Relating First-person and Third-person Vision

Thanks to the availability and increasing popularity of wearable devices such as GoPro cameras, smart phones and glasses, we have access to a plethora of videos captured from the first person (egocentric) perspective. Capturing the world from the perspective of one\u27s self, egocentric videos bear characteristics distinct from the more traditional third-person (exocentric) videos. In many computer vision tasks (e.g. identification, action recognition, face recognition, pose estimation, etc.), the human actors are the main focus. Hence, detecting, localizing, and recognizing the human actor is often incorporated as a vital component. In an egocentric video however, the person behind the camera is often the person of interest. This would change the nature of the task at hand, given that the camera holder is usually not visible in the content of his/her egocentric video. In other words, our knowledge about the visual appearance, pose, etc. on the egocentric camera holder is very limited, suggesting reliance on other cues in first person videos. First and third person videos have been separately studied in the past in the computer vision community. However, the relationship between first and third person vision has yet to be fully explored. Relating these two views systematically could potentially benefit many computer vision tasks and applications. This thesis studies this relationship in several aspects. We explore supervised and unsupervised approaches for relating these two views seeking different objectives such as identification, temporal alignment, and action classification. We believe that this exploration could lead to a better understanding the relationship of these two drastically different sources of information

Detecting and Monitoring Hate Speech in Twitter

Social Media are sensors in the real world that can be used to measure the pulse of societies. However, the massive and unfiltered feed of messages posted in social media is a phenomenon that nowadays raises social alarms, especially when these messages contain hate speech targeted to a specific individual or group. In this context, governments and non-governmental organizations (NGOs) are concerned about the possible negative impact that these messages can have on individuals or on the society. In this paper, we present HaterNet, an intelligent system currently being used by the Spanish National Office Against Hate Crimes of the Spanish State Secretariat for Security that identifies and monitors the evolution of hate speech in Twitter. The contributions of this research are many-fold: (1) It introduces the first intelligent system that monitors and visualizes, using social network analysis techniques, hate speech in Social Media. (2) It introduces a novel public dataset on hate speech in Spanish consisting of 6000 expert-labeled tweets. (3) It compares several classification approaches based on different document representation strategies and text classification models. (4) The best approach consists of a combination of a LTSM+MLP neural network that takes as input the tweet’s word, emoji, and expression tokens’ embeddings enriched by the tf-idf, and obtains an area under the curve (AUC) of 0.828 on our dataset, outperforming previous methods presented in the literatureThe work by Quijano-Sanchez was supported by the Spanish Ministry of Science and Innovation grant FJCI-2016-28855. The research of Liberatore was supported by the Government of Spain, grant MTM2015-65803-R, and by the European Union’s Horizon 2020 Research and Innovation Programme, under the Marie Sklodowska-Curie grant agreement No. 691161 (GEOSAFE). All the financial support is gratefully acknowledge

Navigating the Interim

Navigating the Interim attempts to build a framework for the ways in which visual art, media studies, and forms of social practice might intermingle within a career in the arts, as well as within a thorough art education curriculum. From broad theoretical analysis to the specificity of technical exercises and prompts, this paper serves as a roadmap for the ways in which production, teaching, and organizing might begin to merge into a single holistic practice. The author’s projects provide an anchor from which to analyze the various conceptual trajectories of art that have stemmed from modernism throughout the 20th century, as well as to challenge the anti-aesthetic phenomenon that has emerged out of this evolution, which has influenced paradigms within art education and leads to an analysis of the author’s own creative impulses, such as media activism, noise-based and appropriative tactics, and concerns about Debordian Spectacle. These self-analyses and reflections are situated within various binary oppositions: object-action, opacity-transparency, deconstruction-enstrangement, replacement-extension, and static-progressive