Zerotree design for image compression: toward weighted universal zerotree coding

We consider the problem of optimal, data-dependent zerotree design for use in weighted universal zerotree codes for image compression. A weighted universal zerotree code (WUZC) is a data compression system that replaces the single, data-independent zerotree of Said and Pearlman (see IEEE Transactions on Circuits and Systems for Video Technology, vol.6, no.3, p.243-50, 1996) with an optimal collection of zerotrees for good image coding performance across a wide variety of possible sources. We describe the weighted universal zerotree encoding and design algorithms but focus primarily on the problem of optimal, data-dependent zerotree design. We demonstrate the performance of the proposed algorithm by comparing, at a variety of target rates, the performance of a Said-Pearlman style code using the standard zerotree to the performance of the same code using a zerotree designed with our algorithm. The comparison is made without entropy coding. The proposed zerotree design algorithm achieves, on a collection of combined text and gray-scale images, up to 4 dB performance improvement over a Said-Pearlman zerotree

The Sadhu

Short story about an Australian woman of Indian descent visiting India and being taken by a friend to meet a sadhu

‘My printer must, haue somwhat to his share’: Isabella Whitney, Richard Jones, and crafting books

Given Isabella Whitney’s reputation as the first English professional woman writer, her books are fertile ground for the recent material turn in the study of early modern women’s writing. Women’s engagement in book production meant that their texts were mediated through the work of booksellers, printers, and other agents in the print trade. We need to remember that writers make texts, but books are made by publishers and printers. Whitney’s own working relationship with her printer-publisher, Richard Jones, is well-known. Yet, the precise nature of Jones’s role in the production of Whitney’s books and her fashioning as an “Auctor” remains shadowy, largely because questions of agency have not been explored through the technologies of book production. To understand the ways in which Whitney’s texts were mediated through print, and her participation in this process, this essay will focus on how her books of poetry were made, starting with the role of her printer-publisher, Richard Jones