Learning Face Age Progression: A Pyramid Architecture of GANs

The two underlying requirements of face age progression, i.e. aging accuracy and identity permanence, are not well studied in the literature. In this paper, we present a novel generative adversarial network based approach. It separately models the constraints for the intrinsic subject-specific characteristics and the age-specific facial changes with respect to the elapsed time, ensuring that the generated faces present desired aging effects while simultaneously keeping personalized properties stable. Further, to generate more lifelike facial details, high-level age-specific features conveyed by the synthesized face are estimated by a pyramidal adversarial discriminator at multiple scales, which simulates the aging effects in a finer manner. The proposed method is applicable to diverse face samples in the presence of variations in pose, expression, makeup, etc., and remarkably vivid aging effects are achieved. Both visual fidelity and quantitative evaluations show that the approach advances the state-of-the-art.Comment: CVPR 2018. V4 and V2 are the same, i.e. the conference version; V3 is a related but different work, which is mistakenly submitted and will be submitted as a new arXiv pape

What else does your biometric data reveal? A survey on soft biometrics

International audienceRecent research has explored the possibility of extracting ancillary information from primary biometric traits, viz., face, fingerprints, hand geometry and iris. This ancillary information includes personal attributes such as gender, age, ethnicity, hair color, height, weight, etc. Such attributes are known as soft biometrics and have applications in surveillance and indexing biometric databases. These attributes can be used in a fusion framework to improve the matching accuracy of a primary biometric system (e.g., fusing face with gender information), or can be used to generate qualitative descriptions of an individual (e.g., "young Asian female with dark eyes and brown hair"). The latter is particularly useful in bridging the semantic gap between human and machine descriptions of biometric data. In this paper, we provide an overview of soft biometrics and discuss some of the techniques that have been proposed to extract them from image and video data. We also introduce a taxonomy for organizing and classifying soft biometric attributes, and enumerate the strengths and limitations of these attributes in the context of an operational biometric system. Finally, we discuss open research problems in this field. This survey is intended for researchers and practitioners in the field of biometrics

Biometrics

Biometrics-Unique and Diverse Applications in Nature, Science, and Technology provides a unique sampling of the diverse ways in which biometrics is integrated into our lives and our technology. From time immemorial, we as humans have been intrigued by, perplexed by, and entertained by observing and analyzing ourselves and the natural world around us. Science and technology have evolved to a point where we can empirically record a measure of a biological or behavioral feature and use it for recognizing patterns, trends, and or discrete phenomena, such as individuals' and this is what biometrics is all about. Understanding some of the ways in which we use biometrics and for what specific purposes is what this book is all about

A Cultural Analysis of Ageing: Baby Boomers and the Lived Experience of Extended Youthfulness

The thesis examines how contemporary members of the so-called baby boom generation (born between 1946-1964) in the UK, Ireland and North America present themselves in relation to ageing. Focusing upon the resources or categories they draw upon to do so, in an in-depth, semi-structured, interview situation. Much of the previous scholarly research into ageing has focused primarily upon issues relating to either social policy or demography, which, whilst being valid concerns, have tended to neglect broader cultural aspects relating to identity and representations of ageing. These representations currently serve to further distance middle from old age and death, reconfiguring the process of ageing around an extended period of youthfulness. This needs to be addressed, of which my research forms a part. Primarily by interrogating the production of aged subjectivities; to look for evidence of resistance to norms that construct ageing as an inevitable period of uniform decline; to demonstrate how this may be occurring and with what effects, such as for example, a paradoxical contribution to increased ageism. While people inevitably grow older physiologically, how these processes are understood are neither universal, nor 'natural'. Rather, they are historically specific and are conceived in particular societies in culturally specific practices, ideas and philosophies. I adopt a discursive approach to identity and ageing. Where the data is not treated as providing the 'answers' to questions of age and identity (Skeggs, 1997) but treated instead as material that requires further explanation and interpretation, and which is itself productive of aged/ageing identities. Viewed in this manner, close attention is paid to the variety of techniques through which the interviewees present themselves in relation to age. Such techniques include for example, the use of narrative, or the rhetorical use of notions of 'experience' or 'generation' as resources for the performance of (aged) identity (Scott, 1992)

Material Remains: Photography, Death, and Transformation

This dissertation discusses photographic series by nine contemporary American photographers who picture the materials of death: belongings left behind, physical traces, dead bodies, and cremation ashes. In the series by Andrea Tese, Justin Kimball, and Jonathan Hollingsworth featured in Chapter One, belongings left behind—furniture, clothes, keepsakes, and personal effects—retain physical and psychic traces of the lives of the deceased. The blood- and fluid-stained fabrics and the decaying dead bodies themselves pictured in series by Sarah Sudhoff, Sally Mann, and Robert Shults, discussed in Chapter Two, serve as evidence of the physical and sociopolitical circumstances of death. In Chapter Three, series by Jacqueline Hayden, Jason Lazarus, and David Maisel feature cremation ashes, which suggest, through their resemblance to stars and other sublime vistas, an enduring afterlife.These photographs vacillate between emphasizing the “truth” and persistence of material remains and their literal and metaphorical transformation. Utilizing an array of photographic processes and artistic choices, the photographers lead the viewer through various levels of literal and metaphorical transformation, allowing the photographers to explore new ways to visualize that which otherwise may not be accessible, apparent, or knowable: the story of a life lived and lost, the underlying sociopolitical causes of a death, or the existence of an afterlife. These varied approaches to reading death through transformation suggest possibilities but ultimately accept the limitations of attempting to picture the unknowable. Despite their acknowledgement of such limitations, however, each photographer suggests that efforts to memorialize, understand, and envision remain meaningful and worthwhile.This dissertation primarily utilizes visual analysis and incorporates material from in-depth, firsthand interviews between the author and six of the discussed artists. The dissertation also draws on photography theory and interdisciplinary scholarship from the field of Death Studies. Contemplating the photographs discussed herein, singly and in series, and in conversation with each other and with trends in popular media and contemporary funerary options, allows viewers insight into individual experiences of dying and enables them to extrapolate broader patterns in attitudes, sociopolitical circumstances, and institutions that affect how people age, ail, and die, and mourn and remember today

Constructing 3D faces from natural language interface

This thesis presents a system by which 3D images of human faces can be constructed using a natural language interface. The driving force behind the project was the need to create a system whereby a machine could produce artistic images from verbal or composed descriptions. This research is the first to look at constructing and modifying facial image artwork using a natural language interface. Specialised modules have been developed to control geometry of 3D polygonal head models in a commercial modeller from natural language descriptions. These modules were produced from research on human physiognomy, 3D modelling techniques and tools, facial modelling and natural language processing. [Continues.

Faces and hands : modeling and animating anatomical and photorealistic models with regard to the communicative competence of virtual humans

In order to be believable, virtual human characters must be able to communicate in a human-like fashion realistically. This dissertation contributes to improving and automating several aspects of virtual conversations. We have proposed techniques to add non-verbal speech-related facial expressions to audiovisual speech, such as head nods for of emphasis. During conversation, humans experience shades of emotions much more frequently than the strong Ekmanian basic emotions. This prompted us to develop a method that interpolates between facial expressions of emotions to create new ones based on an emotion model. In the area of facial modeling, we have presented a system to generate plausible 3D face models from vague mental images. It makes use of a morphable model of faces and exploits correlations among facial features. The hands also play a major role in human communication. Since the basis for every realistic animation of gestures must be a convincing model of the hand, we devised a physics-based anatomical hand model, where a hybrid muscle model drives the animations. The model was used to visualize complex hand movement captured using multi-exposure photography.Um überzeugend zu wirken, müssen virtuelle Figuren auf dieselbe Art wie lebende Menschen kommunizieren können. Diese Dissertation hat das Ziel, verschiedene Aspekte virtueller Unterhaltungen zu verbessern und zu automatisieren. Wir führten eine Technik ein, die es erlaubt, audiovisuelle Sprache durch nichtverbale sprachbezogene Gesichtsausdrücke zu bereichern, wie z.B. Kopfnicken zur Betonung. Während einer Unterhaltung empfinden Menschen weitaus öfter Emotionsnuancen als die ausgeprägten Ekmanschen Basisemotionen. Dies bewog uns, eine Methode zu entwickeln, die Gesichtsausdrücke für neue Emotionen erzeugt, indem sie, ausgehend von einem Emotionsmodell, zwischen bereits bekannten Gesichtsausdrücken interpoliert. Auf dem Gebiet der Gesichtsmodellierung stellten wir ein System vor, um plausible 3D-Gesichtsmodelle aus vagen geistigen Bildern zu erzeugen. Dieses System basiert auf einem Morphable Model von Gesichtern und nutzt Korrelationen zwischen Gesichtszügen aus. Auch die Hände spielen ein große Rolle in der menschlichen Kommunikation. Da der Ausgangspunkt für jede realistische Animation von Gestik ein überzeugendes Handmodell sein muß, entwikkelten wir ein physikbasiertes anatomisches Handmodell, bei dem ein hybrides Muskelmodell die Animationen antreibt. Das Modell wurde verwendet, um komplexe Handbewegungen zu visualisieren, die aus mehrfach belichteten Photographien extrahiert worden waren

3D face recognition using photometric stereo

Automatic face recognition has been an active research area for the last four decades. This thesis explores innovative bio-inspired concepts aimed at improved face recognition using surface normals. New directions in salient data representation are explored using data captured via a photometric stereo method from the University of the West of England’s “Photoface” device. Accuracy assessments demonstrate the advantage of the capture format and the synergy offered by near infrared light sources in achieving more accurate results than under conventional visible light. Two 3D face databases have been created as part of the thesis – the publicly available Photoface database which contains 3187 images of 453 subjects and the 3DE-VISIR dataset which contains 363 images of 115 people with different expressions captured simultaneously under near infrared and visible light. The Photoface database is believed to be the ?rst to capture naturalistic 3D face models. Subsets of these databases are then used to show the results of experiments inspired by the human visual system. Experimental results show that optimal recognition rates are achieved using surprisingly low resolution of only 10x10 pixels on surface normal data, which corresponds to the spatial frequency range of optimal human performance. Motivated by the observed increase in recognition speed and accuracy that occurs in humans when faces are caricatured, novel interpretations of caricaturing using outlying data and pixel locations with high variance show that performance remains disproportionately high when up to 90% of the data has been discarded. These direct methods of dimensionality reduction have useful implications for the storage and processing requirements for commercial face recognition systems. The novel variance approach is extended to recognise positive expressions with 90% accuracy which has useful implications for human-computer interaction as well as ensuring that a subject has the correct expression prior to recognition. Furthermore, the subject recognition rate is improved by removing those pixels which encode expression. Finally, preliminary work into feature detection on surface normals by extending Haar-like features is presented which is also shown to be useful for correcting the pose of the head as part of a fully operational device. The system operates with an accuracy of 98.65% at a false acceptance rate of only 0.01 on front facing heads with neutral expressions. The work has shown how new avenues of enquiry inspired by our observation of the human visual system can offer useful advantages towards achieving more robust autonomous computer-based facial recognition