Exploration of the Entangled Meanings of the Objects: Discursive Essay

A fireplace opposite white and red life rings brandishing the words ‘Canalside Heritage Centre’, a wooden chair, and exposed floorboards dressed with a rag rug is how the downstairs room of the Canalside Heritage Centres exhibition presents itself. The exhibition tells the story of the Weir Cottages and the history of the local waterways (Canalside Heritage Centre, n.d.). The first room of the exhibition has been curated to tell the story of life in those cottages: simple, practical, somewhat bare, and directly intertwined with the life on the waterways. Venturing through the wooden door you find the cottage’s kitchen. Here, a Belfast sink and a small stove are overlooked by a gaslight on the wall and two wooden shelves. The shelves house a mismatched collection of crockery, some of which is broken, tea strainers, a film camera, and a stack of photographs propped against the exposed brick wall. These objects were recovered from the site during the Wier Cottages renovation (Appendix A). A collection of broken artifacts, puzzle pieces of life gone by, discarded, dug up, and reinterpreted to reimagine the occupants of the Wier Cottages. Ian Hodder’s (2012) book Entangled: an archaeology of the relationships between humans and things suggests that objects depend on objects, humans depend on objects and objects depend on humans creating an entangled web of dependencies. This essay will explore how objects and humans depend on each other to create meaning in a house museum setting.

Objects need objects

The objects on display within the exhibition rely on each other to tell the story of the Weir Cottages. The stories we construct about humans are created by piecing together different forms of visual communication that are provided, also known as the ‘semantics’ (Kress and Van Leeuwen, 2006). The items on the shelves tell a story of domestic life, and the stove and un-plastered brick wall behind ‘relay’ more information about the conditions in the cottages (Kress and Van Leeuwen, 2006). In The Comfort of Things (2008), Miller interprets the objects in people’s homes in comparison to their life experiences. George’s home was empty and bare, he compared this to the lack of fulfillment in his own life, empty of achievement. We can suppose how Miller would read and interpret the lives of the Wier Cottages from the objects. Perhaps thrifty and poor, due to the condition of the crockery and the rugs made of rags, caring people with a life ring ready to throw in for a stranger in need. The mismatched selection of teacups ready for guests, invited in to warm their toes on the fire over a cup of tea, temporary relief from the damp conditions of boat cabins (George Smith of Coalville, 1875, appendix B). The semantics of the objects and the stories that are told are examples of how the objects rely on objects to tell their story.

Objects rely on the plurality of objects to tell a story. In isolation or the traditional glass cabinet of the museum, they would just be a broken cup, or a set of tea strainers (Dorsett, 2013), labelless these objects would appear as misplaced refuse. Without these restraints, the objects on the kitchen shelves in the Wier Cottages take on a performative role (Hancock, 2013). How did the cup break? Are they somehow victims of the River Trent breaking its banks (Dobson, 2018)? Individually, objects have meaning by being associated with events or people (Wehner and Sear, 2014). Collectively objects force the viewer to contemplate them as a mass, as Andy Warhol discovered in his project ‘Raid the Icebox’. His task was to display items from museums’ storage, when faced with the collection of shoes he displayed them together in a heap. The plurality of the objects changed what was valuable in a museum object. Instead of their value being measured by what was written on their tag, the pile questioned the difference in value between display and storage objects (Dorsett, 2013). The plurality of objects in the Canalside Heritage Centre includes the building itself, as they were all found within its boundary walls. The plurality of these objects means the broken crockery is no longer rubbish, together they become puzzle pieces that tell the story of the Wier Cottages. Their arrangement in an imaginary home represents all the occupants and none at the same time, turning ‘home life’ into an idea and therefore an object (Hodder, 2012). Here the objects rely on objects to tell history of the objects (Hodder, 2012).

Objects need humans

In their past lives, before the point of discovery and entry to the museum space where their meanings were stabilized (Alberti, 2005), the objects relied on humans for their creation and to perform their function (Hodder, 2012). The teacups relied on humans to mix, shape, and fire them, ensuring they could hold boiling water, then, humans brewed tea, using tea strainers, and poured it into cups (Hodder, 2012).

Objects depend on humans to give them value. Hancock (2013) gave great value to Virginia Woolf’s glasses as they connected her to their previous owner, someone she thinks highly of. According to Marx (2005), these objects have been given value throughout their existence; the capitalist process of production alienated them from their maker as they were given comparatively more resale value than their maker’s wage. When the worker confronts these objects again as commodities in a separate world from where they were made the objects become so far removed from the worker they become fetishized. Finally, when preserved in the museum setting, not just as a pair of glasses but as Virginia Woolf’s glasses they have gained a value separate from their object selves and have gone through the process of ‘reification’, gaining an idol-like value. The perceived object value is what deems them worthy of being preserved, cared for, and idolized in the museum environment (Wingfield, 2013). When the objects in the Canalside Heritage Centre were collected they went from being rubbish fetishized objects worthy of collection. By displaying them in a museum-like environment, reification gave them a value separate from their object selves, they tell are treasured artifacts of previous lives.

Throughout the journey of their existence, objects depend on humans to give them meaning (Dudley, 2013). The meanings that are assigned to objects very much depend on the person who is experiencing them, the collector of the objects gave them a meaning worthy of being saved from the bin (Muensterberger, 2014). The curator cannot control the meaning given to the objects by the visitors (Fish, 1953), there are infinite possibilities and are entwined with the ‘lifeworld’ of the person viewing them. The visitor’s lifeworld is the personal connections they have with that object (Wood and Latham, 2014), a mental map of knowledge based on past experiences both biographical and cultural’ (Hooper-Greenfield, 2000 pp.118). In the case of the broken teacups, these meanings are derived from the social connotations of sitting down with people to drink tea, the process of ‘throwing a cup on a pottery wheel and smashing crockery, amongst many others. Although curators cannot predict all the meanings assigned to objects, Fish (1953) suggests that ‘interpretive communities’ allow them to assume some. These are groups of people who may, due to similar life experiences, create some similar meaning for objects. If we take the very ritual of drinking tea as a similarity making an ‘interpretative community’, it is possible to assume visitors will make social meanings in teacups. The teacups depend on humans to assign these meanings to them to make sense of the home environment.

Humans Need Objects

Just as objects rely on humans to give them meaning, humans need objects to make sense of the historical story at the Canalside Heritage Centre. As previously discussed, it is the ‘lifeworld’ of the visitor that allows them to give objects meaning, however, the visitor relies on knowledge of the ‘object world’ to intersect their ‘lifeworld’ for meaning to be made. The ’object world’ is all the information a museum has and can share about the object (Wood and Latham, 2014), this includes the physicalities of the object (Mitten, 2007) and the object’s history (Medina, 2007). This information is processed through the visitor’s life world so they can understand the museum’s message (Wood and Latham, 2014 Graves-Brown, 2000 in Dudley, 2013). In the Canalside Heritage Centre, the ‘object world’ of the items on the shelves in the kitchen includes their function, for example, many of these hold beverages and food. This information triggers memories in the visitor’s ‘lifeworld’ including food and beverages which enables them to make meaning (Wood and Latham, 2014) and make sense of the history at the site.

As has already been discussed the visitor needs the object and the information about the ‘object world’ to make sense of what they see in front of them, it is, therefore, logical that the museum relies on the object as an information tool to impart the message of the museum to the visitor (Dudley, 2013). In the recreation of life in the Wier Cottages, there is very little text-based information regarding life in the Wier Cottages, the curators have let the ‘objective knowledge’ tell the story. Wehner, K, and Sear, M (2013) suggest objects displayed in this way allow the visitor to observe the material conditions, sensibilities, and experiences and invite them to engage empathetically with other people’s life-worlds across time and space. In a traditional museum setting, with objects in serialized cabinets behind sheets of glass, the objects lose their sense of physicality and human intimacy (Hooper- Greenhill, 2000). However, the curator’s decision to display an imagined domestic setting creates an intimate space (Hancock, 2013) allowing empathetic engagement to take place. Historian Inge Clendennon has pointed out that the problem with allowing objects to tell the story with minimal text is that the conditions surrounding the lives of the people of the past are very different from us today. She suggests further contextual information in the form of text will help people understand this (Wehner, K, and Sear, 2013). I wonder how many people today can understand the trials and tribulations of constantly ensuring you had enough wood to heat your home over the cold winter months.

The project accompanying this essay maps my home by exploring the meaning behind some of the objects it houses and plotting the object known origins on a world map. The project consists of an ABC book with one object listed for every letter in the alphabet, each page has an object photograph, and information about its meaning to me, its material, color, and places it is associated with. These places have been marked on the accompanying map with the letter of the alphabet.

The project has been made physical, rather than digital, to physically engage the viewer in the task of turning the pages and searching for the letters on the map. By interacting with the objects in this way, the viewer will become more invested meaning-making process (Alberti, 2005).

The accompanying information only discusses the owner’s relationship with the object. In the same way, objects in a museum become markers for a significant person or event (Wehner, K, and Sear, 2013), and these objects have become a marker for me. They each have a personal meaning to their collector and reflect their personality (Muensterberger, 2014). Do the repurposed curtains represent the collector as resourceful; the plants show their love of nature, and their crochet work indicates creativity? What about the taxidermy and tooth? The meaning viewers make in the objects and about their collector is derived from the viewer’s own lifeworld experiences and knowledge of the object world (Wood and Latham, 2014). Releasing the objects from the shackles of excessive text, the aim was to increase the object experience for the viewer. According to the ‘Object Knowledge Framework’ (Wood and Latham, 2014), this freedom should enable the viewer’s imagination thus enhancing the meaning-making process, and creating an experience of higher value (Dudley, 2013).

The combination of images, information, book, and maps explores Hodder’s (2012) theory of entanglement. The final presentation of the book and map do not only rely on their duality to convey the message of their maker, but these objects rely on the objects featured in their content. These objects, in turn, rely on objects to function. The Lister engine relies on many parts working together to turn the propeller, or to power the alternator to charge the batteries and power electrical objects in the home. The objects featured in the book, relied on their human collector to preserve them, as many of them were gifts, they relied on human friends to gift them. Once they are presented to the world, the objects rely on the humans viewing the book and map and their reactions to inscribe them with meaning (Fish, 1953, Wood and Latham, 2014 Alberti, 2005). Humans rely on objects to convey the messages they interpret from the book and maps (Wood and Latham, 2014 Hodder, 2012). Humans also rely on objects to perform their functions, such as the engine for electricity. The dependency of objects on objects, objects on humans, and humans on objects are therefore completely entangled.

The ABC model of community mapping (Clifford, 2011) was used to choose the objects purely to aid the selection process. In a home museum, the objects are often those which are the most important to the story the curators are trying to tell (Australian ref). For example, in the Canalside Heritage Centre, the teacups indicate the social aspects of life, and the community is an important part of the story they are telling, they haven’t included cleaning equipment. By using the ABC model the curator left curatorial decisions to the alphabet, is the windlass as important to the collector’s story as the stovetop coffee maker?

Conclusion

This essay has explored the ‘entangled’ meanings of the shelf in the kitchen of the Wier Cottages according to Hodder (2012). It has established that in a museum-like environment, objects need objects to tell the story through the semantics of how many objects together can be read (Kress and van Leeuwen, 2006), and how the plurality of the objects changes the meaning conveyed by Dorsett, 2013). Objects need humans to enable them to perform their function (Hodder, 2012), to assign them value (Marx, 2005), and to make them worthy of being displayed in a museum. Humans are needed to collect the (Muensterberger, 2014) and to give the objects meaning, both as the curator and the visitor (Wood and Latham, 2014 and Hooper- Greenfield, 2000). In turn, humans need objects to tell make sense of the world (reference?) and to tell the story of the Weir Cottages (references?). Each of these relationships depends on the other to work. Through semantics, objects rely on objects to tell their story, but they rely on humans to collect, curate, and make meaning in their stories and humans rely on the object world of objects to intersect their lifeworld so they can make meaning. The reliance of one object: object or object: human relationship on another for meaning to be made is what Hodder (2012) defines as ‘Entanglement’. Entanglement in the accompanying project can be explored in the object book and map relying on the objects featured to tell the story the curator has put together about the objects in her home that they rely on every day. The object book and map then rely on the viewer to assign meaning to the project.

Essay on the Sexual Oppression and Objectification of Women

By definition, feminism means economic, social, and political means equality of sexes. “The word ‘feminism’ itself originated from the French word “féminisme” in the nineteenth century, either as a medical term to describe the feminization of a male body, or to describe women with masculine traits” (Pilcher 48) Later it is used for a range of political movements and actions that try to achieve the equality between genders. In most countries, women are marginalized thus feminism plays a huge role mostly for the sake of women. Even though it is not as bad as it used to be equality is still not provided. In many countries, women are still seen as the inferior sex. Most of the countries that believe in this idea are uneducated ones which shows the importance of education in the understanding of feminism. By educating the next generations in the right way this equality should be provided. It is not a piece of old information that the oppression of women was always an issue. They had no equality in politics, economy, or social structures until recent times.

Education in this work is not the physical education we all had in our schools. It is cultural education and social learning. We educate ourselves with what we watch, what we listen to, and what we read. By watching movies, reading books even listening we teach ourselves. Even though we don’t realize that we are constantly teaching ourselves subconsciously. For example, in Fight Club there is nothing on the surface level. While watching without paying attention we don’t understand the underlying themes underneath the plot. It might be a far-fetched interpretation but the movie is actually about gender roles and boundaries forced by societies to individuals. We have three main characters one of them is our narrator. He is not like a typical male. He has no courage, no bravery, or no ambition. They are all attributes linked to men by society. He has no emotional stability. We see him while buying furniture at the very beginning of the story and at the end, his other half refers to him as an IKEA boy. Shopping is often assumed as a female trait also. Our second character Marla is also not a stereotypical woman. She is bold, brave, and isn’t scared of anything. She is emotionally strong and knows what she wants. We are forced to behave by our gender in society. We learn it from former generations, our grandparents, or even from mass media. “People create a world in which there are two, and only two, genders, and act according to that belief”(Holmes 52). It starts at the very beginning of our life. “When a child is born and the doctors say ‘it’s a girl’ then that child becomes part of a whole social framework in which whatever she does will be understood about ideas about gender”(Holmes 55). Lastly, Tyler Durden represents society’s expectations towards males. For the sake of the movie, it is very exaggerated but the idea behind is very simple men should be bold, brave, strong, and fearless. Through the movie, he tries to become the man that society wants. Tyler Durden is what he thinks he wants to be. The army created by Tyler Durden also represents society and in the movie, it is said that they see Marla as a danger because she is outside of gender roles thus she is dangerous. The destruction of his own house and Bobby’s death represent how toxic masculinity destroys individuals and the self. At the end of the movie, he realizes his mistake and the movie ends with him holding Marla’s hand. It symbolizes their acceptance of each other as who they are. It shows that different individuals exist within the societies and there is nothing wrong with it. The movie teaches that there is no such thing as gender roles and that people should live as they wish. “The kinds of rules that we learn about doing gender might be embedded in social structures and ideas in ways that constrain us, but we can make some choices” (Holmes 56). And those choices are the things that make us individuals, what makes us different from the others. By breaking the rules that were coded to us while we were babies we became human.

In The Wolf of Wall Street on the other hand representation of women is the opposite. When the movie starts we start to see naked women in the first 15 minutes. After Jordan made money first thing we see is naked women to entertain him. There is a constant objectification of women, we see naked girls almost every 20 minutes. We see women’s representation only as a sexual object. They are used as only props to entertain the men. They even treat sex workers according to their rank. When you contrast men to women we see a great gap between them. While men gain money and have fun the only job of women is to entertain them. Even one of the main characters in the movie Naomi is portrayed as a one-dimensional character. In the first 15 minutes of her screen time, we see her naked too. We as an audience do not see anything about her intelligence or abilities, the only thing we know about her is that she is beautiful. She is constantly naked and uses her sexuality toward Jordan. Jordan leaves his wife for her while his wife cares for Jordan. She was with him even when he was poor. It is what our society turned into we make our decisions through an outer look inside what we are. We care more about the outside than the inside as a society “In a society that still values females more for appearances than for accomplishments, young women are given competing messages about appearance and sexuality” (Younger xiv) Through the movie Jordy even becomes abusive towards Naomi because of his money and power. She is also portrayed as a gold digger. When everything about to goes down Naomi decides to leave Jordan. The objectification of women in the movie is so high that even the actress Margot Robbie did not want to play the character but she was forced to play the character because the director of the movie was a very well-known person. It also shows the unequal power relationship between men and women in real life.

Besides objectifying women it also creates an ideal image for women in the movie. Every woman in the movie is thin and has Barbie-like figures while men are in all sizes. We don’t see the male body as much as the female body in the movie but the ones we see are not typical, everybody has their own body. The only woman in the movie who has no Barbie-shaped body is labeled as a low-ranked prostitute. “The idealization of slenderness in women is often viewed as the product of a historical evolution that has occurred over the past century” (Grogan 13). Media often promotes slenderness instead of being healthy by transferring this to the next generation we keep idealizing women’s bodies. With movies or advertisements like this, we create an ideal body image for young girls. By creating a standard for girls society made them feel fat or unhealthy. They made investigations about women and their body standards results were not very surprising when you think about every movie and advertisement you see in the media. “The investigation demonstrated that normal-weight young British women tended to feel fat and wanted to lose weight” (Grogan 28). Even though they are normal weight they feel they are overweight and want to lose weight to satisfy the expectations of society. The ideology puts more weight on women and causes them to over diet and lose their health. “Psychologists have suggested that the media can affect men’s and women’s body esteem by becoming a reference point against which unfavorable body shape comparisons are made”(Grogan 100). Expectations are so brutal that individuals go through serious surgeries to satisfy their expectations. They go through seriously dangerous procedures to get what they think they want but in reality, they are only doing it for the others. Because unless they don’t they feel worthless in the eyes of others. “Social psychologists and sociologists have generally argued that sexual preferences in body shape and size are largely learned, and are affected by the value that a particular culture attaches to that kind of body shape” (Grogan 142). The things people want are not their wishes. That “wish” is something learned, something created by society.

In Thelma and Louise, we see a completely different representation of women. Thelma is portrayed as an example of a traditional housewife. She cooks, cleans, and looks after her husband. Her husband yells at her even at the beginning of the movie. He talks down to her by using his job as a regional manager. He thinks he is superior to her. Thelma is scared of her husband because she thinks he will not let her go. “Modern Western culture has generally ignored women’s active involvement in public life. It has taken the dualism of male dominance in the public sphere and women’s relegation to the private sphere for granted” (Ramazanoglu 63). Louise’s representation is a bit different than Thelma’s. She is more like a fighter. She is strong, brave and smart. She convinces Thelma to go on a trip with her. We see Thelma’s transformation from a housewife to an individual. By rebelling against her husband she breaks the stereotypes of women. They mostly know that they are living in a men’s world. Thelma even says that her husband is more like a father than a husband. The guy that Louise killed proves that idea. He thinks that by buying a drink for girls and dancing with them he can have sex with them. He ends up trying to rape her because he can’t take no for an answer. By killing him Louise symbolizes women’s rebellion against society and stereotypes. They can’t go to a police station because they think they won’t believe them. Thelma says that just because she danced with him police will think that she asked for it. There is a constant disrespect towards women throughout the movie. We see Thelma’s husband constantly trying to oppress and control her even through the phone. The truck driver abuses them just because they are women. He sticks her tongue out and honks the horn. Even the handsome hitchhiker they took with them ends up betraying them. He takes their money and runs away. When he meets Thelma’s husband he talks about her as if she is an object rather than an individual.

The movie portrays women as more like a fighter against the system. While they are fugitives they look like they have more fun as compared to their lives in their house because they know that this is a rebellion against society not only a road trip. The genre itself is also important according to Alexandra Ganser in Roads on Her Own, the road narrative is often associated with men and women are only pawns to be used in the game of male bonding (44-46). By giving the narrative to the women the movie also breaks the stereotyping of genders. Instead of male bonding, we see women bonding. “In my discussion of women’s road novels, I am critiquing the masculinization of the road as a physical and social space by exposing a masculinized discourse of travel and the road genre” (Ganser 66). By giving the roads to the women, the movie takes women from the domestic sphere and puts them into the social sphere. Towards the end of the movie, they say that they don’t have any regrets. Thelma even says that she is only sad because she is not the one who killed the guy who was trying to rape her. She also says that she has changed and can’t go back to her old life as an oppressed housewife. The scene in which Louise changes her more feminine glasses with the police shows that she is trying to be a power figure. Things have changed about women through the time women became more conscious about themselves, they started to take control, and they started to fight back against the system. “This has made many women less dependent on individual men for their survival, but the overall social system remains one in which men continue to have control”(Holmes 80). But as we can see from the ending of the movie we still have a lot of way to go. Even though how much they fight there is only one way to run away from the oppressive society. They drove to a cliff together rather than living in a man’s world. This ending is perfect for drawing attention to the problem. It shows how big the problem is and how women have no other choice in this oppressive society. There are major problems with equality within society. There is a huge power difference between men and women. The whole movie bluntly shows how society is biased towards men. We can see the double standards of society. “As a concept double standards are most often used to describe a disparity between the experience of men women and men, which is to benefit of men” (Pilcher 36).

In conclusion, we don’t learn only in school. We also learn things from movies, books, and television programs. The representation of gender in these areas is important when it comes to the understanding of gender. While educating ourselves or our children we have to be careful about what or how we use our media. Human psychology is easily affected by social expectations. We have to be careful about the representation of gender. Even though men are also affected by the expectations, women especially younger women are more affected than men. “Although feminism has made significant advances girls’ lives are still adversely affected by social pressure to adhere to an ideal standard of beauty” (Younger 1). We have to take a step further and we have to demolish these forced gender roles caused by society’s expectations for the sake of the next generations.

Works Cited

    1. Holmes, Mary. Gender and Everyday Life. New York: Routledge, 2009. Print.
    2. Grogan, Sarah. Body Image. London: Routledge, 1999. Print.
    3. Pilcher, Jane, and Imelda Whelehan. 50 Key Concepts in Gender Studies. London: Sage Publications, 2007. Print.
    4. Ramazoglu, Caroline. Feminism and the Contradictions of Oppression. New York: Routledge, 1989. Print.
    5. Ganser, Alexandra. Roads of Her Own. New York: Rodopi, 2009. Print.
    6. Younger, Beth. Learning Curves. USA: Scarecrow Press, 2009. Print,  

 

How Do Material Objects Persist: Analytical Essay

Introduction

In this essay, I will be showing that material objects persist by perduring. I will be using persistence in the sense of:

A material object persists if somehow or other, it exists at different times and undergoes changes in its extrinsic properties (Van Inwagen and Zimmerman, 1998)

I will first look at some preliminaries when looking at perdurantism. I will then show that the Perdurantist theory is the best theory for explaining how objects persist through change. I will prove this by showing that Perdurance escapes the problem of temporary intrinsics, a central notion that discusses persistence despite a change in intrinsic properties. I will also put forward the argument that perdurantism is the best-fitting theory for explaining change through time through a reductio ad absurdum. I will then look at Perdurance in light of Wiggins and Van Inwagen’s objections and show that neither of the objections defeats the theory and perdurance best explains the persistence of material objects.

Preliminaries

I will introduce some key issues within the preliminaries which I will be using in my argument to show that objects persist by perduring.

The Statue and the Clay

This is described as a puzzle of the material constitution; it will be used to explain and evaluate the perdurantist view of persistence. In this example, a sculptor takes a lump of clay (lump) and makes it into the statue of the biblical figure Goliath. At noon (t1) the clay is a lump and at midnight (t2) it is Goliath. (Garrett, 2006)

The Problem of Temporary Intrinsics and Leibniz’s law

The problem of temporary intrinsics highlights the issues with puzzles such as that of the Statue and the Clay when it comes to persistence. Leibniz’s Law (also known as the indiscernibility of identicals) states that:

Necessarily, if, for every property F, object x has F if and only if object y has F, then x is identical to y (Tallant, 2017, pp.144)

This means that for objects to be identical then they must share all the same properties. The problem of temporary intrinsics highlights that persisting things change their intrinsic properties. This in combination with Leibniz’s Law means that explaining persistence becomes difficult. Lump and the Goliath do not share all the same properties, one is round and smooth, and the other is not. It is not possible for the clay to have the properties of being both round, and Goliath-shaped. Therefore, under Leibniz’s Law, they cannot be identical or numerically identical. From this, we can deduce that lump new Goliath. Our intuition tells us that the lump persisted through to its existence as Goliath. Therefore, an account is needed in order to explain how the object from t1-t2 persists (Ney, 2014, pp.98)

Perdurantism

Perdurantists take the view that material objects persist in their having temporal parts at different times. In order to understand this better, perdurantists are four-dimensionality, meaning that they view material objects as four-dimensional (spread out in time just as they are spread out in space). So just as a material object has different parts at different places, it also has different parts at different times (Ney, 2014). So, to take the example of the statue and the clay, a perdurantist would not see the statue as being wholly present at all times, i.e., wholly present while it is a lump or wholly present while it is the statue, instead, the object is spread out across both time and space, so when we see the lump at noon, we are just seeing a part of the object at one time. (Garrett, 2006)

Perdurantism can be further explained through its other name ‘the worm view’. This is as perdurantism explains the persistence of objects through space-time worms. Space-time worms are spread out in all four dimensions. Each material object has its own space-time worm for which different segments have different properties (Loux, 2006, pp.245). So, for instance, the clay will have its own space-time worm and the midnight version of the clay (when it is shaped like Goliath) is merely just one part of the worm and is a completely different part of the worm from that of the clay when it is shaped in a ball. The space-time worm can help the theory in explaining how a material object has persisted through change because the worm is the whole collection of all the temporal parts and therefore shows the link of how an object has persisted.

The crux of the argument for how objects persist is that they persist by virtue of them having different temporal parts. One important thing to note is that the different temporal parts of the clay are not numerically identical to one another, instead, perdurantists use the notion of ‘partly present’ (Ney, 2014). But ultimately it is the fact that the material object has different parts or stages at different times that means it persists. (Loux and Zimmerman, 2003, pp.318) So:

The clay persists by perduring iff:

  • The clay has a part at t1 (at noon when it is ball-shaped), and
  • The clay has a part at a distinct time t2 (at midnight when it is shaped like Goliath) (Van Inwagen and Zimmerman, 1998)

Perdurantism can be contrasted to its main opponent, endurantism. Endurantism proposes that objects persist by enduring. Under the endurantist view each material object is always wholly present and is three-dimensional (not extended in time) (Garrett, 2006). The clay is, at noon (t1), identical to itself at midnight (t2). (Tallant, 2017)

Arguments in favor of Perdurantism

In this section, I will first show how perdurantism is favorable in its avoidance of the problem of temporary intrinsics. I will then go on to say how this is beneficial to the theory in explaining how objects persist.

Perdurantism escapes the problem of temporary intrinsics as it is able to account for the changes in parts of a material object without claiming that the different stages of the object are numerically identical. (Ney, 2014) To use the example of the statue and the clay, the perdurantist would not claim that the clay at t1 is identical to the clay at t2, but rather that they are each different segments of the same space-time worm for the clay. The different segments have different properties, and since each of the segments is different, there is no violation of the indiscernibility of identicals. Since t1 and t2 are two stages of the single interconnected worm, we then can also account for the persistence of the clay from t1 to t2. (Loux, 2006, pp.245)

Perdurantism is a favorable view as it allows for a change in a material object and the space-time worm provides a link for the persistence of the object. In addition to this, it makes sense for material objects to be spread across in time as well as space, the lump and the statue have very distinct properties so perdurantism is able to separate the changes but maintain that they are still a part of the same space-time worm (Loux, 2006, pp.245)

Perdurantism also is good at explaining object persistence because, as David Lewis explains (as cited in Eddon, 2010, pp. 2) through a reductio ad absurdum of endurantism perdurantism is the only logical conclusion for how objects persist through time.

The results of Endurantism in contrast to perdurantism are absurd and show that clearly, perdurantism is the best theory.

Endurantism explains that objects are wholly present at all times and this means it struggles with the problem of temporary intrinsics. In the case of the statue and the clay, the lump and the statue cannot be numerically identical as their properties are different. And because of Leibniz’s law, the endurantist will be forced to come up with a solution to explain the persistence through change such as stating that the statue and the clay are a case in which two objects are wholly located at the same place and at the same time. They can come up with other ‘solutions’, but, in short, there is not a solution that the endurantist can come up with that adequately explains how the lump has persisted through to it becoming the statute which avoids the problem of temporary intrinsics. This, therefore, means that Endurantism leaves us with an inadequate conclusion. This is also especially damning as persistence, by definition, entails change (Ney, 2014). This is a reductio ad absurdum as the conclusion we are left with by being an endurantist is absurd, and because of this, we should therefore, embrace perdurantism as it is the best theory for explaining persistence through change.

Arguments against Perdurantism

I will now evaluate the two main objections to Perdurantism that I have identified. I will first look at one of Wiggins’ objections and then evaluate it, before proceeding to one of Van Inwagen’s.

As Ney explains: David Wiggins’s argument is that four-dimensional is confusing. In his paper, he explains that four-dimensional are not an answer to how objects persist over time (Ney, 2014). His main difficulty is in understanding the notion of a temporal part of a material object. To expand, in material objects such as phones we recognise that they have physical boundaries and when asking about their location at one time we ask where it is wholly located. From this Wiggins argues that if you are able to examine an object and identify its boundaries at one time then the object cannot be extended in time, for then it would have more parts and a boundary that you cannot see. (Ney, 2014)

Prima facie this may appear to be true, however, it is my contention that the premises do not show that material objects cannot have temporal parts. Wiggins’s view is based on the intuition that it only makes sense for an object to be wholly present at each time. I believe that this can be disputed, it indeed may be that you can reach the physical boundaries of an object at one time, but that does not bind time to the object in the way that Wiggins envisages (Ney, 2014). To use an example, even though at 9 pm when I see my friend Jones’ phone and inspect that it has a screen of approximately 6 inches, I don’t think that identifying its boundaries and tying the identification to the time of 9 pm means that it cannot have temporal parts, at 10 pm it can have the same boundaries, and 11 pm and so on. Therefore, it can still be the case that it is an object extended in time as well as space.

To then say that if it was extended in time it would entail it having more parts and a boundary that you cannot see, again is not valid. Firstly, an object having a boundary that you cannot see does not mean that it doesn’t exist, having a time boundary that you cannot see makes logical sense, and there are lots of things within philosophy that cannot be seen but yet are still believed in. Therefore, I argue that Wiggins is making too big of a leap to his conclusion.

Wiggins’ attack on four-dimensionalism is not valid. He rests on the assumption that a material object being four-dimensional does not make sense. I disagree. To use an example: we can identify a human’s physical boundaries at one time however, I would argue that we tend to think of humans as spread out across time and that it is not fair to say that all a human is there at one time, how can all of Smith be there at 10 pm when he has lived 30 years? (Ney,2014) (Loux and Zimmerman, 2003) Although this example does not apply to a material object, I believe that the same concept applies to material objects and it shows that Wiggins’ view that it does not make sense for an object to have temporal parts isn’t fair. I then, therefore, believe that whilst Wiggins believes that four-dimensional is mistaken in that it denies that an object is wholly present, he is making an unfair argument, and not making an argument that points to the conclusion that a material object cannot have temporal parts. If Wiggins is to make a valid argument explaining how material objects cannot have temporal parts, he needs to add more premises to his argument for it to be sound.

Philosophers like Van Inwagen and Haslanger put forward another argument against perdurantism attacking its answer to the problem of persistence. They argue that perdurantism is not a theory that sufficiently answers how objects persist. Instead, perdurantism merely overlooks the whole issue of persistence over time, for, in such views, an object is not really persisting over time if there is not one numerically same thing that is present at one time and then present at a later time. (Ney,2014)

The argument that perdurantism does not sufficiently explain the issue of persistence is contingent upon one’s view of what it is for an object to persist. When we initially think of persistence, we can tend to think of an object retaining its numerical identity, but in cases such as the statue and the clay our intuitions are challenged because they (the statue and lump) cannot be identical. Perdurance has many virtues at the cost of the theory perhaps not aligning with our pre-philosophical conception of ‘persisting’ however, we get an account for how an object can change through time and remain part of the same object.

Van Inwagen and Haslanger’s criticisms are taken from the viewpoint that persistence requires strict numerical identity, however, I believe that like Ted Sider (as cited in Loux and Zimmerman, 2003, pp. 327) the goal is to provide ‘underliers’ or ‘quasi-truthmakers’ for our original assumptions rather than ‘interpretations’ of the persistence of an object. Using this notion, we are left with Perdurantism, if you are only after an explanation for a theory of persistence that means objects keep their numerical identity, then perdurantism will not be the theory you choose, but in virtue of its benefits for allowing for change and fitting quite well with our understanding of time, I think it is best to overlook the fact that when you see an object at one time you are only seeing part of it, for the fact that perdurantism has many virtues that fit with our logical views like how object do change over time.

Conclusion

In this essay, I have shown that objects persist by perduring as it is the theory that has the most virtues. Perdurantism escapes the problem of temporary intrinsics, it allows for a change in an object and although two material objects such as the statue and the clay are only parts of the same thing, it does not encounter issues such as the indiscernibility of identicals. So, overall, even though it faces objections such as those proposed by Van Inwagen, Haslanger, and Wiggins, perdurantism is the best explanation for how objects persist, and therefore, objects persist by perduring.

Informative Essay on Object Recognition and Semantic Performance

The ability to recognize an object facilitates an individual’s capacity to describe its appearance, uses, and functions, allowing effective interaction with the environment (Eysenck & Keane, 2015). In this paper, object recognition refers to the ability to determine whether a line drawing represents something that is real. Recognizing a familiar object requires visual features to be processed and match knowledge stored in long-term memory (Tree & Playfoot, 2015). However, the knowledge required for object recognition has been debated in the literature with the ‘Localist’ and ‘Connectionist’ perspectives emerging as two major theories. Traditional models of object recognition proposed structural descriptions of an object’s subcomponents and semantic descriptions, that incorporate meaning, and are stored in long-term memory (Hillis & Caramazza, 1995). The main distinction between the competing theories is that ‘Localists’ state object recognition requires a structural description to match a visual featural representation existing in memory (Coltheart, 2004), whilst ‘Connectionists’ argue retrieval of semantic resources is essential (Rogers, Lambon Ralph, Hodges & Patterson, 2003).

The proposition of separate structural and semantic systems was derived from the performance of agnosia patients (Lissauer, 1890) in the Object Decision task (Riddoch & Humphreys, 1993), which involves deciding whether a picture represents a real object or chimera – recombination of parts from real objects. Successful performance requires matching visual features to structural descriptions, without retrieving semantic knowledge. Apperceptive agnosia is the dysfunction of perceptual processing which produces structural descriptions, making it difficult to discriminate between shapes and processes for meaning. Contrastingly, associative agnosia consists of impaired associative processing and the formation of semantic descriptions, making it difficult to relate objects to meaning. Several studies observed associative agnosia patients could perform the Object Decision task accurately (Carlesiomo, Casadio, Sabbadini & Caltagrirone, 1998; Hillis & Caramazza, 1995). This challenges the ‘Connectionist’ perspective, implying that only structural descriptions are required. However, Rogers et al. (2003) argued object recognition was not preserved, but the result of poorly constructed tasks in which chimeras were obviously impossible. Therefore, patients completed the task using general knowledge, without retrieving semantic resources.

Neuropsychological research has questioned the independence of the structural and semantic systems, involving Semantic Dementia (SD) causes – progressive neurodegeneration of the semantic system (Tree & Playfoot, 2015). Several studies observed a correlation between SD severity and object decision performance (Patterson, Lambon Ralph, Jefferies & Woollams, 2006; Rogers et al. 2003), inferring semantic deficits are responsible for poor object decision performance. However, ‘Connectionists’ advocate damage to the semantic system will disrupt the processing of information from any sensory modality and developed the ‘Hub and Spoke’ model, using a computerized simulation, to demonstrate how semantic representations are the result of mapping between visual representations and verbal descriptions (Rogers, Lambon Ralph, Garrad, Bozeat, McClelland, Hodges & Patterson, 2004a). This model assumes damage to the semantic system will reduce semantic task performance and atypical objects are more dependent on the semantic system. In contrast, some SD cases performed the Object Decision task accurately (Hovius, Kellenbach, Graham, Hodges & Patterson, 2003), implying semantic information is not essential for object recognition and challenging the ‘Connectionist’ approach.

Rogers, Lambon Ralph, Hodges, and Patterson (2004b) explained this discrepancy by the strength of connections relating to item familiarity and typicality. To certify this, Rogers et al. (2003;2004b) developed a two-alternative forced-choice decision task – real object and chimera presented simultaneously. Supporting the connectionist approach, SD patients’ performance was significantly impaired in low familiarity atypical trials which required the greatest semantic input. Conversely, Tree and Playfoot (2015) observed no predictable relationship between semantics and object recognition accuracy, supporting the ‘Localist’ perspective that only structural descriptions are necessary. Therefore, there is a vast range of contrasting evidence for both theories.

Object Recognition with Description Using Convolutional Neural Network: Informative Essay

Abstract –

Object recognition is a sub-field of computer vision and it is based on machine learning. In the past several year Machine learning has been dominated by neural network and which provides implements in computing power and data availability. Sub-type of Neural Networks is called Convolutional Neural Networks (CNN) and is suited for image-related tasks. This convolutional Neural Network is trained to look for different features such as spatial, appearance, structure, edges, and corners across the image and to combine them into more complex structures. In Object detection, the system needs both Localization of probable Objects for the classification of these features. Convolution object recognition is a viewing technology despite other object detection methods. It is possible to create a functional implementation of a neural network without access to specialized hardware. It also decreases the training time. We have implemented Convolutional Neural Network using java since the neural network is more effective and relatively precise than other convolutional object detection methods. Hence combining the Convolutional Neural Network with the Stream Mining algorithm for object recognition it will make it work faster as the stream mining algorithm changes the large stream of datasets and descriptions associated with it. For Stream mining and Convolutional Neural Networks, we have used Rapid Miner software which uses java for machine learning concepts for efficient outcomes.

.Keywords – Convolutional Neural Network, Stream mining, Correlation matching, Semantic matching, Object Recognition.

Introduction

Object Recognition is widely studied in Image mining. The main goal to Outline based item seek is a testing issue predominantly because of three challenges: [1] how to coordinate the essential draw question with the bright picture, [2] how to find the little item in a major picture that is like the draw question what’s more, [3] given the expansive picture database, how to guarantee a proficient hunt plot that is sensibly versatile. [4]To address the above difficulties, we propose to use [5]object proposition for object pursuit and limitation. Nonetheless, rather than

absolutely depending on outline highlights[6], we propose to completely use the appearance highlights of article recommendations[7] to determine the ambiguities between coordinating portrayal inquiry and article recommendations.[8] Our proposed inquiry versatile hunt is detailed as a sub-chart choice issue, which can be comprehended by the greatest stream calculation.[9]By performing inquiry development, it can precisely[10] find the little target protests in a jumbled foundation or thickly drawn distorted serious animation (Manga-like) pictures.[11]To make strides in the registering effectiveness of coordinating proposition hopefuls, the proposed Multi-View Spatially Constrained Proposal Selection (MVSCPS) [12] encodes each recognized item proposition as far as a little neighborhood premise of stay objects.[13]The outcomes on benchmark datasets approve the upsides of using both the outline also, appearance highlights for outline-based pursuit,[14] while guaranteeing adequate adaptability in the meantime. To make efficient for object recognition, we used [15] convolutional Neural Network algorithm. To overcome [16]the problem of the sketch (or sketch-like object) based object search in a real-life image or video. [17]A multi-view clustering approach to identifying a shortlist of spatially distinct proposals is also capable of handling the[18] content level (spatial and structural) differences among proposals within a single formulation.

Related work

In 2018, Mingxing Zhang, Yang Yang, and Hanwang Zhang explained Precise and Detailed Image Captioning using Online Positive Recall and Missing Concepts Mining, great progress in automatic image captioning has been achieved by using semantic concepts detected from the image. However, we argue that the existing concepts-to-caption framework, in which the concept detector is trained using the image-caption pairs to minimize the vocabulary discrepancy, suffers from the deficiency of insufficient concepts. The reasons are two-fold: 1) the extreme imbalance between the number of occurrences of positive and negative samples of the concept; and 2) the incomplete labeling in training captions caused by the biased annotation and usage of synonyms. In this paper, we propose a method, termed Online Positive Recall and Missing Concepts Mining (OPR-MCM), to overcome those problems. Our method adaptively re-weights the loss of different samples according to their predictions for online positive recall and uses a two-stage optimization strategy for missing concept mining. In this way, more semantic concepts can be detected and high accuracy will be expected. In the caption generation stage, we explore an element-wise selection process to automatically choose the most suitable concepts at each time step. Thus, our method can generate more precise and detailed captions to describe the image. We conduct extensive experiments on the MSCOCO image captioning dataset and the MSCOCO online test server, which shows that our method achieves superior image captioning performance compared with other competitive methods.

In 2014, Chenggang Yan, and Yongdong Zhang, explained A Highly Parallel Framework for HEVC Coding Unit Partitioning Tree Decisions on Many-core Processors. High-Efficiency Video Coding (HEVC) uses a very flexible tree structure to organize coding units, which leads to superior coding efficiency compared with previous video coding standards. However, such a flexible coding unit tree structure also places a great challenge for encoders. In order to fully exploit the coding efficiency brought by this structure, a huge amount of computational complexity is needed for an encoder to decide the optimal coding unit tree for each image block. One way to achieve this is to use parallel computing enabled by many-core processors. In this paper, we analyze the challenge to use many-core processors to make coding unit tree decisions. Through an in-depth understanding of the dependency among different coding units, we propose a parallel framework to decide on coding unit trees. Experimental results show that, on the Tile64 platform, our proposed method achieves an average of more than 11 and 16 times speedup for 1920×1080 and 2560×1600 video sequences, respectively, without any coding efficiency degradation.

In 2017, Chenggang Yan, and Hongtao Xie, explained Effective Uyghur Language Text Detection in Complex Background Images for Traffic Prompt Identification Text detection in complex background images is a challenging task for intelligent vehicles. Actually, almost all the widely-used systems focus on commonly used languages while for some minority languages, such as the Uyghur language, text detection is paid less attention. In this paper, we propose an effective Uyghur language text detection system for complex background images. First, a new channel-enhanced maximally stable extremal regions (MSERs) algorithm is put forward to detect component candidates. Second, a two-layer filtering mechanism is designed to remove most non-character regions. Third, the remaining component regions are connected into short chains, and the short chains are extended by a novel extension algorithm to connect the missed MSERs. Finally, a two-layer chain elimination filter is proposed to prune the non-text chains. To evaluate the system, we build a new data set by various Uyghur texts

with complex backgrounds. Extensive experimental comparisons show that our system is obviously effective for Uyghur language text detection in complex background images. The F-measure is 85%, which is much better than the state-of-the-art performance of 75.5%.

In 2014, Chenggang Yan, and Yongdong Zhang Proposed an Efficient Parallel Framework for HEVC Motion Estimation on Many-Core Processors High Efficiency Video Coding (HEVC) provides superior coding efficiency than previous video coding standards at the cost of increasing encoding complexity. The complexity increase of the motion estimation (ME) procedure is rather significant, especially when considering the complicated partitioning structure of HEVC. To fully exploit the coding efficiency brought by HEVC requires a huge amount of computation. In this paper, we analyze the ME structure in HEVC and propose a parallel framework to decouple ME for different partitions on many-core processors. Based on the local parallel method (LPM), we first use the directed acyclic graph (DAG)-based order to parallelize coding tree units (CTUs) and adopt improved LPM (ILPM) within each CTU (DAGILPM), which exploits the CTU-level and prediction unit (PU)-level parallelism. Then, we find that there exist completely independent PUs (CIPUs) and partially independent PUs (PIPUs). When the degree of parallelism (DP) is smaller than the maximum DP of DAGILPM, we process the CIPUs and PIPUs, which further increases the DP. The data dependencies and coding efficiency stay the same as LPM. Experiments show that on a 64-core system, compared with serial execution, our proposed scheme achieves more than 30 and 40 times speedup for 1920×1080 and 2560 ×1600 video sequences, respectively.

In 2015, Cem Tekin explained Active Learning in Context-Driven Stream Mining with an Application for Image Mining in which images arrive with contexts (metadata) and need to be processed in real-time by the image mining system (IMS), which needs to make predictions and derive actionable intelligence from these streams. After extracting the features of the image by preprocessing, IMS determines online which of its available classifiers it should use on the extracted features to make a prediction using the context of the image. A key challenge associated with stream mining is that the prediction accuracy of the classifiers is unknown since the image source is unknown; thus these accuracies need to be learned online. Another key challenge of stream mining is that learning can only be done by observing the true label, but this is costly to obtain. To address these challenges, we model the image stream mining problem as an active, online contextual experts problem, where the context of the image is used to guide the classifier selection decision. We develop an active learning algorithm and show that it achieves regret sublinear in the number of images that have been observed so far. To further illustrate and assess the performance of our proposed methods, we apply them to diagnose breast cancer from images of cellular samples obtained from fine needle aspirate (FNA) of a breast mass. Our findings show that very high diagnosis accuracy can be achieved by actively obtaining only a small fraction of true labels through surgical biopsies. Other applications include video surveillance and video traffic monitoring.

Correlation matching mechanism

Correlation is widely used as an effective similarity measure in matching tasks. correlation-based matching methods for matching two images. This method is based on the rotation and scale invariant normalized cross-correlation. Both the size and the orientation of the correlation windows are determined according to the characteristic scale and the dominant direction of the interest points.

By using this algorithm, we specify the search-based technique that is we give the text keyword to search the related image based on the keyword. These are members of a broader class of learning algorithms, denoted subspace learning, which is computationally efficient and produces linear transformations that are easy to conceptualize, implement, and deploy. The formula for matching the similarity between the pair is X 1(t) X 2(t )dt

Semantic matching mechanism

Semantic matching is a technique used in computer science to identify information that is semantically related. Given any two graph-like structures, e.g. classifications,

Taxonomy_(general)’ taxonomies database or XML schemas and ontologies, matching is an operator which identifies those nodes in the two structures which semantically correspond to one another. Semantic relation(equivalence)we determine semantic relations by analyzing the meaning(concepts, not labels). There are various similarity measures, that we used

Jacard similarity:

The Jaccard coefficient, which is sometimes referred to as the Tanimoto coefficient, measures similarity as the intersection divided by the union of the objects. For text documents, the Jaccard coefficient compares the sum weight of shared terms to the sum weight of terms that are present in either of the two documents but are not shared terms.

The Jaccard coefficient is a similarity measure and ranges between 0 and 1. It is 1 When Ta  Tb and 0 when

Ta and Tb are disjoint, where 1 means the two objects are the same, and 0 means they are completely different.

The corresponding distance measure is Di = 1 – SIMLARITYi

and we will use Di instead in subsequent experiments.

Stream mining algorithm

In computer science, streaming algorithms are algorithms for processing data streams in which the input is presented as a sequence of items and can be examined in only a few passes (typically just one). In most models, these algorithms have access to limited memory (generally logarithmic in the size of and/or the maximum value in the stream). They may also have limited processing time per item.

Convolutional Neural Network

A convolutional neural network (CNN) is a specific type of artificial neural network that uses perceptrons, a machine learning unit algorithm, for supervised learning, to analyze data. CNNs apply to image processing, natural language processing, and other kinds of cognitive tasks. A convolutional neural network is also known as a ConvNet.

Correlation is widely used as an effective similarity measure in matching tasks. In this paper, we propose a new correlation-based method for matching two images. This method is based on the rotation and scale invariant normalized cross-correlation. Both the size and the orientation of the correlation windows are determined according to the characteristic scale and the dominant direction of the interest points.

A regular neural network or multi-layer perceptron (MLP) is made up of input/out layers and a series of hidden layers. An example of MLP which contains only one hidden layer. Note that each hidden layer is fully connected to the previous layer, i.e., each neuron in the hidden layer connects to all neurons in the previous layer.

In purely mathematical terms, convolution is a function derived from two given functions by integration which expresses how the shape of one is modified by the other. the convolution formula:

The convolution operation:

  • Input image
  • Feature detector
  • Feature map

Steps:

  1. From the input image, the matrix is taken by beginning from the top-left corner within the borders you see demarcated above, and then you count the number of cells in which the feature detector matches the input image.
  2. The number of matching cells is then inserted in the top-left cell of the feature map.
  3. You then move the feature detector one cell to the right and do the same thing. This movement is called a and since we are moving the feature detector one cell at a time, that would be called a stride of one pixel.
  4. you will find that the feature detector’s middle-left cell with the number 1 inside it matches the cell that it is standing over inside the input image. That’s the only matching cell, and so you write “1” in the next cell in the feature map, and so on and so forth.
  5. After you have gone through the whole first row, you can then move over to the next row and go through the same process

The extraction of the image is in matrix type and compare each pixel for the best extraction.

Actually, we use a convolution matrix to adjust an image. Here are a few examples of filters being applied to images using these matrices

Conclusion

In this work, image recognition using the Convolutional Neural Network is introduced with multi-view feature extraction. Different model architectures are proposed by incorporating different prior elegant CNN. Extensive parameters are discussed that can influence model performance. Deeper exploring different parameters that can be suited for the CNN recognition model is presented as well. The stream mining algorithm plays a vital role in extracting quality information. Related to the implementation, we also learned that there are no easy “out of the box” solutions for effectively implementing a Convolutional neural network. Regarding precision the results were promising. This shows how a system trained on general image data can be used to detect objects in a specific task, thus demonstrating the adaptability of the methods. one of the strengths of Convolutional Neural Networks is their inherit translation invariance. Instead of taking the whole image into consideration, it potentially creates an even more precise system. Deeper and more similarly used neural networks could learn the probabilities of finding an object from a certain part of the scene. However, time will show if this is the route picture research task. As a Danish proverb says,” it is difficult to make predictions, especially about the future”.

References

  1. Chenggang Yan, Yongdong Zhang, “High-Efficiency Video Coding (HEVC) provides superior coding efficiency than previous video coding standards at the cost of increasing encoding complexity, ” IEE Efficient Parallel Framework for HEVC Motion Estimation on Many-Core Processors, -2014.
  2. Cem Tekin, “ IMS determines online which of its available classifiers it should use on the extracted features to make a prediction using the context of the image, “IEE Active Learning in Context-Driven Stream Mining with an Application to Image Mining, – 2015.
  3. Chenggang Yan, Hongtao Xie, “ An effective Uyghur language text detection system in complex background images, “ IEE Effective Uyghur Language Text Detection in Complex Background Images for Traffic Prompt Identification, -2017.
  4. Mingxing Zhang, Yang Yang, Hanwang Zhang, “great progress in automatic image captioning has been achieved by using semantic concepts detected from the image,” IEE More is Better: Precise and Detailed Image Captioning using Online Positive Recall andMissing Concepts Mining, -2018.
  5. Chin-Chuan Han, Hsu-Liang Cheng, et al., ‘Personal authentication using palm-print features’, Pattern Recognition, vol. 36, pp. 371-381, 2003.
  6. J.T. Anthony Lee, Ruey-Wen Hong, et al., ‘Mining spatial association rules in image databases’, Information Sciences, vol. 177, pp. 1593-1608, 2007.
  7. P. Rajendran, M. Madheswaran, ‘An Improved Image Mining Technique For Brain Tumour Classification Using Efficient classifier’, (IJCSIS) International Journal of Computer Science and Information Security, vol. 6, no. 3, 2009
  8. Shrey Dutta, Naveen Sankaran, Pramod Sankar K, C.V. Jawahar, ‘Robust Recognition of Degraded Documents Using Character N-Grams’, IEEE, 2012.
  9. Konstantinos Ntirogiannis, Basilis Gatos, Ioannis Pratikakis, ‘A Performance Evaluation Methodology for Historical Document Image Binarization’, IEEE International Conference on Document Analysis and Recognition, 2013.
  10. A. Krizhevsky, I. Sutskever, G. E. Hinton, ‘Imagenet classification with deep convolutional neural networks’, Advances in neural information processing systems, pp. 1097-1105, 2012.
  11. N. Kalchbrenner, E. Grefenstette, P. Blunsom, A convolutional neural network for modeling sentences, 2014.
  12. K. Asanobu, ‘Data Mining for Typhoon Image’, Proc on MDM/KDD 2001, vol. 68277, 2001
  13. E Chang, Chen Li, et al., ‘Searching Near- Replicas of Images via Clustering’, Proc of SPIE, vol. 2812292, 1999.
  14. J.T. Anthony Lee, Ruey-Wen Hong, et al., ‘Mining spatial association rules in image databases’, Information Sciences, vol. 177, pp. 1593-1608, 2007.