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Is There a Relation Between the Syntax and the Fitness of an Audio Feature?.
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Properties and Performances of Shape Similarity Measures
Full text linkThis paper gives an overview of shape dissimilarity measure properties, such as metric and robustness properties, and of retrieval performance measures.
Fifteen shape similarity measures are shortly described and compared.
Since an objective comparison of their qualities seems to be impossible, experimental comparison is needed.
The Motion Picture Expert Group (MPEG), a working group of ISO/IEC has defined the MPGE-7 standard for description and search of audio and visual content.
A region based and a contour based shape similarity method are part of the standard.
The data set created by the MPEG-7 committee for evaluation of shape similarity measures offers an excellent possibility for objective experimental comparison of the existing approaches evaluated based on the retrieval rate.
Their retrieval results on the MPEG-7 Core Experiment Core Experiment Shape-1 test set as reported in the literature and obtained by a reimplementation are compared and discussed.
To compare the performance of similarity measures, we built the framework SIDESTEP – Shape-based Image Delivery Statistics Evaluation Project, http://give-lab.cs.uu.nl/sidestep/
06171 Executive Summary – Content-Based Retrieval
Full text linkThe emphasis of the fourth seminar in the Dagstuhl Seminar series on "Content-Based Retrieval" lies on the PERCEPTUAL and
COGNITIVE aspects of all kinds of content-based retrieval. Fundamental questions such
as the role of perception and cognition in feature extraction, pattern similarity rating,
indexing large collections etc. play an important role
06171 Abstracts Collection – Content-Based Retrieval
Full text linkFrom 23.04.06 to 28.04.06, the Dagstuhl Seminar 06171 `Content-Based Retrieval''
was held in the International Conference and Research Center (IBFI),
Schloss Dagstuhl.
During the seminar, several participants presented their current
research, and ongoing work and open problems were discussed. Abstracts of
the presentations given during the seminar as well as abstracts of
seminar results and ideas are put together in this paper. The first section
describes the seminar topics and goals in general.
Links to extended abstracts or full papers are provided, if available
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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