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- Painterly rendering using human visionPublication . du Buf, J. M. H.; Rodrigues, J. M. F.; Nunes, S.; Almeida, D.; Brito, Vera; Carvalho, J.Painterly rendering has been linked to computer vision, but we propose to link it to human vision because perception and painting are two processes that are interwoven. Recent progress in developing computational models allows to establish this link. We show that completely automatic rendering can be obtained by applying four image representations in the visual system: (1) colour constancy can be used to correct colours, (2) coarse background brightness in combination with colour coding in cytochrome-oxidase blobs can be used to create a background with a big brush, (3) the multi-scale line and edge representation provides a very natural way to render fi ner brush strokes, and (4) the multi-scale keypoint representation serves to create saliency maps for Focus-of-Attention, and FoA can be used to render important structures. Basic processes are described, renderings are shown, and important ideas for future research are discussed.
- Fine arts edutainment: the amateur painterPublication . Almeida, D.; Carvalho, Brito; Rodrigues, J. M. F.; du Buf, J. M. H.; Nunes, S.A new scheme for painterly rendering (NPR) has been developed. This scheme is based on visual perception, in particular themulti-scale line/edge representation in the visual cortex. The Amateur Painter (TAP) is the user interface on top of the rendering scheme. It allows to (semi)automatically create paintings from photographs, with different types of brush strokes and colour manipulations. In contrast to similar painting tools, TAP has a set of menus that reflects the procedure followed by a normal painter. In addition, menus and options have been designed such that they are very intuitive, avoiding a jungle of sub-menus with options from image processing that children and laymen do not understand. Our goal is to create a tool that is extremely easy to use, with the possibility that the user becomes interested in painting techniques, styles, and fine arts in general.
- Building the what and where systems: multi-scale lines, edges and keypointsPublication . Rodrigues, J. M. F.; Almeida, D.; Nunes, S.; Lam, Roberto; du Buf, J. M. H.Computer vision for realtime applications requires tremendous computational power because all images must be processed from the first to the last pixel. Ac tive vision by probing specific objects on the basis of already acquired context may lead to a significant reduction of processing. This idea is based on a few concepts from our visual cortex (Rensink, Visual Cogn. 7, 17-42, 2000): (1) our physical surround can be seen as memory, i.e. there is no need to construct detailed and complete maps, (2) the bandwidth of the what and where systems is limited, i.e. only one object can be probed at any time, and (3) bottom-up, low-level feature extraction is complemented by top-down hypothesis testing, i.e. there is a rapid convergence of activities in dendritic/axonal connections.
- Object categorisations using templates constructed from multi-scale line and edge representationsPublication . Nunes, S.; Almeida, D.; Rodrigues, J. M. F.; du Buf, J. M. H.Object categorisation is linked to detection, segregation and recognition. In the visual system, these processes are achieved in the ventral \what"and dorsal \where"pathways [3], with bottom-up feature extractions in areas V1, V2, V4 and IT (what) in parallel with top-down attention from PP via MT to V2 and V1 (where). The latter is steered by object templates in memory, i.e. in prefrontal cortex with a what component in PF46v and a where component in PF46d.