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. We present the lifting scheme, a simple construction of second generation wavelets, wavelets that are not necessarily translates and dilates of one fixed function. Such wavelets can be adapted to intervals, domains, surfaces, weights, and irregular samples. We show how the lifting scheme leads to a faster, in-place calculation of the wavelet transform. Several examples are included. Key words. wavelet, multiresolution, second generation wavelet, lifting scheme AMS subject classifications. 42C15 1. Introduction. Wavelets form a versatile tool for representing general functions or data sets. Essentially we can think of them as data building blocks. Their fundamental property is that they allow for representations which are efficient and which can be computed fast. In other words, wavelets are capable of quickly capturing the essence of a data set with only a small set of coefficients. This is based on the fact that most data sets have correlation both in time (or space) and frequenc...

We consider linear equations y = Φα where y is a given vector in R n, Φ is a given n by m matrix with n < m ≤ An, and we wish to solve for α ∈ R m. We suppose that the columns of Φ are normalized to unit ℓ 2 norm 1 and we place uniform measure on such Φ. We prove the existence of ρ = ρ(A) so that for large n, and for all Φ’s except a negligible fraction, the following property holds: For every y having a representation y = Φα0 by a coefficient vector α0 ∈ R m with fewer than ρ · n nonzeros, the solution α1 of the ℓ 1 minimization problem min �x�1 subject to Φα = y is unique and equal to α0. In contrast, heuristic attempts to sparsely solve such systems – greedy algorithms and thresholding – perform poorly in this challenging setting. The techniques include the use of random proportional embeddings and almost-spherical sections in Banach space theory, and deviation bounds for the eigenvalues of random Wishart matrices.

This article proposes a general theory and methodology, called the minimax entropy principle, for building statistical models for images (or signals) in a variety of applications. This principle consists of two parts. The first is the maximum entropy principle for feature binding (or fusion): for a certain set of feature statistics, a distribution can be built to bind these feature statistics together by maximizing the entropy over all distributions that reproduce these feature statistics. The second part is the minimum entropy principle for feature selection: among all plausible sets of feature statistics, we choose the set whose maximum entropy distribution has the minimum entropy. Computational and inferential issues in both parts are addressed, in particular, a feature pursuit procedure is proposed for approximately selecting the optimal set of features. The model complexity is restricted because of the sample variation in the observed feature statistics. The minimax entropy principle is applied to texture modeling, where a novel Markov random field (MRF) model, called FRAME (Filter, Random field, And Minimax Entropy), is derived, and encouraging results are obtained in experiments on a variety of texture images. Relationship between our theory and the mechanisms of neural computation is also discussed.

This article presents a statistical theory for texture modeling. This theory combines filtering theory and Markov random field modeling through the maximum entropy principle, and interprets and clarifies many previous concepts and methods for texture analysis and synthesis from a unified point of view. Our theory characterizes the ensemble of images I with the same texture appearance by a probability distribution f (I) on a random field, and the objective of texture modeling is to make inference about f (I), given a set of observed texture examples. In our theory, texture modeling consists of two steps. (1) A set of filters is selected from a general filter bank to capture features of the texture, these filters are applied to observed texture images, and the histograms of the filtered images are extracted. These histograms are estimates of the marginal distributions of f (I). This step is called feature extraction. (2) The maximum entropy principle is employed to derive a distribution p(I), which is restricted to have the same marginal distributions as those in (1). This p(I) is considered as an estimate of f (I). This step is called feature fusion. A stepwise algorithm is proposed to choose filters from a general filter bank. The resulting model, called FRAME (Filters, Random fields And Maximum Entropy), is a Markov random field (MRF) model, but with a much enriched vocabulary and hence much stronger descriptive ability than the previous MRF models used for texture modeling. Gibbs sampler is adopted to synthesize texture images by drawing typical samples from p(I), thus the model is verified by seeing whether the synthesized texture images have similar visual appearances

this paper we focus on featureextraction and face-identification processes

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During the last decade, CD-quality digital audio has essentially replaced analog audio. Emerging digital audio applications for network, wireless, and multimedia computing systems face a series of constraints such as reduced channel bandwidth, limited storage capacity, and low cost. These new applications have created a demand for high-quality digital audio delivery at low bit rates. In response to this need, considerable research has been devoted to the development of algorithms for perceptually transparent coding of high-fidelity (CD-quality) digital audio. As a result, many algorithms have been proposed, and several have now become international and/or commercial product standards. This paper reviews algorithms for perceptually transparent coding of CD-quality digital audio, including both research and standardization activities. The paper is organized as follows. First, psychoacoustic principles are described with the MPEG psychoacoustic signal analysis model 1 discussed in some detail. Next, filter bank design issues and algorithms are addressed, with a particular emphasis placed on the Modified Discrete Cosine Transform (MDCT), a perfect reconstruction (PR) cosine-modulated filter bank that has become of central importance in perceptual audio coding. Then, we review methodologies that achieve perceptually transparent coding of FM- and CD-quality audio signals, including algorithms that manipulate transform components, subband signal decompositions, sinusoidal signal components, and linear prediction (LP) parameters, as well as hybrid algorithms that make use of more than one signal model. These discussions concentrate on architectures and applications of

Abstract. Textons refer to fundamental micro-structures in generic natural images and thus constitute the basic elements in early (preattentive) visual perception. However, the word “texton ” remains a vague concept in the literature of computer vision and visual perception, and a precise mathematical definition has yet to be found. In this article, we argue that the definition of texton should be governed by a sound mathematical model of images, and the set of textons must be learned from, or best tuned to, an image ensemble. We adopt a generative image model that an image is a superposition of bases from an over-complete dictionary, then a texton is defined as a mini-template that consists of a varying number of image bases with some geometric and photometric configurations. By analogy to physics, if image bases are like protons, neutrons and electrons, then textons are like atoms. Then a small number of textons can be learned from training images as repeating micro-structures. We report four experiments for comparison. The first experiment computes clusters in feature space of filter responses. The second use transformed component analysis in both feature space and image patches. The third adopts a two-layer generative model where an image is generated by image bases and image bases are generated by textons. The fourth experiment shows textons from motion image sequences, which we call movetons. 1

ABSTRACT This paper presents an overview of wavelet-based image coding. We develop the basics of image coding with a discussion of vector quantization. We motivate the use of transform coding in practical settings,and describe the properties of various decorrelating transforms. We motivate the use of the wavelet transform in coding using rate-distortion considerations as well as approximation-theoretic considerations. Finally,we give an overview of current coders in the literature. 1