Semantics in Multi-facet Hypermedia Authoring
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人脸识别相关文献翻译,纯手工翻译,带原文出处(原文及译文)如下翻译原文来自Thomas David Heseltine BSc. Hons. The University of YorkDepartment of Computer ScienceFor the Qualification of PhD. — September 2005 -《Face Recognition: Two-Dimensional and Three-Dimensional Techniques》4 Two-dimensional Face Recognition4.1 Feature LocalizationBefore discussing the methods of comparing two facial images we now take a brief look at some at the preliminary processes of facial feature alignment. This process typically consists of two stages: face detection and eye localisation. Depending on the application, if the position of the face within the image is known beforehand (fbr a cooperative subject in a door access system fbr example) then the face detection stage can often be skipped, as the region of interest is already known. Therefore, we discuss eye localisation here, with a brief discussion of face detection in the literature review(section 3.1.1).The eye localisation method is used to align the 2D face images of the various test sets used throughout this section. However, to ensure that all results presented are representative of the face recognition accuracy and not a product of the performance of the eye localisation routine, all image alignments are manually checked and any errors corrected, prior to testing and evaluation.We detect the position of the eyes within an image using a simple template based method. A training set of manually pre-aligned images of feces is taken, and each image cropped to an area around both eyes. The average image is calculated and used as a template.Figure 4-1 - The average eyes. Used as a template for eye detection.Both eyes are included in a single template, rather than individually searching for each eye in turn, as the characteristic symmetry of the eyes either side of the nose, provides a useful feature that helps distinguish between the eyes and other false positives that may be picked up in the background. Although this method is highly susceptible to scale(i.e. subject distance from the camera) and also introduces the assumption that eyes in the image appear near horizontal. Some preliminary experimentation also reveals that it is advantageous to include the area of skin justbeneath the eyes. The reason being that in some cases the eyebrows can closely match the template, particularly if there are shadows in the eye-sockets, but the area of skin below the eyes helps to distinguish the eyes from eyebrows (the area just below the eyebrows contain eyes, whereas the area below the eyes contains only plain skin).A window is passed over the test images and the absolute difference taken to that of the average eye image shown above. The area of the image with the lowest difference is taken as the region of interest containing the eyes. Applying the same procedure using a smaller template of the individual left and right eyes then refines each eye position.This basic template-based method of eye localisation, although providing fairly preciselocalisations, often fails to locate the eyes completely. However, we are able to improve performance by including a weighting scheme.Eye localisation is performed on the set of training images, which is then separated into two sets: those in which eye detection was successful; and those in which eye detection failed. Taking the set of successful localisations we compute the average distance from the eye template (Figure 4-2 top). Note that the image is quite dark, indicating that the detected eyes correlate closely to the eye template, as we would expect. However, bright points do occur near the whites of the eye, suggesting that this area is often inconsistent, varying greatly from the average eye template.Figure 4-2 一Distance to the eye template for successful detections (top) indicating variance due to noise and failed detections (bottom) showing credible variance due to miss-detected features.In the lower image (Figure 4-2 bottom), we have taken the set of failed localisations(images of the forehead, nose, cheeks, background etc. falsely detected by the localisation routine) and once again computed the average distance from the eye template. The bright pupils surrounded by darker areas indicate that a failed match is often due to the high correlation of the nose and cheekbone regions overwhelming the poorly correlated pupils. Wanting to emphasise the difference of the pupil regions for these failed matches and minimise the variance of the whites of the eyes for successful matches, we divide the lower image values by the upper image to produce a weights vector as shown in Figure 4-3. When applied to the difference image before summing a total error, this weighting scheme provides a much improved detection rate.Figure 4-3 - Eye template weights used to give higher priority to those pixels that best represent the eyes.4.2 The Direct Correlation ApproachWe begin our investigation into face recognition with perhaps the simplest approach,known as the direct correlation method (also referred to as template matching by Brunelli and Poggio [29 ]) involving the direct comparison of pixel intensity values taken from facial images. We use the term "Direct Conelation, to encompass all techniques in which face images are compared directly, without any form of image space analysis, weighting schemes or feature extraction, regardless of the distance metric used. Therefore, we do not infer that Pearson's correlation is applied as the similarity function (although such an approach would obviously come under our definition of direct correlation). We typically use the Euclidean distance as our metric in these investigations (inversely related to Pearson's correlation and can be considered as a scale and translation sensitive form of image correlation), as this persists with the contrast made between image space and subspace approaches in later sections.Firstly, all facial images must be aligned such that the eye centres are located at two specified pixel coordinates and the image cropped to remove any background information. These images are stored as greyscale bitmaps of 65 by 82 pixels and prior to recognition converted into a vector of 5330 elements (each element containing the corresponding pixel intensity value). Each corresponding vector can be thought of as describing a point within a 5330 dimensional image space. This simple principle can easily be extended to much larger images: a 256 by 256 pixel image occupies a single point in 65,536-dimensional image space and again, similar images occupy close points within that space. Likewise, similar faces are located close together within the image space, while dissimilar faces are spaced far apart. Calculating the Euclidean distance d, between two facial image vectors (often referred to as the query image q, and gallery image g), we get an indication of similarity. A threshold is then applied to make the final verification decision.d . q - g ( threshold accept ) (d threshold ⇒ reject ). Equ. 4-14.2.1 Verification TestsThe primary concern in any face recognition system is its ability to correctly verify a claimed identity or determine a person's most likely identity from a set of potential matches in a database. In order to assess a given system's ability to perform these tasks, a variety of evaluation methodologies have arisen. Some of these analysis methods simulate a specific mode of operation (i.e. secure site access or surveillance), while others provide a more mathematicaldescription of data distribution in some classification space. In addition, the results generated from each analysis method may be presented in a variety of formats. Throughout the experimentations in this thesis, we primarily use the verification test as our method of analysis and comparison, although we also use Fisher's Linear Discriminant to analyse individual subspace components in section 7 and the identification test for the final evaluations described in section 8. The verification test measures a system's ability to correctly accept or reject the proposed identity of an individual. At a functional level, this reduces to two images being presented for comparison, fbr which the system must return either an acceptance (the two images are of the same person) or rejection (the two images are of different people). The test is designed to simulate the application area of secure site access. In this scenario, a subject will present some form of identification at a point of entry, perhaps as a swipe card, proximity chip or PIN number. This number is then used to retrieve a stored image from a database of known subjects (often referred to as the target or gallery image) and compared with a live image captured at the point of entry (the query image). Access is then granted depending on the acceptance/rej ection decision.The results of the test are calculated according to how many times the accept/reject decision is made correctly. In order to execute this test we must first define our test set of face images. Although the number of images in the test set does not affect the results produced (as the error rates are specified as percentages of image comparisons), it is important to ensure that the test set is sufficiently large such that statistical anomalies become insignificant (fbr example, a couple of badly aligned images matching well). Also, the type of images (high variation in lighting, partial occlusions etc.) will significantly alter the results of the test. Therefore, in order to compare multiple face recognition systems, they must be applied to the same test set.However, it should also be noted that if the results are to be representative of system performance in a real world situation, then the test data should be captured under precisely the same circumstances as in the application environment.On the other hand, if the purpose of the experimentation is to evaluate and improve a method of face recognition, which may be applied to a range of application environments, then the test data should present the range of difficulties that are to be overcome. This may mean including a greater percentage of6difficult9 images than would be expected in the perceived operating conditions and hence higher error rates in the results produced. Below we provide the algorithm for executing the verification test. The algorithm is applied to a single test set of face images, using a single function call to the face recognition algorithm: CompareF aces(F ace A, FaceB). This call is used to compare two facial images, returning a distance score indicating how dissimilar the two face images are: the lower the score the more similar the two face images. Ideally, images of the same face should produce low scores, while images of different faces should produce high scores.Every image is compared with every other image, no image is compared with itself and nopair is compared more than once (we assume that the relationship is symmetrical). Once two images have been compared, producing a similarity score, the ground-truth is used to determine if the images are of the same person or different people. In practical tests this information is often encapsulated as part of the image filename (by means of a unique person identifier). Scores are then stored in one of two lists: a list containing scores produced by comparing images of different people and a list containing scores produced by comparing images of the same person. The final acceptance/rejection decision is made by application of a threshold. Any incorrect decision is recorded as either a false acceptance or false rejection. The false rejection rate (FRR) is calculated as the percentage of scores from the same people that were classified as rejections. The false acceptance rate (FAR) is calculated as the percentage of scores from different people that were classified as acceptances.For IndexA = 0 to length(TestSet) For IndexB = IndexA+l to length(TestSet) Score = CompareFaces(TestSet[IndexA], TestSet[IndexB]) If IndexA and IndexB are the same person Append Score to AcceptScoresListElseAppend Score to RejectScoresListFor Threshold = Minimum Score to Maximum Score:FalseAcceptCount, FalseRejectCount = 0For each Score in RejectScoresListIf Score <= ThresholdIncrease FalseAcceptCountFor each Score in AcceptScoresListIf Score > ThresholdIncrease FalseRejectCountF alse AcceptRate = FalseAcceptCount / Length(AcceptScoresList)FalseRej ectRate = FalseRejectCount / length(RejectScoresList)Add plot to error curve at (FalseRejectRate, FalseAcceptRate)These two error rates express the inadequacies of the system when operating at aspecific threshold value. Ideally, both these figures should be zero, but in reality reducing either the FAR or FRR (by altering the threshold value) will inevitably resultin increasing the other. Therefore, in order to describe the full operating range of a particular system, we vary the threshold value through the entire range of scores produced. The application of each threshold value produces an additional FAR, FRR pair, which when plotted on a graph produces the error rate curve shown below.False Acceptance Rate / %Figure 4-5 - Example Error Rate Curve produced by the verification test.The equal error rate (EER) can be seen as the point at which FAR is equal to FRR. This EER value is often used as a single figure representing the general recognition performance of a biometric system and allows for easy visual comparison of multiple methods. However, it is important to note that the EER does not indicate the level of error that would be expected in a real world application. It is unlikely that any real system would use a threshold value such that the percentage of false acceptances were equal to the percentage of false rejections. Secure site access systems would typically set the threshold such that false acceptances were significantly lower than false rejections: unwilling to tolerate intruders at the cost of inconvenient access denials.Surveillance systems on the other hand would require low false rejection rates to successfully identify people in a less controlled environment. Therefore we should bear in mind that a system with a lower EER might not necessarily be the better performer towards the extremes of its operating capability.There is a strong connection between the above graph and the receiver operating characteristic (ROC) curves, also used in such experiments. Both graphs are simply two visualisations of the same results, in that the ROC format uses the True Acceptance Rate(TAR), where TAR = 1.0 - FRR in place of the FRR, effectively flipping the graph vertically. Another visualisation of the verification test results is to display both the FRR and FAR as functions of the threshold value. This presentation format provides a reference to determine the threshold value necessary to achieve a specific FRR and FAR. The EER can be seen as the point where the two curves intersect.Figure 4-6 - Example error rate curve as a function of the score threshold The fluctuation of these error curves due to noise and other errors is dependant on the number of face image comparisons made to generate the data. A small dataset that only allows fbr a small number of comparisons will results in a jagged curve, in which large steps correspond to the influence of a single image on a high proportion of the comparisons made. A typical dataset of 720 images (as used in section 4.2.2) provides 258,840 verification operations, hence a drop of 1% EER represents an additional 2588 correct decisions, whereas the quality of a single image could cause the EER to fluctuate by up to 0.28.422 ResultsAs a simple experiment to test the direct correlation method, we apply the technique described above to a test set of 720 images of 60 different people, taken from the AR Face Database [ 39 ]. Every image is compared with every other image in the test set to produce a likeness score, providing 258,840 verification operations from which to calculate false acceptance rates and false rejection rates. The error curve produced is shown in Figure 4-7.Figure 4-7 - Error rate curve produced by the direct correlation method using no image preprocessing.We see that an EER of 25.1% is produced, meaning that at the EER threshold approximately one quarter of all verification operations carried out resulted in an incorrect classification. Thereare a number of well-known reasons for this poor level of accuracy. Tiny changes in lighting, expression or head orientation cause the location in image space to change dramatically. Images in face space are moved far apart due to these image capture conditions, despite being of the same person's face. The distance between images of different people becomes smaller than the area of face space covered by images of the same person and hence false acceptances and false rejections occur frequently. Other disadvantages include the large amount of storage necessaryfor holding many face images and the intensive processing required for each comparison, making this method unsuitable fbr applications applied to a large database. In section 4.3 we explore the eigenface method, which attempts to address some of these issues.4二维人脸识别4.1功能定位在讨论比较两个人脸图像,我们现在就简要介绍的方法一些在人脸特征的初步调整过程。
一、类别人脸检测(Face Detction):从场景中检测并分割。
人脸识别(Face Recognition):识别、匹配人脸。
1.人脸检测基于知识的人脸检测方法Ø 模板匹配Ø 人脸特征Ø 形状与边缘Ø 纹理特性Ø 颜色特征Ø 镶嵌图利用人脸的轮廓、对称性等少量特征的方法适用于较强约束条件下的人脸检测,该算法可以达到较高的检测速度。
利用人脸五官分布特征的知识模型方法能够在一定程度上适用于复杂背景图像中的人脸检测,同时达到较高的检测速度。
基于统计的人脸检测方法Ø 主成分分析与特征脸Ø 因子分解方法(Factor Analysis, FA)Ø Fisher准则方法(Fisher Linear Discriminant, FLD)Ø 神经网络方法Ø 支持向量机Ø 隐马尔可夫模型Ø Adaboost算法2.人脸识别基于几何特征(Geometric Feature-based)的方法:首先检测出嘴巴、鼻子、眉毛、眼睛等脸部主要部件的位置和大小,然后利用这些部件的总体几何分布关系以及相互之间的参数比例来识别人脸。
基于模板匹配(Template Matching-based)的方法:利用模板和整个人脸图像的像素值之间的子相关性进行识别。
基于模型的方法:1. 隐马尔科夫模型(Hidden Markov Model, HMM)是一种常用的模型。
首先采用两维离散余弦变化(Discrete Cosine Transform, DCT)抽取人脸特征,得到观察向量,构建HMM人脸模型,然后用EM(Expectation Maximization)算法训练。
2. 主动形状模型(Active Shape Model, ASM)方法,对形状和局部灰度表象建模,用建立的ASM在新的图像中定位易变的物体。
多模图像配准融合浅析多模态医学图像的配准与融合技术来源:本站原创作者:朱俊林发布时间:2009-06-071 医学图像的配准技术简介医学图像的配准技术是90年代才发展起来的医学图像处理一个重要分支,并且日益受到了医学界和工程界的重视。
医学图像的配准是指对于一幅医学图像寻求一种或者是一系列的空间变换,使两幅图像的对应点达到空间位置和解剖结构的一致,这种一致是指人体上的同一解剖点在两张匹配的图像上有相同的空间位置。
简单地说医学图像配准就是解决两幅图像的严格对齐问题。
配准的结果应使两幅图像上所有的解剖点,或至少是所有具有诊断意义的解剖点及手术感兴趣的点都达到匹配。
医学图像的配准按图像来源分为:单模态(mono-modality)与多模态配准(multi-modality)。
单模态配准是指对来自同一成像设备的不同时刻或不同角度的图像进行配准。
但在实际临床应用中,单一模态的图像往往不能提供医生所需要的足够信息,通常需要将不同模态的图像融合在一起得到更丰富的信息量,从而作出准确的诊断,制订出合适的治疗方案。
所谓多模态配准,是将来自不同形式的医学图像进行空间上的对准,将对应的相同解剖位置标记出来以实现图像融合和进一步后期处理。
多模态图像之间的配准使用最频繁,主要应用在诊断方面,可分为解剖—解剖的配准和解剖—功能的配准两大类,前者将显示组织形态学不同方面的两幅图像混合,后者将组织的新陈代谢与它相对于解剖结构的空间位置联系起来。
目前,主要的研究工作重点是进行CT、MRI以及PET、fMRI等图像的配准。
2 医学图像融合技术简介医学图像的融合是指将两幅(或两幅以上)来自不同成像设备或不同时刻获取的已配准图像,采用某种算法,把各个图像的优点或互补性有机结合起来,获得信息量更为丰富的新图像的技术。
医学诊断往往要综合许多不同信息进行,传统的方法是,临床医生利用灯箱分别观看这些胶片,综合对比,得到结果。
如果能够把这些互补信息以某种方式综合在一起作为一个整体作为医学诊断的依据,使得临床医生只要在一张综合图像上就能看到不同原始图像的信息,那么就能提供全方位的信息细节。
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COLLOQUIUM375 263 CMC-Computers Materials & Continua315 264 ACM SIGPLAN NOTICES2541 265 Advances in Difference Equations849266 Iranian Journal of Science and Technology-Transactions of ElectricalEngineering22267 Rhetoric Society Quarterly204 268 Glasnik Matematicki256 269 NARRATIVE INQUIRY379 270 Mathematical Communications204 271 ARCHIVE FOR HISTORY OF EXACT SCIENCES285 272 JOURNAL OF APPLIED COMMUNICATION RESEARCH692 273 Bollettino di Storia delle Scienze Matematiche15 274 Economic Computation and Economic Cybernetics Studies and Research103 275 INTERNATIONAL JOURNAL OF SOFTWARE ENGINEERING AND KNOWLEDGE ENGINEERING345 276 DYNAMIC SYSTEMS AND APPLICATIONS264 277 Mathematical Population Studies170278 University Politehnica of Bucharest Scientific Bulletin-Series A-Applied Mathematics and Physics184279 IEICE TRANSACTIONS ON FUNDAMENTALS OF ELECTRONICS COMMUNICATIONS AND COMPUTER SCIENCES1381280 UTILITAS MATHEMATICA482 281 HISTORIA MATHEMATICA221 282 MICROWAVE JOURNAL396 283 CRYPTOLOGIA160 284 Applied Mathematics-A Journal of Chinese Universities Series B174285 Acta Mathematicae Applicatae Sinica-English Series538 286 PROGRAMMING AND COMPUTER SOFTWARE114 287 Ukrainian Mathematical Journal699 288 International Journal of Transport Economics189 289 JOURNAL OF MEDIA ECONOMICS187 290 Electronics and Communications in Japan167 291 FUJITSU SCIENTIFIC & TECHNICAL JOURNAL173 292 INFOR380 293 ELECTRICAL ENGINEERING IN JAPAN398 294 African Journalism Studies12 295 Tijdschrift voor Communicatiewetenschap42 296 Journal of African Media Studies66 297 ICGA JOURNAL63 298 Pure and Applied Mathematics Quarterly241 299 Light & Engineering41 300 EPE Journal101 301 SOLID STATE TECHNOLOGY162 302 Journal of the Institute of Telecommunications Professionals7 303 Traitement du Signal72 304 ELECTRONICS WORLD45 305 Road & Transport Research115 306 IEEE Transactions on Cognitive and Developmental Systems7影响因子eigenFac torScore1.1470.00259 1.130.00268 1.1180.00026 1.1160.00199 1.0790.00047 1.0750.00154 1.0750.00256 1.0670.00255 1.0660.00263 1.060.00221 1.0560.00071 1.0390.00113 1.0370.00082 1.0340.00068 1.0320.00826 1.0310.00048 1.0290.00039 1.0250.0011 1.010.0019310.0010210.0003710.000310.0007710.00015 0.9940.00151 0.9760.00109 0.9640.00094 0.9560.00213 0.9510.00704 0.950.00089 0.9450.00191 0.9430.00039 0.920.00244 0.9090.00033 0.9090.00028 0.9030.00178 0.9020.000520.90.00064 0.8970.00021 0.8930.00155 0.8850.00058 0.8780.00115 0.8770.0015 0.8750.00035 0.8750.001410.8670.00027 0.8630.00089 0.8590.00126 0.850.00116 0.850.00275 0.8490.00036 0.8380.00073 0.8370.00093 0.8270.00279 0.8270.00196 0.8130.00085 0.8120.00113 0.8110.00071 0.8090.00033 0.8070.001130.80.00168 0.7910.00103 0.7890.00048 0.7810.00166 0.7780.00063 0.7780.00084 0.7750.00031 0.7720.00113 0.7720.00063 0.7710.00099 0.770.00081 0.7690.00031 0.7690.00137 0.7660.00162 0.7650.00137 0.7595.00E-05 0.7580.00018 0.7570.00654 0.7540.00261 0.7530.00029 0.750.00054 0.7480.00625 0.7460.00106 0.740.00067 0.7380.00104 0.7370.00029 0.7350.00516 0.7330.0004 0.7320.00052 0.7310.00754 0.730.00145 0.7290.00109 0.7270.00024 0.7270.00019 0.7240.006450.7240.0003 0.7230.001760.720.00137 0.7130.00235 0.7110.00301 0.7110.00349 0.710.000630.7060.00048 0.7050.00064 0.6980.01629 0.6960.00112 0.6960.00024 0.6940.00057 0.6920.00017 0.6880.00125 0.6870.0028 0.6860.00028 0.6770.00081 0.6750.00073 0.6740.00046 0.670.0028 0.6670.00099 0.6670.00024 0.6610.00337 0.6570.0003 0.6540.00098 0.6520.00049 0.6470.0037 0.6470.00055 0.6460.00131 0.6450.0029 0.6440.00041 0.6430.00078 0.6430.00081 0.6420.00151 0.6410.00128 0.6380.00057 0.6350.00038 0.6320.00082 0.6310.00102 0.6280.00031 0.6270.00047 0.6250.00235 0.6230.00216 0.6220.00016 0.6220.00065 0.6220.001030.6190.00061 0.6180.00058 0.6090.00048 0.6090.00097 0.6050.002090.60.000420.68.00E-05 0.5970.00124 0.5970.00354 0.5970.00047 0.5950.00038 0.5810.00081 0.580.00019 0.5790.00023 0.5780.00107 0.5750.00025 0.5750.0015 0.5730.00199 0.5690.00028 0.5670.0006 0.5650.00321 0.5620 0.5620.00043 0.5620.00024 0.560.00063 0.5580.00067 0.5560.00106 0.5560.00037 0.5480.00163 0.5480.00142 0.5480.00036 0.5440.0022 0.5430.01147 0.5430.00127 0.5420.00125 0.5290.00056 0.5290.00152 0.5250.00183 0.5170.00076 0.5160.00035 0.5160.00058 0.5150.00049 0.5150.00073 0.5140.00045 0.5130.00075 0.5130.00287 0.5090.00091 0.5030.001560.50.000190.50.00020.50.00028 0.4970.00346 0.4970.00073 0.4890.00428 0.4880.000530.4870.00121 0.4860.00149 0.4860.00078 0.4840.00051 0.4840.00072 0.4830.00043 0.4810.000750.4780.00016 0.4770.00098 0.4750.00031 0.4690.00161 0.4680.00091 0.4680.00089 0.4650.00034 0.4640.00046 0.4630.00053 0.4620.00025 0.4620.00044 0.4628.00E-05 0.460.00027 0.4570.00109 0.4570.0012 0.4560.00189 0.4550.00111 0.4520.00119 0.4510.00068 0.450.00144 0.4480.00071 0.4480.00083 0.4460.0042 0.4460.00076 0.4440.00099 0.4440.00201 0.4410.00124 0.4410.00194 0.4390.00074 0.4360.00318 0.4350.000110.4310.00017 0.4260.000370.4260.0006 0.4240.00099 0.4230.00131 0.4220.00052 0.4190.00037 0.4190.00145 0.4150.00129 0.4150.00079 0.4130.00033 0.4110.00196 0.4050.00018 0.4050.00163 0.3940.00125 0.3940.00023 0.390.00185 0.380.00041 0.3790.00125 0.3770.00551 0.3750.0001 0.3650.00087 0.3650.0002 0.3570.00117 0.3480.00015 0.3460.00068 0.3430.00142 0.3390.00093 0.3350.0032 0.3350.002330.3335.00E-05 0.3330.0003 0.3280.00049 0.3170.00043 0.3160.00059 0.3080.00042 0.3080.000720.30 0.2990.00019 0.2990.00054 0.2980.00052 0.2860.000210.2790.000340.2740.00196 0.2610.00082 0.2580.00028 0.2580.00063 0.2563.00E-05 0.2470.000490.2420.001060.230.000170.2280.000790.220.000210.2170.000170.2020.000360.1910.000220.1890.000250.1880.000330.1712.00E-050.1717.00E-050.1540.000180.1520.000280.1490.001410.1183.00E-050.0910.000110.0820.00010.07800.0281.00E-050.0262.00E-050.0210.00014 -999.9991.00E-05。
1、malocclusion:错合畸形:2、preventive orthodontics:预防矫治:relapse and retention复发与保持:anchorage支抗:individual normal occlusion:个别正常牙合:dentin sialoprotein,DSP:牙本质涎蛋白cellular rich zone多细胞带/增殖带MaRAU腺周口疮/重型复发性阿弗他溃疡/复发性粘膜腺周围炎/复发性瘢痕性口疮Intermediate cementum中间牙骨质Bronchial arch鳃弓merge联合fuse融合gemination双生牙alveolar bone proper固有牙槽骨mottled enamel斑釉/氟牙症/氟斑牙骨上袋凋亡Reticular atrophy of the pulp牙髓网状萎缩不全角化Cross striations釉面横纹上皮剩余非釉原蛋白oxytalan纤维(弹性纤维)lamina limitans:限制板oral mucosa口腔粘膜腮腺囊Neural crest神经嵴passive tooth eruption:被动萌出错角化/角化不良囊肿Epithelial dysplasia上皮异常增生reduced dental epithelium(缩余釉上皮)可逆性牙髓炎关节内强直放射性骨髓炎牙周潜力交互作用Le Fort II fractureOSAS(obstructive sleep apnea syndrome)阻塞性睡眠呼吸暂停综合征pterygomandibular space:翼下颌间隙impacted tooth:阻生牙intermaxillary contracture:颌间挛缩/关节外强直/假性关节强直masseteric space:咬肌间隙Bell palsy:贝尔麻痹Pedicle flap transfer:带蒂皮瓣移植Sialolithiasis:涎石病Dry socket:干槽症Furuncle and carbuncle疖和痈Sjögren syndrome:舍格伦综合征Frey syndrome:Frey综合征/味觉性出汗综合征/耳颞神经综合征Trigeminal neuralgia:三叉神经痛Systematic treatment for cleft lip and palate:唇腭裂序列治疗Myoepithelial cell:肌上皮细胞菌斑未分化间充质细胞外胚间叶组织朗格罕细胞髓周牙本质釉珠albright综合征黏液囊肿AbutmentArticulatorImpressionClasp支点线pulp polyp:牙髓息肉Melkersson-Rosenthal syndrome:梅-罗综合征Pulpodentinal complex牙髓牙本质复合体根尖基点Gingipains:牙龈素Paraneoplastic pemphigus副肿瘤性天疱疮显著性龋均指数Malassez上皮剩余Maxed acinus混合性腺泡上皮剩余Micil细胞临床牙冠中性长正中咀嚼周期尖牙保护合组牙保护合侧向平衡合息止合间隙磨耗磨损Bennett运动(側移)棘层松解carcinoma in situ:原位癌牙本质桥牙本质发育不全症联合突Transparent dentin:透明牙本质肯氏分类I型卡环根内附着体瓷全冠楔状隙正中下颌隆突(凸)翼点颞下间隙纵合曲线——Spee曲线Pterygoid plexus:翼丛颊垫尖ideal normal occlusion:理想正常合一般矫治Moyers 预测分析间接盖髓术Residual cyst:残余囊肿感染溃疡Chronic discoid lupus erythematosus:慢性盘状红斑狼疮牙内吸收Inclination of incisal path:切导斜度Over denture:覆盖义齿Enamel hypoplasia:釉质发育不全牙周膜Behcet's syndrome:白塞病/口眼生殖器三联征Passamonti notch bending moment Customimpression trayProminence of compensationing curve:补偿曲线曲度Extra-coronal attachmentSurveyor muscle trimming healing capProtrusive interocclusal record lute应用kennedy分类应遵循的applegate法则蠕变弹性极限桩冠牙龈瘤糜烂溃疡不典型增生菌斑serres 腺;Verrucous Carcinoma:疣状癌Enamel Cuticle:釉小皮.制锁作用联合卡环中立区适合性点隙黏液囊肿网状变性菌斑(髁突)增殖带未分化间充质细胞棘层松解缩余釉上皮上皮异常增生不典型增生Leukoplakia:粘膜白斑Cytokine:细胞因子白斑龋与静止龋sandwich technique三明治充填术死区面间管与细胞间管Fordyce spot初次矿化和二次矿化成牙本质细胞空泡性变与牙髓网状萎缩无釉柱釉质上皮根鞘腺淋巴瘤甲状舌管囊肿釉质发育不全enamel tuft:釉从junctional epithelium:结合上皮alveolar bone proper:固有牙槽骨lining mucosa:被覆粘膜parotid gland:腮腺preodontoblasttetracycline stained teeth:四环素牙pulp calcification:牙髓钙化pseudomembrane:假膜Tomes process:托姆斯颗粒层Meckel cartilage牛牙症瘤样病变促结缔组织增生型细胞颈白线外形高点腮腺床咀嚼效率腭帆牙体长轴颈嵴发育沟半月神经节磨牙后垫翼下颌皱襞舌盲孔翼突圆孔翼丛胸膜顶面总静脉角淋巴结叶状乳头颈上神经节transverse ridge:横嵴mamelongroup functional occlusion Balkwill 角Frankfort plane:眶耳平面Terra 牙列指数cclusal planeLanper 皮纹裂线表浅肌肉肌腱膜系统—颧颊部韧带interouspal position颧突支柱santorino fissurePitcontact area:接触面积横合曲线刺激性牙本质根管充填的意义潜行性龋梯形固位牙髓切断术楔状缺损可复性牙髓炎牙内陷刺激性牙本质根管充填的意义潜行性龋活组织检查颌间结扎阻滞麻醉牵引成骨咽峡炎MRIOSAS活组织检查颌间结扎阻滞麻醉precision attachment:精密附着体undercut area:倒凹区telescope denturebalanced occlusionsanitary bridge矫形力(英文)ANB角第三序列弯曲支抗MOYER’S预测分析最适矫治力Primer工作长度(根管治疗器械中)器械的锥度预防性矫治生物学宽度理想正常合嵌体正颌外科点隙一翼腭间隙ANUG骨巨细胞瘤Warthin瘤:沃辛瘤制锁角病灶感染根尖诱导成形术釉柱树脂突牙内吸收一般矫治Moyers 预测分析间接盖髓术OxytalanFibers磨耗釉面横纹埃布纳腺金属冷加工Benett 角Pindborg 瘤拉伸强度陶瓷鳃弓嗅囊粘膜糜烂Greenstick fracture临界瘤PFM修复体牙颈部BURNOUT征像芾氏线角化不良RCT中的IAF生物学宽度kappa值malocclusionorthpedic forces倾斜移动靶形红斑角化囊肿综合征舌侧翼缘区临床牙冠畸形中央尖盖髓术扳机点吸入性窒息功能性印模氟牙症指数龋均简化口腔卫生指数上皮隔绞釉Leukoplakia:黏膜白斑cytokinereparative dentin:修复性牙本质轮廓乳头分泌管cleft lip:唇裂无釉柱釉质联合上皮根鞘腺淋巴瘤甲状舌管囊肿腭帆颈嵴发育沟半月神经节磨牙后垫翼下颌皱襞舌盲孔圆孔胸膜顶面总静脉角淋巴结叶状乳头颈上神经节group functional occlusion:组牙功能合Balkwill 角Terra 牙列指数Lanper 皮纹裂线表浅肌肉肌腱膜系统—颧颊部韧带颧突支柱矫形力(英文)MOYER’S预测分析最适矫治力Primer点隙一翼腭间隙ANUG:急性坏死性溃疡性龈炎骨巨细胞瘤制锁角球菌性口炎病灶感染Moyers 预测分析间接盖髓术釉面横纹埃布纳腺舌盲孔Benett 角Pindborg 瘤拉伸强度陶瓷鳃弓嗅囊粘膜糜烂扳机点简化口腔卫生指数翼腭间隙球菌性口炎病灶感染埃布纳腺Benett 角Pindborg 瘤拉伸强度腭帆发育沟翼下颌皱襞胸膜顶面总静脉角淋巴结叶状乳头破裂孔颈动脉体翼下颌皱襞上下唇系带咀嚼肌力牙尖高度牙体长轴覆盖下颌管卵圆孔口腔前庭沟颊脂尖深覆颌矫形力痣样基底细胞癌综合症翼腭凹综合症暂时性错颌套筒冠固位体线性颌总义齿髁导斜度复合性牙周炎引导性组织再生术粘膜糜烂轮廓乳头分泌管致密性骨炎糜烂锶裂囊肿牙周韧带非角质形成细胞Resorption of teeth:牙的生理性吸收。
Towards Making Automated Multimedia Communicate More Effectively:a Multi-Disciplinary ApproachMarcos S.C´a ceresDepartment of Communication DesignQueensland University of Technology,AustraliaEmail:marcos@.auSupervisorDr.Frank NackCentrum voor Wiskunde en Informatica(CWI),AmsterdamEmail:Frank.Nack@cwi.nlCo-supervisorDebra PolsonDepartment of Communication DesignQueensland University of Technology,AustraliaEmail:d.polson@.auApril18,2003iiiAbstractFor over a decade,attempts have been made to create artificial intelligence systems with the capability of automatically generating multimedia presenta-tion with little or no human intervention.Research into the communicative effectiveness of presentations generated by these Intelligent Multimedia Pre-sentations Systems(IMMPS)has mainly centred on a limited set of disciplines.In this paper we aim to improve the communicative efficiency of presentations generated by an IMMPS by forming an evaluation criterion from the discourses from various creative,educational,and scientific disciplines.We will show that the motivation for creating a multimedia presentation determines which disci-plines should be involved in the formulation of an evaluation criterion,and that this criterion,if implemented into an IMMPS,has the theoretical potential to significantly improve the communicative efficiency of multimedia presentations.Contents1Towards effective multimedia communication11.1Introduction (2)1.2Overview of IMMPS research (4)1.3Language-centric and print-centric approaches in IMMPS (7)1.3.1TEXPLAN (7)1.3.2WIP and PPP (7)1.3.3Cuypers (8)1.4A more critical discussion of Cuypers (9)1.5Thesis overview (11)2A multidisciplinary explanation of an IMMPS132.1Communicative goals (14)2.2Means of representation (14)2.3Summary (17)3Deriving a critical language193.1Communication through compositions (21)3.1.1The poster (22)3.2The exhibition as a narrative (30)3.2.1Narration devices (33)3.2.2Narrative containers (35)3.2.3Labelling system (38)3.3Summary (40)4Evaluation and regeneration414.1The Presentation–overview of the structure (42)4.1.1Motivation and communicative goal (46)4.2Evaluation (47)4.2.1Evaluating the presentation as a visual composition (47)4.2.2Evaluating the presentation as a temporal composition (52)4.2.3Evaluating discipline-specific concerns (53)4.3Regeneration (54)4.3.1Addressing the criticisms of the presentation as a visual composition56iiiiv CONTENTS4.3.2Addressing the criticisms of the presentation as a temporal composition594.3.3Addressing discipline-specific criticisms (60)4.4Summary (62)5Conclusion63AcknowledgementsThe great effort to complete this honour thesis has taken me across three continents and consumed over a year of my life.The best part of this tremendously challenging process has been—without doubt—the amazing people I’ve met along the way.I would particularly like to thank my supervisors,Dr.Frank Nack and Debra Polson. Debra,thank you for your endless support and care,and for turning a billion rambling thoughts into something coherent and something to be proud of.This work would be liter-ally nothing without your amazing insight and your endless patience and support.Thank you Frank for all the time you dedicated to this work and supporting it to its conclusion. Your guidance and persistence has given me so many new perspectives,understandings, and realisations that I can’t hardly ever thank you enough.Thank you also for teaching me how to conduct research and for pushing me to strive for nothing less than the best that I can give.I hope you and Debra enjoyed reading this paper and helping it(and me) develop as much as I enjoyed writing it under your supervision.I would especially like to thank Lynda Hardman for bringing me to CWI,Amsterdam, and allowing me to work as part of her group;as well as for funding this work through the ToKeN2000project.Lynda,thank you for being so patient and for teaching me how to climb mountains.I hope to take what you have to taught me and climb many more.Jacco van Ossenbruggen,thank you for supporting my somewhat unorthodox research approach, your own research has become the fundamentals for my understanding of hypertext,multi-media,and hypermedia.I hope youfind the contents of my thesis of value.Lloyd Rutledge, thanks for mentoring me during thefirst phase of my thesis,and thank you for inspiring me to explore rhetoric,narrative theory,and semiotic theory.Thank you also to Patrick Schmitz,for the many inspiring conversation and continuos support of my work during your brief time at CWI(you cook-up one mean chicken!).I would also like to thank Jane Hunter for introducing me to the wondrous world of metadata,cultural heritage,and the Semantic Web.Thanks also to SteffiDomike and William Mann for patiently answering my questions over email.I’d also like to thank the always delightful Steven Pemberton. Thanks Steven for the wonderful anecdotes about life at the W3C,for always letting me know what was“new and exciting”with XHTML2.0...and for keeping my glass relent-lessly full at Rose’s Cantina(ay!).Big thanks also too to my ex-Head of Department, Gavin Sade,for always being supporting my work and allowing me to do my studies at CWI.Thank you also,Gavin,for proof reading my thesis and all the helpful comments and references you gave me along the way.Thank you also to Maria(mama)and Carlosvvi CONTENTS C´a ceres,this work wouldnt be as legible if it wasn’t for you.I would also especially like to thank my colleagues and friends at CWI:Stefano Bocconi (Master Obi-Wan Bokkenobi),Alessandro Corsini,Oscar Rosell Martinez,Volker Nannen, and Gavrav‘Chatz’Katariya.Stefano,thanks for listening to my weekly neurosis of ideas: from the“form follows function”stage,to the“street map example”,then the“commu-nicative devices”,to the“compositional semantics and design patterns”,and what now became the“critical language”—when all seemed doomed,your support and enthusiasm for my ideas was at times the only thing that kept me from packing my bags.You are a true Jedi.Alex,thank you for your relentless scrutiny of my work,and for always be-ing honest and direct...and the many hours spent perfecting the art of“office Frisbee.”Volker,thank you for the midnight talks about linguistics,cognitive models,and lambda calculus;also for forcing me to get out and do exercise,and for introducing me to Volker-style raw-salted-herring-sup(Yum!).And I can’t thank you enough,Volker,for teaching me L A T E X!Oscar,thank you for looking after me when Ifirst arrived at CWI.This work wouldn’t be what it is if you hadn’t set the bar so high with your own research.Thanks Gavrav for the chats on RDF.You are the dance master!Adele Mayor,thanks for being my place of escape,and for socially looking after me–you made Amsterdam a beautiful place.And thank also to Nicky Moody and Tiny Tolken for all the free drinks,the free food,and the adventures around Amsterdam ah...the benefits of being as student;you guys rock!And Joost Geurts,thanks for showing me around the Amsterdam(underground)scene.I hope Australia was all I made it out to be:–).Locally,I would like to thank Jay Sweeney:thank you for being the initial dumpsite for my ideas(even if you didn’t even notice).Thank you also for proof reading thefinal draft of this thesis;your feedback on chapter1was simply invaluable.Thanks also to Mike Cheng for continuously attempting to corrupt me with computer games-in the end,it proved of significant value!Thank you all for making this such a rewarding and worthwhile experience.Marcos C´a ceres,Brisbane2003.Chapter1Towards more effective multimedia communicationThe automatic generation of multimedia presentations has been a focus of multimedia research for over a decade.Research into the automated generation of multimedia pre-sentations has resulted in a set of what have become known as Intelligent Multimedia Presentations Systems(IMMPS),which are,essentially,artificially intelligent systems that are able to generate multimedia presentations with minimal or no human interven-tion[25,98,86,112,8].The Cuypers[112]experimental system is one of the most recent IMMPS under devel-opment.Aside from being able to generate multimedia presentations with minimal human intervention,the Cuypers system is also designed as a tool to enable research into a range of issues that arise when multimedia documents are modelled and generated with XML and Sematic Web technologies(see[113,112,82,55]for details).Cuypers is currently attempting to generate multimedia presentations that are able to teach a user about con-cepts and artefacts from a museum domain.In order for Cuypers to act as an educator, it intelligently organises media elements from a multimedia database into a predefined rhetorical structure,and then present these elements to a user through the aid of certain communicative devices in the form of a multimedia presentation.This generation process, which we will discuss in full detail later in this chapter,is shown in Figure1.1,in which Cuypers responds to a request from a user,generates a multimedia presentation,and sends it back to a user.As stated above,the motivation for conducting research into Cuypers has been primarily driven by issues relating to modelling multimedia through XML.Given that Cuypers can effectively generate XML-based presentations,research is now needed into how to make these automatically generated presentations communicate more effectively with a user.That is precisely the research problem this paper begins to address.12CHAPTER1.TOWARDS EFFECTIVE MULTIMEDIA COMMUNICATIONFigure1.1:A simple view of how Cuypers generates a presentation and sends it back to a user.1.1IntroductionIn this paper we will argue that the domain and motivation for an act of multimedia communication determine the various disciplines that should be involved in the creation of an effective multimedia presentation.For instance,if the motivation is to educate a person about artefacts from a museum domain through various digital media,then, museums educators,writers,graphic designers,sound designers,and so on,should be involved in constructing a multimedia presentation.However,if the motivation and domain changes,then so will many of the disciplines involved in the construction of a multimedia presentation.Furthermore,we will argue that no matter which disciplines are involved in the design of a multimedia presentation,they will all impact on four particular processes of multimedia communication.We will refer to these four processes as generation,evaluation, collaboration,and signification.Firstly,in the process of generation,designers draw on their knowledge from their re-spective disciplines to design media elements for a multimedia presentation.For instance,a graphic designer will use skills from the discipline of graphic design to produce a particular graphic for a presentation.Secondly,in the process of evaluation,designers apply critical knowledge from their disciplines to evaluate a media elements in a multimedia presentation in terms of quality of media and communication design.For instance,the graphic designer will draw on their understanding of fundamental design elements and design principles to decide whether their generated graphic meets the communicative criteria of the presenta-tion[124,76].Thirdly,in the process of collaboration,designers from various disciplines rely on shared discourses and critical languages to effectively work together and evaluate the overall communicative quality of a generated presentation.For instance,the graphic designer,the writer,and an audio engineer will get together and critically evaluate the integration of their respective media elements in the overall presentation.Fourthly,in the process of signification,a user derives meaning from a multimedia presentation based on1.1.INTRODUCTION3 perception,various cultural factors,and,to a leaser extent,their understanding of the processes of generation,evaluation,and collaboration.In this paper we present arguments aimed at:1.Improving the communication efficiency of presentations the Cuypers system gener-ates automatically.2.Showing that multimedia is not simply the spatial-temporal amalgamation of dif-ferent media,but that each medium comes with its own complex combinations of established disciplines and discourses that impact upon the generation,evaluation, signification,and collaboration of all media elements in a multimedia presentation[74](p8,67-85).3.Given that each medium comes with its own established disciplines and discourses,multimedia designers(human or IMMPS)require a shared discourse and a multidis-ciplinary critical language in order to generate,evaluate,and collaborate in designing multimedia presentations.4.The paper also attempts to define the basic elements of a multidisciplinary criticallanguage by drawing upon the discourses of museum education,exhibition design, graphic design,hypermedia theory,and semiotics.By a critical language we mean a language which has“sufficient expressive power to capture relevant knowledge of the design world[multimedia presentation]under consider-ation and to allow complete and precise formulation of the requirements for solution of a design problem”[89](p83).The basic elements for this critical language will be formulated from the vantage point of IMMPS research[98,25],with the intent of representing art-works and concepts found in a museum domain.When applied in the context of IMMPS, the basic elements of a critical language could be used to recursively loop through the pro-cesses of generation,evaluation,and signification,resulting in more effective multimedia communication.In addition,we will argue that a critical language can facilitate osmosis between disciplines collaborating to generate multimedia presentations.Such a critical language allows collaborating disciplines to extend each other’s discourses,and generate multimedia presentations that have the potential to communicate more effectively than those generated by current linguistic-based[94,81,86]and print-based[99,96]approaches used in IMMPS research today.The potential for a critical language to communicate more effectively than current print-based and linguistic approaches is realised through the inclusion of disciplines that have remained mostly unexplored,for one reason or another,in IMMPS research.We will argue these unexplored disciplines,such as graphic design and sound engineering,have traditionally been included when manually constructing multimedia presentations[12]and thus should also be part of the common discourse of IMMPS researchers.4CHAPTER1.TOWARDS EFFECTIVE MULTIMEDIA COMMUNICATIONFigure1.2:Although the motivations differ,computer-based entertainment media combine media and modes to achieve a communicative goal more effectively than IMMPSs.1.2Overview of IMMPS researchThere are many commercially motivated reasons as to why researchers have been inter-ested in developing IMMPS.Andr´e et al.[5,8],Geurts[55]et al.,and Roth and Hefley[98] (p15)argue that IMMPS have a vital role to play where an information domain is so large and dynamic that it would not befinancially feasible or humanly possible to manually generate all possible multimedia presentations.Other researchers[99]argue that IMMPS could allow users with limited knowledge of thefield of multimedia to easily produce mul-timedia presentations.More recently,Ossenbruggen and Hardman[113]argued that,as we enter the era of mobile computing,there may be too many hardware/software combi-nations for systems that generate multimedia presentation by using templates to feasibly adjust to(see also[55]).Template-driven presentations are currently the most common means of generating multimedia on the World Wide Web[112].Idyllically,an IMMPS-like system could adapt content by taking as input a user’s profile,plus a device’s profile,and adapting content for device independence and the user’s accessibility needs–all this while retaining the presentation creator’s intended communicative message[25,114,5](see also CC/PP[119]and WCAG1.0[117]).According to Kosba et al.[71],there is a growing need for hypermedia systems that can handle such a degree of user/device adaptation and content tailoring.Kosba et al. point to the economic benefits and consumer satisfaction that come from dynamic user modelling and content tailoring of web pages already seen on the World Wide Web.Despite the various idyllic and forward-looking motivations for their development, IMMPS have not proliferated into the commercial mainstream.Several reasons have been proposed as to why this lack of success might be.For instance,Nack[93]has criticised the multimedia research community for being out of touch with production and consumption of‘real world’multimedia,in particular the entertainment media of computer games.At first,it may seem unjustified to compare research level multimedia to todays multi-million dollar computer games productions.Nack,and also Schmitz[101],however,make the point that a user’s exposure to computer-based entertainment media can shape their ex-1.2.OVERVIEW OF IMMPS RESEARCH5COMPUTER GAMES APPROACH CUYPERS APPROACHFigure1.3:The motivations for communication dictates the disciplines involved in gener-ating multimedia representations.pectations for computer-based multimedia they experience.It also is apparent that the entertainment media has long ago departed from the passiveflat-page metaphor to an active spatial representation,while IMMPS generally have not1.To illustrate,the sophisticated multidimensional visual and auditory effects,as well as user interaction,experienced in computer games such as Neverwinter Nights[10],shown in figure1.2on the left,can actively shape certain expectations users have about multimedia. Non-interactive IMMPS-generated presentations,such as the Cuypers-generated presenta-tion on the right,lack the technical sophistication through which computer games are able to coordinate multiple media and interaction into an active communication process.Most IMMPS only passively present information so lack the ability to engage users in an active communication process[7].Given these differences between commercial and research based multimedia,how can the communicative efficiency of multimedia presentations generated by IMMPS be made comparable with that of commercial multimedia products?Especially if the motivation of multimedia researchers is to make IMMPS commercially applicable and able to actively communicate with a user.In Figure1.3we propose that,although entertainment and research industries employ the same media and modes for expression,the motivations of the producers and consumers of a multimedia presentation differ.The motivation of the producers of multimedia,be it,for example,to educate or to entertain(or both simulta-neously),will determine the various disciplines and discourses that designers will draw on when collaborating to generate a multimedia presentation.The entertainment industry,in developing games,has historically involved professionals from cognate artistic disciplines including creative writers,designers,musicians,and programmers.We will argue,however, that the IMMPS research approach has generally been unrepresentative of the experts and 1There are,however,some notable exceptions.The PPP(Personalized Plan-based Presenter)sys-tems[5,8],for instance,is one such system that does not relay on print-centric representations.PPP is discussed on in section1.3.2of this chapter.6CHAPTER1.TOWARDS EFFECTIVE MULTIMEDIA COMMUNICATION knowledge from such diverse disciplines that are in line with their communicative motiva-tions.For instance,it is rare to see theories relating to sound or music design in IMMPS research.This under representation of potentially cognate disciplines limits the discourses surrounding IMMPS research and thus the potential to produce IMMPS that generate communicatively effective multimedia presentations.In addition,IMMPS research still struggles capture the diverse motivations of users which could potentially utilize their pre-sentations.We therefore propose that,as a starting point,IMMPS need to identify and simulate the discourses and practices of disciplines that would normally be involved in producing media elements for multimedia presentations.Furthermore,given that the op-erational domain of IMMPS are computer-based representations,we argue that IMMPS may often need to model themselves around disciplines that explicitly deal with represen-tational theory.That is,the study of how and why representations,such as multimedia presentations,are produced and interpreted[33].Attempts to integrate computer science with representational theory have previously been made by various researchers,including Laurel[77]and Nack and Hardman[94].Lau-rel argues that dramatic theory and particular concepts from the theatrical domain can be applied to improve human-computer interface design and computer-based interactive methods(p1-33).Laurel also notes that it has been common practice amongst the com-puter sciencefield as a whole to overlook disciplines that deal with representation theory, such as theatre and graphic design,and instead opt for disciplines that are perceived as being more scientifically“serious”(p22),such as usability or thefield human-computer in-teraction(HCI).Nack and Hardman[94],on the other hand,propose semiotics as a way of integrating representational theory with artificial intelligence/knowledge representation systems.It would seem that semiotics is a logical choice for the task,since,as Chan-dler[34]states,“semiotics involves studying representations and the processes involved in representational practices,and to semioticians,‘reality’always involves representation.”We will argue,however,that relying solely on dramatic theory or semiotic theory may not be enough to bridge the gap between IMMPS research and the creative practices that produce the media elements,or content,for multimedia.Again,in our view,the disciplines to include in the creation of a multimedia presentation should be primarily dictated by the motivation for communicating with a user.We argue that IMMPS researchers,and with few exceptions[115,11,27,91,92],have not acknowledged in their research the disciplines that explicitly deal with process of rep-resentation.Instead,over the past decade,IMMPS researchers have used,and often ex-tended,a number of theories from a limited range of language-centric and print-centric approaches.These approaches have been used to both generate and evaluate how well an IMMPS-generated presentation communicates with a user.NGUAGE-CENTRIC AND PRINT-CENTRIC APPROACHES IN IMMPS7 1.3Language-centric and print-centric approaches inIMMPSTo give a few key examples of systems that use language-centric and print-centric ap-proaches,we will briefly look at the TEXPLAN[86]system,the WIP and PPP systems[5], and the Cuypers system[69].1.3.1TEXPLANTEXPLAN is a reasoning system for generating text-based natural language explanations in any given domain.Given an object-oriented domain model,such as a street map, TEXPLAN can identify an entity,compare different entities,and explain a process by coordinating text,and simple graphical shapes on a map representation[86](p61-62).For instance,a user may query TEXPLAN as to how to get to a particular location on a map relative to the user’s current location.TEXPLAN would respond to the user’s query by synchronising text and simple graphics over time that explains to the user how to reach their desired destination.For the TEXPLAN system,Maybury[86]generalises upon a long tradition of com-putational linguistics,which stem from Searle’s formalisation of(J.L.Austin’s)speech acts[102],to propose a resulting set of communicative acts.According to Maybury,com-municative acts cover a broader range of communication than speech act theory,including “rhetorical,linguistic,and graphical acts as well as non-linguistic auditory acts(e.g.snap, ring)and physical acts(e.g.gestures)”[86].Just like speech act theory,communicative acts nominally classify the rhetorical functions of media elements used in a multimedia discourse in terms of speech acts.A blinking circle,for instance,used in a presentation to attract a users attention would be classified as a deictic(indicating)act[86].1.3.2WIP and PPPThe WIP[6]and PPP(Personalized Plan-based Presenter)systems[5,8]are two further examples of IMMPSs that use language-centric theories.Andr´e et al.[8]state that WIP and PPP’s approach to multimedia generation and evaluating is also through communicative acts,as well as through the extension of the linguistic theory known as Rhetorical Structure Theory[81](RST).RST is a formal vocabulary used to describe a specific set of rhetorical relations that occur in(spoken or written)texts[81].For instance,RST can be used to describe elaborations,motivations,evidence,concessions,and so on,in a written text. Written texts described in terms of RST result in a computable structure of nucleus and satellite relations that semantically represent the argumentation structure across linear text spans[81].WIP is a fully automated IMMPS,meaning that it computationally generates images, animations,text,and speech on thefly.WIP’s motivation is to generate goal-driven presentations which can instruct users in maintaining and repairing technical devices such8CHAPTER1.TOWARDS EFFECTIVE MULTIMEDIA COMMUNICATIONFigure1.4:The PPP Persona explains to a user how tofix a modem.as a modem or a lawnmower[8].Andr´e et al.note that“one limitation of the WIP system is that it merely generates the material to be presented such as text picture combinations or animation sequences.It does not plan when and how to present this material to a particular user.”This means that WIP is unable to utilise the temporal coordination of media and modes as a mode of communication in a multimedia presentation.Another limitation of the WIP system is that it was not designed to deal with user interaction,thus, as Andr´e and Rist[7]point out,only the passive viewing of the generated presentations is supported.To overcome the above two limitations,Andr´e et al.developed the PPP system.PPP is essentially an interactive hypermedia extension of the WIP system[7].Similarly to WIP, PPP generates almost all media elements on thefly.In PPP,however,this media is now temporally coordinated and explanations are partially delivered with the assistance of an animated character–the PPP Persona[9](shown infigure1.4).The Persona supports a wide range of pre-rendered gestures and is also able use synthesized speech as a mode of communication.PPP also supports hypermedia navigation structures through interactive elements and pop-up menus.A limitation of both WIP and PPP is their highly constrained domains of application:they are principally suited for generating presentations where the mode of communication is expository,and where the domain model is closed.1.3.3CuypersThe Cuypers experimental IMMPS[69]utilises both RST and communicative acts[69] to generate presentations.As was shown infigure1.3,the motivation of Cuypers is to educate a user about artefacts in a cultural heritage domain[69].In Cuypers,the rhetor-ical structure of a multimedia presentation is described by its creators in terms of RST relations[55].At runtime,Cuypers maps these RST relations to a number of distinct communicative devices[99],which Cuypers uses to spatially and temporally lay out a mul-timedia presentation.Rutledge et al.[99]define communicative devices as spatial temporal design patterns“of communicative acts that use or express a particular rhetoric”.Infigure。
ʌ综述ɔ面部软组织侧貌的研究进展董婷婷1ꎬ樊永杰2(1.内蒙古医科大学2018级研究生ꎬ内蒙古呼和浩特010110ꎻ2.内蒙古医科大学第四附属医院口腔科)㊀㊀DOI:10.16833/j.cnki.jbmc.2019.04.056㊀㊀错牙合畸形如牙齿排列不齐㊁拥挤㊁上颌前突等不仅影响颌面软硬组织的正常发育ꎬ而且还影响口腔的健康与功能ꎬ破坏颜面比例以及协调性而严重影响容貌外观ꎮ有研究表明ꎬ错牙合畸形患者在与人的交往过程中常遭受他人的嘲讽与排斥ꎬ尤其是在儿童期间ꎬ往往引起不良的心理应激ꎬ产生自卑㊁退缩㊁孤僻的思想行为[1]ꎮ成人患者也因口唇部的畸形㊁功能障碍等造成不同程度的心理问题[2]ꎮ社会环境㊁侧貌问题及患者的个性心理活动是患者寻求矫正的主要目的ꎮ因此ꎬ对正畸医生来说ꎬ要达到平衡㊁稳定㊁美观的矫治目标ꎬ除了治疗和预防错牙合畸形外ꎬ还应改善患者面部外形和心理健康ꎬ适应人们对美的追求ꎮ那么ꎬ熟悉软组织侧貌美观评价标准及其地区差异性就显得格外重要ꎮ1 软组织测貌的评价标准㊀㊀1955年ꎬStoner测量了面部眶耳平面㊁鼻根点到颏部的切线㊁面平面㊁下唇到颏部切线㊁上唇到下唇的切线ꎬ测量结果表明ꎬ侧貌良好的人群中ꎬ其面角㊁下唇交角㊁上下唇角㊁唇面角分别为79.0ʎ~92.0ʎ㊁0ʎ~14.5ʎ㊁-4.0ʎ~12.0ʎ㊁4.5ʎ~20.0ʎꎬ颏部对于侧貌协调影响不大ꎬ正畸治疗能够改变上唇的前后向位置[3]ꎮ1957年ꎬRicketts提出由通过鼻尖点与颏前点的连线构成的平面为审美平面ꎬ强调下唇相对此平面应在上唇的稍前方ꎬ一般为2mm左右[4]ꎮ1960年ꎬSteiner提出Steiner平面以评估鼻唇颏的关系ꎬ认为鼻尖至人中呈S形曲线ꎬ该曲线的中点与软组织颏前点连线构成审美平面ꎬ美貌人群的上下唇最突点与该平面相接触[5]ꎮ1966年ꎬMerrified提出了侧貌线分析法ꎬ颏前点与较突的上唇或下唇的最前点相切的线为侧貌线ꎬ侧貌较好的人群上唇与侧貌线相切㊁下唇与此e线相切或在此线稍后方ꎮ此线向前向上延伸与FH平面后下交角为Z角ꎬFMAꎬIMPAꎬFMIAꎬANB正常时ꎬ成人Z角为80ʎʃ5ʎꎬ青少年均值为78.5ʃ5ʎꎬ年轻女性比年轻男性的颏唇关系更佳[6]ꎮ1968年ꎬGonzalez-Ulloa等[7]将通过软组织鼻根点作眶耳平面的垂线定义为零子午线ꎬ他认为理想的颏部应该与该线相切ꎬ当颏部在该线后方则定义为颏部后缩ꎮ若颏部在零子午线后0~10mm时ꎬ为Ⅰ度后缩ꎻ颏部在零子午线后10~20mm时ꎬ为Ⅱ度后缩ꎬ此时可以通过充填假体获得颜貌平衡ꎻ颏部距离零子午线>20mm时ꎬ为Ⅲ度后缩ꎬ可以通过关节窝植入假体改善侧貌ꎮ1970年ꎬPeck等[8]评估了大众认为美貌的53个青年人的面部ꎬ利用头影测量法分析了软组织的美学ꎬ得出:(1)侧貌轮廓曲线弧度可以定量分析侧貌的协调程度ꎻ(2)将耳屏切迹上最前点(T)和N-Pg线中心(P)的连线作为定位平面测量面角ꎬ平均值为102ʎʃ2.7ʎꎬ上颌面角(Ls-N-Pg)平均值为5.9ʃ1.7ʎꎮBurstone研究得到多个与颜面美学相关的线角范围及面下部软组织厚度的测量数据ꎬ他发现唇部在不同状态时ꎬ侧貌也不同ꎬ放松状态的唇是判断美观的关键位置ꎮ唇肌放松ꎬ患者眶耳平面与地平面平行ꎬ其垂直向判断指标有:(1)上下唇间距平均值为1.8mmꎮ(2)正常男性上唇长度为24mmꎬ女性20mmꎮ其水平方向的测量指标有:(1)将鼻下点与颏前点连线作为参考平面ꎬ测量上下唇突点至此平面的垂直距离ꎬ来作为上下唇突度的指标ꎻ正常牙合青少年上唇突度为(3.5ʃ1.4)mmꎬ下唇突度为(2.2ʃ1.6)mmꎮ(2)上唇倾斜度正常值为97.5ʎ[9]ꎮ1983年ꎬHoldaway建立了与面部平衡有关的测量指标ꎬ其中H线是学者们公认的反应侧貌美学的测量线ꎮH线是通过颏前点与上唇相切的线ꎬ其与NB延长线的交角为H角ꎬ用来评价上唇相对面前部软组织的突度ꎮ侧貌良好的人群ꎬANB角1ʎ和-3ʎ㊁H角7ʎ和-9ʎ㊁鼻下点距H线(5ʃ2)mm㊁下唇凹点距离H线为5mm[10]ꎮ1993年ꎬArnett等[11]从三维角度研究软组织的测量分析ꎬ用上唇角㊁下唇角㊁鼻唇角描述侧貌ꎬ女性上唇角和下唇角比男性更大ꎬ侧貌理想的人群中ꎬ鼻唇角为85ʎ和-105ʎꎮ随后ꎬArnett在此研究基础上进一步分析软组织头影测量ꎬ以真性垂直线为参考分别测量唇突度㊁面部各部分的协调程度㊁面中份的发育程度等ꎬ且多个测量数据参考范围在不同性别中也不同[12]ꎮFawrrow从额点做眶耳平面的垂线ꎬ测量上下唇最前点至垂线的距离ꎬ以此031包头医学院学报2019年4月第35卷第4期㊀JournalofBaotouMedicalCollegeꎬAprꎬ2019ꎬVol.35ꎬNo.4通讯作者:樊永杰作为判断唇部美观的标准ꎮSchway从鼻根点作眶耳平面的垂线ꎬ测量sn-po连线与垂线所形成的角度ꎬ以此作为判断软组织侧貌突度的标准[13]ꎮTalass将SN平面作为基准平面ꎬ将过S点比SN平面低7ʎ的水平线定义为水平参考平面ꎬ过S点垂直于水平参考平面的线定义为垂直参考平面ꎬ并在这两平面上测量出上下唇长度和厚度等[14]ꎮMew用上下指示线作为为面部美观的评价标准ꎮ连接鼻尖部和上左中切牙切缘所形成的线为上指示线ꎬ连接颏前点和下左中切牙的切端所形成的线为下指示线ꎬ侧貌良好的人群下指示线比上指示线短2mm[15]ꎮ㊀㊀正畸治疗的目的是实现一种平衡ꎬ协调的咬合及良好的软组织侧貌ꎬ其中一个咬合的标准共识就是AndrewsLF的6项牙合标准ꎬ分别为牙弓的宽度和形态㊁颌骨前后向位置关系㊁颌骨水平向位置关系㊁颌骨垂直向位置关系㊁颏部突度㊁咬合关系[16]ꎮ颌骨前后向位置关系是面部美观程度的决定因素ꎬ面貌美观的人群中ꎬ牙弓的宽度和形态协调ꎬFA点在GALL线上[17]ꎮ口颌面协调6要素是医患沟通的重要工具ꎬ正畸医生可以充分通过6要素治疗原则ꎬ结合患者的错牙合畸形程度选择有效的治疗方法ꎬ更好的达到美学的目标[18]ꎮ2㊀软组织侧貌的地区差异㊀㊀大量研究显示ꎬ由于生活习惯ꎬ饮食ꎬ审美观念的不同ꎬ不同地区软组织测量正常值也存在较大差异[19]ꎮ因此ꎬ每个地区都应该建立专门的软组织测量数据库[20]ꎮ吴秋瑾等[21]对新疆哈萨克族的研究表明ꎬ女性前鼻角平均值为(146.03ʃ4.98)ʎꎬ全面角平均值为(168.95ʃ4.83)ʎꎬ为Ⅰ类侧貌ꎻ颏唇角平均值为(135.90ʃ13.55)ʎꎬ美学上三角为(16.68ʃ2.81)ʎꎬ下三角为(16.95ʃ2.21)ʎꎬ面突角为(144.63ʃ5.5)ʎꎮ周坤玥等[22]对湖南汉族正常牙合成人面部软组织头影测量分析得出ꎬ湖南人比辽宁人㊁日本人㊁尼泊尔人面部侧貌更有立体感ꎮ湖南汉族人鼻部更高挺ꎬ上下唇较突出且弧度明显ꎬ颏部软组织厚ꎬ轮廓明显ꎬ但日本人软组织较薄ꎮ与北美白种人比较ꎬ湖南汉族人上唇较突出且轮廓明显ꎬ而下唇及鼻部较后缩ꎬ颏部轮廓明显但北美白种人颌骨A-NPS却较大ꎬ说明湖南汉族人软组织侧貌较平缓圆润ꎬ而北美白种人软组织侧貌立体感较强ꎮ王云[23]对安徽籍正常牙合青少年面部软组织的研究得出ꎬ侧貌理想者鼻唇角为(92.57ʃ10.10)ʎꎬZ角为(76.95ʃ4.23)ʎꎬ全面突角为(150.52ʃ4.20)ʎꎬ面突角为(169.84ʃ4.15)ʎꎬT角为(5.34ʃ3.93)ʎꎮ潘淑勤等[24]对山东汉族正常牙合少年儿童软组织侧貌分析指出ꎬ山东人与藏族人相比ꎬ男性恒牙初期山东人上唇相对前突ꎬ下唇相对后缩ꎬ女性恒牙初期山东人鼻部及上下唇都相对前突ꎻ与北京人相比较ꎬ替牙期时上下唇后缩ꎬ而鼻部相对前突ꎬ恒牙初期时上唇前突ꎬ下唇依旧后缩ꎬ鼻部相对前突ꎻ与石家庄人相比较ꎬ山东人上下唇位置均靠后ꎬ上唇相对前突ꎬ下唇相对后缩ꎮ李鸿艺等[25]对广西地区正常牙合汉族年轻女性的软组织侧貌研究表明ꎬ广西人鼻额角(131.57ʃ7.42)ʎꎬ鼻唇角为(91.96ʃ10.44)ʎꎬ鼻面角为(35.09ʃ4.05)ʎꎬ鼻颏角为(129.42ʃ4.88)ʎꎮ孙慧颖等[26]对哈尔滨地区正常牙合软组织侧貌形态的研究指出ꎬ哈尔滨地区正常牙合的鼻唇角㊁上唇角㊁全面高㊁上颌高度㊁下颌高度小于白种人正常牙合ꎬ说明前者鼻尖圆钝ꎬ鼻底平坦ꎬ上唇突出ꎬ垂直向生长量小于后者ꎻ软组织B点-TVLꎬ软组织颏前点Pog-TVL距离大于白种人正常牙合ꎬ表明前者颏部相对于其垂线明显较后者后缩ꎬ具有颏部发育相对不足㊁骨性Ⅱ类趋势ꎮ刘文国等[27]对佛山市在校大学生软组织侧貌分析得出ꎬ男性鼻额角为(131.95ʃ7.29)ʎꎬ鼻面角为(36.10ʃ4.06)ʎꎬ鼻唇角为(95.10ʃ13.48)ʎꎬ鼻颏角为(132.89ʃ9.29)ʎ女性鼻额角为(135.52ʃ7.5)ʎꎬ鼻面角为(33.20ʃ3.70)ʎꎬ鼻唇角为(106.06ʃ12.85)ʎꎬ鼻颏角为(106.06ʃ12.85)ʎꎮ3㊀结语与展望㊀㊀软组织侧貌测量数据正常值具有地区差异性ꎬ同时也受种族㊁年龄㊁性别㊁文化和个人的影响ꎬ任何一种审美标准都不能完全的表达其复杂性ꎬ而仍有越来越多的学者研究审美的共性ꎬ并证明了软组织侧貌的差异并不是完全无规律可循ꎮ协调的侧貌是正畸美学评估中最重要的部分之一ꎬ在面部美学的测量中ꎬ研究者常规从临床颜貌直接测量㊁照片测量㊁软组织头影测量分析等着手ꎬ随着科技的不断进步ꎬ三维测量技术和计算机软件技术得到了快速发展ꎬ其测量结果更精确ꎬ更全面ꎬ更科学ꎬ更标准[28]但3D摄影的人体正常面部软组织ꎬ各地区缺乏大量的数据库[29]ꎮ本文因篇幅有限ꎬ对于正畸侧貌美学的重要发展及研究进展的认识仍需进一步深化ꎬ如拔牙㊁性别㊁种族对侧貌的影响ꎬ功能矫治器㊁正颌手术对颜貌的改善等ꎮ参考文献[1]㊀PerilloLꎬEspositoMꎬCaprioglioAꎬetal.Orthodontictreat ̄mentneedforadolescentsintheCampaniaregion:themaloc ̄clusionimpactonself-concept[J].PatientPreferAdher ̄enceꎬ2014ꎬ8(19):353-359.[2]㊀MasoodYꎬMasoodMꎬZainulNNꎬetal.Impactofmalocclu ̄siononoralhealthrelatedqualityoflifeinyoungpeople131包头医学院学报2019年4月第35卷第4期㊀JournalofBaotouMedicalCollegeꎬAprꎬ2019ꎬVol.35ꎬNo.4[J].HealthQualLifeOutcomes.2013ꎬ11(1):25. 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计算机类SCI分区数据WoS四区(cs.whu)序号刊名1 AEU-INTERNATIONAL JOURNAL OF ELECTRONICS AND COMMUNICATIONS2 JOURNAL OF COMMUNICATIONS AND NETWORKS3 International Journal of Network Management4 ETRI JOURNAL5 INTERNATIONAL JOURNAL OF SATELLITE COMMUNICATIONS AND NETWORKING6 Journal of Web Semantics7 R Journal8 Security and Communication Networks9 INTERNATIONAL JOURNAL OF COMMUNICATION SYSTEMS10 QUEUEING SYSTEMS11 INFORMATICA12 Frontiers of Computer Science13 IET Information Security14 Ad Hoc & Sensor Wireless Networks15 JOURNAL OF COMPUTATIONAL BIOLOGY16 Journal on Multimodal User Interfaces17 INFORMATION TECHNOLOGY AND LIBRARIES18 MICROPROCESSORS AND MICROSYSTEMS19 ENGINEERING COMPUTATIONS20 ACM Transactions on Modeling and Computer Simulation21 ACTA INFORMATICA22 CONCURRENT ENGINEERING-RESEARCH AND APPLICATIONS23 INTEGRATION-THE VLSI JOURNAL24 INTERNATIONAL JOURNAL OF COOPERATIVE INFORMATION SYSTEMS25 INTERNATIONAL JOURNAL OF PATTERN RECOGNITION AND ARTIFICIAL INTELLIGENCE26 International Journal of 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Materials & Continua264 ACM SIGPLAN NOTICES265 Advances in Difference Equations266 Iranian Journal of Science and Technology-Transactions of Electrical Engine 267 Rhetoric Society Quarterly268 Glasnik Matematicki269 NARRATIVE INQUIRY270 Mathematical Communications271 ARCHIVE FOR HISTORY OF EXACT SCIENCES272 JOURNAL OF APPLIED COMMUNICATION RESEARCH273 Bollettino di Storia delle Scienze Matematiche274 Economic Computation and Economic Cybernetics Studies and Research275 INTERNATIONAL JOURNAL OF SOFTWARE ENGINEERING AND KNOWLEDGE ENGINEERING 276 DYNAMIC SYSTEMS AND APPLICATIONS277 Mathematical Population Studies278 University Politehnica of Bucharest Scientific Bulletin-Series A-Applied Ma 279 IEICE TRANSACTIONS ON FUNDAMENTALS OF ELECTRONICS COMMUNICATIONS AND COMPUT 280 UTILITAS MATHEMATICA281 HISTORIA MATHEMATICA282 MICROWAVE JOURNAL283 CRYPTOLOGIA284 Applied Mathematics-A Journal of Chinese Universities Series B285 Acta Mathematicae Applicatae Sinica-English Series286 PROGRAMMING AND COMPUTER SOFTWARE287 Ukrainian Mathematical Journal288 International Journal of Transport Economics289 JOURNAL OF MEDIA ECONOMICS290 Electronics and Communications in Japan291 FUJITSU SCIENTIFIC & TECHNICAL JOURNAL292 INFOR293 ELECTRICAL ENGINEERING IN JAPAN294 African Journalism Studies295 Tijdschrift voor Communicatiewetenschap296 Journal of African Media Studies297 ICGA JOURNAL298 Pure and Applied Mathematics Quarterly299 Light & Engineering300 EPE Journal301 SOLID STATE TECHNOLOGY302 Journal of the Institute of Telecommunications Professionals303 Traitement du Signal304 ELECTRONICS WORLD305 Road & Transport Research306 IEEE Transactions on Cognitive and Developmental Systems引用次数影响因子eigenFactorScore 1506 1.1470.00259826 1.130.00268225 1.1180.000261153 1.1160.00199354 1.0790.000471091 1.0750.00154422 1.0750.002561095 1.0670.002551474 1.0660.002631335 1.060.00221398 1.0560.00071405 1.0390.00113355 1.0370.00082311 1.0340.000683216 1.0320.00826197 1.0310.00048260 1.0290.00039691 1.0250.00111406 1.010.0019363810.0010278310.0003749810.000350410.0007724610.0001511650.9940.001513580.9760.001096280.9640.000949110.9560.0021335080.9510.007044170.950.0008911340.9450.001912590.9430.0003915720.920.002442950.9090.000334380.9090.000287350.9030.001784610.9020.000525580.90.000644640.8970.000216800.8930.001555770.8850.000584870.8780.0011510280.8770.00151340.8750.0003513140.8750.001413580.8670.000279300.8630.000897700.8590.001266140.850.0011615580.850.002752610.8490.000362830.8380.000733920.8370.00093 17340.8270.00279 3750.8270.00196 4040.8130.00085 12310.8120.00113 7850.8110.00071 2620.8090.00033 8330.8070.00113 2540.80.00168 9270.7910.00103 3510.7890.00048 6690.7810.00166 4220.7780.00063 6630.7780.00084 3530.7750.00031 8220.7720.00113 3610.7720.00063 8860.7710.00099 3230.770.00081 3640.7690.00031 9620.7690.00137 8180.7660.00162 8530.7650.00137 1380.7595.00E-05 1410.7580.00018 19260.7570.00654 18130.7540.00261 1610.7530.00029 16520.750.00054 36180.7480.00625 5970.7460.00106 4540.740.00067 4400.7380.00104 1940.7370.00029 19870.7350.00516 2280.7330.0004 3860.7320.00052 51150.7310.00754 5620.730.00145 12450.7290.00109 2260.7270.00024 2190.7270.00019 17270.7240.00645 5020.7240.0003 3350.7230.00176 12930.720.00137 13120.7130.00235 32140.7110.00301 13590.7110.00349 5440.710.00063 1860.7060.00048 3480.7050.00064 73280.6980.01629 10670.6960.001127860.6880.00125 17110.6870.0028 2360.6860.00028 4050.6770.00081 7300.6750.00073 3320.6740.00046 14080.670.0028 3700.6670.00099 1340.6670.00024 5070.6610.00337 3510.6570.0003 3620.6540.00098 5880.6520.00049 11180.6470.0037 3710.6470.00055 4130.6460.00131 6630.6450.0029 3390.6440.00041 4020.6430.00078 3650.6430.00081 5790.6420.00151 6830.6410.00128 3470.6380.00057 3050.6350.00038 620.6320.00082 10060.6310.00102 3640.6280.00031 3430.6270.00047 2080.6250.00235 13240.6230.00216 880.6220.00016 3820.6220.00065 4860.6220.00103 3610.6190.00061 3240.6180.00058 1730.6090.00048 5730.6090.00097 2980.6050.00209 3230.60.00042 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2670.4570.0012 9790.4560.00189 2500.4550.00111 5690.4520.00119 1500.4510.00068 18410.450.00144 2090.4480.00071 2970.4480.00083 14430.4460.0042 9350.4460.00076 4810.4440.00099 4210.4440.00201 6360.4410.00124 5780.4410.00194 3450.4390.00074 8600.4360.00318 530.4350.00011 840.4310.00017 600.4260.00037 3530.4260.0006 3670.4240.00099 7510.4230.00131 1440.4220.00052 2430.4190.00037 3030.4190.00145 1630.4150.00129 3440.4150.00079 1910.4130.00033 14480.4110.00196 4020.4050.00018 2760.4050.00163 5040.3940.00125 2510.3940.00023 6160.390.00185 1590.380.00041 8080.3790.00125 19520.3770.00551 1520.3750.0001 3320.3650.00087 1080.3650.0002 18640.3570.00117 1550.3480.00015 2640.3460.00068 3750.3430.00142 3150.3390.00093 25410.3350.0032 8490.3350.00233 220.333 5.00E-05 2040.3330.0003 2560.3280.000496920.3080.00072 150.30 1030.2990.00019 3450.2990.00054 2640.2980.00052 1700.2860.00021 1840.2790.00034 13810.2740.00196 4820.2610.00082 2210.2580.00028 3960.2580.00063 1600.2563.00E-05 1740.2470.00049 5380.2420.00106 1140.230.00017 6990.2280.00079 1890.220.00021 1870.2170.00017 1670.2020.00036 1730.1910.00022 3800.1890.00025 3980.1880.00033 120.1712.00E-05 420.1717.00E-05 660.1540.00018 630.1520.00028 2410.1490.00141 410.1183.00E-05 1010.0910.00011 1620.0820.000170.0780 720.0281.00E-05 450.0262.00E-05 1150.0210.00014 7-999.999 1.00E-05。
C e n t r u m v o o r W i s k u n d e e n I n f o r m a t i caINformation SystemsSemantics in Multi-facet Hypermedia Authoring Kateryna Falkovych, Frank Nack,Jacco van Ossenbruggen, Lloyd Rutledge R EPORT INS-E0307 N OVEMBER 20, 2003INSInformation SystemsCWI is the National Research Institute for Mathematics and Computer Science. It is sponsored by the Netherlands Organization for Scientific Research (NWO).CWI is a founding member of ERCIM, the European Research Consortium for Informatics and Mathematics. CWI's research has a theme-oriented structure and is grouped into four clusters. Listed below are the names of the clusters and in parentheses their acronyms.Probability, Networks and Algorithms (PNA)Software Engineering (SEN)Modelling, Analysis and Simulation (MAS)Information Systems (INS)Copyright © 2003, Stichting Centrum voor Wiskunde en InformaticaP.O. Box 94079, 1090 GB Amsterdam (NL)Kruislaan 413, 1098 SJ Amsterdam (NL)Telephone +31 20 592 9333Telefax +31 20 592 4199ISSN 1386-3681Semantics in Multi-facet Hypermedia Authoring ABSTRACTThe presentation generation area of hypermedia authoring contains different approaches to address the challenge of the presentation creation process. This paper presents the approach in which the author creates a presentation following the five stages process. These five stages reflect various facets in hypermedia authoring.1998 ACM Computing Classification System: H.5.4., H.5.1.Keywords and Phrases:Hypermedia Authoring, Semantics, Intelligent Support, Narrative StructuresSemantics in Multi-facet Hypermedia Authoring Kateryna Falkovych, Frank Nack, Jacco van Ossenbruggen, Lloyd RutledgeCWI, Amsterdamstname@cwi.nlABSTRACTMultimedia presentation creation is a complex process where the multiple phases would each benefit from human intervention. This paper presents a hypermedia generation model that lets the user influence all phases of this computer-assisted human-guided process. We present our five layered approach that is based on an example of an author who creates a hypermedia essay on an art style. This working example reflects various facets in hypermedia authoring. On the base of the example we introduce requirements for the underlying meta-data. Due to this meta-data the system can support the author in making a hypermedia presentation that conveys the semantic relations from the domain in a coherent way.1 INTRODUCTIONFor domains with a critical amount of media cross referencing, such as the disciplinary context of history of art, hypermedia allows to establish knowledge spaces. In both small (a single presentation) and large (a complex semantic network) knowledge spaces the community as a whole can develop and strengthen its own knowledge and practice. In other words, the information space provides perspectives on the domain, including basic assumptions, goals, terminology, and modes of discourse.However, the authoring of hypermedia is a complex, resource demanding, and knowledge-intensive process [5]. Much of the current research on automatic hypermedia generation concentrates on the presentation creation process where the user is a final consumer of the presentation and influences the creation process only at the start of an otherwise fully-automated process [1], [3], [6], [7]. In our work we consider the user as an active creator or author of a presentation. We thus focus on providing extra support for helping the user find relevant media items and combine them meaningfully into a rich and coherent multimedia presentation. For that our approach uses explicit knowledge about the semantic relations of the presentation's topic domain, narrative structures, hypermedia presentation design and distinctions between media modalities. In this paper we discuss the phases of the presentation creation process in an example scenario. We introduce the requirements for the system facilitating the presentation creation process through these phases by discussing the two phases of the process in more detail – specification of the presentation structure and collection of material to be used in the presentation. The paper concludes with an outline of the future work.2 SCENARIOIn order to understand the context of the process in which we consider the requirements for our meta-data framework, we present here the example scenario, taken from [2], where it is discussed in more detail. The user operates with our system called Samp L e (Semi-Automatic Multimedia Presentation generation Environment), which is connected to a large hypermedia database. The user creates a presentation (small knowledge space) using the material form the database (large knowledge space).Our user is a student who has the assignment to build a presentation about the Dutch art movement ‘De Stijl’. The goal is to convey the intended content of the presentation in an engaging way. For this the user has to perform a number of tasks. She has to choose the topic of the presentation and the genre at the first phase of the process. Then the intended content of the presentation has to be sketched out in the form of presentation structure at the second phase. During the third phase the user has to find the material she wants to use in her presentation. At the fourth phase the selected material should be organized into a coherent story. At the fifth phase the material should be structured into presentation scenes. The style of the presentation has to be settled with regard to the font type, colour scheme, animation effects and duration. Inaddition suitable behaviours of switching between different presentation scenes through hyperlinks have to be defined. These five layers of the presentation creation process are discussed in more detail below.2.1 Theme identificationWithin the overall goal – creating a presentation about ‘De Stijl’ – the user has to specify the more concrete topic of her presentation. She decides that she is interested in the art movement as a whole. Among the proposed system genres she chooses essay, because the essay genre facilitates structures that allow an analytic composition dealing with the subject from the personal point of view. Thus, she specifies the topic of the presentation as ‘Essay about ‘De Stijl’’, where ‘De Stijl’ – subject of interest – plays the role of the main character in the presentation. The system asks whether she wants to identify related characters for the presentation. The user knows that ‘De Stijl’ was influenced by Cubism. Thus, she chooses Cubism to play the role of related character in the presentation.2.2 Specification of the presentation structure Based on the choice made at the previous level the system selects, due to the expertise level of the user (user = student) the simplest presentation structure (prologue, elaboration, epilogue) for the essay genre and adapts this structure according to the choice of characters. The user decides to alter the proposed presentation structure. For that she extends it with new sections and changes the way of presenting information for some sections. For example, the system proposed for the prologue to give the overview of ‘De Stijl’ first and then to give the short definition of Cubism. The user did not agree with this way of introducing Cubism and decides that it should be represented more extensively in the form of the overview. In this way two movements will be introduced equally resulting in a better background for discussion about influences of one movement on another.After the alteration of the whole presentation structure is completed the user proceeds with the next level.2.3 Collection of the materialIn this phase the material is retrieved and selected that has to fill the created presentation structure. The user specifies her preferences about media type of items to be retrieved. The description of every section serves as a query for the system. The system retrieves relevant media items for each section and presents this set of items to the user. The user chooses items she likes best to be used in the presentation. 2.4 Arrangement of the materialAt this level the material inside each section of the presentation structure is ordered to create a coherent story. This ordering is done automatically by the system based on the rules that take into account the content of each media item, its narrative structure and media type. If the user is not satisfied with the arrangement she can adjust it to her preferences.2.5 PresentationcreationOnce theme, presentation structure and general arrangement of the material are specified, this final phase is concerned with the creation of the presentation with regard to scene specification and style selection. Our user has the possibility to choose between different types of presentation, such as slide-show, non-interactive or interactive presentation. The user decides that the most engaging presentation would be an interactive presentation, since it includes hyperlinks that allow to switch between different scenes and get more information from the presentation by following links. She realizes that in order to create interactive presentation she has to select more media items from the database. For that she goes back to the specification of presentation structure and adds new sections. In the introduction section, for example, she wants to add links to the biographies of ‘De Stijl’ movement main figures and principles of Cubism. Thus, she adds sections ‘Biography of P. Mondriaan’, ‘Biography of T. van Doesberg’, and ‘Principles of Cubism’.Below we discuss the second and the third phases of the process described above and derive the requirements for the underlying meta-data framework3 SPECIFICATION OFPRESENTATION STRUCTUREA common way of developing an essay is to start with introducing the main character in the prologue. Then the major activities of the main character are elaborated in the main section of the presentation. In the epilogue the main achievements of the main character are outlined and its influences on the future development are presented. This template structure is adapted according to the choice of characters in a way that the prologue part will contain the section in which the related character is introduced. The main part of the presentation will be extended with the section about influences of Cubism on ‘De Stijl’. For the sake of clarity we discuss here only the alteration of the prologue part of the presentation. The prologue contains two sectionsdescribed as ‘Overview of ‘De Stijl’’ and ‘Definition of Cubism’. In order to perform changes to the proposed structure as discussed in the scenario, the user has to change the description of the second section to be ‘Overview of Cubism’.The description of the section represents content requirements. Thus, the description ‘Overview of ‘De Stijl’’ denotes that this section gives the information about ‘De Stijl’ in the form of the narrative structure overview. The difference between overview and definition is that definitionis just a short presentation of a subject whereas overview introduces a subject in more detail.The process described above causes the need for the system to have certain knowledge. Domain knowledge is required to adjust the frame presentation structure of genres according to the chosen characters and also to derive relationships such as that Cubism started before and influenced ‘De Stijl’. The relationships between these two art movements might be clear for the user but the system has to derive them to be able to introduce the relevant section in the presentation.Changes in description of sections result in a different content selection behaviour of the system. In the next section we will outline how the established structure facilitates the ability of the system to guide the content collection process.4 COLLECTION OF THE MATERIAL In the previous section we mentioned that each section in the presentation structure is described in a way that makes it clear to the user what the section is about and what kind of information she will need to instantiate the established structure. The same information has to be understood by the system to make it possible to help the user with the retrieval of data for each section of the presentation structure.To enable this all the concepts the user operates upon during the alteration of the presentation structure should be connected first to the domain ontology to let the system know about the intended content of the section, and second to the narrative structure ontology to deduce the preferred type of narrative the user wants to have for the certain content.Further the retrieval process also takes into account the position of the certain section (whether the section is inside the prologue, elaboration or epilogue section), since this knowledge adds to the requirements about the narrative structures of items to be retrieved. For the prologue section, for example, the retrieved media items should have more abridged structures than for the elaboration part.Finally the system should have knowledge about the media type of each item in the database to retrieve items of media types specified by the user.Having introduced these requirements we can now outline the framework for the meta-data structure. Every item in the database is annotated with:the concept(s) from the domain ontology to indicate the content of the item;the concept(s) from the narrative structure ontology to define the context in which the item can be used;the concept(s) from the media ontology to distinguish items by media type.On the base of this framework for annotations semantic relationships between objects can be explained. All the annotations are written and stored using RDF [4] format. An example annotation of the textual item discussing principles of ‘De Stijl’ could look as presented below:<rdf:Description about=”d:item132”><c:principlename=”P1”/><c:art_movement name=”De Stijl” /><s:structure>summary</s:structure><m:media_type><m:internal>text</m:internal><m:external>text</m:external><m:format>txt</m:format></m:media_type></rdf:Description>where ‘c’ stands for the namespace of the domain ontology, ‘s’ for the narrative structure ontology, and ‘m’ for the media ontology.The annotations for the image reflecting ‘De Stijl’ principles could contain:<rdf:Description about=”d:item122”><c:principlename=”P1”/><c:painting style=”De Stijl”/><s:structure>summary</s:structure><m:media_type><m:internal>image</m:internal><m:external>drawing</m:external><m:format>jpg</m:format></m:media_type></rdf:Description>The fact that the attribute name of the class Principle has the same value (P1) for both media items determines the semantic relationship between these items. In this way the system can retrieve textual items discussing certain aspects of the art movement and also image items that can be used as examples of those aspects.5 CONCLUSIONSIn this paper we described the scenario for the system-supported process of manual presentation authoring. On the base of the scenario we explained the requirements for the system enabling this process, during which the user is supported with ontology-based and context-oriented information. We described the underlying framework of our approach and discussed the interrelationships between different types of meta-data.For the material collection process a mechanism was established to facilitate the search in the large hypermedia database. The proposed approach for retrieval of the material has an advantage of reducing the set of retrieved items at each phase of the search. Thus, smaller and more relevant sets of retrieved objects are shown to the user.Future work will concentrate on the realization of internal processes for the specified framework. The proposed meta-data requirements will be verified according to their completeness.The possibility to enrich the system repository by storing successful presentations has to be integrated into the system. For that the way should be found to manage with new presentation structures in the relation with old ones.Building the presentation at the last phase of the process includes combining various media items into scenes. By doing that new relations between items can be discovered (e.g. a subsection of the selected textual item describes a part of the image). The challenge of creating new annotations will be addressed. Annotations used by the system fall into complicated infrastructure a user cannot be faced with. Thus, a semi-automatic way of creating new annotations has to be found, where user intentions are understood by the system, and complete relation infrastructure is filled in without the user intervention.ACKNOWLEDGMENTSPart of the research described here was funded by the Dutch national ToKeN2000/CHIME project. REFERENCES[1] Andre, E., Muller, J., and Rist, T. (1996). WIP/PPP:Knowledge-Based Methods for Fully Automated Multimedia Authoring. London, UK, 1996.[2] Falkovych, K., Nack, F., van Ossenbruggen, J.,Rutledge, L. (2003) Samp L e: Towards a Framework forSystem-supported Multimedia Authoring. Technical report. http://homepages.cwi.nl/~media/publications[3] Kim, S., Alani, H., Hall, W., Lewis, P.H., Millard, D.E.,Shadbolt, N.R., and Weal, M.J. (2002), Artequakt: Generating Tailored Biographies with Automatically Annotated Fragments from the Web . Available at /archive/00000068/[4] Lassila, O., and Swick, R.R. (eds.) 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