Night Road Research Articles

Research on the Expanded Night Road Condition Dataset Based on the Improved CycleGAN

Abstract Image style transfer is a major area of study in image processing and has applications in creative production, special effects for film and television, and other areas. Image style transfer is the process of using style transfer technology to change a common image into one with a different style without changing the content. Image style transfer methods are mainly divided into traditional image style transfer methods and deep learning image style transfer methods. The two primary classifications of picture style transfer techniques are deep learning technologies and conventional methods. Traditional image style transfer methods have poor results and are difficult to apply in people's lives. With the quick advancements in machine learning, digital image processing, and computer vision, deep learning image style transfer methods have received widespread attention from researchers. Most of these methods use convolutional neural networks to achieve image style transfer on the premise of paired data sets, but obtaining paired data sets is difficult and costly. Accordingly, it is of great significance to study unpaired images to implement style transfer algorithms. The primary focus of this study is the CycleGAN network-based picture style transfer technique, and improves this algorithm in content compiler, style compiler. It is applied to the generation of night road conditions during autonomous driving training.

Dual-Mode Serial Night Road Object Detection Model Based on Depthwise Separable and Self-Attention Mechanism

Dual-Mode Serial Night Road Object Detection Model Based on Depthwise Separable and Self-Attention Mechanism

Visual and non-visual responses of drivers to simulated LED headlights varying in correlated colour temperature

This study aimed to investigate the impact of automotive headlights of different correlated colour temperatures (CCT) on the visual and non-visual performance of drivers. Forty drivers participated in the study, driving in a simulated night road for 45 min in three sessions. The LED headlights had CCTs of 3176 K, 4358 K and 6923 K, with an illuminance of 5 lx perpendicular to the participants’ eyes. Heart rate variability (HRV), psychomotor vigilance task and Karolinska sleepiness scale were measured before and after driving. At the end of the trials, achromatic far and near visual acuity tests, as well as achromatic far and near contrast sensitivity tests, were conducted. The study revealed that CCT did not affect achromatic far and near visual acuity. However, CCT had an impact on achromatic near and far contrast sensitivity, with higher CCT resulting in improved achromatic contrast sensitivity. As the CCT decreased, participants exhibited increased reaction time, made more errors, and reported higher sleepiness. The most significant physiological changes in HRV, including alterations in low frequency (LF), high frequency (HF) and LF/HF, were observed at lower CCT. The findings of this study suggest that both the visual and non-visual performance of drivers were enhanced when high CCTs were used for automotive LED headlights.

Design of Intelligent Street Lamp Control System

Design of Intelligent Street Lamp Control System

A semantic segmentation scheme for night driving improved by irregular convolution.

In order to solve the poor performance of real-time semantic segmentation of night road conditions in video images due to insufficient light and motion blur, this study proposes a scheme: a fuzzy information complementation strategy based on generative models and a network that fuses different intermediate layer outputs to complement spatial semantics which also embeds irregular convolutional attention modules for fine extraction of motion target boundaries. First, DeblurGan is used to generate information to fix the lost semantics in the original image; then, the outputs of different intermediate layers are taken out, assigned different weight scaling factors, and fused; finally, the irregular convolutional attention with the best effect is selected. The scheme achieves Global Accuracy of 89.1% Mean and IOU 94.2% on the night driving dataset of this experiment, which exceeds the best performance of DeepLabv3 by 1.3 and 7.2%, and achieves an Accuracy of 83.0% on the small volume label (Moveable). The experimental results demonstrate that the solution can effectively cope with various problems faced by night driving and enhance the model's perception. It also provides a technical reference for the semantic segmentation problem of vehicles driving in the nighttime environment.

7종 형광체 스펙트럼 조합과 Blue LED의 최고파장 및 반치전폭 변화에 따른 S/P Ratio와 연색특성 시뮬레이션 연구

Recently, interest in convenience facilities for road safety and urban aesthetic conditions increased needs to improve visibility and color recognition of night road lightings. To meet the needs, scotopic/photopic(S/P) ratio and color rendering properties, such as color rendering index (CRI), color fidelity (RSUBf/SUB), color gamut (RSUBg/SUB), and color quality scale (QSUBa/SUB) should be considered for outdoor lighting products. It is well known that S/P ratio and CRI are in trade-off relation and, therefore, it is important to optimize them to certain levels through color combinations. In this paper, optimization of phosphor converted LED with a blue LED and 7 phosphors was performed by simulation of changing peak wavelength and full width at half maximum (FWHM) of a blue LED with combinations of 7 phosphors. The results showed that color rendering properties of RSUBa/SUB≥82, RSUB9～14/SUB≥76, RSUB9～12/SUB≥82, QSUBa/SUB≥95, RSUBf/SUB≥89, RSUBg/SUB≥100, and S/P ratio values were increased by 0.29∼0.61 and 0.22∼0.5 compared to those of the typical warm white LED and cool white LED suggested in the IES (Illuminating Engineering Society) TM (Technical Memorandum) 12-12.

A non‐stationary bivariate INAR(1) process with a simple cross‐dependence: Estimation with some properties

SummaryThis paper considers modelling of a non‐stationary bivariate integer‐valued autoregressive process of order 1 (BINAR(1)) where the cross‐dependence between the counting series is formed through the relationship of the current series with the previous‐lagged count series observations while the pair of innovations is independent and marginally Poisson. In addition, this paper proposes a generalised quasi‐likelihood (GQL) estimating equation based on the exact specification of the mean score and the auto‐covariance structure. The proposed approach is also compared with other popular techniques such as conditional maximum likelihood (CML), generalised least squares (GLS) and generalised method of moment (GMM) based on simulated data from the proposed BINAR(1). Moreover, the model is applied to weekly series of day and night road accidents arising in some regions of Mauritius and is compared with other existing BINAR(1) models.

대향차량의 상향등에 의한 눈부심이 고령운전자의 안전한 전방 곡선부 진입을 위해 요구되는 노면휘도 수준에 미치는 영향

The purpose of this study was to analyse the effects of glare caused by the oncoming high-beam light, which many drivers cite as a factor that makes driving difficult on the night road, on the safety of drivers entering the curved part of the night road. To this end, the study conducted a virtual road test on the elderly subjects, and as a result, based on the possibility of securing the perception-response distance required by elderly drivers to safely respond to the appearance of forward horizontal curved section, it identified the appropriate road luminance level depending on the driver’s ratio to secure the required perception-response distance. According to the analysis, the higher the surface luminance, the further the perception-response process required to respond to the appearance of the forward horizontal curved section can be completed, and the margin from the end of the perception-response process to the starting point of the curved section is analyzed to have the relationship of natural logarithm function. In addition, it was analyzed that the critical road surface luminance of about 3.3 times the safety level based on 75% of the safety level and 2.4 times the safety level 85% of the safety level is required when affected by the high-beam light of the opposing vehicle.

New prey items in the diet of snakes from the Yucatán Peninsula, Mexico

New prey items are reported in snakes that were found run over during night road trips, belonging to the families Colubridae, Dipsadidae, Elapidae and Viperidae from the Yucatan Peninsula, Mexico.

The impact of uncorrected astigmatism on night driving performance.

To investigate the effect of uncorrected astigmatism on night driving performance on a closed-road circuit. Participants included 10 drivers (mean age 24.4±7.0years), with low to moderate bilateral astigmatism (0.75-1.50 DC), who were regular contact lens (CL) wearers. Vision and night driving performance were assessed in a cross-over design with a toric CL and a best-sphere spherical CL. Binocular visual function measures included photopic and mesopic visual acuity (VA), contrast sensitivity (CS), mesopic motion sensitivity and glare tests (Mesotest® II and Halometer). Night-time driving performance was assessed on a closed-road circuit, which included measures of sign recognition, hazard detection and avoidance, pedestrian recognition distances, lane keeping, speed and overall driving score. Correction of astigmatism with toric CL significantly improved mesopic VA, photopic and mesopic CS, mesopic motion sensitivity, and reduced glare (p<0.05), compared to the spherical CL; there were no significant effects of visual correction type on photopic VA. Correction of astigmatism using toric CL resulted in significant improvements in night driving performance, compared to driving with spherical CL, particularly for sign recognition, avoidance of low contrast hazards, increased pedestrian recognition distances and overall driving score (p<0.05). Correction of low to moderate levels of astigmatism had significant positive effects on night-time driving performance and related tests of visual performance. This has important implications for optical corrections to improve night road safety of drivers with astigmatism.

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Untitled Poem 130, and: Untitled Poem 140, and: Untitled Poem 148, and: Untitled Poem 178, and: Untitled Poem 179, and: Untitled Poem 193, and: Untitled Poem 201, and: Untitled Poem 215, and: Untitled Poem 477, and: Untitled Poem 485 Ko Un Translated by Brother Anthony of Taizé (bio) and Lee Sang-Wha (bio) untitled poem 130 All are animals. Anything, whatever it may be, among all things, and its neutrons, too, are animals. Ah, that empty sky, my lust, is an animal. Those deaths, transcendence of I, are animals. A snippet from today’s diary. Plants, too, are animals. Wind, water, or something turns leaves and branches and trunks of trees and even the crown of roots beneath the ground, even the crown of branches above the ground into animals. Fire, too, is an animal. When something catches fire, the oxygen in the air arrives promptly to keep the fire alive and vigorous. The world is an animal. The world is a temptation to interrelation, a commitment to relationship, relationship’s fair and unfair trade. Ah, the unconscious is more of an animal than the conscious. [End Page 114] Ah, the Persian poet Rumi is an animal. The tether of poetry he speaks of is poetry’s animal. Non-freedom, too, when handcuffs are snapped on, is ultimately an animal of liberation. The time before I write a poem and the toilet stench after a poem is written are animals, too. I am indeed antiquity, was a penniless bum in ancient times. Indeed, I was a petty thief in Byeoknando Island in Songdo in the Goryeo Dynasty, who never knew until I died that a Persian barwoman was my mother. I am more of an animal. Sleep well, my lovely animal, animals’ ink-like tears. untitled poem 140 How pitiful the world’s ten thousand years of answers and replies are! Refuse them as a stone, as a cave. Reject them as lightning, as moonlight. Suffer them as a stagnant puddle, as a naked body with shining scars. The next day, shoot out questions that cannot be answered as a sunspot, as a blind father. [End Page 115] untitled poem 148 We need a song to sing while walking along. We need a song, not a song on some extravagant stage or in a theater, but three or four of us, several of us, singing together, comforting each other, consoling each other on a weary night road. We need a song, not the ideological kind, not the military-march kind, but a sad song to sing as we walk along barefoot at night, a little remainder of an old-fashioned custom from our African ancestors. We need a song for the road, a song we sing walking together, a song like lamenting, like congratulating, like praying most dolefully, a song of my ancestors and a song of my own, an incantation transmitted over a million years, a song that is river and also fountain. We need a song which those who were sleeping in some distant village wake up with and listen to with closed eyes while waiting for new sleep to come. We need a song, a walking song that insects, stars, and dead souls, too, cherish. [End Page 116] We need a song, a song whose weight, neither low nor high, reaches the light of daybreak. On that side of the song, people sing standing, on this side of the song, people sing in a bar convivially, vigorously. I will live as a walking song. I will walk along as that song, wanting nothing more for the remaining days, if there are days remaining. untitled poem 178 While wandering I spent many days in an outdoor theater in a former Greek colony, in that ruin, in the ruins of that ruin. Ruins! Before being someone’s home, you are, above all, above all my home. Ruins of ruins! You are my mother’s mother’s womb, therefore home is home’s second generation. untitled poem 179 Stream in the Alps, who would see you on their way? Stay all on your own, a stream the color of spoiled makgeolli, then a river like the slate-gray complexion of...

Road traffic noise mapping in Guangzhou using GIS and GPS

The primary objective of this study is to develop day and night road traffic noise maps for Guangzhou using Geographical Information Systems (GIS) and Global Positioning Systems (GPS). First, as speed-density relation is used to estimate the traffic volume from GPS data collected from floating cars. Meanwhile, the attributes of the roads and buildings are automatically exported from GIS. Second, a single vehicle noise emission model is combined with a noise propagation model to formulate a regional traffic noise calculation model that accounts for the traffic noise attenuation in an urban area. The algorithm is optimized by intelligently dividing the computational grids, filtering the traffic noise sources automatically and performing a quick index of the estimation objects. Finally, the day and night road traffic noise levels in Guangzhou are estimated to create two traffic noise maps. The accuracy of the developed algorithm is validated by conducting a traffic noise monitoring experiment in several districts of Guangzhou with different road types. The results show that the average error between the estimated and measured values is below 2.0dB.

Hands by Moya Cannon (review)

Reviewed by: Handsby Moya Cannon Christine Cusick Handsby Moya Cannon, pp. 64. Oxford: Carcanet, 2011. Distributed by Independent Publishers Group, Chicago. $19.95. A reading of Moya Cannon's poetry always brings us to an encounter with the unexpected. Her work in The Parchment Boat(1997) , Oar(2000), and Carrying the Songs(2008) has been acclaimed for its subtle yet profound encounters with the material world, its sense of the present moment situated against the grandeur of its past, and its engagement with the elemental forces that compel time. Cannon's Handscontinues these distinctive contributions to her provocative oeuvre. And yet, Handsrepresents a subtly more intimate collection of poetry, one that brings questions of personal relationship and family loss to Cannon's textured and dense poetry. Handsoffers the lyric meeting of the nonhuman natural world with acuity and precision. In poems like "All This Green Day" the lines unfold with detailed attention to color and context: "Here and there, in the green cloud of birch and hazel / above the hermitage of Santa Eulalia, / a wild cherry tree sings russet / and the mountain tops around us are furred with trees"—only to open further into the seeming invincibility of the scene: "The bare peaks far to the east / have captured a first fall of snow; / the trees and mountains carry on / as though nature [End Page 150]had not been conquered." With the slight turn of phrase, "as though," the poem takes on another layer of meaning, highlighting the vulnerability of the land, moving from scene to significance. Yet the final lines call the reader back to the always central materiality of place: "the grass depends towards evening / and the little scalloped slates shine in the dusk." Similarly, in "The Fertile Rock," as Cannon's lines attentively sketch a tidal scene, they simultaneously embed human life and history into the ocean's depth: "In May evening light / an exhausted silver ocean collapses./ It has carried so much to this island, / blue rope and teak beams, / dolphin skulls and fish boxes, / and once, a metal tank on wheels, / containing one cold passenger." In honoring the intertwined lives of dolphin, water, and human passenger, the poem eludes the false binaries of human and nonhuman life and then moves skillfully on to physicality of movement across the limestone strand: "It rises and collapses at the rim / rises and collapses again— / a mile of white, salt lace." The limestone and the cairns of Ireland's West echo and linger throughout this volume, but the poetry of Handsalso honors international terrain, tracking the "decanted" sunlight upon "a single maple tree" in "Driving Back Over the Blue Ridge," the late morning sunrise in the high Pyrenees in "October," the "wild cherry trees on the hillside" near "the hermitage of Santa Eulalia" in "Farrera Light," or the "hulks of the Bauges" in "Night Road in the Mountains." And yet, though the actual landscapes of the poetry's imaginative impulse extend beyond Irish borders, the imaginative perception is not far removed from Cannon's historical place, as in "Harmonic Vases," in which a scene shifts from the acoustic design of the Collegiale Saint Martin to a cultural tradition in the cottages in County Clare where "an iron pot / was buried under the hearthstone / to give resonance to a dancer's step." The sustained thread throughout the volume is Cannon's penchant to use perceptions of light as a tool of inquiry and discovery. Whether it is in the form of a moonbeam in "Hedgehog," the stove's fire in "Apple and Fire," or the sunset that turns the tree into a "red lamp" in "The Red Tree," Cannon's mindfulness to the presence of light is a connective refrain that propels the volume forward. And so, when she writes "I thought / only love could do it, / give us moments so complete / there is nothing behind us or before— / . . . but, sometimes, light can do it too," the reader is assured that she can trust the directives of luminosity in this poetry. This attention to light does not merely create a visual effect. Rather, in poems like "The Washing," it is the force that connects...

The Refiner's Fire and the Imago Dei:

The Refiner's Fire and the Imago Dei:

The Cheerful Night Road

The Cheerful Night Road Gong Sun Ok (bio) Translated by Jane Suh (bio) I was sick of the rain. It had been beating down for so long. The monsoons had started a week ago and it had been raining ever since. The house reeked of dampness. Can't get over youCan't get over my love for youI wanna fly,Fly far awayI wanna hear you breatheCan't sleep 'cause of youI wanna fly,Fly into the nightCan't sleep 'cause of you I think of my first love whenever it rains, and when I think of my first love my heart aches. I hope the rains end early this year. "And now a request from the head nurse at S Hospital, 'Plantain' by Su and Jin." We need to live grand like fireworksWe need to stand tall, each coming day [End Page 171] Like grass in the open fieldsWe need to love them to their faces Not hate them to their backs . . . . "And next it's Yi Un-mi with 'Not Yet Thirty'." My days drift away like wisps of smokeI used to be full of memories-I thought youth would be mine forever, But my youth is leaving me too I'm sure the radio will be blaring songs by Cho Yong-p'il, Yun To-hyŏn, Su and Jin, and Yi Ŭn-mi until the end of time. People live and die but the radio is forever. My mother has just entered her sixties but during the past rainy week, her grasp on reality has gone downhill fast. The dampness permeating the house hurts her inside and out. "Hey you-your father went off and left me, you know." I first noticed the signs of dementia four days after Father's funeral. That's when Mum started feeling sad that her husband had gone off and left her. It wasn't until she kept repeating the same line for an entire month that I realized something wasn't right. Barely twenty-one years old and stuck at home with a senile mother-and I had few options. I had gone to nursing school with the sole desire to get a job away from home. But as soon as I finished school, Father passed away. One by one my big brothers and my sister went off to live their own lives and here I was back at home . . . just me and Mum. "There are two hospitals in town, you know," my brother had said to me. "And a dental office and an herbal medicine clinic too!" my sister chimed in. My brothers were buried in debt and my sister was a divorced single mother. My brothers jointly took out a loan and one of them became a florist. He went bankrupt after a typhoon destroyed his greenhouse, and the other brother went down as well trying to pay back the loan. [End Page 172] Sheltered by an umbrella, I went out to our yard to pick some mallow leaves. Mum's voice followed me out: "Hey you-it hurts, you know? Here and here and here. . . ." Ten leaves were plenty. It would be difficult to find ten good ones, and those ten would still be tough to chew. "Hey-do you think your father really went off and left me?" Should I forget about the leaves? Whenever I see the flowering mallow plants, a surge of fear washes over me. Compared with the joy I felt when I gathered the soft, delicate leaves of the mallows I'd planted and added them to the toenjang soup, hopelessness overwhelmed me with the realization that my once flowering mallows were now tough and dry. Gee, that's right-I've only used them twice in soup since I planted them. I wasn't feeling helpless because of the soup. I had been oblivious to the fact that my mallows were flowering-what had I been doing in that time? When I finally remembered to tend to them, they had already blossomed, wilted, decomposed beyond recognition and died. I didn't realize this until I plopped myself down next to where...

Vision at levels of night road illumination. XII. Changes of acuity and contrast sensitivity with age.

American Optical Company, Research Center †Southbridge, Massachusetts *Read before the annual meeting of the American Academy of Optometry, Chicago, Illinois, December 11, 1965. For publication in the May, 1966, issue of the American Journal of Optometry and Archives of American Academy of Optometry. †Ph.D. Chief Biologist. Fellow, American Academy of Optometry.