Automatic Structural Scene Digitalization

In this paper, we present an automatic system for the analysis and labeling of structural scenes, floor plan drawings in Computer-aided Design (CAD) format. The proposed system applies a fusion strategy to detect and recognize various components of CAD floor plans, such as walls, doors, windows and other ambiguous assets. Technically, a general rule-based filter parsing method is fist adopted to extract effective information from the original floor plan. Then, an image-processing based recovery method is employed to correct information extracted in the first step. Our proposed method is fully automatic and real-time. Such analysis system provides high accuracy and is also evaluated on a public website that, on average, archives more than ten thousands effective uses per day and reaches a relatively high satisfaction rate.Comment: paper submitted to PloS On

Picture recognition in animals and in humans : a review

The question of object–picture recognition has received relatively little attention in both human and comparative psychology; a paradoxical situation given the important use of image technology (e.g. slides, digitised pictures) made by neuroscientists in their experimental investigation of visual cognition. The present review examines the relevant literature pertaining to the question of the correspondence between and:or equivalence of real objects and their pictorial representations in animals and humans. Two classes of reactions towards pictures will be considered in turn: acquired responses in picture recognition experiments and spontaneous responses to pictures of biologically relevant objects (e.g. prey or conspecifics). Our survey will lead to the conclusion that humans show evidence of picture recognition from an early age; this recognition is, however, facilitated by prior exposure to pictures. This same exposure or training effect appears also to be necessary in nonhuman primates as well as in other mammals and in birds. Other factors are also identified as playing a role in the acquired responses to pictures: familiarity with and nature of the stimulus objects, presence of motion in the image, etc. Spontaneous and adapted reactions to pictures are a wide phenomenon present in different phyla including invertebrates but in most instances, this phenomenon is more likely to express confusion between objects and pictures than discrimination and active correspondence between the two. Finally, given the nature of a picture (e.g. bi-dimensionality, reduction of cues related to depth), it is suggested that object–picture recognition be envisioned in various levels, with true equivalence being a limited case, rarely observed in the behaviour of animals and even humans

Object categorisation, object naming, and viewpoint-independence in visual remembering: Evidence from young children's drawings of a novel object

A simple object-drawing task confirms a three-way association between object categorisation, viewpoint independence, and longer-term visual remembering. Young children (5- to 7-year-olds) drew a familiar object or a novel object, immediately after it had been hidden from view or on the following day. Both objects were shown from a full range of viewpoints or from just two viewpoints, from neither of which would either object normally be drawn after unrestricted viewing. When drawing from short-term memory after restricted viewing, both objects were most likely to be depicted from a seen viewpoint. When drawing from longer-term memory after restricted viewing, the novel object continued to be drawn from a seen viewpoint, but the mug was now most likely to be drawn from a preferred viewpoint from which it had not been seen. Naming the novel object with a novel count noun ("Look at this. This is a dax"), to signal that it belonged to an object category, resulted in it being drawn in the same way as the familiar object. The results concur with other evidence indicating that short-term and longer-term visual remembering are differentially associated with viewpoint-dependent representations of individual objects and viewpoint independent representations of object categories, respectively

Coding of visual object features and feature conjunctions in the human brain

Peer reviewedPublisher PD

Sketching space

In this paper, we present a sketch modelling system which we call Stilton. The program resembles a desktop VRML browser, allowing a user to navigate a three-dimensional model in a perspective projection, or panoramic photographs, which the program maps onto the scene as a `floor' and `walls'. We place an imaginary two-dimensional drawing plane in front of the user, and any geometric information that user sketches onto this plane may be reconstructed to form solid objects through an optimization process. We show how the system can be used to reconstruct geometry from panoramic images, or to add new objects to an existing model. While panoramic imaging can greatly assist with some aspects of site familiarization and qualitative assessment of a site, without the addition of some foreground geometry they offer only limited utility in a design context. Therefore, we suggest that the system may be of use in `just-in-time' CAD recovery of complex environments, such as shop floors, or construction sites, by recovering objects through sketched overlays, where other methods such as automatic line-retrieval may be impossible. The result of using the system in this manner is the `sketching of space' - sketching out a volume around the user - and once the geometry has been recovered, the designer is free to quickly sketch design ideas into the newly constructed context, or analyze the space around them. Although end-user trials have not, as yet, been undertaken we believe that this implementation may afford a user-interface that is both accessible and robust, and that the rapid growth of pen-computing devices will further stimulate activity in this area

Images and Models of Thought

One really extraordinary ability of the mind is its capacity to match objects and form plausible hypotheses from just a few elements that we see through our eyes. We recognize a feather even if it is mostly covered by a book sitting on top of it. Even if we cannot see the whole shape, we recognize it as pertaining to a category, a set of objects called “feathers”. If by imagination we mean the ability to represent things for ourselves that are not present in the act of sensing, we should realize that the hypothesis of the feather is an imaginative construction of the mind, a mental representation, a model referred to by the sensory input