Cinema And Machine Vision

Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. It theorises machine through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf.At its heart, Cinema and Machine Vision is an invitation for film and media scholars to critically engage with AI at a technical level, a prompt for scientists and engineers working with images and cultural data to critically reflect on where their assumptions about vision come from, and a joint recognition of the fruitful problems of working together to understand the algorithmic governance of the visual.

Cinema and Machine Vision unfolds the aesthetic, epistemic, and ideological dimensions of machine-seeing films and television using computers. With its critical-technical approach, this book presents to the reader key new problems that arise as AI becomes integral to visual culture. It theorises machine through a selection of aesthetics, film theory, and applied machine learning research, dispelling widely held assumptions about computer systems designed to watch and make images on our behalf.At its heart, Cinema and Machine Vision is an invitation for film and media scholars to critically engage with AI at a technical level, a prompt for scientists and engineers working with images and cultural data to critically reflect on where their assumptions about vision come from, and a joint recognition of the fruitful problems of working together to understand the algorithmic governance of the visual.

Brings together Film Studies and Artificial Intelligence by exploring their mutual interest in the automation of vision through technology

Vertov, Snow, Farocki: Machine Vision and the Posthuman begins with a comprehensive and original anthropological analysis of Vertov's film The Man With a Movie Camera. Tomas then explores the film's various aspects and contributions to media history and practice through detailed discussions of selected case studies. The first concerns the way Snow's La R�gion Centrale and De La extend and/or develop important theoretical and technical aspects of Vertov's original film, in particular those aspects that have made the film so important in the history of cinema. The linkage between Vertov's film and the works discussed in the case studies also serve to illustrate the historical and theoretical significance of a comparative approach of this kind, and illustrate the pertinence of adopting a 'relational approach' to the history of media and its contemporary practice, an approach that is no longer focused exclusively on the technical question of the new in contemporary media practices but, in contrast, situates a work and measures its originality in historical, intermedia, and ultimately political terms.

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This book constitutes the refereed proceedings of the Third International Conference on Image and Video Retrieval, CIVR 2004, held in Dublin, Ireland in July 2004. The 31 revised full papers and 44 poster papers presented were carefully reviewed and selected from 125 submissions. The papers are organized in topical sections on image annotation and user searching, image and video retrieval algorithms, person and event identification for retrieval, content-based image and video retrieval, and user perspectives.

Humans have used technology to expand our limited vision for millennia, from the invention of the stone mirror 8,000 years ago to the latest developments in facial recognition and augmented reality. We imagine that technologies will allow us to see more, to see differently and even to see everything. But each of these new ways of seeing carries its own blind spots. In this illuminating book, Jill Walker Rettberg examines the long history of machine vision. Providing an overview of the historical and contemporary uses of machine vision, she unpacks how technologies such as smart surveillance cameras and TikTok filters are changing the way we see the world and one another. By analysing fictional and real-world examples, including art, video games and science fiction, the book shows how machine vision can have very different cultural impacts, fostering both sympathy and community as well as anxiety and fear. Combining ethnographic and critical media studies approaches alongside personal reflections, Machine Vision is an engaging and eye-opening read. It is suitable for students and scholars of digital media studies, science and technology studies, visual studies, digital art and science fiction, as well as for general readers interested in the impact of new technologies on society.

The film industry stands at the cusp of a technological revolution, where advancements in artificial intelligence (AI) are reshaping the landscape of filmmaking in profound ways. From pre-production to post-production, and even distribution and marketing, AI technologies are revolutionizing every aspect of the filmmaking process. In this book, we delve into the intersection of AI and the film industry, exploring the myriad ways in which AI is transforming storytelling, visual effects, production workflows, audience engagement, and beyond. AI is no longer just a futuristic concept relegated to science fiction; it has become an indispensable tool for filmmakers seeking to push the boundaries of creativity, efficiency, and innovation. Through the lens of AI, filmmakers can unlock new possibilities, automate tedious tasks, and amplify their artistic vision in ways previously unimaginable. Whether it's harnessing machine learning algorithms for script analysis, utilizing computer vision for automated cinematography, or leveraging deep learning for visual effects generation, AI is revolutionizing the art and craft of filmmaking. In this book, we embark on a journey through the multifaceted applications of AI in the film industry. We explore how AI is being used to analyze scripts, assist in casting decisions, automate cinematography, enhance visual effects, personalize content recommendations, and much more. Through case studies, practical examples, and code implementations, we elucidate the potential of AI to revolutionize every stage of the filmmaking process, empowering filmmakers with tools and techniques to create more compelling, immersive, and impactful cinematic experiences. Whether you're a filmmaker looking to harness the power of AI to streamline your production workflow, a film enthusiast curious about the future of cinema, or a technologist eager to explore the intersection of AI and storytelling, this book offers a comprehensive overview of AI in the film industry. Join us as we embark on a journey into the exciting world of AI-driven filmmaking, where creativity meets technology to redefine the art of storytelling on the silver screen.

Machine Vision technology is becoming an indispensible part of the manufacturing industry. Biomedical and scientific applications of machine vision and imaging are becoming more and more sophisticated, and new applications continue to emerge. This book gives an overview of ongoing research in machine vision and presents the key issues of scientific and practical interest. A selected board of experts from the US, Japan and Europe provides an insight into some of the latest work done on machine vision systems and appliccations.

The following are the proceedings of the Third International Workshop on Perception held in Pavia, Italy, on September 27-30, 1993, under the auspices of four institutions: the Group of Cybernetic and Biophysics (GNCB)s of the National Research Council (CNR), the Italian Association for Artificial Intelligence (AI * IA), the Italian Association of Psychology (AlP), and the Italian Chapter of the International Association for Pattern Recognition (IAPR). The theme of this third workshop was: "Human and Machine Vision: Analogies and Divergencies." A wide spectrum of topics was covered, ranging from neurophysiology, to computer architecture, to psychology, to image understanding, etc. For this reason the structure of this workshop was quite different from those of the first two held in Parma (1991), and Trieste (1992). This time the workshop was composed of just eight modules, each one consisting of two invited lectures (dealing with vision in nature and machines, respectively) and a common panel discussion (including the two lecturers and three invited panellists).