Sabanci-Okan system at ImageClef 2011: plant identication task

We describe our participation in the plant identication task of ImageClef 2011. Our approach employs a variety of texture, shape as well as color descriptors. Due to the morphometric properties of plants, mathematical morphology has been advocated as the main methodology for texture characterization, supported by a multitude of contour-based shape and color features. We submitted a single run, where the focus has been almost exclusively on scan and scan-like images, due primarily to lack of time. Moreover, special care has been taken to obtain a fully automatic system, operating only on image data. While our photo results are low, we consider our submission successful, since besides being our rst attempt, our accuracy is the highest when considering the average of the scan and scan-like results, upon which we had concentrated our eorts

Flowers, leaves or both? How to obtain suitable images for automated plant identification

Background: Deep learning algorithms for automated plant identification need large quantities of precisely labelled images in order to produce reliable classification results. Here, we explore what kind of perspectives and their combinations contain more characteristic information and therefore allow for higher identification accuracy. Results: We developed an image-capturing scheme to create observations of flowering plants. Each observation comprises five in-situ images of the same individual from predefined perspectives (entire plant, flower frontal- and lateral view, leaf top- and back side view). We collected a completely balanced dataset comprising 100 observations for each of 101 species with an emphasis on groups of conspecific and visually similar species including twelve Poaceae species. We used this dataset to train convolutional neural networks and determine the prediction accuracy for each single perspective and their combinations via score level fusion. Top-1 accuracies ranged between 77% (entire plant) and 97% (fusion of all perspectives) when averaged across species. Flower frontal view achieved the highest accuracy (88%). Fusing flower frontal, flower lateral and leaf top views yields the most reasonable compromise with respect to acquisition effort and accuracy (96%). The perspective achieving the highest accuracy was species dependent. Conclusions: We argue that image databases of herbaceous plants would benefit from multi organ observations, comprising at least the front and lateral perspective of flowers and the leaf top view

The GTZAN dataset: Its contents, its faults, their effects on evaluation, and its future use

The GTZAN dataset appears in at least 100 published works, and is the most-used public dataset for evaluation in machine listening research for music genre recognition (MGR). Our recent work, however, shows GTZAN has several faults (repetitions, mislabelings, and distortions), which challenge the interpretability of any result derived using it. In this article, we disprove the claims that all MGR systems are affected in the same ways by these faults, and that the performances of MGR systems in GTZAN are still meaningfully comparable since they all face the same faults. We identify and analyze the contents of GTZAN, and provide a catalog of its faults. We review how GTZAN has been used in MGR research, and find few indications that its faults have been known and considered. Finally, we rigorously study the effects of its faults on evaluating five different MGR systems. The lesson is not to banish GTZAN, but to use it with consideration of its contents.Comment: 29 pages, 7 figures, 6 tables, 128 reference

Feature-Specific Information Processing Precedes Concerted Activation in Human Visual Cortex

Current knowledge about the precise timing of visual input to the cortex relies largely on spike timings in monkeys and evoked-response latencies in humans. However, quantifying the activation onset does not unambiguously describe the timing of stimulus-feature-specific information processing. Here, we investigated the information content of the early human visual cortical activity by decoding low-level visual features from single-trial magnetoencephalographic (MEG) responses. MEG was measured from nine healthy subjects as they viewed annular sinusoidal gratings (spanning the visual field from 2 to 10° for a duration of 1 s), characterized by spatial frequency (0.33 cycles/degree or 1.33 cycles/degree) and orientation (45° or 135°); gratings were either static or rotated clockwise or anticlockwise from 0 to 180°. Time-resolved classifiers using a 20 ms moving window exceeded chance level at 51 ms (the later edge of the window) for spatial frequency, 65 ms for orientation, and 98 ms for rotation direction. Decoding accuracies of spatial frequency and orientation peaked at 70 and 90 ms, respectively, coinciding with the peaks of the onset evoked responses. Within-subject time-insensitive pattern classifiers decoded spatial frequency and orientation simultaneously (mean accuracy 64%, chance 25%) and rotation direction (mean 82%, chance 50%). Classifiers trained on data from other subjects decoded the spatial frequency (73%), but not the orientation, nor the rotation direction. Our results indicate that unaveraged brain responses contain decodable information about low-level visual features already at the time of the earliest cortical evoked responses, and that representations of spatial frequency are highly robust across individuals.Peer reviewe

History of art paintings through the lens of entropy and complexity

Art is the ultimate expression of human creativity that is deeply influenced by the philosophy and culture of the corresponding historical epoch. The quantitative analysis of art is therefore essential for better understanding human cultural evolution. Here we present a large-scale quantitative analysis of almost 140 thousand paintings, spanning nearly a millennium of art history. Based on the local spatial patterns in the images of these paintings, we estimate the permutation entropy and the statistical complexity of each painting. These measures map the degree of visual order of artworks into a scale of order-disorder and simplicity-complexity that locally reflects qualitative categories proposed by art historians. The dynamical behavior of these measures reveals a clear temporal evolution of art, marked by transitions that agree with the main historical periods of art. Our research shows that different artistic styles have a distinct average degree of entropy and complexity, thus allowing a hierarchical organization and clustering of styles according to these metrics. We have further verified that the identified groups correspond well with the textual content used to qualitatively describe the styles, and that the employed complexity-entropy measures can be used for an effective classification of artworks.Comment: 10 two-column pages, 5 figures; accepted for publication in PNAS [supplementary information available at http://www.pnas.org/highwire/filestream/824089/field_highwire_adjunct_files/0/pnas.1800083115.sapp.pdf