Vision machine

C’est un des indices de la modernité que l’art, l’approche esthétique, n’aient pas, plus, de place assignée dans la société contemporaine. Nantes, ville de Jules Verne, consacre une exposition aux transformations de la vision telles que diverses conduites artistiques les ont perçues, interprétées et prises en charge depuis une centaine d’années. L’exposition et le livre qui l’explicite ont pour épicentre l’œuvre du viennois américain Frederick Kieslu, actif entre 1920 et 1960. Accueilli à la ..

Computer Vision Machine Learning and Future-Oriented Ethics

Computer Vision Machine Learning (CVML) in the application of facial recognition is currently being researched, developed, and deployed across the world. It is of interest to governments, technology companies, and consumers. However, fundamental issues remain related to human rights, error rates, and bias. These issues have the potential to create societal backlash towards the technology which could limit its benefits as well as harm people in the process. To develop facial recognition technology that will be beneficial to society in and beyond the next decade, society must put ethics at the forefront. Drawing on AI4People’s adaption of bioethics for AI, Luciano Floridi’s distributed morality framework, Kate Crawford’s definition of harms of representation, and Microsoft’s leadership in facial recognition ethics within the industry, this paper explores stakeholder responsibility within CVML to create the best integration of CVML for society. The paper attempts to connect ethics with praxis in making decisions related to CVML

Automatic annotation of tennis games: An integration of audio, vision, and learning

Fully automatic annotation of tennis game using broadcast video is a task with a great potential but with enormous challenges. In this paper we describe our approach to this task, which integrates computer vision, machine listening, and machine learning. At the low level processing, we improve upon our previously proposed state-of-the-art tennis ball tracking algorithm and employ audio signal processing techniques to detect key events and construct features for classifying the events. At high level analysis, we model event classification as a sequence labelling problem, and investigate four machine learning techniques using simulated event sequences. Finally, we evaluate our proposed approach on three real world tennis games, and discuss the interplay between audio, vision and learning. To the best of our knowledge, our system is the only one that can annotate tennis game at such a detailed level

On The Effect of Hyperedge Weights On Hypergraph Learning

Hypergraph is a powerful representation in several computer vision, machine learning and pattern recognition problems. In the last decade, many researchers have been keen to develop different hypergraph models. In contrast, no much attention has been paid to the design of hyperedge weights. However, many studies on pairwise graphs show that the choice of edge weight can significantly influence the performances of such graph algorithms. We argue that this also applies to hypegraphs. In this paper, we empirically discuss the influence of hyperedge weight on hypegraph learning via proposing three novel hyperedge weights from the perspectives of geometry, multivariate statistical analysis and linear regression. Extensive experiments on ORL, COIL20, JAFFE, Sheffield, Scene15 and Caltech256 databases verify our hypothesis. Similar to graph learning, several representative hyperedge weighting schemes can be concluded by our experimental studies. Moreover, the experiments also demonstrate that the combinations of such weighting schemes and conventional hypergraph models can get very promising classification and clustering performances in comparison with some recent state-of-the-art algorithms

Alberti's window v2.0: a vision machine for expanded spaces of representation.

Alberti's Window v2.0 is a novel interactive cinema platform for the expression of stereoscopic 3D panoramic and multi-viewpoint spaces of representation, in which participants embark on an embodied journey of discovery. In this paper, the author outlines the conceptual and technical framework, exemplified through a work specifically made for this platform, the interactive cinema project Juxtaposition. An introduction to the history of immersive imaging, presentation modalities and innovators contextualises this work within the wider field