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This book is one outcome of the NATO Advanced Studies Institute
(ASI) Workshop, "Speechreading by Man and Machine," held at the
Chateau de Bonas, Castera-Verduzan (near Auch, France) from August
28 to Septem ber 8, 1995 - the first interdisciplinary meeting
devoted the subject of speechreading ("lipreading"). The forty-five
attendees from twelve countries covered the gamut of speechreading
research, from brain scans of humans processing bi-modal stimuli,
to psychophysical experiments and illusions, to statistics of
comprehension by the normal and deaf communities, to models of
human perception, to computer vision and learning algorithms and
hardware for automated speechreading machines. The first week
focussed on speechreading by humans, the second week by machines, a
general organization that is preserved in this volume. After the in
evitable difficulties in clarifying language and terminology across
disciplines as diverse as human neurophysiology, audiology,
psychology, electrical en gineering, mathematics, and computer
science, the participants engaged in lively discussion and debate.
We think it is fair to say that there was an atmosphere of
excitement and optimism for a field that is both fascinating and
potentially lucrative. Of the many general results that can be
taken from the workshop, two of the key ones are these: * The ways
in which humans employ visual image for speech recogni tion are
manifold and complex, and depend upon the talker-perceiver pair,
severity and age of onset of any hearing loss, whether the topic of
conversation is known or unknown, the level of noise, and so forth.
The pioneering presentation of computer-based image analysis of
fine art, forging a dialog between art scholars and the computer
vision community In recent years, sophisticated computer vision,
graphics, and artificial intelligence algorithms have proven to be
increasingly powerful tools in the study of fine art. These
methods—some adapted from forensic digital photography and others
developed specifically for art—empower a growing number of
computer-savvy art scholars, conservators, and historians to answer
longstanding questions as well as provide new approaches to the
interpretation of art. Pixels and Paintings provides the first and
authoritative overview of the broad range of these methods, which
extend from image processing of palette, marks, brush strokes, and
shapes up through analysis of objects, poses, style, and
composition, to the computation of simple interpretations of
artworks. Throughout, this book stresses that computer methods must
always be used in the cultural contexts and art-historical
questions at hand—a blend of humanistic and scientific
expertises. This book: Describes powerful computer image analysis
methods and their application to problems in the history and
interpretation of fine art Discusses some of the art historical
lessons and revelations provided by the use of these methods
Clarifies the assumptions and applicability of methods and the role
of cultural contexts in their use Shows how computation can be used
to analyze tens of thousands of artworks to reveal trends and
anomalies that could not be found by traditional non-computer
methods. Pixels and Paintings is essential reading for computer
image analysts and graphics specialists, conservators, historians,
students, psychologists and the general public interested in the
study and appreciation of art.
This book is one outcome of the NATO Advanced Studies Institute
(ASI) Workshop, "Speechreading by Man and Machine," held at the
Chateau de Bonas, Castera-Verduzan (near Auch, France) from August
28 to Septem ber 8, 1995 - the first interdisciplinary meeting
devoted the subject of speechreading ("lipreading"). The forty-five
attendees from twelve countries covered the gamut of speechreading
research, from brain scans of humans processing bi-modal stimuli,
to psychophysical experiments and illusions, to statistics of
comprehension by the normal and deaf communities, to models of
human perception, to computer vision and learning algorithms and
hardware for automated speechreading machines. The first week
focussed on speechreading by humans, the second week by machines, a
general organization that is preserved in this volume. After the in
evitable difficulties in clarifying language and terminology across
disciplines as diverse as human neurophysiology, audiology,
psychology, electrical en gineering, mathematics, and computer
science, the participants engaged in lively discussion and debate.
We think it is fair to say that there was an atmosphere of
excitement and optimism for a field that is both fascinating and
potentially lucrative. Of the many general results that can be
taken from the workshop, two of the key ones are these: * The ways
in which humans employ visual image for speech recogni tion are
manifold and complex, and depend upon the talker-perceiver pair,
severity and age of onset of any hearing loss, whether the topic of
conversation is known or unknown, the level of noise, and so forth.
Erst wurde es dunkel. Schwarz stand Es ist schon etwas
Merkwiirdiges Doch Licht ist nicht nur ein Hilfs- dann die Scheibe
des Mondes vor der mit unseren Augen. Wir denken nicht mittel zum
Sehen. Die elektromagne- Sonne. An der Seite ragten Pro tube- oft
dariiber nach, was es mit dem tische Strahlung ist ein wichtiger
Be- ranzen in die silbrig leuchtende Koro- Licht auf sich hat, das
uns durch das standteil der Welt. Licht entsteht in na,
himbeerfarben, kitschig rosa. Ich Leben fiihrt. Die Augen zeigen
uns Atomen und wird in Atomen wieder sehe das Bild noch heute vor
meinen nur ein oberfliichliches Bild von ihm. gefangen. An ihm hat
der Mensch zu- Augen. Ebenso unvergeBlich wie diese Wer zwei
Polarisationsfilter in die erst gelernt, daB die Welt von Quan-
totale Sonnenfinsternis sind mir die Hand bekommt, merkt, wieviel
mehr tengesetzen regiert wird. Es kann sich Tierbilder, die ich
Jahre danach in den im Licht steckt. Wer eine Haushalts- in
Materieteilchen verwandeln, und es Hohlen von Altamira im
Fackellicht folie hinzunimmt, wundert sich iiber entsteht, wenn
sich Materie und Anti- sah, vor 20000 Jahren von einem die
Farbenpracht, die in den farblosen materie begegnen. Kiinstler an
die Felswand gezeichnet. Filtern und Folien steckt. Die mo- Wenn
der Mond die Sonne verfin- Wieder war es ein optischer Eindruck,
derne Optik mit Lasern und Holo- stert, treten Protuberanzen und
Koro- von dem ich so ergriffen wurde, daB er grammen gar eroffnet
eine noch wun- na hervor.
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