A walk through the web’s video clips

Approximately 10^5 video clips are posted every day on the Web. The popularity of Web-based video databases poses a number of challenges to machine vision scientists: how do we organize, index and search such large wealth of data? Content-based video search and classification have been proposed in the literature and applied successfully to analyzing movies, TV broadcasts and lab-made videos. We explore the performance of some of these algorithms on a large data-set of approximately 3000 videos. We collected our data-set directly from the Web minimizing bias for content or quality, way so as to have a faithful representation of the statistics of this medium. We find that the algorithms that we have come to trust do not work well on video clips, because their quality is lower and their subject is more varied. We will make the data publicly available to encourage further research

Can Computers Create Art?

This essay discusses whether computers, using Artificial Intelligence (AI), could create art. First, the history of technologies that automated aspects of art is surveyed, including photography and animation. In each case, there were initial fears and denial of the technology, followed by a blossoming of new creative and professional opportunities for artists. The current hype and reality of Artificial Intelligence (AI) tools for art making is then discussed, together with predictions about how AI tools will be used. It is then speculated about whether it could ever happen that AI systems could be credited with authorship of artwork. It is theorized that art is something created by social agents, and so computers cannot be credited with authorship of art in our current understanding. A few ways that this could change are also hypothesized.Comment: to appear in Arts, special issue on Machine as Artist (21st Century

Animating the development of Social Networks over time using a dynamic extension of multidimensional scaling

The animation of network visualizations poses technical and theoretical challenges. Rather stable patterns are required before the mental map enables a user to make inferences over time. In order to enhance stability, we developed an extension of stress-minimization with developments over time. This dynamic layouter is no longer based on linear interpolation between independent static visualizations, but change over time is used as a parameter in the optimization. Because of our focus on structural change versus stability the attention is shifted from the relational graph to the latent eigenvectors of matrices. The approach is illustrated with animations for the journal citation environments of Social Networks, the (co-)author networks in the carrying community of this journal, and the topical development using relations among its title words. Our results are also compared with animations based on PajekToSVGAnim and SoNIA

FEAFA: A Well-Annotated Dataset for Facial Expression Analysis and 3D Facial Animation

Facial expression analysis based on machine learning requires large number of well-annotated data to reflect different changes in facial motion. Publicly available datasets truly help to accelerate research in this area by providing a benchmark resource, but all of these datasets, to the best of our knowledge, are limited to rough annotations for action units, including only their absence, presence, or a five-level intensity according to the Facial Action Coding System. To meet the need for videos labeled in great detail, we present a well-annotated dataset named FEAFA for Facial Expression Analysis and 3D Facial Animation. One hundred and twenty-two participants, including children, young adults and elderly people, were recorded in real-world conditions. In addition, 99,356 frames were manually labeled using Expression Quantitative Tool developed by us to quantify 9 symmetrical FACS action units, 10 asymmetrical (unilateral) FACS action units, 2 symmetrical FACS action descriptors and 2 asymmetrical FACS action descriptors, and each action unit or action descriptor is well-annotated with a floating point number between 0 and 1. To provide a baseline for use in future research, a benchmark for the regression of action unit values based on Convolutional Neural Networks are presented. We also demonstrate the potential of our FEAFA dataset for 3D facial animation. Almost all state-of-the-art algorithms for facial animation are achieved based on 3D face reconstruction. We hence propose a novel method that drives virtual characters only based on action unit value regression of the 2D video frames of source actors.Comment: 9 pages, 7 figure

Animating the evolution of software

The use and development of open source software has increased significantly in the last decade. The high frequency of changes and releases across a distributed environment requires good project management tools in order to control the process adequately. However, even with these tools in place, the nature of the development and the fact that developers will often work on many other projects simultaneously, means that the developers are unlikely to have a clear picture of the current state of the project at any time. Furthermore, the poor documentation associated with many projects has a detrimental effect when encouraging new developers to contribute to the software. A typical version control repository contains a mine of information that is not always obvious and not easy to comprehend in its raw form. However, presenting this historical data in a suitable format by using software visualisation techniques allows the evolution of the software over a number of releases to be shown. This allows the changes that have been made to the software to be identified clearly, thus ensuring that the effect of those changes will also be emphasised. This then enables both managers and developers to gain a more detailed view of the current state of the project. The visualisation of evolving software introduces a number of new issues. This thesis investigates some of these issues in detail, and recommends a number of solutions in order to alleviate the problems that may otherwise arise. The solutions are then demonstrated in the definition of two new visualisations. These use historical data contained within version control repositories to show the evolution of the software at a number of levels of granularity. Additionally, animation is used as an integral part of both visualisations - not only to show the evolution by representing the progression of time, but also to highlight the changes that have occurred. Previously, the use of animation within software visualisation has been primarily restricted to small-scale, hand generated visualisations. However, this thesis shows the viability of using animation within software visualisation with automated visualisations on a large scale. In addition, evaluation of the visualisations has shown that they are suitable for showing the changes that have occurred in the software over a period of time, and subsequently how the software has evolved. These visualisations are therefore suitable for use by developers and managers involved with open source software. In addition, they also provide a basis for future research in evolutionary visualisations, software evolution and open source development

Publishing Time Dependent Oceanographic Visualizations using VRML

Oceanographic simulations generate time dependent data; thus, visualizations of this data should include and realize the variable `time'. Moreover, the oceanographers are located across the world and they wish to conveniently communicate and exchange these temporal realizations. This publication of material may be achieved using different methods and languages. VRML provides one convenient publication medium that allows the visualizations to be easily viewed and exchanged between users. Using VRML as the implementation language, we describe five categories of operation. The strategies are determined by the level of calculation that is achieved at the generation stage compared to the playing of the animation. We name the methods: 2D movie, 3D spatial, 3D flipbook, key frame deformation and visualization program