L’utilisation croissante de la vidéoprotection rend nécessaire la mise en place de fonctions d’analyse vidéo pour alléger voire automatiser des tâches aujourd’hui entièrement réalisées par des opérateurs. Après avoir dressé un panorama des avancées et des perspectives en analyse d’image, cet ouvrage détaille les principales fonctions d’analyse vidéo, comme la détection, le suivi et la reconnaissance d’objets d’intérêt (personnes ou véhicules) ou les fonctions de « haut-niveau » visant à interpréter les scènes observées (évènements, comportements, nature de la scène...). Les besoins sont illustrés sous l’angle de deux applications majeures, la sécurité des transports et l’investigation. Les contraintes d’ordres juridique et éthique sont présentées, ainsi que les caractéristiques des données vidéo traitées, au travers des caméras et des méthodes de compression utilisées. La problématique de l’évaluation de performance, tant au niveau opérationnel qu’au niveau des fonctions d’analyse, est également exposée.

La 4e de couverture indique : "L’utilisation croissante de la vidéoprotection rend nécessaire la mise en place de fonctions d’analyse vidéo pour alléger voire automatiser des tâches aujourd’hui entièrement réalisées par des opérateurs. Après avoir dressé un panorama des avancées et des perspectives en analyse d’image, cet ouvrage détaille les principales fonctions d’analyse vidéo, comme la détection, le suivi et la reconnaissance d’objets d’intérêt (personnes ou véhicules) ou les fonctions de « haut-niveau » visant à interpréter les scènes observées (évènements, comportements, nature de la scène...). Les besoins sont illustrés sous l’angle de deux applications majeures, la sécurité des transports et l’investigation. Les contraintes d’ordres juridique et éthique sont présentées, ainsi que les caractéristiques des données vidéo traitées, au travers des caméras et des méthodes de compression utilisées. La problématique de l’évaluation de performance, tant au niveau opérationnel qu’au niveau des fonctions d’analyse, est également exposée."

Innovate Bristol highlights and celebrates those companies and individuals that are actively working at building a better tomorrow for all. Innovation Ecosystems thrive through the involvement and support of companies and individuals from all industries, which is why the Innovate series not only focuses on the innovators but also those people whom the Innovation Ecosystem, would not be able to thrive without.

Photography and anthropology share strikingly parallel histories. Christopher Pinney's provocative and eminently readable account provides a polemical narrative of anthropologists' use of photography from the 1840s to the present. Walter Benjamin suggested that photography 'make[s] the difference between technology and magic visible as a thoroughly historical variable, ' and Pinney here explores photography as a divinatory practice. Though viewed as modern and rational, this quality of photography in fact propelled anthropologists towards the 'primitive' lives of those they studied. Early anthropology celebrated photography as a physical record, whose authority and permanence promised an escape from the lack of certainty in speech. For later anthropologists, this same quality became grounds to critique an imaging practice that failed to capture movement and process. But throughout these twists and turns, anthropology as a practice of 'being there' has found itself entwined in an intimate engagement with photography as metaphor for the collection of evidence. Photography and Anthropology reveals how anthropology provides the tools to re-imagine the power and magic of all photographic practices. It presents both a history of anthropology's seduction by photography and the anthropological theory of photography. This thoroughly researched book draws upon an intimate knowledge of the history of anthropology, photography and the world's major anthropological practitioners.

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.

From 9/11 to the Snowden leaks, stories about surveillance increasingly dominate the headlines. But surveillance is not only 'done to us' – it is something we do in everyday life. We submit to surveillance, believing we have nothing to hide. Or we try to protect our privacy or negotiate the terms under which others have access to our data. At the same time, we participate in surveillance in order to supervise children, monitor other road users, and safeguard our property. Social media allow us to keep tabs on others, as well as on ourselves. This is the culture of surveillance. This important book explores the imaginaries and practices of everyday surveillance. Its main focus is not high-tech, organized surveillance operations but our varied, mundane experiences of surveillance that range from the casual and careless to the focused and intentional. It insists that it is time to stop using Orwellian metaphors and find ones suited to twenty-first-century surveillance — from 'The Circle' or 'Black Mirror.' Surveillance culture, David Lyon argues, is not detached from the surveillance state, society and economy. It is informed by them. He reveals how the culture of surveillance may help to domesticate and naturalize surveillance of unwelcome kinds, and considers which kinds of surveillance might be fostered for the common good and human flourishing.

This work investigates the precise effects on society of the new and much vaunted electronic technologies (ICTs). Are fundamental shifts already taking place in the way in which we behave, organize, and interact as a direct result of their implementation? Providing a comprehensive set of detailed empirical studies of the genesis and use of these new technologies, the book also presents some surprising counterintuitive results.