Intelligent Graffiti

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IMSC is using Oracle Cloud credits to create advanced computation applications that apply vast amounts of processing needed to train AI-based, deep learning neural networks and use real-time I3-driven data lakes to recognize issues, such as graffiti or garbage, that drive action. The code and documentation will provide the base needed for cities, states, or even large college campuses to create data lakes and invent new applications of IoT technology.

Initially, IMSC is focusing on collecting and analyzing images from still and video cameras. It significantly improved the speed at which we can train the machine-learning systems to efficiently perform the data-intensive classifications so we can do labeling very quickly. And the research could be applied in the future well beyond municipalities to other connected community efforts, Mungovan says.

One system in the works could integrate video feeds from city-owned and private parking lots and parking structures, and work with a mobile app to guide drivers directly to open spaces. Another project would rapidly spot and classify fires burning within the city. Our Planet. Earth Optimism Summit.

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Smithsonian Channel. Video Contest. When I asked Dan Perjovschi about the key to his success, the Romanian artist, with most of the major shows and art venues already sitting comfortably in his creative biography, answered humbly. I am not mainstream successful no art magazine covers, no million dollar works, no superpower gallery, no brick-thick catalogue. But luckily Perjovschi had been invited to Riga for the third instalment of the yearly Survival Kit arts festival, organized by the Latvian Centre for Contemporary Art.

This performance was rich enough to need no further embellishment before publication. Therefore here is what he said.

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  • As usual, I will talk about myself. I am an artist who was born in Romania, and I come from a context that has a very poor knowledge of contemporary art. That and the communist situation was not exactly a recipe for success. Since then it has been a process of constant adaptation to the context, often with very few means, very little resources. That is why I have to be constantly there.

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    If you are not showing for three months, you are gone. I was born in , so I will be 50 this year. I was born the year they erected the Berlin wall. The political context has played a great role in my art. In , shortly after the great changes, when the situation was very tough and I was very poor, one way to speak about it was to do body art. It was cheap and radical. But I did not like to do performance art that everybody else did, so I did a tattoo, which is a very boring performance.

    It went on for 20 or 30 minutes.

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    It was an artisanal tattoo. No superstar on the TV had tattoos then, now everybody has them.

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    So I had the name of my country tattooed on my shoulder. As if I was owned by it.

    It was a performance to get space, to have some distance from my country. This was a tactic to claim back my body, and not only.

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    Ten years later, I erased it, again as a performance. If the making of the tattoo cost me a beer for the person working with the needle, then the taking out of it cost euros. This was in , in Germany, as part of a very large show of art from the south of Europe, In the Gorges of the Balkans. It had the same task of creating a space between me and the new context: Romania was already on the path to becoming a member of the EU, it was part of NATO, the situation had changed dramatically after the year With this action I tried to find my place in the society I was living in.

    This is a satellite image of Europe in I grew up in a culture of shortages. No money, nothing to eat, no soap, no toilet paper, no books, no knowledge, no passport. Besides, in the 60s it was still the rule of the liberal communists. Come the 80s and it was all tumbling down. The dictator materialized his dream of total power by building one of the largest buildings in the world while I started my becoming an artist. I attended a general school of art from the age of 10, then a secondary school of art, then art academy.

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    Twelve years of painting still lifes. I learned to tell the truth when society was based on lies. So I grew up with a mistrust of ideology. The Ceausescu palace is the past, the present and the future of my country. The palace of the dictator became the parliament; what was once the symbol of dictatorship is now the symbol of democracy.

    Behind it the National Museum of Contemporary Art was founded, while in front of it pop concerts are organized. Every rockstar wants their picture taken with the huge structure in the background. The largest building on the planet after the Pentagon Laughter Romania is one of the few countries in the world where the dictator got gunned down. Most others die in peace, in political asylum in very rich countries. Romania was the only member of the Warsaw Pact who did not support the invasion, and he was seen as a most tolerant and progressive person.

    Forty years later he was killed by his own people. How could something that started so well end up so bad? Ceausescu built a society of total control. For an artist to exhibit at a gallery he had to pass three censorship committees: your fellow artists, the cultural body of the city and then the Communist Party.

    Trying to avoid the communist reality I started making graphic images based on repetition, they were actually things that had nothing to do with nothing.