In early July of 2013, a student workshop on 3D Data Capture and Processing in Underwater Archaeology took place in Portorož, organised by the Institute for the Protection of Cultural Heritage of Slovenia (Miran Erič) and the University of Ljubljana’s Faculties of Computer and Information Science (Franc Solina) and Maritime Studies and Transport (Marko Perkovič). Sixteen students and underwater archaeologists attended this international workshop from the Department of Archaeology, the Faculty of Arts, the Computer Vision Laboratory at the Faculty of Computer and Information Science, the Archaeology Department at the University of Zadar and the Archaeological Museum of Zadar.
F.27 Contribution to preserving/protecting natural and cultural heritage
COBISS.SI-ID: 10292564Two members of the program group (Aleš Leonardis and Luka Čehovin) coorganized the first challenge in short-term visual tracking VOT2013. The organization committee was international, spreading groups from Slovenia, UK, Austria, Czech Republic and Australia. The challenge was accompanied by a workshop organized at the top computer vision conference ICCV2013. The workshop was well as the challenge were well accepted by the community. Within the challenge, we have compared 27 diverse approaches to tracking of arbitrary, articulated and nonarticulated objects, using a new annotated dataset and new performance evaluation methodology. A paper with the challenge results, coauthored by more than 50 authors, was published and presented at the workshop as an invited talk.
F.30 Professional assessment of the situation
COBISS.SI-ID: 10409300This paper presents examples of new media literature as found in the works of two Slovene new media artists: Jaka Železnikar and Srečo Dragan. Whereas Železnikar is primarily a net.artist that authors new media poetry and on-line linguistic interventions, the literary segments in Dragan's work are based on conceptual art and video art. Dragan employs their function to initiate a happening.
F.29 Contribution to the development of national cultural identity
COBISS.SI-ID: 9952084The installation is housed in a dark room where the only illumination comes from the video projection. When you enter the room you will meet the eyes of the Big Brother from the film 1984 after George Orwell's novel of the same name. The eyes of the Big Brother will follow you wherever you will move in the room since he will know exectly where you are in the room. There will be no way to escape his gaze. This should be a rather unnerving situation. The system will know your position by tracking your face with a video camera. The video projection will deform in real-time so that the face of the Big Brother will appear the same wherever you move in the room. In contrast to traditional perspectival anamorphosis which requires an accurate, often eccentric viewpoint, this installation uses anamorphosis to separate the human spatial orientation from the visual cues and can thus provoke a crisis in the visual faculty - wherever you move in space, you see the same re-formed image. On a symbolic level the installation epitomizes the personification of ubiquitous video Surveillance systems and Surveillance in general since we are followed wherever we go and whatever we do.
F.17 Transfer of existing technologies, know-how, methods and procedures into practice
COBISS.SI-ID: 10192212A classical or static anamorphic image requires a specific, usually a highly oblique view direction, from which the observer can see the anamorphosis in its correct form. In this talk I introduce dynamic anamorphosis which adapts itself to the changing position of the observer so that wherever the observer moves, he sees the same perspectively undeformed image. This dynamic changing of the anamorphic deformation in concert with the movement of the observer requires from the system to track the 3D position of the observer’s eyes and the re-computation of the anamorphic deformation in real time. This is achieved using computer vision methods which consist of face detection and tracking the 3D position of the selected observer. I show an application of this system of dynamic anamorphosis in the context of an interactive art installation and how anamorphic deformation is also useful for improving eye contact in videoconferencing.
B.04 Guest lecture
COBISS.SI-ID: 9953876