Contributions to the Content-Based Image Retrieval Using Pictorial Queris

L'accés massiu a les càmeres digitals, els ordinadors personals i a Internet, ha propiciat la creació de grans volums de dades en format digital. En aquest context, cada vegada adquireixen major rellevància totes aquelles eines dissenyades per organitzar la informació i facilitar la seva cerca.Les imatges són un cas particular de dades que requereixen tècniques específiques de descripció i indexació. L'àrea de la visió per computador encarregada de l'estudi d'aquestes tècniques rep el nom de Recuperació d'Imatges per Contingut, en anglès Content-Based Image Retrieval (CBIR). Els sistemes de CBIR no utilitzen descripcions basades en text sinó que es basen en característiques extretes de les pròpies imatges. En contrast a les més de 6000 llengües parlades en el món, les descripcions basades en característiques visuals representen una via d'expressió universal.La intensa recerca en el camp dels sistemes de CBIR s'ha aplicat en àrees de coneixement molt diverses. Així doncs s'han desenvolupat aplicacions de CBIR relacionades amb la medicina, la protecció de la propietat intel·lectual, el periodisme, el disseny gràfic, la cerca d'informació en Internet, la preservació dels patrimoni cultural, etc. Un dels punts importants d'una aplicació de CBIR resideix en el disseny de les funcions de l'usuari. L'usuari és l'encarregat de formular les consultes a partir de les quals es fa la cerca de les imatges. Nosaltres hem centrat l'atenció en aquells sistemes en què la consulta es formula a partir d'una representació pictòrica. Hem plantejat una taxonomia dels sistemes de consulta en composada per quatre paradigmes diferents: Consulta-segons-Selecció, Consulta-segons-Composició-Icònica, Consulta-segons-Esboç i Consulta-segons-Il·lustració. Cada paradigma incorpora un nivell diferent en el potencial expressiu de l'usuari. Des de la simple selecció d'una imatge, fins a la creació d'una il·lustració en color, l'usuari és qui pren el control de les dades d'entrada del sistema. Al llarg dels capítols d'aquesta tesi hem analitzat la influència que cada paradigma de consulta exerceix en els processos interns d'un sistema de CBIR. D'aquesta manera també hem proposat un conjunt de contribucions que hem exemplificat des d'un punt de vista pràctic mitjançant una aplicació final

Contributions to the content-based image retrieval using pictorial queries

Descripció del recurs: el 02 de novembre de 2010L'accés massiu a les càmeres digitals, els ordinadors personals i a Internet, ha propiciat la creació de grans volums de dades en format digital. En aquest context, cada vegada adquireixen major rellevància totes aquelles eines dissenyades per organitzar la informació i facilitar la seva cerca. Les imatges són un cas particular de dades que requereixen tècniques específiques de descripció i indexació. L'àrea de la visió per computador encarregada de l'estudi d'aquestes tècniques rep el nom de Recuperació d'Imatges per Contingut, en anglès Content-Based Image Retrieval (CBIR). Els sistemes de CBIR no utilitzen descripcions basades en text sinó que es basen en característiques extretes de les pròpies imatges. En contrast a les més de 6000 llengües parlades en el món, les descripcions basades en característiques visuals representen una via d'expressió universal. La intensa recerca en el camp dels sistemes de CBIR s'ha aplicat en àrees de coneixement molt diverses. Així doncs s'han desenvolupat aplicacions de CBIR relacionades amb la medicina, la protecció de la propietat intel·lectual, el periodisme, el disseny gràfic, la cerca d'informació en Internet, la preservació dels patrimoni cultural, etc. Un dels punts importants d'una aplicació de CBIR resideix en el disseny de les funcions de l'usuari. L'usuari és l'encarregat de formular les consultes a partir de les quals es fa la cerca de les imatges. Nosaltres hem centrat l'atenció en aquells sistemes en què la consulta es formula a partir d'una representació pictòrica. Hem plantejat una taxonomia dels sistemes de consulta en composada per quatre paradigmes diferents: Consulta-segons-Selecció, Consulta-segons-Composició-Icònica, Consulta-segons-Esboç i Consulta-segons-Il·lustració. Cada paradigma incorpora un nivell diferent en el potencial expressiu de l'usuari. Des de la simple selecció d'una imatge, fins a la creació d'una il·lustració en color, l'usuari és qui pren el control de les dades d'entrada del sistema. Al llarg dels capítols d'aquesta tesi hem analitzat la influència que cada paradigma de consulta exerceix en els processos interns d'un sistema de CBIR. D'aquesta manera també hem proposat un conjunt de contribucions que hem exemplificat des d'un punt de vista pràctic mitjançant una aplicació final

Cultural Context-Aware Models and IT Applications for the Exploitation of Musical Heritage

Information engineering has always expanded its scope by inspiring innovation in different scientific disciplines. In particular, in the last sixty years, music and engineering have forged a strong connection in the discipline known as “Sound and Music Computing”. Musical heritage is a paradigmatic case that includes several multi-faceted cultural artefacts and traditions. Several issues arise from the analog-digital transfer of cultural objects, concerning their creation, preservation, access, analysis and experiencing. The keystone is the relationship of these digitized cultural objects with their carrier and cultural context. The terms “cultural context” and “cultural context awareness” are delineated, alongside the concepts of contextual information and metadata. Since they maintain the integrity of the object, its meaning and cultural context, their role is critical. This thesis explores three main case studies concerning historical audio recordings and ancient musical instruments, aiming to delineate models to preserve, analyze, access and experience the digital versions of these three prominent examples of musical heritage. The first case study concerns analog magnetic tapes, and, in particular, tape music, a particular experimental music born in the second half of the XX century. This case study has relevant implications from the musicology, philology and archivists’ points of view, since the carrier has a paramount role and the tight connection with its content can easily break during the digitization process or the access phase. With the aim to help musicologists and audio technicians in their work, several tools based on Artificial Intelligence are evaluated in tasks such as the discontinuity detection and equalization recognition. By considering the peculiarities of tape music, the philological problem of stemmatics in digitized audio documents is tackled: an algorithm based on phylogenetic techniques is proposed and assessed, confirming the suitability of these techniques for this task. Then, a methodology for a historically faithful access to digitized tape music recordings is introduced, by considering contextual information and its relationship with the carrier and the replay device. Based on this methodology, an Android app which virtualizes a tape recorder is presented, together with its assessment. Furthermore, two web applications are proposed to faithfully experience digitized 78 rpm discs and magnetic tape recordings, respectively. Finally, a prototype of web application for musicological analysis is presented. This aims to concentrate relevant part of the knowledge acquired in this work into a single interface. The second case study is a corpus of Arab-Andalusian music, suitable for computational research, which opens new opportunities to musicological studies by applying data-driven analysis. The description of the corpus is based on the five criteria formalized in the CompMusic project of the University Pompeu Fabra of Barcelona: purpose, coverage, completeness, quality and re-usability. Four Jupyter notebooks were developed with the aim to provide a useful tool for computational musicologists for analyzing and using data and metadata of such corpus. The third case study concerns an exceptional historical musical instrument: an ancient Pan flute exhibited at the Museum of Archaeological Sciences and Art of the University of Padova. The final objective was the creation of a multimedia installation to valorize this precious artifact and to allow visitors to interact with the archaeological find and to learn its history. The case study provided the opportunity to study a methodology suitable for the valorization of this ancient musical instrument, but also extendible to other artifacts or museum collections. Both the methodology and the resulting multimedia installation are presented, followed by the assessment carried out by a multidisciplinary group of experts

Development of a design feature database to support design for additive manufacturing (DfAM)

This research introduces a method to aid the design of products or parts to be made using Additive Manufacturing (AM), particularly the laser sintering (LS) system. The research began with a literature review that encompassed the subjects of design and AM and through this the need for an assistive design approach for AM was identified. Undertaking the literature review also confirmed that little has been done in the area of supporting the design of AM parts or products. Preliminary investigations were conducted to identify the design factors to consider for AM. Two preliminary investigations were conducted, the first investigation was conducted to identify the reasons for designing for AM, the need for a design support tool for AM and current challenges of student industrial designers designing parts or products for AM, and also to identify the type of design support they required. Further investigation were conducted to examine how AM products are developed by professional industrial designers and to understand their design processes and procedures. The study has identified specific AM enabled design features that the designers have been able to create within their case study products. Detailed observation of the case study products and parts reveals a number of features that are only economical or possible to produce with AM. A taxonomy of AM enabled design features was developed as a precursor for the development of a computer based design tool. The AM enabled design features was defined as a features that would be uneconomical or very expensive to be produced with conventional methods. The taxonomy has four top-level taxons based on four main reasons for using AM, namely user fit requirements, improved product functionality requirements, parts consolidation requirements and improvement of aesthetics or form requirements. Each of these requirements was expanded further into thirteen sub categories of applications that contained 106 examples of design features that are only possible to manufacture using AM technology. The collected and grouped design features were presented in a form of a database as a method to aid product design of parts or products for AM. A series of user trials were conducted that showed the database enabled industrial designers to visualise and gather design feature information that could be incorporated into their own design work. Finally, conclusions are drawn and suggestions for future work are listed. In summary, it can be concluded that this research project has been a success, having addressed all of the objectives that were identified at its outset. From the user trial results, it is clear to see that the proposed tool would be an effective tool to support product design for AM, particularly from an educational perspective. The tool was found to be beneficial to student designers to take advantage of the design freedom offered by AM in order to produce improved product design. As AM becomes more widely used, it is anticipated that new design features will emerge that could be included in future versions of the database so that it will remain a rich source of inspirational information for tomorrow s industrial designers

Adaptive Methods for Robust Document Image Understanding

A vast amount of digital document material is continuously being produced as part of major digitization efforts around the world. In this context, generic and efficient automatic solutions for document image understanding represent a stringent necessity. We propose a generic framework for document image understanding systems, usable for practically any document types available in digital form. Following the introduced workflow, we shift our attention to each of the following processing stages in turn: quality assurance, image enhancement, color reduction and binarization, skew and orientation detection, page segmentation and logical layout analysis. We review the state of the art in each area, identify current defficiencies, point out promising directions and give specific guidelines for future investigation. We address some of the identified issues by means of novel algorithmic solutions putting special focus on generality, computational efficiency and the exploitation of all available sources of information. More specifically, we introduce the following original methods: a fully automatic detection of color reference targets in digitized material, accurate foreground extraction from color historical documents, font enhancement for hot metal typesetted prints, a theoretically optimal solution for the document binarization problem from both computational complexity- and threshold selection point of view, a layout-independent skew and orientation detection, a robust and versatile page segmentation method, a semi-automatic front page detection algorithm and a complete framework for article segmentation in periodical publications. The proposed methods are experimentally evaluated on large datasets consisting of real-life heterogeneous document scans. The obtained results show that a document understanding system combining these modules is able to robustly process a wide variety of documents with good overall accuracy

Art and Design: A Comprehensive Guide for Creative Artists

Art and Design: A Comprehensive Guide for Creative Artists was carefully written as a knowledge base for art and design training, schoolwork and practice. Indeed, learners who will use this book will surely have a good start and they will also increase their awareness of the diversity of art and design—outside the physical limits of a classroom. We use Art and Design to learn about other people, their cultures and values; to communicate and to express our thoughts and feelings. Art can be used in different traditional ways like worships, adoration and ceremonies. Art and Design, A Comprehensive Guide for Creative Artists provides it all with scholarly academic instructions associated with the needs of local people. This book also argues that creative artists should remember to consider their actual application of ideas to practices. It provides feasible guidance to continuous working during school sessions and after classroom as a way of increasing learners' curiosities on every side of learning. Hence, maintain proficiency. Art and Design, A Comprehensive Guide for Creative Artists has provided suggestions of ideas to artists especially art learners, with various ways of developing and producing artworks from available sources of inspirations, by encouraging experimentation and innovative thinking where there is scarcity during learning, let alone materials of art are expensive. As a consequence of that, skills of creativity have been reinforced together with strategies of executing art by nurturing the learner to use found objects and local materials, tools and equipment—at some future time, a learning process shall reach the ambition of recycling

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Proceedings of the 7th Sound and Music Computing Conference

Proceedings of the SMC2010 - 7th Sound and Music Computing Conference, July 21st - July 24th 2010

The social psychology of digital photography: a process philosophy approach

This thesis addresses the nature of the image and its relationship to human perception and memory. Traditionally psychology approaches the relationship between the image and the human in a representationalist register, in which the world represents itself through images to the subjective observer. The thesis questions these assumptions about the representational relationship between the world, the mind and the image through a study of people using digital photographic technologies. It argues that digital images exist as a complex network of technology and activity that manage their incessant movement, production, consumption, convertibility, connectedness and fragility. The digital image exposes the complex nature of the image as more than a simple representation. If this is the case, then human involvement with images as networks occurs in terms of our inclusion in the network rather than as a subjective observer positioned outside of the world. Henri Bergson proposes that we see the image in terms of a distinction between time and space rather than as an intermediary between a subject and the object. The implications of this for the way in which we think about the interaction between people and technology and the nature of perception and memory are explored through some data examples from three settings. These are; amateur photographers using digital technology; families looking through their stocks of digital images and remembering past events together and finally, displays of family member's histories and identities on the internet