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\sbasedon10 Hyperlink;}{\s17\widctlpar\adjustright \i\f4\cf1\cgrid \sbasedon0 \snext17 Body Text;}}{\info{\title Notes on Texture Segmentation:}{\author Marc Talusan}{\operator Marc Talusan}{\creatim\yr2003\mo10\dy2\hr17\min19}
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\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\adjustright \f4\cgrid {\tab \tab \tab \tab \tab \tab \tab \tab \tab \tab \tab Notes by Philip Meier
\par \tab \tab \tab \tab \tab \tab \tab \tab \tab \tab \tab pmmeier@mit.edu
\par \tab \tab \tab \tab \tab \tab \tab \tab \tab \tab \tab 10-14-03
\par }\pard \widctlpar\adjustright {
\par }\pard \fi720\li1440\widctlpar\adjustright {\scaps\fs28 Show And Tell I
\par }\pard \widctlpar\adjustright {
\par Quick and dirty ways to form intuitions about images and image processing.
\par 
\par }{\b Photoshop tips}{  (Adelson)
\par Simulate a center surround cell:
\par \tab File: Filter }{{\field{\*\fldinst SYMBOL 224 \\f "Wingdings" \\s 12}{\fldrslt\f14\fs24}}}{ blur}{{\field{\*\fldinst SYMBOL 224 \\f "Wingdings" \\s 12}{\fldrslt\f14\fs24}}}{ guassian blur
\par \tab File: Filter }{{\field{\*\fldinst SYMBOL 224 \\f "Wingdings" \\s 12}{\fldrslt\f14\fs24}}}{ other }{{\field{\*\fldinst SYMBOL 224 \\f "Wingdings" \\s 12}{\fldrslt\f14\fs24}}}{ high pass
\par Use (File: Filter }{{\field{\*\fldinst SYMBOL 224 \\f "Wingdings" \\s 12}{\fldrslt\f14\fs24}}}{ other }{{\field{\*\fldinst SYMBOL 224 \\f "Wingdings" \\s 12}{\fldrslt\f14\fs24}}}{ custom) to design your own digital filter
\par 
\par The Heeger-Bergen approach to texture synthesis is still largely unknown in the psychophysics community!  
\par 
\par }\pard\plain \s1\keepn\widctlpar\outlinelevel0\adjustright \b\f4\cgrid {A criticism of Heeger and Bergen\rquote s strategy
\par }\pard\plain \widctlpar\adjustright \f4\cgrid {It is only good at meeting the requirement of everything that you generate with similar statistics looks the same, but NOT that all images that look the same have the same statistics.  The later part becomes 
more important for determining the human mechanisms of visual perception.   For example, we might find that the two patches of digitized grassy texture have different statistics, yet look the same to us.  In this case, the statistics are capturing a
 difference that we are not tuned to.
\par 
\par }{\b A GUI for filters in Matlab;}{  (Aaron Andalman)
\par By choosing various filters, we can see that using half-wave rectification is important to preserve the ability to discriminate white dots on black from black dots on white.
\par 
\par }{\b Portilla and Simoncelli\rquote s Texture Synthesis}{ (Yuanzhen Li and Lavanya Sharan)
\par Matching the co-efficients of subband statistics
\par Choosing a metric empirically
\par Using iterations to enforce constraints
\par Global self organization achieved by means of local correlation constraints
\par 
\par 
\par 
\par 
\par }{\f47 
\par }{
\par }{
\par }}