96 research outputs found
FallAction_dataset.zip
No full textFallAction Dataset for Uncertain Action RecognitionNitika Nigam, Deepali Verma, and Tanima DuttaIndian Institute of Technology (BHU), India.Overview:FallAction is an uncertain action recognition dataset of realistic people falling videoscollected from YouTube. The dataset comprises 15 fall action categories, and eachcategory contains 50-100 videos. FallAction gives the diversity in terms of differentfalling actions and with the presence of noises, such as, variations in camera motions,person appearance, viewpoint, cluttered background, illumination conditions, etc. It is achallenging dataset for uncertain action recognition. Most action recognition datasetsare based on certain actions; on the contrary, FallAction aims to encourage furtherresearch into uncertain action recognition by learning and exploring new realisticuncertain fall action categories.Structure for FallAction Dataset● Data associated with each fall action category is stored in separate directories.● Each directory comprises *.mp4 files for videos.● The directory is arranged in the following structure:FallAction_datasets├── Butt_fall├── Drunk_fall├── Elderly_fall├── Escalator_fall├── Faint_fall├── False_start_fall├── Handstand_fall├── High_Heel_Break_fall├── Karate_fall├── Parkour_fall├── Pool_fall├── Side_fall├── Surfing_fall├── Trust_fall└── Yoga_fall</div
THE PASSAGE: Enquiry into the Ephemeral Absence of Social Construct During Transitions
No full text“In the universe, there are things that are known, and things that are unknown, and in between them, there are doors.” ― William Blake. This thesis support paper presents my artistic research on the ephemeral nature of absence in social constructs while relocating myself to new places. I am interrogating a fluid positionality that is continuously shifting, leading me to contextualise the research stance in the between and betwixt of Passage. I am examining the experience of passing from one place, condition, or stage to another and highlight the in-between space made visible through artwork produced with various methods and processes. Throughout, absence is indicated via aesthetics, materiality, and immateriality pointing to subtle boundaries between play and seriousness, the real and imaginary, the ephemeral and permanent. Themes of travel, constraint, absence, liminality, and human consciousness are explored through performative installations, architectural spaces, and different degrees of audience participation. The research generates a dialogue between performance, space, and time which involves bodily experience, live actions with mixed media installations, and time-based works. The choice of media and symbols revolve around various conceptual ideas inspired by academic and non-academic sources — contemporary art, spiritual texts, psychology, lucid visions while meditating — which become the artistic expression's metaphorical core. Anchoring in an auto-ethnographic methodology of resisting mastery, the research was conducted by allowing space for unknowns to reveal their contours through silent being and doing by not doing
Identical Beat - ACE420.2
No full textAniruddha Das, Musician, Community Music Workshops, introduces himself and the work of the Headspace soundsystem which works live, "improvising with samples and sequences and mixing desks… [incorporating] live instruments, mainly percussion, various vocalists, and turntables", and absorbing any outside sounds that happen to be recorded while they’re working. Asian shops, jewellery, dancers, etc. Three members of the workshop, Pavan, Deepali, and Deedar. Das running a youth workshop. He explains to them what he’s doing with the different pieces of equipment and helps them to create sounds and store them. His VO says he emphasises improvisation and experimentation. He thinks that there’s too much consuming of music and not enough people trying to make music for themselves. He has to determine how people of different abilities can work together. Deedar Zaman, Age 15, getting up in the morning. His VO talks about his first gigs and about performers like Apache Indian. Pavan Verma, Age 17, VO talking about Apache Indian and the different kinds of music he blends together. Verma says that he plays saxophone, guitar, drums and keyboards, with several different kinds of ensembles. The workshop. Das’s VO talking about the importance of community music. VO of Deepali Patel, Age 14, saying that girls are put off by the technology but it really isn’t very difficult to use. Patel singing. Her VO says she likes the singer Lata Mangeshkar. Talking to a friend about seeing Mangeshkar on stage. In an Asian record shop. Her VO names other favourite singers as Nusrat Fateh Ali Khan, Bally Sagoo and Apache Indian. Das’s VO suggesting reasons why it has taken so long for Asian music to come into the mainstream music business. Patel singing with Zaman recording. Her VO talking about what she sings and what she’d like to do, both Eastern and Western music
The development of latent fingerprints by zinc oxide and tin oxide nanoparticles prepared by precipitation technique
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A Review of Nagkeshar churna management in bleeding piles
No full textBecause of changing in lifestyle of modern society, haemorrhoid leading one of biggest challenging disease nowadays, it has high prevalence and low morbidity. It affect the high-quality of life when it comes to internal haemorrhoid with extreme bleeding the affected person turn out to be integral day by way of day with addition of other symptom associated to blood loss, so at once administration of this nation of affairs, but all of these are expensive, time ingesting ,painful ,have most postoperative complication, and the recurrence cost is moreover high, so we can consider the treatment principle given by Acharya Susuruta, for the management of Arsha, Bhesaj Karma is one among them. Bheshaja Chikitsa is a first line of treatment in various diseases. It is viewed to be a conservative line of remedy useful to cure and stop the recurrence of ailments. According to Indian Herbal System (Ayurveda), Nagkeshar is considered one of the most important herb used widely in bleeding disorders. The Nagkeshar improves digestion and appetite, used in fever, vomiting, nausea, excessive thirst, bad breath, pile, excessive sweating, Skin diseases like herpes, infertility etc
Ayurvedic Surgical Instruments: An Overview of Sushruta’s Innovations
No full textThe history of the surgical instruments\u27 evolution is a remarkable gradual journey from ancient styles to modern technology-based and engineered precision tools. It would not be wrong if the credit for the first revolutionary change in surgical instruments is primarily attributed to an innovative and pioneering ancient abdominal and cataract surgeon named Sushruta, also known as \u27the father of Indian surgery.\u27 He is credited with innovations in surgical tools in his classic compendium. The tools, designed and described by this master surgeon, mentor, and clinician, are, no matter the birthplace of their provenance, unused due to their innovative functional designs and critical thought processes. Remarkable contributions include the first needle holder, scissors, haemostatic forceps, cesarean section, bone setting, and many kinds of other general and specific surgical instruments. This review is an endeavour to catalogue all the surgical instruments along with their descriptions—and to discuss them in the prevailing modern scientific scenario
Identical Beat
No full textAniruddha Das, Musician, Community Music Workshops, introduces himself and the work of the Headspace soundsystem which works live, "improvising with samples and sequences and mixing desks… [incorporating] live instruments, mainly percussion, various vocalists, and turntables", and absorbing any outside sounds that happen to be recorded while they’re working. Asian shops, jewellery, dancers, etc. Three members of the workshop, Pavan, Deepali, and Deedar. Das running a youth workshop. He explains to them what he’s doing with the different pieces of equipment and helps them to create sounds and store them. His VO says he emphasises improvisation and experimentation. He thinks that there’s too much consuming of music and not enough people trying to make music for themselves. He has to determine how people of different abilities can work together. Deedar Zaman, Age 15, getting up in the morning. His VO talks about his first gigs and about performers like Apache Indian. Pavan Verma, Age 17, VO talking about Apache Indian and the different kinds of music he blends together. Verma says that he plays saxophone, guitar, drums and keyboards, with several different kinds of ensembles. The workshop. Das’s VO talking about the importance of community music. VO of Deepali Patel, Age 14, saying that girls are put off by the technology but it really isn’t very difficult to use. Patel singing. Her VO says she likes the singer Lata Mangeshkar. Talking to a friend about seeing Mangeshkar on stage. In an Asian record shop. Her VO names other favourite singers as Nusrat Fateh Ali Khan, Bally Sagoo and Apache Indian. Das’s VO suggesting reasons why it has taken so long for Asian music to come into the mainstream music business. Patel singing with Zaman recording. Her VO talking about what she sings and what she’d like to do, both Eastern and Western music. Verma in the workshop. His VO saying he’s not put off by being in a minority anywhere. Zaman with his friends. Das’s VO says that Asian youth in Britain still face the same racism that their parents did but the younger generation is "fighting back". Zaman playing football. His VO talking about his rapping, saying he uses Asian as well as British themes, and including social and political issues such as racism. He wishes more people took notice of his message. Zaman rapping in the workshop. Das’s VO saying that Asian youth like all kinds of music, all of which are beginning to come together with Nusrat Fateh Ali Khan collaborating with Bally Sagoo, and dub and hip hop remixes of traditional Pakistani music, etc., which has encouraged young people to listen to the original forms as well. Verma playing guitar and talking VO about his musical training on both Eastern and Western instruments. Woman singing to harmonium and explaining different kinds of raags to him. Das’s VO talking about music being more respected in Asian culture and as being a part of maintaining that culture. People singing at a religious ceremony in temple. Verma’s VO saying that the mandir is very important to Hindu music and cultural traditions. Priest blowing conch shell. Verma practising the saxophone. Patel shopping for traditional jewellery, clothes and sweets. Das’s VO saying that no culture is fixed, it changes because of contact with others; young Asian are creating a new identity both personally and musically. Patel’s VO says that her culture is important to her but can prevent her from doing things she’d like to do. Zaman, playing video games, says he’d rather be an entertainer than a doctor like his father. The workshop. Das’s VO accepts parental pressure to train for certain careers, but thinks people should be able to make music as well. Patel singing, and cooking at home with her mother. Das feels that music is becoming a more acceptable career, particularly for women who have had few choices in the past, and quotes examples of singers like Najma and Sangeeta and deejays such as Radical Sistah. Patel’s family at dinner. Her VO says her family encourages her in her music; she agrees with them that education must come first but will really work hard at becoming a singer. Patel singing in the workshop. Das helping them decide how they’re to play together. Zaman’s VO talking about the workshop and about the possibility of recording with a singer. Fairground. Verma VO talking about the workshop. He would like to go into record production and be in control of his own music. VO says technology helps bring traditional music into the mainstream; workshops are essential to help Asian youth access this technology, express their ideas and experiment. The workshop with Zaman rapping, Patel singing and Verma playing keyboards. Images of traditional Indian dance. Credits
Leveraging Weighted Cross-Graph Attention for Visual and Semantic Enhanced Video Captioning Network
No full textVideo captioning has become a broad and interesting research area. Attention-based encoder-decoder methods are extensively used for caption generation. However, these methods mostly utilize the visual attentive feature to highlight the video regions while overlooked the semantic features of the available captions. These semantic features contain significant information that helps to generate highly informative human description-like captions. Therefore, we propose a novel visual and semantic enhanced video captioning network, named as VSVCap, that efficiently utilizes multiple ground truth captions. We aim to generate captions that are visually and semantically enhanced by exploiting both video and text modalities. To achieve this, we propose a fine-grained cross-graph attention mechanism that captures detailed graph embedding correspondence between visual graphs and textual knowledge graphs. We have performed node-level matching and structure-level reasoning between the weighted regional graph and knowledge graph. The proposed network achieves promising results on three benchmark datasets, i.e., YouTube2Text, MSR-VTT, and VATEX. The experimental results show that our network accurately captures all key objects, relationships, and semantically enhanced events of a video to generate human annotation-like captions
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