DOCSLIB.ORG

Chalearn Multi-Modal Gesture Recognition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Human Pose Recovery and Behavior Analysis Group ChaLearn Looking at People Challenge 2015: Dataset and Results http://gesture.chalearn.org/ Xavier Baró, UOC & CVC Jordi Gonzàlez, UAB & CVC Junior Fabian, UAB & CVC Miguel Ángel Bautista, UB & CVC Marc Oliu, UB & CVC Hugo J. Escalante, INAOE & ChaLearn Isabelle Guyon, ChaLearn Sergio Escalera, UB & CVC & ChaLearn All rights reserved HuBPA© Human Pose Recovery and Behavior Analysis Group http://gesture.chalearn.org/ Challenge on multi-modal gesture recognition and cultural event recognition •Track on Action/Interaction Recognition: 235 performances of 11 action/interaction categories are recorded and manually labeled in continuous RGB sequences of different people performing natural isolated and collaborative behaviors. (Japan), among others. 2 Human Pose Recovery and Behavior Analysis Group http://gesture.chalearn.org/ Challenge on multi-modal gesture recognition and cultural event recognition •Track on Cultural Event Recognition: More than 10,000 images corresponding to 50 different cultural event categories will be considered. Examples of cultural events will be Carnival (Brasil, Italy, USA), Oktoberfest (Germany), San Fermin (Spain), Maha-Kumbh- Mela (India) and Aoi-Matsuri (Japan), among others. 3 Human Pose Recovery and Behavior Analysis Group •Track on Action/Interaction Recognition: 235 performances of 11 http://gesture.chalearn.org/ action/interaction categories are recorded and manually labeled in continuous RGB sequences of different people performing natural isolated and collaborative behaviors. • 235 action/interaction samples performed by 14 actors. • Large difference in length about the performed actions and interactions. • Several distracter actions out of the 11 categories are also present. • 11 action categories, containing isolated and collaborative actions: Wave, Point, Clap, Crouch, Jump, Walk, Run, Shake Hands, Hug, Kiss, Fight. There is a high intra-class variability among action samples. Overlap evaluation 4 Human Pose Recovery and Behavior Analysis Group •Track on Action/Interaction Recognition: 235 performances of 11 http://gesture.chalearn.org/ action/interaction categories are recorded and manually labeled in continuous RGB sequences of different people performing natural isolated and collaborative behaviors. Action categories Wave Point Clap Crouch Jump Walk Run Interaction categories Shake Hands Hug Kiss Fight 5 Human Pose Recovery and Behavior Analysis Group http://gesture.chalearn.org/ •Track on Cultural Event Recognition: More than 10,000 images corresponding to 50 different cultural event categories will be considered. • First dataset on cultural events •10.000 images corresponding to 50 cultural events. • Person related events. • High intra and inter-class variability. • Different cues can be exploited like garments, human poses, crowds analysis, objects and background scene. 6 Human Pose Recovery and Behavior Analysis Group http://gesture.chalearn.org/ •Track on Cultural Event Recognition: More than 10,000 images corresponding to 50 different cultural event categories will be considered. Inter-class variability 7 Human Pose Recovery and Behavior Analysis Group http://gesture.chalearn.org/ •Track on Cultural Event Recognition: More than 10,000 images corresponding to 50 different cultural event categories will be considered. Inter-class variability Carnival of Dunkerque Carnival of Rio Carnival of Venice Carnival of Helsinki Nothing Hill Carnival Carnival of Quebec 8 Human Pose Recovery and Behavior Analysis Group http://gesture.chalearn.org/ •Track on Cultural Event Recognition: More than 10,000 images corresponding to 50 different cultural event categories will be considered. Inter-class variability Quebec Winter Carnival Harbin Ice and Snow Festival 9 Cultural Event Country #Images 1. Annual Buffalo Roundup USA 334 2. Ati-atihan Philippines 357 3. Ballon Fiesta USA 382 4. Basel Fasnacht Switzerland 310 5. Boston Marathon USA 271 6. Bud Billiken USA 335 Human Pose Recovery and Behavior Analysis Group 7. Buenos Aires Tango Festival Argentina 261 8. Carnival of Dunkerque France 389 9. Carnival of Venice Italy 455 10. Carnival of Rio Brazil 419 11. Castellers Spain 536 12. Chinese New Year China http://gesture.chalearn.org/296 13. Correfocs Catalonia 551 •Track on Cultural Event Recognition: More 14.thanDesert Festi10val,of000Jaisalmer imagesIndia 298 15. Desfile de Silleteros Colombia 286 corresponding to 50 different cultural event categories will16. D´ıa bede los consideredMuertos . Mexico 298 Cultural Event Country #Images 17. Diada de Sant Jordi Catalonia 299 18. Diwali Festival of Lights India 361 1. Annual Buffalo Roundup USA 334 19. Falles Spain 649 2. Ati-atihan Philippines 357 20. Festa del Renaixement Tortosa Catalonia 299 3. Ballon Fiesta USA 382 21. Festival de laMarinera Peru 478 4. Basel Fasnacht Switzerland 310 22. Festival of the Sun Peru 514 5. Boston Marathon USA 271 23. Fiesta de laCandelaria Peru 300 6. Bud Billiken USA 335 24. Gion matsuri Japan 282 7. Buenos Aires Tango Festival Argentina 261 25. Harbin Ice and Snow Festival China 415 8. Carnival of Dunkerque France 389 26. Heiva Tahiti 286 9. Carnival of Venice Italy 455 27. Helsinki Samba Carnival Finland 257 10. Carnival of Rio Brazil 419 28. Holi Festival India 553 11. Castellers Spain 536 29. Infiorata di Genzano Italy 354 12. Chinese New Year China 296 30. LaTomatina Spain 349 13. Correfocs Catalonia 551 31. Lewes Bonfire England 267 Figure14. Desert3. CulturalFestival eofventsJaisalmersample images.India 298 15. Desfile de Silleteros Colombia 286 32. Macys Thanksgiving USA 335 16. D´ıa de los Muertos Mexico 298 33. Maslenitsa Russia 271 2011-12, the number17. Diadaofde SantimagesJordi is similar,Cataloniaaround 11, 000299 , 34. Midsommar Sweden 323 but the number18.ofDiwcateali goriesFestival ofisLightshere increasedIndiamore than361 5 35. Notting hill carnival England 383 36. Obon Festival Japan 304 times. 19. Falles Spain 649 20. Festa del Renaixement Tortosa Catalonia 299 37. Oktoberfest Germany 509 38. Onbashira Festival Japan 247 4. Pr otocol and21. Festievvalaluationde laMarinera Peru 478 22. Festival of the Sun Peru 514 39. Pingxi Lantern Festival Taiwan 253 This section23.introducesFiesta de laCandelariathe protocol and ePeruvaluation met-300 40. Pushkar Camel Festival India 433 41. Quebec Winter Carnival Canada 329 rics for both tracks.24. Gion matsuri Japan 282 25. Harbin Ice and Snow Festival China 415 42. Queens Day Netherlands 316 4.1. Evaluation26. Heiprva ocedure for action/interactionTahiti 286 43. Rath Yatra India 369 track 27. Helsinki Samba Carnival Finland 257 44. SandFest USA 237 28. Holi Festival India 553 45. San Fermin Spain 418 To evaluate29.theInfiorataaccuracdi Genzanoy of action/interactionItaly recogni-354 46. Songkran Water Festival Thailand 398 tion, we use the30.JaccardLaTomatinaIndex, the higher theSpainbetter. Thus,349 47. St Patrick’s Day Ireland 320 31. Lewes Bonfire England 267 48. The Battle of the Oranges Italy 276 Figure 3. Cultural events sample images. for then action and interaction categorieslabeled for aRGB sequence s, the32.JaccardMacys ThanksgiIndexvingisdefined as: USA 335 49. Timkat Ethiopia 425 33. Maslenitsa Russia 271 50. Viking Festival Norway 262 10 34. Midsommar T Sweden 323 Table 3. List of the 50 Cultural Events. 2011-12, the number of images is similar, around 11, 000, As,n B s,n 35. NottingJ hill= carnival S , England 383(1) but the number of categories is here increased more than 5 s,n 36. Obon FestivalAs,n B s,n Japan 304 times. where As,n isthe37. Oktoberfestground truth of action/interactionGermany n at509se- Jaccard Index among all categories for all sequences, where 38. Onbashira Festival Japan 247 quence s, and B s,n istheprediction for such an action at se- motion categories are independent but not mutually exclu- 4. Pr otocol and evaluation 39. Pingxi Lantern Festival Taiwan 253 quence s. As,n and B s,n are binary vectors where 1-values si ve (in a certain frame more than one action, interaction, This section introduces the protocol and evaluation met-correspond to frames40. PushkarinCamelwhichFestitheval n− th actionIndiaisbeing 433per- gesture class can be active). 41. Quebec Winter Carnival Canada 329 rics for both tracks. formed. The participants were evaluated based on the mean In the case of false positives (e.g. inferring an action 42. Queens Day Netherlands 316 4.1. Evaluation procedure for action/interaction 43. Rath Yatra India 369 track 44. SandFest USA 237 45. San Fermin Spain 418 To evaluate the accuracy of action/interaction recogni- 46. Songkran Water Festival Thailand 398 tion, we use the Jaccard Index, the higher the better. Thus, 47. St Patrick’s Day Ireland 320 for then action and interaction categorieslabeled for aRGB 48. The Battle of the Oranges Italy 276 sequence s, the Jaccard Index isdefined as: 49. Timkat Ethiopia 425 50. Viking Festival Norway 262 T Table 3. List of the 50 Cultural Events. A s,n B s,n Js,n = S , (1) A s,n B s,n where As,n isthe ground truth of action/interaction n at se- Jaccard Index among all categories for all sequences, where quence s, and B s,n istheprediction for such an action at se- motion categories are independent but not mutually exclu- quence s. A s,n and B s,n are binary vectors where 1-values si ve (in a certain frame more than one action, interaction, correspond to frames inwhich the n− th action isbeing per- gesture class can be active). formed. The participants were evaluated based on the mean In the case of false positives (e.g. inferring
Recommended publications
  • Carnival in the Creole City: Place, Race and Identity in the Age of Globalization Daphne Lamothe Smith College, Dlamothe@Smith.Edu

    Carnival in the Creole City: Place, Race and Identity in the Age of Globalization Daphne Lamothe Smith College, [email protected]

    Masthead Logo Smith ScholarWorks Africana Studies: Faculty Publications Africana Studies Spring 2012 Carnival in the Creole City: Place, Race and Identity in the Age of Globalization Daphne Lamothe Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/afr_facpubs Part of the Africana Studies Commons Recommended Citation Lamothe, Daphne, "Carnival in the Creole City: Place, Race and Identity in the Age of Globalization" (2012). Africana Studies: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/afr_facpubs/4 This Article has been accepted for inclusion in Africana Studies: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] CARNIVAL IN THE CREOLE CITY: PLACE, RACE, AND IDENTITY IN THE AGE OF GLOBALIZATION Author(s): DAPHNE LAMOTHE Source: Biography, Vol. 35, No. 2, LIFE STORIES FROM THE CREOLE CITY (spring 2012), pp. 360-374 Published by: University of Hawai'i Press Stable URL: https://www.jstor.org/stable/23541249 Accessed: 06-03-2019 14:34 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of Hawai'i Press is collaborating with JSTOR to digitize, preserve and extend access to Biography This content downloaded from 131.229.64.25 on Wed, 06 Mar 2019 14:34:43 UTC All use subject to https://about.jstor.org/terms CARNIVAL IN THE CREOLE CITY: PLACE, RACE, AND IDENTITY IN THE AGE OF GLOBALIZATION DAPHNE LAMOTHE In both the popular and literary imaginations, carnival music, dance, and culture have come to signify a dynamic multiculturalism in the era of global ization.
  • 2016 Venice Carnival Special Projects Case History

    2016 Venice Carnival Special Projects Case History

    Carnival of Venice 2016 23 January – 9 February From January, 23 To February, 9 Venice historical Centre, islands, Mestre, Marghera Number of visitors: more than 1.000.000 attendants, with daily peaks of 150.000 persons Programm of Carnival 2015 18 days of events and celebrations: from the prologue to the Mardi Gras (Shrove Tuesday) that marks the grand finale of the gala. Crowds are expected to peak during the three weekends of the event (January 23-24 and 30-31, February 6-7), the Thursday before Lent (February 4) and Mardi Gras (February 9). Program: the highlights Prologue (January 23-24): the official opening of the Carnival with the “Festa Veneziana” in Cannaregio, made of a water parade of rowers in costume and food tasting. First weekend (January 30-31): the Volo dell’Angelo, the Festa delle Marie (that recalls a historical event elaborating it in the form of a beauty contest in Renaissance costumes), the historical re-enactments. Second weekend (6-7 February): final of the best masked costume contest, the “commedia dell’arte” shows, music concerts, the “volo dell’Asino” in Mestre. For the whole period of the carnival: daily shows for the best masked costume contest, cultural events (itineraries and nighttime visits to museums and cultural seats in the city, exhibitions, readings, ecc.), dj-set. Let’s all spend marvellous Carnival nights at the Arsenal! The Arsenal dresses up in magic, poetry, music and sensational special effects on water and turns into Carnival at the Arsenal. Music and traveling entertainment will be introduced by a magic show.
  • CARNIVAL and OTHER SEASONAL FESTIVALS in the West Indies, USA and Britain

    CARNIVAL and OTHER SEASONAL FESTIVALS in the West Indies, USA and Britain

    CORE Metadata, citation and similar papers at core.ac.uk Provided by SAS-SPACE CARNIVAL AND OTHER SEASONAL FESTIVALS in the West Indies, U.S.A. and Britain: a selected bibliographical index by John Cowley First published as: Bibliographies in Ethnic Relations No. 10, Centre for Research in Ethnic Relations, September 1991, University of Warwick, Coventry, CV4 7AL John Cowley has published many articles on blues and black music. He produced the Flyright- Matchbox series of LPs and is a contributor to the Blackwell Guide To Blues Records, and Black Music In Britain (both edited by Paul Oliver). He has produced two LPs of black music recorded in Britain in the 1950s, issued by New Cross Records. More recently, with Dick Spottswood, he has compiled and produced two LPs devoted to early recordings of Trinidad Carnival music, issued by Matchbox Records. His ‗West Indian Gramophone Records in Britain: 1927-1950‘ was published by the Centre for Research in Ethnic Relations. ‗Music and Migration,‘ his doctorate thesis at the University of Warwick, explores aspects of black music in the English-speaking Caribbean before the Independence of Jamaica and Trinidad. (This selected bibliographical index was compiled originally as an Appendix to the thesis.) Contents Introduction 4 Acknowledgements 7 How to use this index 8 Bibliographical index 9 Bibliography 24 Introduction The study of the place of festivals in the black diaspora to the New World has received increased attention in recent years. Investigations range from comparative studies to discussions of one particular festival at one particular location. It is generally assumed that there are links between some, if not all, of these events.
  • Proposal to RBKC Funding Notting Hill Carnival 2019-2021

    Proposal to RBKC Funding Notting Hill Carnival 2019-2021

    NOTTING HILL CARNIVAL Annual review 2018 A Annual 1 OVERVIEW We were honoured and proud to be appointed as Carnival organisers for 2018. We did not underestimate the challenge involved or the work required to gain the confidence and respect of carnivalists, the local community and the key strategic partners. The decision to fund us as Carnival organisers came quite late in the year and meant that we had a very tight time scale in which to engage, plan and deliver. This added additional pressure but also energised us to put pace into our work. From day one our vision was clear in that we wanted to deliver ‘A Safe, Successful and Spectacular Carnival.’ It was a vision that we promoted widely and was embraced by strategic partners and carnivalists. To achieve our vision, we set out a clear purpose: ‘to harness the energy of carnivalists and local communities to enable us to be an effective and trusted organiser of the Carnival.‘ Feedback from strategic partners, carnivalists and local residents indicates that we were successful in achieving our vision and purpose. This report is a summary of key aspects of our role as Carnival organisers. More detailed reports and documentation have been made available to our strategic partners in relation to matters such as health and safety and communications. GOVERNANCE Carnival Village Trust (the Trust) is a registered charity. It has a wholly-owned subsidiary company, TabernacleW11 Ltd, which manages the Tabernacle, Powis Square. In order to manage the particular risks associated with the Carnival, the Trust established a second subsidiary company, Notting Hill Carnival Ltd (NHC), which acted as the legal vehicle for Carnival operations.
  • Table of Contents

    Table of Contents

    National Discourse on Carnival Arts Report by Ansel Wong, October 2009 1 2 © Carnival Village, Tabernacle 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, electronic, mechanical, photocopying, recorded or otherwise, without the prior permission of the author. Contact details for further information: Shabaka Thompson CEO Carnival Village, Tabernacle Powis Square London W11 2AY Tel: +44 (0) 20 7286 1656 [email protected] www.Carnivalvillage.org.uk 3 This report is dedicated to the memory of David Roussel-Milner (Kwesi Bachra) 18 February 1938 – 28 October 2009 4 Executive Summary Introduction The Carnival Village, The ELIMU Paddington Arts Carnival Band, the Victoria and Albert Museum and HISTORYtalk hosted the National Discourse on Carnival from Friday 2 October to Sunday 4 October 2009 with a number of post-conference events lasting for the duration of the month of October. The programme was delivered through two strands – ROOTS (a historical review and critical analysis of Carnival in London from 1969) and ROUTES (mapping the journey to artistic and performance excellence for Carnival and its related industries) - to achieve the following objectives: Inform Carnival Village‟s development plans Formulate an approach to and build a consensus on Carnival Arts Identify and develop a strategic forum of stakeholders, performers and artists Recognise and celebrate artistic excellence in Carnival Arts Build on the legacies of Claudia Jones and other Carnival Pioneers The Programme For the duration of the event, there were two keynote presentations; the first was the inaugural Claudia Jones Carnival Memorial Lecture delivered by Dr Pat Bishop and the second was delivered by Pax Nindi on the future of Carnival.
  • INTERNASJONALT MAGASIN (1).Pdf

    INTERNASJONALT MAGASIN (1).Pdf

    CI ComANen SiuEsE, I CAN HEAR, I CAANp SriPl 2E0A1K3 CONTENT 3 Editorial 4-5 Windsurfing 6 What you thought you knew 7 Our language 8-9 Tourism in the Ardennes and music festivals 10-11 Welcome to Trondheim 12-13 The luxury industry in France 14-15 Unsolved mysteries 16-17 The carnival 18 Importance of economy 19 World politics 20-21 Trolls of Norway 22-25 Science and technology 26 Kids with guns 27 Fast changes 28 Festivals in Trondheim 29 Worlds most interesting festivals 30-31 The canary islands music festival 32 Champagne 32 Fast changes 33 Economy in the Ardennes 34 Relocation of electrolux factory 2 I can see, hear, speak EDITORIAL EDITORIAL Editor The Desk EDITOR’S Inger Lise Stensheim Sara Rye Martinsen NOTE As a part of the Comenius pro- Kristian Arne Iversen ject, the media class of the Ca- Emilie Davidsen Malene Andersen thedral School of Trondheim has made a magazine featuring many things about our town, and Norway’s culture. We have Julie Røkke Osen been working on this magazine together with students from Slovakia, Turkey, France and Spain, and together with their Photography content we have produced a magazine full of information about all of our countries and their culture, that you will sure- Christina Rygvik Malin Albertsen Gjørv ly enjoy reading through. Some of our students will meet them in the Comenius exchange pro- gram in a couple of weeks, and they will present the magazine and its content there. We hope Lise Nielsen Torun Edvardsen that you enjoy what we have to present, and we’ll see you! Kristian Arne Iversen Lena Pedersen I can see, hear, speak 3 WINDSURFING Water sports in the Canary Islands windsurfing and kitesurfing Like every year in the Canary Is- music, shows, food stands (typi- boarding.
  • Intangible Cultural Heritage, Inequalities and Participation: Who Decides on Heritage?

    Intangible Cultural Heritage, Inequalities and Participation: Who Decides on Heritage?

    The International Journal of Human Rights ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/fjhr20 Intangible cultural heritage, inequalities and participation: who decides on heritage? Jessika Eichler To cite this article: Jessika Eichler (2021) Intangible cultural heritage, inequalities and participation: who decides on heritage?, The International Journal of Human Rights, 25:5, 793-814, DOI: 10.1080/13642987.2020.1822821 To link to this article: https://doi.org/10.1080/13642987.2020.1822821 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 29 Sep 2020. Submit your article to this journal Article views: 1051 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=fjhr20 THE INTERNATIONAL JOURNAL OF HUMAN RIGHTS 2021, VOL. 25, NO. 5, 793–814 https://doi.org/10.1080/13642987.2020.1822821 Intangible cultural heritage, inequalities and participation: who decides on heritage? Jessika Eichlera,b,c aLaw and Anthropology Department, Max Planck Institute for Social Anthropology, Halle, Germany; bInstitute for Latin American Studies, FU Berlin, Berlin, Germany; cSciences Po, CERI, Nancy/Paris, France ABSTRACT ARTICLE HISTORY Ever since the adoption of the Convention for the Safeguarding of Received 16 April 2019 the Intangible Cultural Heritage (CSICH) in 2003, indigenous and Accepted 7 September 2020 minority cultural rights have enjoyed increasing recognition. At KEYWORDS the same time, they have been exposed to public discourses and ff Intangible cultural heritage; homogenising language that might detrimentally a ect their right indigenous peoples; cultural to access and participation in the creation of intangible cultural negotiation and heritage (ICH) and ultimately cultural life.
  • Boxing Day Launch

    Boxing Day Launch

    JUNKANEW is a carnival concept delivered by Global Carnivalz and its partners online. Post COVID the participating partners can tour in regional carnivals to encourage the use of environmentally friendly materials and non-motorised processions. The online experience offers viewers interaction with the host and opportunities to submit their own Junkanew products as part of the online Junkanew Challenge. Having been involved with the Junkanoo Commandos in the Bahamas and various other Carnival practises, Global Carnivalz CEO Pax Nindi was inspired to initiate Junkanew referring to traditional Junkanoo culture practised in the Bahamas and Ghana. In order to make it relevant to the UK where Global Carnivalz is based, Junkanew will incorporate other carnival traditions e.g. Lanterns, Steelpan, Brass band, Blocos and Dance. In the Bahamas and Ghana, Junkanoo as an event takes place on Christmas and Boxing Day involving participating groups marching in costumes accompanied by brass, drums and home-made percussion instruments. The costumes are created out of sustainable and recycled materials using, cardboard, wire, glue, tape, paint and environmentally friendly decorations. Presentation of music is not amplified or motorised and features home-made percussion, brass instruments and drums. We believe Junkanew will play a role in encouraging the use of recycled materials in Carnival and similar arts. Practises. Among other things, our aim is to encourage the public to respect the environment by recycling in the form of taking junk and making into loveable new creations which can be used beyond Christmas and Boxing Day. BOXING DAY LAUNCH Junkanew will be launched as a 6-hour livestream on Boxing Day 26th December 2020.
  • Chalearn Looking at People 2015 Challenges: Action Spotting and Cultural Event Recognition

    Chalearn Looking at People 2015 Challenges: Action Spotting and Cultural Event Recognition

    ChaLearn Looking at People 2015 challenges: action spotting and cultural event recognition Xavier Baro´ Jordi Gonzalez` Universitat Oberta de Catalunya - CVC Computer Vision Center (UAB) [email protected] [email protected] Junior Fabian Miguel A. Bautista Computer Vision Center (UAB) Universitat de Barcelona [email protected] [email protected] Marc Oliu Hugo Jair Escalante Isabelle Guyon Universitat de Barcelona INAOE Chalearn [email protected] [email protected] [email protected] Sergio Escalera Universitat de Barcelona - CVC [email protected] Abstract CVPR workshop on action/interaction spotting and cultural event recognition. The recognition of continuous, natural Following previous series on Looking at People (LAP) human signals and activities is very challenging due to the challenges [6, 5, 4], ChaLearn ran two competitions to multimodal nature of the visual cues (e.g., movements of be presented at CVPR 2015: action/interaction spotting fingers and lips, facial expression, body pose), as well as and cultural event recognition in RGB data. We ran a technical limitations such as spatial and temporal resolu- second round on human activity recognition on RGB data tion. In addition, images of cultural events constitute a very sequences. In terms of cultural event recognition, tens challenging recognition problem due to a high variability of categories have to be recognized. This involves scene of garments, objects, human poses and context. Therefore, understanding and human analysis. This paper summa- how to combine and exploit all this knowledge from pixels rizes the two challenges and the obtained results. De- constitutes a challenging problem. tails of the ChaLearn LAP competitions can be found at http://gesture.chalearn.org/.
  • Parte I Lasdimensioneseconó

    Parte I Lasdimensioneseconó

    Dra. Tania García Lorenzo Licenciada en Economía. Universidad de la Habana. 1978 Dra. en Ciencias Económicas. Universidad Habana 2005. Investigadora del Instituto Cubano de Investigación Cultural Juan Marinello: Línea de investigación de la Economía de la Cultura. Es colaboradora de la Oficina Regional para América Latina y el Caribe; de la Federación Democrática Internacional de Mujeres (FDIM). Como consultora, autora y ha impartido seminarios y conferencias en numerosos países. Oficina Regional de Cultura para América Latina y el Caribe, La Habana Regional Office for Culture in Latin America and the Caribbean, Havana Organizació n de las Naciones Unidas para la Educación, la Ciencia y la Cultura United Nations Educational, Scientific and Cultural Organization LAS DIMENSIONES ECONÓMICAS DE LAS FIESTAS POPULARES Y EL CARNAVAL. UNA PRESENCIA INVISIBLE I.- INTRODUCCION: fórmulas en defensa de las esencias y las simbolizaciones de este Pocas manifestaciones de la cultura evidencian tan múltiples carnaval que, sin dudas, es la manifestación más importante de la facetas como las fiestas tradicionales en general y carnavalescas en cultura popular dominicana, patrimonio de la nación y un ícono de particular, en tanto involucran a una gama impresionante de actores la identidad vegana y del país”. Ello confirma que, en las sociales de disímiles sectores de actividades y con diferentes dimensiones económicas de las fiestas populares, se manifiestan motivaciones. El Carnaval derrocha sentimiento popular y expresa las tensiones que caracterizan la relación entre la economía y la de forma peculiar las peripecias de la vida cotidiana, al propio cultura. tiempo que la contagiosa alegría muestra la identidad, raíces y autenticidad de la fiesta que la comunidad se otorga a sí misma.
  • Carnival Scratch-Art® Mask

    Carnival Scratch-Art® Mask

    Carnival Scratch-Art® Mask (art + social studies) Explore the history of carnival masks from various cultures, such as Mardi Gras in New Materials Orleans, the Carnival of Venice and “Commedia Scratch Art® Clear-Scratch™ Film Dell'arte” in Italy. Ornate and colorful masks are (13524-1030), package of 30 sheets, ® easy to create with Scratch -Art Clear-Scratch™ need 1/2 sheet per demi-mask, full sheet for film and permanent Sharpie® markers. full-face mask Grade Levels K-8 Sharpie Chisel-Tip Markers, set of 8 colors Note: instructions and materials based on a (21383-0089), share one set between 4-5 class of 25 students. Adjust as needed. students Preparation Scratch Sticks (14907-1045), package of 100, need one per student 1. Cut sheets of Scratch Art® Clear- Scratch™ film in half to make 8" x 4.75" Wood Dowel, 1/4" dia x 12" (60448-1412) pieces. Will need one piece per mask package of 12, need one per mask ® 2. Draw a mask shape on paper and cut out Blick E-Z Grip Knife (57419-2980), one or to use as a template. For demi-mask, use two per class the pattern on page 2. Optional Process Krylon® Low-Odor Spray Finish (23710-1001), 1. Trace the mask shape onto the matte gloss, 11-oz can, need one side of the film lightly with a pencil. Extra features, such as ears, hair, antennae, etc. can be added to the basic clear plastic surface. Place a plain white mask shape if desired. Cut mask out of sheet of paper beneath the mask while film (do not cut out eye areas).
  • Progressive English III

    Progressive English III

    1 PREPARATORIA 22 Portfolio of Evidences 2nd Opportunity Progressive English III Student’s name: __________________________________________________ Student´s number: ________________ Date: _____/ ______ / 2020 Teacher: _________________________________________ Group: _________ This portfolio is part of 60% of your qualification. This value will be obtained as long as it meets the following requirements: 1. Transcribed by hand, in its entirety and with the correct answers. 2. Complete identification data. 3. This portfolio must be uploaded in PDF extension, only on the day and at the time of the exam in the Tasks section of your team corresponding to the subject in MS Teams, where your teacher will review it. 4. PLEASE ANSWER ONLY WITH BLUE INK AND ADD YOUR NAME ON EACH SHEET. Elaborated by M.C.C. Patricia Karina Perez Burgos. 2 UNIVERSIDAD AUTÓNOMA DE NUEVO LEÓN PREPARATORIA NO. 22 PORTFOLIO OF EVIDENCE PROGRESSIVE ENGLISH III SECOND OPORTUNITY NAME: _______________________________________________________________ GROUP:_______________________________________________________________ DATE:________________________________________________________________ Elaborated by M.C.C. Patricia Karina Perez Burgos. 3 Conditional sentences are often divided into different types. 1. Zero conditional. We use the zero conditional to talk about things that are generally true, especially for laws and rules. ... 2. First conditional. We use the first conditional when we talk about future situations we believe are real or possible. ... The first conditional describes a particular situation, whereas the zero conditional describes what happens in general. I.- Read the following pairs of sentences in zero and first conditionals, and choose the ones that are written correctly. 1.- (a) The table will break if you sit on it. (b) The table will break, if you sit on it.