Foreground detection is a fundamental step in visual surveillance.However,accurate foreground detection is still a challenging task especially in dynamic backgrounds.In this paper,we present a nonparametric approach t...Foreground detection is a fundamental step in visual surveillance.However,accurate foreground detection is still a challenging task especially in dynamic backgrounds.In this paper,we present a nonparametric approach to foreground detection in dynamic backgrounds.It uses a history of recently pixel values to estimate background model.Besides,the adaptive threshold and spatial coherence are introduced to enhance robustness against false detections.Experimental results indicate that our approach achieves better performance in dynamic backgrounds compared with several approaches.展开更多
The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）,...The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）, Deleuze argues that post-Second World War cinema has been shaped by a historical transformation compelling it to create new signs and images. Centering on the post-war landscape of Cyprus in 1974, the moment of ＂historical transformation＂ in Deleuze is transposed to this national context; examining Lapithi＇s response to the crisis of historical time in its relation to physical spaces. It negotiates a contextualized reading of three videos and argues that they manifest Deleuzian ＂time-images＂. These texts react to the territorialization of real spaces by deterritorializing official national history. Using Martin Jones＇ study, Deleuze, cinema and national identity： Narrative time in national contexts （2006） Lapithi＇s time-images are interpreted as ＂unruly＂ as they resist a linear narrative and destabilize public time. Contrary to Martin Jones＇s view that time-images constitute a temporary deviation from flowing national time, the author argues that Lapithi excavates alternative temporalities in perpetuity; whilst proposing that in the context of Cyprus the deterritorialization of space by time postpones the nation＇s identity.展开更多
A novel method was proposed, which extracted video object＇ s track and analyzed video object＇ s be- havior. Firstly, this method tracked the video object based on motion history image, and obtained the co- ordinate-...A novel method was proposed, which extracted video object＇ s track and analyzed video object＇ s be- havior. Firstly, this method tracked the video object based on motion history image, and obtained the co- ordinate-based track sequence and orientation-based track sequence of the video object. Then the pro- posed hidden markov model （HMM） based algorithm was used to analyze the behavior of video object with the track sequence as input. Experimental results on traffic object show that this method can achieve the statistics of a mass of traffic objects＇ behavior efficiently, can acquire the reasonable velocity behavior curve of traffic object, and can recognize traffic object＇ s various behaviors accurately. It provides a base for further research on video object behavior.展开更多
基金supported by Fund of National Science & Technology monumental projects under Grants No.61105015,NO.61401239,NO.2012-364-641-209
文摘Foreground detection is a fundamental step in visual surveillance.However,accurate foreground detection is still a challenging task especially in dynamic backgrounds.In this paper,we present a nonparametric approach to foreground detection in dynamic backgrounds.It uses a history of recently pixel values to estimate background model.Besides,the adaptive threshold and spatial coherence are introduced to enhance robustness against false detections.Experimental results indicate that our approach achieves better performance in dynamic backgrounds compared with several approaches.
文摘The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）, Deleuze argues that post-Second World War cinema has been shaped by a historical transformation compelling it to create new signs and images. Centering on the post-war landscape of Cyprus in 1974, the moment of ＂historical transformation＂ in Deleuze is transposed to this national context; examining Lapithi＇s response to the crisis of historical time in its relation to physical spaces. It negotiates a contextualized reading of three videos and argues that they manifest Deleuzian ＂time-images＂. These texts react to the territorialization of real spaces by deterritorializing official national history. Using Martin Jones＇ study, Deleuze, cinema and national identity： Narrative time in national contexts （2006） Lapithi＇s time-images are interpreted as ＂unruly＂ as they resist a linear narrative and destabilize public time. Contrary to Martin Jones＇s view that time-images constitute a temporary deviation from flowing national time, the author argues that Lapithi excavates alternative temporalities in perpetuity; whilst proposing that in the context of Cyprus the deterritorialization of space by time postpones the nation＇s identity.
基金supported by the High Technology Research and Development Programme of China(No.2004AA742209)
文摘A novel method was proposed, which extracted video object＇ s track and analyzed video object＇ s be- havior. Firstly, this method tracked the video object based on motion history image, and obtained the co- ordinate-based track sequence and orientation-based track sequence of the video object. Then the pro- posed hidden markov model （HMM） based algorithm was used to analyze the behavior of video object with the track sequence as input. Experimental results on traffic object show that this method can achieve the statistics of a mass of traffic objects＇ behavior efficiently, can acquire the reasonable velocity behavior curve of traffic object, and can recognize traffic object＇ s various behaviors accurately. It provides a base for further research on video object behavior.
