Hasil untuk "Motion pictures"

M. S. Norouzzadeh, Anh Totti Nguyen, M. Kosmala et al.

Significance Motion-sensor cameras in natural habitats offer the opportunity to inexpensively and unobtrusively gather vast amounts of data on animals in the wild. A key obstacle to harnessing their potential is the great cost of having humans analyze each image. Here, we demonstrate that a cutting-edge type of artificial intelligence called deep neural networks can automatically extract such invaluable information. For example, we show deep learning can automate animal identification for 99.3% of the 3.2 million-image Snapshot Serengeti dataset while performing at the same 96.6% accuracy of crowdsourced teams of human volunteers. Automatically, accurately, and inexpensively collecting such data could help catalyze the transformation of many fields of ecology, wildlife biology, zoology, conservation biology, and animal behavior into “big data” sciences. Having accurate, detailed, and up-to-date information about the location and behavior of animals in the wild would improve our ability to study and conserve ecosystems. We investigate the ability to automatically, accurately, and inexpensively collect such data, which could help catalyze the transformation of many fields of ecology, wildlife biology, zoology, conservation biology, and animal behavior into “big data” sciences. Motion-sensor “camera traps” enable collecting wildlife pictures inexpensively, unobtrusively, and frequently. However, extracting information from these pictures remains an expensive, time-consuming, manual task. We demonstrate that such information can be automatically extracted by deep learning, a cutting-edge type of artificial intelligence. We train deep convolutional neural networks to identify, count, and describe the behaviors of 48 species in the 3.2 million-image Snapshot Serengeti dataset. Our deep neural networks automatically identify animals with >93.8% accuracy, and we expect that number to improve rapidly in years to come. More importantly, if our system classifies only images it is confident about, our system can automate animal identification for 99.3% of the data while still performing at the same 96.6% accuracy as that of crowdsourced teams of human volunteers, saving >8.4 y (i.e., >17,000 h at 40 h/wk) of human labeling effort on this 3.2 million-image dataset. Those efficiency gains highlight the importance of using deep neural networks to automate data extraction from camera-trap images, reducing a roadblock for this widely used technology. Our results suggest that deep learning could enable the inexpensive, unobtrusive, high-volume, and even real-time collection of a wealth of information about vast numbers of animals in the wild.

R. H. Dzcxz, Palmer

Chaogan Yan, Y. Zang

Resting-state functional magnetic resonance imaging (fMRI) has attracted more and more attention because of its effectiveness, simplicity and non-invasiveness in exploration of the intrinsic functional architecture of the human brain. However, user-friendly toolbox for “pipeline” data analysis of resting-state fMRI is still lacking. Based on some functions in Statistical Parametric Mapping (SPM) and Resting-State fMRI Data Analysis Toolkit (REST), we have developed a MATLAB toolbox called Data Processing Assistant for Resting-State fMRI (DPARSF) for “pipeline” data analysis of resting-state fMRI. After the user arranges the Digital Imaging and Communications in Medicine (DICOM) files and click a few buttons to set parameters, DPARSF will then give all the preprocessed (slice timing, realign, normalize, smooth) data and results for functional connectivity, regional homogeneity, amplitude of low-frequency fluctuation (ALFF), and fractional ALFF. DPARSF can also create a report for excluding subjects with excessive head motion and generate a set of pictures for easily checking the effect of normalization. In addition, users can also use DPARSF to extract time courses from regions of interest.

H. Schuster

F. Crete, Thierry Dolmiere, P. Ladret et al.

John Michael Corrigan, Justin Prystash

This article argues that the immediate critical responses to the blockbuster film Barbie (Greta Gerwig, 2023), which diverged along ideological lines, fail to account for the extent to which the film undercuts the very ideological divisions that sustain them. Rather than or in addition to presenting a left-wing or right-wing critique of contemporary gender roles, the film positions this contest within the vexed relationship between the ideal and the real. This metaphysical quandary is what propels the protagonists on a Buddhist-inspired quest for authentic selfhood, a selfhood characterized by both the effacement of the discrete self (the Buddhist concept of anatman) and the eclipse of monumentalized cultural and commercial idols, like Barbie, that organize and disseminate ideology.

Liliana Rodrigues

Dongdong Bu, Shuxiang Guo, Hengrui Li

The surface electromyography (sEMG) signal is widely used as a control source of the upper limb exoskeleton rehabilitation robot. However, the traditional way of controlling the exoskeleton robot by the sEMG signal requires one to specially extract and calculate for complex sEMG features. Moreover, due to the huge amount of calculation and individualized difference, the real-time control of the exoskeleton robot cannot be realized. Therefore, this paper proposes a novel method using an improved detection algorithm to recognize limb joint motion and detect joint angle based on sEMG images, aiming to obtain a high-security and fast-processing action recognition strategy. In this paper, MobileNetV2 combined the Ghost module as the feature extraction network to obtain the pretraining model. Then, the target detection network Yolo-V4 was used to estimate the six movement categories of the upper limb joints and to predict the joint movement angles. The experimental results showed that the proposed motion recognition methods were available. Every 100 pictures can be accurately identified in approximately 78 pictures, and the processing speed of every single picture on the PC side was 17.97 ms. For the train data, the mAP@0.5 could reach 82.3%, and mAP@0.5–0.95 could reach 0.42; for the verification data, the average recognition accuracy could reach 80.7%.

Wei-Jung Chien, Li Zhang, Martin Winken et al.

This paper overviews the motion vector coding and block merging techniques in the Versatile Video Coding (VVC) standard developed by the Joint Video Experts Team (JVET). In general, inter-prediction techniques in VVC can be classified into two major groups: “whole block-based inter prediction” and “subblock-based inter prediction”. In this paper, we focus on techniques for whole block-based inter prediction. As in its predecessor, High Efficiency Video Coding (HEVC), whole block-based inter prediction in VVC is represented by adaptive motion vector prediction (AMVP) mode or merge mode. Newly introduced features purely for AMVP mode include symmetric motion vector difference and adaptive motion vector resolution. The features purely for merge mode include pairwise average merge, merge with motion vector difference, combined inter-intra prediction and geometric partitioning mode. Coding tools such as history-based motion vector prediction and bidirectional prediction with coding unit weights can be applied on both AMVP mode and merge mode. This paper discusses the design principles and the implementation of the new inter-prediction methods. Using objective metrics, simulation results show that the methods overviewed in the paper can jointly achieve 6.2% and 4.7% BD-rate savings on average with the random access and low-delay configurations, respectively. Significant subjective picture quality improvements of some tools are also reported when comparing the resulting pictures at same bitrates.

Eiji Watanabe, A. Kitaoka, K. Sakamoto et al.

The cerebral cortex predicts visual motion to adapt human behavior to surrounding objects moving in real time. Although the underlying mechanisms are still unknown, predictive coding is one of the leading theories. Predictive coding assumes that the brain's internal models (which are acquired through learning) predict the visual world at all times and that errors between the prediction and the actual sensory input further refine the internal models. In the past year, deep neural networks based on predictive coding were reported for a video prediction machine called PredNet. If the theory substantially reproduces the visual information processing of the cerebral cortex, then PredNet can be expected to represent the human visual perception of motion. In this study, PredNet was trained with natural scene videos of the self-motion of the viewer, and the motion prediction ability of the obtained computer model was verified using unlearned videos. We found that the computer model accurately predicted the magnitude and direction of motion of a rotating propeller in unlearned videos. Surprisingly, it also represented the rotational motion for illusion images that were not moving physically, much like human visual perception. While the trained network accurately reproduced the direction of illusory rotation, it did not detect motion components in negative control pictures wherein people do not perceive illusory motion. This research supports the exciting idea that the mechanism assumed by the predictive coding theory is one of basis of motion illusion generation. Using sensory illusions as indicators of human perception, deep neural networks are expected to contribute significantly to the development of brain research.

Adam Domalewski

The starting point for considering the means of creating and designing a film space in Romanian New Wave cinema is the thesis that Romanian film art in the 21st century is an artistic response to the times of communism and that images of the post-socialist architectural space – their multi-faceted functionalization in film mise-en-scéne – are the key method of evoking memories of the past. The article discusses, via the example of movies by Crisitian Mungiu, Corneliu Porumboiu and Cristi Puiu, (1) ways of depicting the “closing” of film characters in the cramped interiors of their apartments and (2) film images of individuals’ alienation in public spaces, both of them allusively referring to the times of the oppressive Nicolae Ceaușescu regime. The most important cinematographic devices used by the authors of the Romanian New Wave cinema include: seemingly static shots, which, however, are filmed with a camera that is constantly gently moving and observing, and tableau shots. A common feature of all the considered works is the panopticism of the film world: the private and public spaces designed in them easily become a place of constant, panoptical observation. In the summary, the author remarks on and briefly discusses the coexistence of the aesthetics of minimalism / realism with the melodramatic elements in the cinematic structure of Romanian New Wave films.

Marta

For Stanley Cavell and Gilles Deleuze, the human body is essential to cinema’s ability to advance thought, but the American avant-garde filmmakers Marie Menken, Maya Deren, and Sara Kathryn Arledge go much further in locating thought in embodiment rather than beyond it, even as their films are generally absent from Cavell’s and Deleuze’s writings. For instance, as Menken’s handheld camera emanates with the movements of her body, her fidgetiness expands upon the metaphysical restlessness Cavell describes as essential to thought. Menken’s camera’s immersion in her bodily movements (rather than standing apart from them) joins her work with Deren’s Bergson-inspired films as, for instance, the context of outer space in Very Eye of Night (1952) is impossible to stand outside of or apart from, analogous to Bergson’s notion of the body in the stream. Arledge’s Introspection similarly situates the body where what T.E. Hulme might describe as a ‘complex sense of varying directions of forces’ replaces a sense of distanced sight. While Deleuze pronounces, ‘Give me a body then… The body is no longer the obstacle that separates thought from itself, that which it has to overcome to reach thinking...’ and turns to Antonioni’s, Warhol’s, and Cassavetes’ tired and waiting bodies as exemplary, I argue, it is Menken’s, Deren’s, and Arledge’s dancing, fidgety bodies that perform Deleuze’s epiphany.

Giulia Taurino

Sanghita Sen

This article investigates why and how the Naxal movement, a Marxist-Leninist- Maoist armed revolutionary movement which emerged in May 1967 in India, has been repeatedly addressed, adapted, and accommodated in Indian cinema. As an organized political movement with speci c manifesto and vision of the nature of the state, the Naxal movement attempted to disrupt and dismantle the quasi- feudal Indian social structure and an oppressive Indian state that functioned still under colonial administrative regulation, as caretaker of interests of the powerful classes. In this article, I argue that the Naxal movement helped Indian cinema to map out the history and internal architecture of political dissent in post- independence India and construct a counter-nationalist discourse. The paper aims to evaluate how the Naxal Movement serves as a resource to represent the politics of dissent in India in the 1970s in parallel cinema and as a critique of the neo-liberal policies of the Indian State in the postmillennial Bollywood lms. It aims to analyse selected lms that deal with the Naxal/Maoist movements in India as a counter historiography.

Swagato Chakravorty

Dieter Ingenschay

<p>El siguiente artículo analiza la película <em>El lugar sin límites </em>(1977) de Arturo Ripstein, basada en la novela homónima de José Donoso (1966). Ambas obras se conocen como ejemplos tempranos de un discurso sobre la homosexualidad dentro de las sociedades homófobas latinoamericanas de la era antes de Foucault. Su meta es mostrar las diferencias específicas «esenciales» entre la novela y la película con respecto al tema de los problemas de género y del deseo homosexual en particular. Cuando Ripstein pidió el guión a Manuel Puig, quería ganar la colaboración de una voz «auténticamente» gay, pero más tarde Puig no reconoció su autoría. Las dos obras disponen de técnicas específicas para visualizar la «perturbación de géneros», a saber: métodos gramaticales en el caso de la novela, y el uso de colores simbólicos en el caso de la película. Ésta última muestra, más claramente que la novela, el carácter <em>performativo </em>del género. Aunque la película aborda cuestiones como la homofobia, la represión y los inicios de una liberación sexual –y por ello podría relacionarse con el popular <em>cine de fichera</em>–, su principal logro es mostrar, de manera consciente e inédita, el proceso emancipatorio de un gay, travesti en este caso. Si hay una persona «trágica» en esta película, ya no es La Manuela, el travesti, sino Pancho, el macho y homosexual.</p><p><strong>Palabras clave: </strong>Ripstein, Donoso, <em>El lugar sin límites</em>, homosexualidad en Latinoamérica, <em>Gender Trouble </em>(perturbación de género) en Latinoamérica, homofobia en Latinoamérica, emancipación<em> </em>gay en Latinoamérica.<em></em></p><p><strong>Abstract</strong></p><p>The following article analyzes Arturo Ripstein’s film <em>El lugar sin límites </em>(1977), based on José Donoso’s homonymous novel (1966). Both are well-known early examples of a fictional discourse on homosexuality within the homophobic Latin American societies of pre-Foucauldian times. Its aim is to show the specific «essential» difference between the novel and the film with respect to thematizing gender problems (and in particular homosexual desire). When asking Manuel Puig to write the movie’s script, Ripstein wanted to win an «authentic» gay voice in order to treat the problematic taboo of homosexuality in an adequate way, but later Puig disavowed his authorship of the script. Both the novel and the film dispose of special techniques of writing respectively visualizing «gender trouble», namely grammatical resources in the case of the novel, symbolic colours in case of the film. Much more clearly than the novel, the film shows the <em>performative </em>character of gender. By bringing homophobia, repression and possible liberation onto the screen, Ripstein’s film, although it may be related to the popular <em>cine de fichera</em>, is the first one to seriously consider something like an emancipatory process of a gay person, a proud transvestite in this case. If there is a «tragic» figure in this film, it is not La Manuela, the transvestite, but rather the <em>macho </em>Pancho (repressing his gay desire).</p><p><strong>Keywords: </strong>Ripstein, Donoso, <em>El lugar sin límites (Hell has no Limits)</em>, homosexuality in Latin America, gender trouble in Latin America, homophobia in Latin America, gay emancipation in Latin America.</p>

Fernando González García

Secuencias

N. Berthier

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J. Blomberg

Abdalbassir Abou-Elailah, F. Dufaux, J. Farah et al.