visite, as the first form of mass-produced photograph, betrays the social benefits and perils of the shift from control to circulation. These historical forms are augmented through a consideration of contemporary moving-image portraiture that reveals the portrait as an interface for the interrelated demands and desires of artists, portrait subjects, and viewers. Having tracked handheld images through the sixteenth-century bedchamber and the nineteenth-century parlour, this thesis then follows handheld devices into the twenty-first-century bed to witness the contest between the somatic and the virtual: between the vulnerable, fatigued body and the seductions of online screen engagement. This thesis challenges the view that an image becomes more powerful through unfettered circulation. Rather it proposes that the potency of an image is powered by the contestation of meaning and memory, through the struggle between circulation and control. It is through these moments of struggle, and the unstable fluctuations between the actual and the virtual, that the image becomes present

The Photographic Effect: Making Pictures After Photography, 1860-1895

This dissertation examines the effects of photography and photographic concepts of picturing on painterly practice and theory in late-nineteenth century Europe. It argues that the permeation of photography into the material production and critical interpretation of pictorial art impelled painters, art photographers, and their critics to differentiate more sharply the qualities of creative labor from those of unthinking imitation. Focusing on case studies in France and England, the two countries with the longest histories of photographic practice and discourse, I consider methods of making that challenged the framework of medium, and the standards of “art” and “truth” on which distinctions between media were based. Subjects of analysis include the art criticism of British painter Walter Sickert (1860-1942); a libel trial initiated by Belgian painter Jan Van Beers (1852-1927); the plein-air painting practice of French naturalist Jules Bastien-Lepage (1848-1884); composite photographs and theories of pictorial art by British photographer Henry Peach Robinson (1830-1901); the “photographic” characteristics of paintings by Gustave Caillebotte (1848-1894); and the painterly realism of French artist Edgar Degas (1834-1917), which was set apart from photography in the nineteenth century and came to be aligned with it in the twentieth. I distinguish my approach from traditional narratives of cross-media exchange, which emphasize artists’ visual responses to paintings and photographs, by showing that photography’s influence was felt most palpably in the invisible realms of pictorial production and its theoretical conception. Photography provoked no single stylistic response from painters, nor was its presence in a picture substantiated by any fixed set of criteria. By the 1890s photography had destabilized “medium” as a secure category of classification, as paintings were designated “colored photographs” and photographers employed the term “picture” to classify their images as art. I examine the radical reconfiguration of the hierarchy of pictorial art that took place in the late nineteenth century, showing that photographic methods of making and paradigms of picturing undermined the visual surface as a reliable source of meaning. As a result, these hybrid pictorial practices intensified anxieties about the terms of truthful depiction, and how an authentic sense of the real might be conveyed through material means. Rather than being settled by the turn of the century, as modern theories of medium specificity would have it, I maintain that photography catalyzed tensions between the manual and intellectual aspects of art-making that trigger debates and fuel artistic experimentation to this day.PHDHistory of ArtUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttps://deepblue.lib.umich.edu/bitstream/2027.42/140978/1/emtalbot_1.pd