There is, I think, something ethereal about i —the square root of minus one. I remember first hearing about it at school. It seemed an odd beast at that time—an intruder hovering on the edge of reality.

Usually familiarity dulls this sense of the bizarre, but in the case of i it was the reverse: over the years the sense of its surreal nature intensified. It seemed that it was impossible to write mathematics that described the real world in …

I and i

Probability Distributions.- Linear Models for Regression.- Linear Models for Classification.- Neural Networks.- Kernel Methods.- Sparse Kernel Machines.- Graphical Models.- Mixture Models and EM.- Approximate Inference.- Sampling Methods.- Continuous Latent Variables.- Sequential Data.- Combining Models.

Pattern Recognition and Machine Learning

One of the main challenges in feature learning using Deep Convolutional Neural Networks (DCNNs) for large-scale face recognition is the design of appropriate loss functions that can enhance the discriminative power. Centre loss penalises the distance between deep features and their corresponding class centres in the Euclidean space to achieve intra-class compactness. SphereFace assumes that the linear transformation matrix in the last fully connected layer can be used as a representation of the class centres in the angular space and therefore penalises the angles between deep features and their corresponding weights in a multiplicative way. Recently, a popular line of research is to incorporate margins in well-established loss functions in order to maximise face class separability. In this paper, we propose an Additive Angular Margin Loss (ArcFace) to obtain highly discriminative features for face recognition. The proposed ArcFace has a clear geometric interpretation due to its exact correspondence to geodesic distance on a hypersphere. We present arguably the most extensive experimental evaluation against all recent state-of-the-art face recognition methods on ten face recognition benchmarks which includes a new large-scale image database with trillions of pairs and a large-scale video dataset. We show that ArcFace consistently outperforms the state of the art and can be easily implemented with negligible computational overhead. To facilitate future research, the code has been made available.

/pdf/arcface-additive-angular-margin-loss-for-deep-face-7vvlem659h.pdf

ArcFace: Additive Angular Margin Loss for Deep Face Recognition

The PASCAL Visual Object Classes Challenge

Automated analysis of human affective behavior has attracted increasing attention from researchers in psychology, computer science, linguistics, neuroscience, and related disciplines. However, the existing methods typically handle only deliberately displayed and exaggerated expressions of prototypical emotions despite the fact that deliberate behaviour differs in visual appearance, audio profile, and timing from spontaneously occurring behaviour. To address this problem, efforts to develop algorithms that can process naturally occurring human affective behaviour have recently emerged. Moreover, an increasing number of efforts are reported toward multimodal fusion for human affect analysis including audiovisual fusion, linguistic and paralinguistic fusion, and multi-cue visual fusion based on facial expressions, head movements, and body gestures. This paper introduces and surveys these recent advances. We first discuss human emotion perception from a psychological perspective. Next we examine available approaches to solving the problem of machine understanding of human affective behavior, and discuss important issues like the collection and availability of training and test data. We finally outline some of the scientific and engineering challenges to advancing human affect sensing technology.

A Survey of Affect Recognition Methods: Audio, Visual, and Spontaneous Expressions

This paper describes a natural and intuitive way to create expressive facial animations, using a novel approach based on the so-called ‘multimodal caricatural mirror’ (MCM). Taking as an input an audio-visual video sequence of the user’s face, the MCM generates a facial animation, in which the prosody and the facial expressions of emotions can either be reproduced or amplified. The user can thus simulate an emotion and see almost instantly the animation it produced, like with a regular mirror. In addition, the MCM also enables to amplify the emotions of selected parts of the input video sequence, leaving other parts unchanged. It therefore constitutes a novel approach to the design of very expressive facial animation, as the affective content of the animation can be modified by post-processing operations.

/pdf/synthesis-of-expressive-facial-animations-a-multimodal-4os7zk80lr.pdf

Irene Kotsia

Papers

Synthesis of expressive facial animations: a multimodal caricatural mirror