Motion Feature Quantification of Different Roles in Nihon-Buyo Dance

Multi-Scale Anti-Occlusion Correlation Filters Object Tracking Method Based on Complementary Features

International Journal of Pattern Recognition and Artificial Intelligence ◽

10.1142/s0218001421550028 ◽

2020 ◽

pp. 2155002

Author(s):

Xiuhua Hu ◽

Yuan Chen ◽

Yan Hui ◽

Yingyu Liang ◽

Guiping Li ◽

...

Keyword(s):

Object Tracking ◽

Scale Model ◽

Correlation Filters ◽

Motion Feature ◽

Tracking Method ◽

Object State ◽

Multi Scale ◽

Tracking Process ◽

Object Appearance ◽

Response Peak

Aiming to tackle the problem of tracking drift easily caused by complex factors during the tracking process, this paper proposes an improved object tracking method under the framework of kernel correlation filter. To achieve discriminative information that is not sensitive to object appearance change, it combines dimensionality-reduced Histogram of Oriented Gradients features and Lab color features, which can be used to exploit the complementary characteristics robustly. Based on the idea of multi-resolution pyramid theory, a multi-scale model of the object is constructed, and the optimal scale for tracking the object is found according to the confidence maps’ response peaks of different sizes. For the case that tracking failure can easily occur when there exists inappropriate updating in the model, it detects occlusion based on whether the occlusion rate of the response peak corresponding to the best object state is less than a set threshold. At the same time, Kalman filter is used to record the motion feature information of the object before occlusion, and predict the state of the object disturbed by occlusion, which can achieve robust tracking of the object affected by occlusion influence. Experimental results show the effectiveness of the proposed method in handling various internal and external interferences under challenging environments.

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Infrared Dim-small Object Detection Algorithm Based on Saliency Map Combined with Target Motion Feature

2020 IEEE International Conference on Progress in Informatics and Computing (PIC) ◽

10.1109/pic50277.2020.9350820 ◽

2020 ◽

Author(s):

WenWen Zhang ◽

ZhiChao Lian

Keyword(s):

Object Detection ◽

Detection Algorithm ◽

Saliency Map ◽

Target Motion ◽

Small Object ◽

Motion Feature ◽

Small Object Detection

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RPCA-Based High Resolution Through-the-Wall Human Motion Feature Extraction and Classification

IEEE Sensors Journal ◽

10.1109/jsen.2021.3088122 ◽

2021 ◽

pp. 1-1

Author(s):

Qiang An ◽

Shuoguang Wang ◽

Lei Yao ◽

Wenji Zhang ◽

Hao Lv ◽

...

Keyword(s):

Feature Extraction ◽

High Resolution ◽

Human Motion ◽

Motion Feature

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A Body of Accents

Nordic Journal of Dance ◽

10.2478/njd-2018-0005 ◽

2018 ◽

Vol 9 (1) ◽

pp. 44-51

Author(s):

Ami Skånberg Dahlstedt

Keyword(s):

Performing Arts ◽

Dance Education ◽

Cultural Exchange ◽

Foreign Accent ◽

Contemporary Dance ◽

Cultural Roots ◽

Professional Dance ◽

Year 2000 ◽

Exchange Programmes ◽

Nihon Buyo

Abstract Dance practice is often hidden inside dance studios, where it is not available for dialogue or interdisciplinary critique. In this paper, I will look closer at one of the accents that my body has held since the year 2000. To Swedish dance academies, it is perhaps the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell cast over the technique or a contract written that it must be kept secret or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education of many years ago. Are there similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators of the movements we are doing today in contemporary dance?

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