Dynamic Adaptive Point Cloud Streaming

High-quality point clouds have recently gained interest as an emerging form of representing immersive 3D graphics. Unfortunately, these 3D media are bulky and severely bandwidth intensive, which makes it difficult for streaming to resource-limited and mobile devices. This has called researchers to propose efficient and adaptive approaches for streaming of high-quality point clouds. In this paper, we run a pilot study towards dynamic adaptive point cloud streaming, and extend the concept of dynamic adaptive streaming over HTTP (DASH) towards DASH-PC, a dynamic adaptive bandwidth-efficient and view-aware point cloud streaming system. DASH-PC can tackle the huge bandwidth demands of dense point cloud streaming while at the same time can semantically link to human visual acuity to maintain high visual quality when needed. In order to describe the various quality representations, we propose multiple thinning approaches to spatially sub-sample point clouds in the 3D space, and design a DASH Media Presentation Description manifest specific for point cloud streaming. Our initial evaluations show that we can achieve significant bandwidth and performance improvement on dense point cloud streaming with minor negative quality impacts compared to the baseline scenario when no adaptations is applied.Comment: 6 pages, 23rd ACM Packet Video (PV'18) Workshop, June 12--15, 2018, Amsterdam, Netherland

Wohnen “in Goyas letztem Raum”: Eine intermediale Poetik des Entsetzens. Die Zitierung von Goyas Pinturas Negras in Ingeborg Bachmanns Roman Malina. [Living in “Goya’s Last Room”. An Intermedial Poetics of Dread. Ingeborg Bachmann’s use of Goya’s Pinturas Negras in her novel Malina]

Ingeborg Bachmann’s recurrent references to the Spanish painter Francisco de Goya have frequently been noted, but have so far never been investigated. After outlining, in chapter one, Bachmann’s references to Goya in her thesis on Wittgenstein as well as in the Franza-Fragment and in her only novel Malina, this thesis sets out to highlight the text-image relation between Bachmann’s novel Malina and Goya’s series of murals which are known as the so called „Black Paintings“. Chapter two focuses on the importance of intertextuality and intermediality in Bachmann’s novel and the importance of quotation for the female narrator, who relies on intertextual and intermedial references to express her traumatic experiences. After an introduction into the aesthetics of Goya, in chapter three, chapters four and five examine the text-image relation between Goya’s painting El Perro Semihundido and the first chapter in Bachmann’s novel. The double perspective contained in El Perro, of the subjective expression of the dog’s longing for rescue and the objective futility of this hope as expressed by the dog’s positioning against the abstract background setting, is transferred onto the female narrator and her longing to be rescued through love. Chapter five especially focuses on the (problematic) semantic shifts which occur in the course of this transformation from an abstract representation in the painting to the depiction of concrete and personalized experiences in the text. Chapter six investigates the correlations between Bachmann’s dream chapter and the aesthetics of Goya’s murals, and asks to what extent Bachmann succeeds in transferring the main motifs in Goya’s images into literary form. Chapter seven explores the similarities and media-specific differences in the strategies deployed for depicting madness, violence and destruction in Bachmann’s text and in Goya’s murals and his series of prints on the Desasters of War. Bachmann’s novel Malina shows an extraordinary richness in intertextual and intermedial references. Analysing the explicit as well as implicit references to Goya’s late works in the novel this thesis addresses one area on Ingeborg Bachmann which has not been researched in detail so far

Video Quality Assessment with Texture Information Fusion for Streaming Applications

The rise in video streaming applications has increased the demand for video quality assessment (VQA). In 2016, Netflix introduced Video Multi-Method Assessment Fusion (VMAF), a full reference VQA metric that strongly correlates with perceptual quality, but its computation is time-intensive. We propose a Discrete Cosine Transform (DCT)-energy-based VQA with texture information fusion (VQ-TIF) model for video streaming applications that determines the visual quality of the reconstructed video compared to the original video. VQ-TIF extracts Structural Similarity (SSIM) and spatiotemporal features of the frames from the original and reconstructed videos and fuses them using a long short-term memory (LSTM)-based model to estimate the visual quality. Experimental results show that VQ-TIF estimates the visual quality with a Pearson Correlation Coefficient (PCC) of 0.96 and a Mean Absolute Error (MAE) of 2.71, on average, compared to the ground truth VMAF scores. Additionally, VQ-TIF estimates the visual quality at a rate of 9.14 times faster than the state-of-the-art VMAF implementation, along with an 89.44 % reduction in energy consumption, assuming an Ultra HD (2160p) display resolution.Comment: 2024 Mile High Video (MHV

Innovation Mashups: Academic Rigor Meets Social Networking Buzz

Exploring new options for publishing and content delivery offers an enormous opportunity to improve the state of the art and further modernize academic and professional publications. Traditional organizations such as the IEEE Computer Society, ACM, and Usenix have been encountering increasing competition from new ways of rapid publishing and dissemination, including social networking sites (Facebook, Twitter, LinkedIn, Google+), blogs with enabled commenting, video posting (YouTube), Slashdot, and many other types of media. Liking is replacing traditional impact factors, comments left on authors\u27 webpages or blogs are replacing formal reviews, and site visits have more relevance than the number of article citations

Increasing the User Experience of Multimedia Presentations with Sensory Effects",

ABSTRACT The term Universal Multimedia Experience (UME) has gained momentum and is well recognized within the research community. As this approach puts the user into the center stage, additional complexity is added to the overall quality assessment problem which calls for a scientific framework to capture, measure, quantify, judge, and INTRODUCTION The Universal Multimedia Experience (UME) is nowadays well known within the research community and has been derived from Universal Multimedia Access (UMA) The remainder of this paper is organized as follows. Section 2 describes the Sensory Effect Media Player (SEMP) which has been developed in order to conduct the subjective tests. Section 3 provides the actual test environment including the extended test procedure and the evaluation results. Conclusions and future work items are presented in Section 4. SENSORY EFFECT MEDIA PLAYER The Sensory Effect Media Player (SEMP) is a DirectShowbased media player with support for the Sensory Effect Description Language (SEDL) as defined i