Segmentación semántica con modelos de deep learning y etiquetados no densos

La segmentación semántica es un problema muy estudiado dentro del campo de la visión por computador que consiste en la clasificación de imágenes a nivel de píxel. Es decir, asignar una etiqueta o valor a cada uno de los píxeles de la imagen. Tiene aplicaciones muy variadas, que van desde interpretar el contenido de escenas urbanas para tareas de conducción automática hasta aplicaciones médicas que ayuden al médico a analizar la información del paciente para realizar un diagnóstico o operaciones. Como en muchos otros problemas y tareas relacionados con la visión por computador, en los últimos años se han propuesto y demostrado grandes avances en los métodos para segmentación semántica gracias, en gran parte, al reciente auge de los métodos basados en aprendizaje profundo o deep learning.\\ A pesar de que en los últimos años se están realizando mejoras constantes, los modelos de \textit{deep learning} para segmentación semántica %así como otras áreas, tienen un problema presentan un reto que dificulta su aplicabilidad a problemas de la vida real: necesitan grandes cantidades de anotaciones para entrenar los modelos. Esto es muy costoso, sobre todo porque en este caso hay que realizarlo a nivel de píxel. Muchos conjuntos de datos reales, por ejemplo datos adquiridos para tareas de monitorización del medio ambiente (grabaciones de entornos naturales, imágenes de satélite) generalmente presentan tan solo unos pocos píxeles etiquetados por imagen, que suelen venir de algunos clicks de un experto, para indicar ciertas zonas de interés en esas imágenes. Este tipo de etiquetado hace %imposible que sea muy complicado el entrenamiento de modelos densos que permitan procesar y obtener de manera automática una mayor cantidad de información de todos estos conjuntos de datos.\\ El objetivo de este trabajo es proponer nuevos métodos para resolver este problema. La idea principal es utilizar una segmentación inicial de la imagen multi-nivel de la imagen para propagar la poca información disponible. Este enfoque novedoso permite aumentar la anotación, y demostramos que pese a ser algo ruidosa, permite aprender de manera efectiva un modelo que obtenga la segmentación deseada. Este método es aplicable a cualquier tipo de dispersión de las anotaciones, siendo independiente del número de píxeles anotados. Las principales tareas desarrolladas en este proyecto son: -Estudio del estado del arte en técnicas de segmentación semántica (la mayoría basadas en técnicas de deep learning) -Propuesta y evaluación de métodos para aumentar (propagar) las etiquetas de las imágenes de entrenamiento cuando estas son dispersas y escasas -Diseño y evaluación de las arquitecturas de redes neuronales más adecuadas para resolver este problema Para validar nuestras propuestas, nos centramos en un caso de aplicación en imágenes submarinas, capturadas para monitorización de las zonas de barreras de coral. También demostramos que el método propuesto se puede aplicar a otro tipo de imágenes, como imágenes aéreas, imágenes multiespectrales y conjuntos de datos de segmentación de instancias

Putting the reader in the picture. Screen translation and foreign-language learning

Although Portugal is traditionally a subtitling country, with regular exposure to English audiovisual materials, the population's foreign-language skills (English) appear as statistically low. This research seeks to evaluate translation, as an activity in the educational area, and its relevance to foreign-language development and learning; it aims specifically at evaluating the effectiveness of subtitling as a language-learning tool amongst learners in Portugal.The data resulted from three studies. The first two tested the understanding of content through exposure to subtitles. The third evaluated the production skills of EFL students, in a very specific area of language - idiomatic expressions-, via the use of the mother-tongue, after prior exposure to subtitled material.The findings from the 3 studies indicate that the presence of subtitles, interlingual or intralingual, always contribute towards viewers' comprehension of the content, even in culture-specific areas such as idioms. Putting the reader in the picture: screen translation and foreign-language learning Abstract Although Portugal is traditionally a subtitling country, with regular exposure to English audiovisual materials, the population's foreign-language skills (English) appear as statistically low. This research seeks to evaluate translation, as an activity in the educational area, and its relevance to foreign-language development and learning; it aims specifically at evaluating the effectiveness of subtitling as a language-learning tool amongst learners in Portugal. The data resulted from three studies. The first two tested the understanding of content through exposure to subtitles. The third evaluated the production skills of EFL students, in a very specific area of language - idiomatic expressions-, via the use of the mother-tongue, after prior exposure to subtitled material. The findings from the 3 studies indicate that the presence of subtitles, interlingual or intralingual, always contribute towards viewers' comprehension of the content, even in culture-specific areas such as idioms

Exploring the collaborative functionings of the informal collaboration for sustainability of forest resources in Indonesia

Master's Thesis in Global DevelopmentGLODE36

The Great Dance : myth, history and identity in documentary film representation of the Bushmen, 1925-2000

This thesis utilises a sample of major documentary films on the Bushmen of Southern Africa as primary sources in investigating change over time in the interpretation and visualisation of Bushmen peoples over seventy-five years from 1925 to 2000. The primary sources of this thesis are seven documentary films on the subject of Bushmen people in southern Africa. These films are as follows The Bushmen (1925), made by the Denver African Expedition to southern Africa; the BBC film Lost World of Kalahari (1956) by Laurens van der Post; The Hunters (1958) by John Marshall; the 1974 National Geographic Society film Bushmen of the Kalahari; John Marshall's 1980 film N!ai: The Story of a !Kung Woman; and the South African films People of the Great Sandface (1984) by Paul John Myburgh and The Great Dance (2000) by Craig and Damon Foster. All of these films reflect, to varying degrees, a complex interplay between generic images of Bushmen as pristine primitives and the visible evidence of many Bushmen peoples rapid decline into poverty in Southern Africa, a process which had been ongoing throughout the twentieth century. The aim of the thesis has been to explore the utilisation of film as a primary source for historical research, but focussing specifically on a subject related to the southern African historical context. The films under analysis have been critically appraised as evidence of the values and attitudes of the people and period that have produced them, and for evidence about the Bushmen at the time of filming. Furthermore, each film has been considered as a film in history, for how it influences academic or popular discourses on the Bushmen, and finally as filmic 'historiography' that communicates historical knowledge. This thesis, then, utilises a knowledge and understanding of film language, as well as the history and development of documentary film, to assess and consider the way in which knowledge is communicated through the medium of film. This study has attempted to investigate the popular and academic indictment of documentary film as progenitor and/ or reinforcing agent of crude, reified mythologies about Bushmen culture in southern Africa. It is shown here that the way major documentary films have interpreted and positioned Bushmen people reveals the degree to which documentary films are acute reflections of their historical contexts, particularly in relation to the complicated webs of discourse that define popular and academic responses to particular subjects, such as 'Bushmen', at particular historical moments. Critical, visually literate analysis of documentaries can reveal the patterns of these discourses, which in turn reflect layers of ideology that change over time. A secondary finding of this thesis has been that documentary film might constitute a source of oral history for historians, when the subjects of a documentary film express ideas and attitudes that reflect self-identity. It is proposed that the approach to analysis of documentary film that has been utilised throughout this study is a means of 'extracting' the oral testimony from its ideological positioning within the world of the film. The historian might evaluate the usefulness of a subject's oral testimony in relation to the ideological orientation of the film as a whole, to decide whether it is worthwhile being considered as das Ding an sich or should be seen purely as a reflection of values and attitudes of the filmmaker, or something in between. It is shown in this thesis that documentary film constitutes an important archive of oral testimony for historians who are properly versed in reading film language

Never Before Seen: Spectacle, Staging, and Story in Wildlife Film's Blue-Chip Renaissance

The topic of this dissertation is wildlife film and its representation of animal behaviour. I identify a blue-chip renaissance of wildlife documentary filmmaking in the early twenty-first century featuring conventional natural history subject matter, stunning visuals, unprecedented costs, an extended rhetoric of authenticity, and an emphasis on novel footage of animal behaviour. The blue-chip renaissance is a fertile site for investigating wildlife films as hybrid objects, as these films inhabit a set of major conceptual tensions between nature and culture; entertainment and education; and authenticity and artifice. In a review of extant literature (Chapter 1) I examine how those conceptual boundaries have been permeable and productive for scholars of wildlife film and related topics in multiple disciplines, motivating this dissertations interdisciplinary approach. I argue in Chapter 2 that the blue-chip renaissances visual spectacle is not an entertaining impediment to education, but rather a route to immersion and affective knowing, drawing from the legacy of natural history display. In Chapter 3, I analyze working filmmakers attitudes about staging practices in wildlife documentaries, a controversial topic that influences their professional identity as storytellers and observers of nature. Chapter 4 offers a taxonomy of the representation within the blue-chip renaissance and its authoritative public demonstration of nature, arguing that these films model and simulate a variety of real and theoretical entities and processes. In Chapter 5, I show that the authenticity of the blue-chip renaissances portrayal of nature is predicated on the extensive use of behind-the-scenes making-of documentaries employing observational realism. I conclude by exploring the challenges of locating any definitive cultural impacts of wildlife films, and offer instead directions for further research into wildlife films as experienced science communication

Video in development : filming for rural change

This book is about using video in rural interventions for social change. It gives a glimpse into the many creative ways in which video can be used in rural development activities. Capitalising on experience in this field, the books aims to encourage development professionals to explore the potential of video in development, making it a more coherent, better understood and properly used development tool - in short, filming for rural change

A method of rapid curriculum development for foreign language teaching

ttps://www.ester.ee/record=b5163539*es

Colonial film: moving images of the British Empire

Between 2009 and 2010 I was employed as a postdoctoral researcher on the AHRC-funded project, Colonial Film: Moving Images of the British Empire. The primary outcome of this project was a database detailing the colonial films held by BFI, the Imperial War Museum and the British Empire and Commonwealth Museum. Many of these films are not widely known, and the project provided the first thorough documentation of these materials. I was employed to write 95 1,000-word essays about selected films from this database. These essays were broken down into context and analysis of the films and were reviewed by archivists at the relevant institutions, as well as by the project’s co-directors, Colin MacCabe (Pittsburgh) and Lee Grieveson (UCL)

Cultural Heritage Storytelling, Engagement and Management in the Era of Big Data and the Semantic Web

The current Special Issue launched with the aim of further enlightening important CH areas, inviting researchers to submit original/featured multidisciplinary research works related to heritage crowdsourcing, documentation, management, authoring, storytelling, and dissemination. Audience engagement is considered very important at both sites of the CH production–consumption chain (i.e., push and pull ends). At the same time, sustainability factors are placed at the center of the envisioned analysis. A total of eleven (11) contributions were finally published within this Special Issue, enlightening various aspects of contemporary heritage strategies placed in today’s ubiquitous society. The finally published papers are related but not limited to the following multidisciplinary topics:Digital storytelling for cultural heritage;Audience engagement in cultural heritage;Sustainability impact indicators of cultural heritage;Cultural heritage digitization, organization, and management;Collaborative cultural heritage archiving, dissemination, and management;Cultural heritage communication and education for sustainable development;Semantic services of cultural heritage;Big data of cultural heritage;Smart systems for Historical cities – smart cities;Smart systems for cultural heritage sustainability