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361_4 | Grandpas Over Flowers
On January 2, 2013, Na signed with media conglomerate CJ E&M, which owns cable channels such as tvN. CJ E&M had reportedly wooed him with not just a bigger salary, but the assurance of greater creative control and clout. Na said, "I determined that there is more room for creativity (in cable). Things move at a fast pace. The programs come and go as does the attention of viewers. So we are forced to try different things." |
361_5 | For his first cable program, Na again chose the concept of travel, but this time overseas. In an increasingly youth-obsessed medium and culture, he surprised pundits by casting four actors in their seventies: Lee Soon-jae, Shin Goo, Park Geun-hyung and Baek Il-seob. Since backpacking was mostly associated with the young, Na wanted to flip the idea and make it fresh. He said that by placing veteran actors (who are fixed in their habits) in exotic settings, it allowed for "unexpected" elements to unfold that made for great TV. Titled Grandpas Over Flowers (a pun on the Japanese manga Boys Over Flowers), the show filmed the four actors traveling to France and Switzerland while accompanied by their "porter", 40-something actor Lee Seo-jin. It was immediately a ratings hit when it aired in 2013, and like 2 Days & 1 Night before it, became a cultural phenomenon. The cast drew increased mainstream popularity among the younger generation, and the show sparked a trend of senior citizen-themed |
361_6 | shows among rival networks. tvN also leveraged the show's domestic popularity into international success, selling remake rights to China and the United States. When asked why the show struck a chord with audiences, Na said, "It's because older people with a lot of experience, have lots of stories to tell. When you travel with people with a lot of experience who have gone through the success and failures in life, you learn a lot from them." |
361_7 | With the success of Grandpas Over Flowers following 2 Days & 1 Night, Na cemented his reputation as the most influential creator and producer in Korean reality television.
The next seasons were filmed in Taiwan (2013), Spain (2014), and Greece (2015). Actress Choi Ji-woo joined the cast for the Greece trip.
Sisters Over Flowers, Youth Over Flowers
While Grandpas Over Flowers went on hiatus in late 2013 (the cast was busy with their respective acting projects), Na produced the first spin-off, Sisters Over Flowers. Using the same format, he cast a group of top actresses (Youn Yuh-jung, Kim Ja-ok, Kim Hee-ae and Lee Mi-yeon) and pushed them out of their comfort zone as they traveled to Croatia. The show also reunited Na with 2 Days & 1 Night alum Lee Seung-gi, who acted as this season's "porter". |
361_8 | The second spin-off, which aired in 2014 after the Spain season of Grandpas Over Flowers, was Youth Over Flowers. It featured singer-songwriters Yoon Sang, You Hee-yeol and Lee Juck in Peru, and Reply 1994 actors Yoo Yeon-seok, Son Ho-jun and Baro in Laos. Na only directed the Peru segments, while Reply 1994 director Shin Won-ho filmed in Laos. Both spin-offs likewise drew high ratings for cable. The series later spawned three more seasons; which were filmed in Iceland, Africa (featuring the cast of Reply 1988) and Australia (featuring boy band Winner).
Na also made cameo appearances on two tvN scripted series. As a meta in-joke about his real-life alma mater, he played a boarder from Yonsei University in episode 2 of the nostalgic campus drama Reply 1994. Reply 1994's director Shin Won-ho and screenwriter Lee Woo-jung had previously worked with Na on 2 Days & 1 Night. Then as a favor to Lee Soon-jae, Na played a police officer in episode 66 of Lee's sitcom Potato Star 2013QR3. |
361_9 | Three Meals a Day |
361_10 | After Youth Over Flowers, Na wanted to continue to innovate. Inspired by Lee Seo-jin's complaints that he hated cooking while preparing meals in Grandpas Over Flowers, Na cast Lee opposite his Wonderful Days co-star Ok Taecyeon in Three Meals a Day. The two men were tasked to cook three meals a day from home-grown ingredients while living three days a week in a rural village in Jeongseon County, Gangwon Province. Though the concept seemed simple, Lee and Ok, both city dwellers, had difficulty cultivating the vegetable garden and harvesting from the farm animals and the sorghum field, such that they struggled to feed themselves (and weekly celebrity guests) to comical results. Na said, "All cooking shows do not have to feature fancy, delicious food. We seek the sincerity that comes from cooking with all their hearts. I just wanted to work on a lighthearted show that can highlight the small pleasures of life. I wanted to talk about a meal that is made with vegetables from my garden and |
361_11 | have these two guys share their homely foods with their friends. The main concept is that it is a cooking show but with no mouth-watering foods because these two guys can't cook." |
361_12 | For the second season in 2015, Na added a third cast member, Kim Kwang-kyu. The show's difficulty level was increased with an additional four-month project depicting the process of growing food, from cultivation to harvest (the cast was strictly prohibited from grocery shopping). Na said, "Nature itself is incredible. I wanted to show the audience how hard it is to harvest the materials for our daily meals that can now be easily purchased at supermarkets near our homes." |
361_13 | Three Meals a Day: Fishing Village
In 2015, Na produced the spin-off Three Meals a Day: Fishing Village, set on the remote island of Manjae, which takes six hours to reach by ferry from the mainland. Besides the isolated location, the seaside setting meant more intensive physical labor for cast members Cha Seung-won, Yoo Hae-jin, and Son Ho-jun (Son replaced Jang Keun-suk when Jang was edited out of the show after a tax evasion controversy). Viewers were impressed with Cha's cooking skills amidst minimal ingredients and implements (hence his nickname "Chajumma"), and the show received a record-high 14.2% rating. Season 1 had a winter setting, while the second season was filmed in the summer. For the show's third season, Na added a new member, Nam Joo-hyuk. The location was switched from a fishing village to Gochang, where the members take on rice-farming for the first time. |
361_14 | The show resumed its "fishing village" concept in the next season, which was filmed in Deukryang island. It stars an entirely new cast which includes a returning Lee Seo-jin alongside Yoon Kyun-sang and Eric Mun from Shinhwa. Viewers were impressed by Eric Mun, who showed unexpected cooking skills and fishing expertise. |
361_15 | Na later said that his rural upbringing in Cheongju, North Chungcheong Province influenced his work ("I'm the perfect opposite of trendy and sophisticated"), and that he specializes in reality shows because he "can take a story from anyone" by editing footage given to him by cameramen and making any story out of it. He said, "Everyone has their own personality and their view on life, which naturally creates stories when they are put together with other people. [...] The viewer ratings can always decline. I don't want to make a fancy reality show where I just think about the ratings. I want to keep my tone when I make a reality show."
Three Meals a Day: Sea Ranch
The show's seventh season, was filmed in Deungnyangdo, a remote island near the sea. Unlike its previous concept where members had to grow and cook their own food, the show featured a more laid-back concept where members were tasked to deliver fresh milk from mountain goats to the people on the island. |
361_16 | New Journey to the West |
361_17 | Na then reunited with his former 2 Days & 1 Night stars Lee Seung-gi, Kang Ho-dong, Eun Ji-won and Lee Soo-geun, as the quartet took on characters from the 16th century classic Chinese novel Journey to the West and traveled for five days through Xi'an, once the capital of China during the Tang Dynasty. New Journey to the West was the first project of tvN Go (the cable channel's digital content brand), and it was unprecedented for a variety show to be distributed solely through online streaming (on the web portals Naver TV Cast and QQ). Instead of the usual one-hour episode length, each uploaded video clip lasted from five to ten minutes, and the Internet provided freedom from broadcast television's restrictions, such as a ban on indirect advertising of certain brands and adult language (including references to the tax evasion and illegal gambling controversies Kang and Lee, respectively, had been involved in). The show was a success with over 42 million views on Naver TV Cast and 10 |
361_18 | million views on Chinese portal site QQ. |
361_19 | The second season of the show was filmed in Chengdu, which included a new cast member Ahn Jae-hyun (replacing Lee Seung Gi who left for military conscription). Aside from airing on online platforms, the show was now aired on cable channel tvN. It garnered over 100 million views in China. The third season of the show, added boy band members Kyuhyun and Song Min-ho and was filmed in Guilin. The fourth season of the show was filmed in Vietnam. The fifth season was filmed in Hong Kong with a new member P.O (Pyo Ji-hoon Block B). Then, it is continuously aired the sixth season that was filmed in Hokkaido. Ahn Jae-hyun was not shown in the seventh season due to his personal family issue, this season was all filmed in South Korea |
361_20 | Youn's Kitchen
In 2017, Na decided to introduce a new program which focuses on a group of South Korean celebrities (Youn Yuh-jung, Lee Seo-jin , Park Seo-joon and Jung Yu-mi) operating a small Korean cuisine restaurant on a small island overseas. Season 1 was filmed in Indonesia; while Season 2 was filmed in Spain. Na said that the show aims to fulfill people's fantasy of running a mom-and-pop restaurant in a foreign country.
The series was a huge success, with its second season garnering 16% ratings, a record high for an entertainment show on a cable channel. It also helped spread a social trend among young Koreans of trying to break away from a lifestyle devoted to work and money and embracing the motto YOLO ("You Only Live Once").
Kang's Kitchen
Kang's Kitchen is a spin-off of Na's other program New Journey to the West, which features the cast running a pork cutlet restaurant on Jeju Island. |
361_21 | Trivia
Also known as the dictionary of useless knowledge, is a show that's already in its third season, airing on Tvn, official site.
Little Cabin in the Woods
After the success of Youn's Kitchen, Na was allowed to create a program of his own choice. Na thus decided to create a documentary-formatted program which follows two celebrities' (So Ji-sub and Park Shin-hye) off-grid lives in a house in the middle of the woods in Jeju Island; out of reach of technology and people. There, the cast members are required to fill their day by completing missions and doing such basic chores as cooking, making a fire and chopping firewood. Na explained that he created the show to show busy people in the cities that there is a slow-paced and more leisurely way of life. In line with his philosophy of creating his previous programs, Little Cabin in the Woods was created on the premise that TV viewers take great comfort by watching celebrities living slow-paced, peaceful lives.
Filmography
Ref: |
361_22 | As assistant director
As producer-director
Acting cameos
Books PD, Who & How (2005; co-author)Anyway, the Race Is Long'' (2012)
Awards
References
External links
Living people
1976 births
South Korean television producers
South Korean television directors
South Korean television personalities
Yonsei University alumni |
362_0 | In signal processing, multidimensional discrete convolution refers to the mathematical operation between two functions f and g on an n-dimensional lattice that produces a third function, also of n-dimensions. Multidimensional discrete convolution is the discrete analog of the multidimensional convolution of functions on Euclidean space. It is also a special case of convolution on groups when the group is the group of n-tuples of integers.
Definition
Problem statement and basics
Similar to the one-dimensional case, an asterisk is used to represent the convolution operation. The number of dimensions in the given operation is reflected in the number of asterisks. For example, an M-dimensional convolution would be written with M asterisks. The following represents a M-dimensional convolution of discrete signals:
For discrete-valued signals, this convolution can be directly computed via the following: |
362_1 | The resulting output region of support of a discrete multidimensional convolution will be determined based on the size and regions of support of the two input signals.
Listed are several properties of the two-dimensional convolution operator. Note that these can also be extended for signals of -dimensions.
Commutative Property:
Associate Property:
Distributive Property:
These properties are seen in use in the figure below. Given some input that goes into a filter with impulse response and then another filter with impulse response , the output is given by . Assume that the output of the first filter is given by , this means that:
Further, that intermediate function is then convolved with the impulse response of the second filter, and thus the output can be represented by:
Using the associative property, this can be rewritten as follows:
meaning that the equivalent impulse response for a cascaded system is given by: |
362_2 | A similar analysis can be done on a set of parallel systems illustrated below.
In this case, it is clear that:
Using the distributive law, it is demonstrated that:
This means that in the case of a parallel system, the equivalent impulse response is provided by:
The equivalent impulse responses in both cascaded systems and parallel systems can be generalized to systems with -number of filters.
Motivation and applications |
362_3 | Convolution in one dimension was a powerful discovery that allowed the input and output of a linear shift-invariant (LSI) system (see LTI system theory) to be easily compared so long as the impulse response of the filter system was known. This notion carries over to multidimensional convolution as well, as simply knowing the impulse response of a multidimensional filter too allows for a direct comparison to be made between the input and output of a system. This is profound since several of the signals that are transferred in the digital world today are of multiple dimensions including images and videos. Similar to the one-dimensional convolution, the multidimensional convolution allows the computation of the output of an LSI system for a given input signal. |
362_4 | For example, consider an image that is sent over some wireless network subject to electro-optical noise. Possible noise sources include errors in channel transmission, the analog to digital converter, and the image sensor. Usually noise caused by the channel or sensor creates spatially-independent, high-frequency signal components that translates to arbitrary light and dark spots on the actual image. In order to rid the image data of the high-frequency spectral content, it can be multiplied by the frequency response of a low-pass filter, which based on the convolution theorem, is equivalent to convolving the signal in the time/spatial domain by the impulse response of the low-pass filter. Several impulse responses that do so are shown below. |
362_5 | In addition to filtering out spectral content, the multidimensional convolution can implement edge detection and smoothing. This once again is wholly dependent on the values of the impulse response that is used to convolve with the input image. Typical impulse responses for edge detection are illustrated below.
In addition to image processing, multidimensional convolution can be implemented to enable a variety of other applications. Since filters are widespread in digital communication systems, any system that must transmit multidimensional data is assisted by filtering techniques It is used in real-time video processing, neural network analysis, digital geophysical data analysis, and much more.
One typical distortion that occurs during image and video capture or transmission applications is blur that is caused by a low-pass filtering process. The introduced blur can be modeled using Gaussian low-pass filtering.
Row-column decomposition with separable signals
Separable signals |
362_6 | A signal is said to be separable if it can be written as the product of multiple one-dimensional signals. Mathematically, this is expressed as the following:
Some readily recognizable separable signals include the unit step function, and the dirac-delta impulse function.
(unit step function)
(dirac-delta impulse function)
Convolution is a linear operation. It then follows that the multidimensional convolution of separable signals can be expressed as the product of many one-dimensional convolutions. For example, consider the case where x and h are both separable functions.
By applying the properties of separability, this can then be rewritten as the following:
It is readily seen then that this reduces to the product of one-dimensional convolutions:
This conclusion can then be extended to the convolution of two separable M-dimensional signals as follows: |
362_7 | So, when the two signals are separable, the multidimensional convolution can be computed by computing one-dimensional convolutions.
Row-column decomposition
The row-column method can be applied when one of the signals in the convolution is separable. The method exploits the properties of separability in order to achieve a method of calculating the convolution of two multidimensional signals that is more computationally efficient than direct computation of each sample (given that one of the signals are separable). The following shows the mathematical reasoning behind the row-column decomposition approach (typically is the separable signal):
The value of can now be re-used when evaluating other values with a shared value of : |
362_8 | Thus, the resulting convolution can be effectively calculated by first performing the convolution operation on all of the rows of , and then on all of its columns. This approach can be further optimized by taking into account how memory is accessed within a computer processor. |
362_9 | A processor will load in the signal data needed for the given operation. For modern processors, data will be loaded from memory into the processors cache, which has faster access times than memory. The cache itself is partitioned into lines. When a cache line is loaded from memory, multiple data operands are loaded at once. Consider the optimized case where a row of signal data can fit entirely within the processor's cache. This particular processor would be able to access the data row-wise efficiently, but not column-wise since different data operands in the same column would lie on different cache lines. In order to take advantage of the way in which memory is accessed, it is more efficient to transpose the data set and then axis it row-wise rather than attempt to access it column-wise. The algorithm then becomes:
Separate the separable two-dimensional signal into two one-dimensional signals and |
362_10 | Perform row-wise convolution on the horizontal components of the signal using to obtain
Transpose the vertical components of the signal resulting from Step 2.
Perform row-wise convolution on the transposed vertical components of to get the desired output |
362_11 | Computational speedup from row-column decomposition
Examine the case where an image of size is being passed through a separable filter of size . The image itself is not separable. If the result is calculated using the direct convolution approach without exploiting the separability of the filter, this will require approximately multiplications and additions. If the separability of the filter is taken into account, the filtering can be performed in two steps. The first step will have multiplications and additions and the second step will have , resulting in a total of or multiplications and additions. A comparison of the computational complexity between direct and separable convolution is given in the following image: |
362_12 | Circular convolution of discrete-valued multidimensional signals
The premise behind the circular convolution approach on multidimensional signals is to develop a relation between the Convolution theorem and the Discrete Fourier transform (DFT) that can be used to calculate the convolution between two finite-extent, discrete-valued signals.
Convolution theorem in multiple dimensions |
362_13 | For one-dimensional signals, the Convolution Theorem states that the Fourier transform of the convolution between two signals is equal to the product of the Fourier Transforms of those two signals. Thus, convolution in the time domain is equal to multiplication in the frequency domain. Mathematically, this principle is expressed via the following:This principle is directly extendable to dealing with signals of multiple dimensions. This property is readily extended to the usage with the Discrete Fourier transform (DFT) as follows (note that linear convolution is replaced with circular convolution where is used to denote the circular convolution operation of size ):
When dealing with signals of multiple dimensions:The circular convolutions here will be of size .
Circular convolution approach |
362_14 | The motivation behind using the circular convolution approach is that it is based on the DFT. The premise behind circular convolution is to take the DFTs of the input signals, multiply them together, and then take the inverse DFT. Care must be taken such that a large enough DFT is used such that aliasing does not occur. The DFT is numerically computable when dealing with signals of finite-extent. One advantage this approach has is that since it requires taking the DFT and inverse DFT, it is possible to utilize efficient algorithms such as the Fast Fourier transform (FFT). Circular convolution can also be computed in the time/spatial domain and not only in the frequency domain.
Choosing DFT size to avoid aliasing
Consider the following case where two finite-extent signals x and h are taken. For both signals, there is a corresponding DFT as follows:
and
The region of support of is and and the region of support of is and . |
362_15 | The linear convolution of these two signals would be given as:Given the regions of support of and , the region of support of will then be given as the following:
Based on the regions of support of the two signals, a DFT of size must be used where and since the same size DFT must be used on both signals. In the event where a DFT size larger than the extent of a signal is needed, the signal is zero-padded until it reaches the required length. After multiplying the DFTs and taking the inverse DFT on the result, the resulting circular convolution is then given by:
for
The result will be that will be a spatially aliased version of the linear convolution result . This can be expressed as the following:
Then, in order to avoid aliasing between the spatially aliased replicas, and must be chosen to satisfy the following conditions: |
362_16 | If these conditions are satisfied, then the results of the circular convolution will equal that of the linear convolution (taking the main period of the circular convolution as the region of support). That is:
for
Summary of procedure using DFTs
The Convolution theorem and circular convolution can thus be used in the following manner to achieve a result that is equal to performing the linear convolution:
Choose and to satisfy and
Zero pad the signals and such that they are both in size
Compute the DFTs of both and
Multiple the results of the DFTs to obtain
The result of the IDFT of will then be equal to the result of performing linear convolution on the two signals
Overlap and add |
362_17 | Another method to perform multidimensional convolution is the overlap and add approach. This method helps reduce the computational complexity often associated with multidimensional convolutions due to the vast amounts of data inherent in modern-day digital systems. For sake of brevity, the two-dimensional case is used as an example, but the same concepts can be extended to multiple dimensions.
Consider a two-dimensional convolution using a direct computation:
Assuming that the output signal has N nonzero coefficients, and the impulse response has M nonzero samples, this direct computation would need MN multiplies and MN - 1 adds in order to compute. Using an FFT instead, the frequency response of the filter and the Fourier transform of the input would have to be stored in memory. Massive amounts of computations and excessive use of memory storage space pose a problematic issue as more dimensions are added. This is where the overlap and add convolution method comes in. |
362_18 | Decomposition into smaller convolution blocks
Instead of performing convolution on the blocks of information in their entirety, the information can be broken up into smaller blocks of dimensions x resulting in smaller FFTs, less computational complexity, and less storage needed. This can be expressed mathematically as follows:
where represents the x input signal, which is a summation of block segments, with and .
To produce the output signal, a two-dimensional convolution is performed:
Substituting in for results in the following:
This convolution adds more complexity than doing a direct convolution; however, since it is integrated with an FFT fast convolution, overlap-add performs faster and is a more memory-efficient method, making it practical for large sets of multidimensional data. |
362_19 | Breakdown of procedure
Let be of size :
Break input into non-overlapping blocks of dimensions .
Zero pad such that it has dimensions () ().
Use DFT to get .
For each input block:
Zero pad to be of dimensions () ().
Take discrete Fourier transform of each block to give .
Multiply to get .
Take inverse discrete Fourier transform of to get .
Find by overlap and adding the last samples of with the first samples of to get the result. |
362_20 | Pictorial method of operation
In order to visualize the overlap-add method more clearly, the following illustrations examine the method graphically. Assume that the input has a square region support of length N in both vertical and horizontal directions as shown in the figure below. It is then broken up into four smaller segments in such a way that it is now composed of four smaller squares. Each block of the aggregate signal has dimensions . Then, each component is convolved with the impulse response of the filter. Note that an advantage for an implementation such as this can be visualized here since each of these convolutions can be parallelized on a computer, as long as the computer has sufficient memory and resources to store and compute simultaneously. |
362_21 | In the figure below, the first graph on the left represents the convolution corresponding to the component of the input with the corresponding impulse response . To the right of that, the input is then convolved with the impulse response .
The same process is done for the other two inputs respectively, and they are accumulated together in order to form the convolution. This is depicted to the left.
Assume that the filter impulse response has a region of support of in both dimensions. This entails that each convolution convolves signals with dimensions in both and directions, which leads to overlap (highlighted in blue) since the length of each individual convolution is equivalent to:
= |
362_22 | in both directions. The lighter blue portion correlates to the overlap between two adjacent convolutions, whereas the darker blue portion correlates to overlap between all four convolutions. All of these overlap portions are added together in addition to the convolutions in order to form the combined convolution .
Overlap and save
The overlap and save method, just like the overlap and add method, is also used to reduce the computational complexity associated with discrete-time convolutions. This method, coupled with the FFT, allows for massive amounts of data to be filtered through a digital system while minimizing the necessary memory space used for computations on massive arrays of data. |
362_23 | Comparison to overlap and add
The overlap and save method is very similar to the overlap and add methods with a few notable exceptions. The overlap-add method involves a linear convolution of discrete-time signals, whereas the overlap-save method involves the principle of circular convolution. In addition, the overlap and save method only uses a one-time zero padding of the impulse response, while the overlap-add method involves a zero-padding for every convolution on each input component. Instead of using zero padding to prevent time-domain aliasing like its overlap-add counterpart, overlap-save simply discards all points of aliasing, and saves the previous data in one block to be copied into the convolution for the next block. |
362_24 | In one dimension, the performance and storage metric differences between the two methods is minimal. However, in the multidimensional convolution case, the overlap-save method is preferred over the overlap-add method in terms of speed and storage abilities. Just as in the overlap and add case, the procedure invokes the two-dimensional case but can easily be extended to all multidimensional procedures. |
362_25 | Breakdown of procedure
Let be of size :
Insert columns and rows of zeroes at the beginning of the input signal in both dimensions.
Split the corresponding signal into overlapping segments of dimensions ()() in which each two-dimensional block will overlap by .
Zero pad such that it has dimensions ()().
Use DFT to get .
For each input block:
Take discrete Fourier transform of each block to give .
Multiply to get .
Take inverse discrete Fourier transform of to get .
Get rid of the first for each output block .
Find by attaching the last samples for each output block .
The helix transform
Similar to row-column decomposition, the helix transform computes the multidimensional convolution by incorporating one-dimensional convolutional properties and operators. Instead of using the separability of signals, however, it maps the Cartesian coordinate space to a helical coordinate space allowing for a mapping from a multidimensional space to a one-dimensional space. |
362_26 | Multidimensional convolution with one-dimensional convolution methods
To understand the helix transform, it is useful to first understand how a multidimensional convolution can be broken down into a one-dimensional convolution. Assume that the two signals to be convolved are and , which results in an output . This is expressed as follows:
Next, two matrices are created that zero pad each input in both dimensions such that each input has equivalent dimensions, i.e.
and
where each of the input matrices are now of dimensions . It is then possible to implement column-wise lexicographic ordering in order to convert the modified matrices into vectors, and . In order to minimize the number of unimportant samples in each vector, each vector is truncated after the last sample in the original matrices and respectively. Given this, the length of vector and are given by:
+
+ |
362_27 | The length of the convolution of these two vectors, , can be derived and shown to be:
This vector length is equivalent to the dimensions of the original matrix output , making converting back to a matrix a direct transformation. Thus, the vector, , is converted back to matrix form, which produces the output of the two-dimensional discrete convolution.
Filtering on a helix
When working on a two-dimensional Cartesian mesh, a Fourier transform along either axes will result in the two-dimensional plane becoming a cylinder as the end of each column or row attaches to its respective top forming a cylinder. Filtering on a helix behaves in a similar fashion, except in this case, the bottom of each column attaches to the top of the next column, resulting in a helical mesh. This is illustrated below. The darkened tiles represent the filter coefficients. |
362_28 | If this helical structure is then sliced and unwound into a one-dimensional strip, the same filter coefficients on the 2-d Cartesian plane will match up with the same input data, resulting in an equivalent filtering scheme. This ensures that a two-dimensional convolution will be able to be performed by a one-dimensional convolution operator as the 2D filter has been unwound to a 1D filter with gaps of zeroes separating the filter coefficients.
Assuming that some-low pass two-dimensional filter was used, such as:
Then, once the two-dimensional space was converted into a helix, the one-dimensional filter would look as follows: |
362_29 | Notice in the one-dimensional filter that there are no leading zeroes as illustrated in the one-dimensional filtering strip after being unwound. The entire one-dimensional strip could have been convolved with; however, it is less computationally expensive to simply ignore the leading zeroes. In addition, none of these backside zero values will need to be stored in memory, preserving precious memory resources. |
362_30 | Applications
Helix transformations to implement recursive filters via convolution are used in various areas of signal processing. Although frequency domain Fourier analysis is effective when systems are stationary, with constant coefficients and periodically-sampled data, it becomes more difficult in unstable systems. The helix transform enables three-dimensional post-stack migration processes that can process data for three-dimensional variations in velocity. In addition, it can be applied to assist with the problem of implicit three-dimensional wavefield extrapolation. Other applications include helpful algorithms in seismic data regularization, prediction error filters, and noise attenuation in geophysical digital systems.
Gaussian convolution
One application of multidimensional convolution that is used within signal and image processing is Gaussian convolution. This refers to convolving an input signal with the Gaussian distribution function. |
362_31 | The Gaussian distribution sampled at discrete values in one dimension is given by the following (assuming ):This is readily extended to a signal of M dimensions (assuming stays constant for all dimensions and ):One important property to recognize is that the M dimensional signal is separable such that:Then, Gaussian convolution with discrete-valued signals can be expressed as the following:
Approximation by FIR filter
Gaussian convolution can be effectively approximated via implementation of a Finite impulse response (FIR) filter. The filter will be designed with truncated versions of the Gaussian. For a two-dimensional filter, the transfer function of such a filter would be defined as the following:
where
Choosing lower values for and will result in performing less computations, but will yield a less accurate approximation while choosing higher values will yield a more accurate approximation, but will require a greater number of computations.
Approximation by box filter |
362_32 | Another method for approximating Gaussian convolution is via recursive passes through a box filter. For approximating one-dimensional convolution, this filter is defined as the following:
Typically, recursive passes 3, 4, or 5 times are performed in order to obtain an accurate approximation. A suggested method for computing r is then given as the following:
where K is the number of recursive passes through the filter.
Then, since the Gaussian distribution is separable across different dimensions, it follows that recursive passes through one-dimensional filters (isolating each dimension separately) will thus yield an approximation of the multidimensional Gaussian convolution. That is, M-dimensional Gaussian convolution could be approximated via recursive passes through the following one-dimensional filters: |
362_33 | Applications
Gaussian convolutions are used extensively in signal and image processing. For example, image-blurring can be accomplished with Gaussian convolution where the parameter will control the strength of the blurring. Higher values would thus correspond to a more blurry end result. It is also commonly used in Computer vision applications such as Scale-invariant feature transform (SIFT) feature detection.
See also
Convolution
Kernel (image processing)
Signal processing
References
Multidimensional signal processing |
363_0 | Divljana Monastery, also known as the Monastery of St. Demetrius, is a Serbian Orthodox monastery located near the village of Divljana and Divljana Lake, south of Bela Palanka, in the foothills of Suva Planina, above sea level. It is dedicated to St. Demetrius, who is celebrated on 8 November. The monastery was first built in 394 at this location, which became the property of the Mrnjavčević brothers at the end of the 13th century after the destruction of the monastery. In the monastery complex, there are records of ancient burials from the 4th century, some of which can be seen two of the capitals. Around 880, with the revival of Christianization, there were also new eparchies. Based on physical evidence and the Charter of the Byzantine emperor Basil II, archaeologists believe that the site also included an early Christian building from the 9th century related to a renewal of church life in Middle Ponišavlje. |
363_1 | Geography
The monastery is located south of Bela Palanka, not far from the ancient road to Skopje and Thessaloniki. Situated above sea level in the foothills of the south-eastern part of Suva Planina, there are wooded slopes around the monastery, offering a unique view of the Svrljig Mountains and Šljivovački vrh.
History
Over the years, many churches similar to the medieval church have been demolished and rebuilt in the area. According to some sources, the first Christian church was built in 394. This church was built on the foundation of a pagan temple dedicated to the sun god Mitras. The place was long considered sacred; thus, when Christianity became the religion of the former state, the monastery complex was built here. The temple dedicated to Mitras was not the first structure. It had been preceded by many other pagan temples. |
363_2 | Prehistoric and ancient sites |
363_3 | Based on various records and sources, it can be assumed that the site of the present village of Divljana was one of the sacred sites of the Triballi (Thracians) tribe who lived there in ancient times. Only from the current location of the monastery, there was a Bronze Age settlement, Igrište, from around 1200 BC. from location of the monastery, burial pits were discovered with the ashes of the deceased in various ceramic containers. Within a radius of less than around the monastery, there were several settlements in Roman times (Stasovac, Bils, Villa Rustica, Teberna). from the location of the monastery, there was the ancient settlement of Remesiana, or today's Bela Palanka. However, in the village of Divljana, there is little evidence of the various pagan temples. The only indication stems from legends about fairies who were closely related to ancient nymphs. This ancient shrine was closed in 392, just before the founding of the first Christian monastery dedicated to St. |
363_4 | Demetrius, in whose interior were placed reliquiae from the old church (marble icons of a nymph and a Thracian horseman). |
363_5 | Temples dedicated to the sun god Mitras were placed close to main roads and sources of water. This was characteristic for the 2nd and 3rd centuries AD, especially in the Ponišavlje district. This is based on the presence of two bequeath altars, one in Divljana and another in village of Osmakova, and of two relief icons, one in village Ragodeš and another in village of Rasnica, within . Temples of Mitras were built in smaller sizes, usually and generally oriented east–west, as opposed to the later churches, which had the altar on the west side and entrance on the east. There is a wealth of ancient materials at the site, one of the richest in south-eastern Serbia. Other remains include:
a large stone impost capital, in height, with a diameter of at the bottom expanding to at the top, bearing the engraving of an old Christian cross within the circle on the front side, and omegas on all the vertical edges
two circular stone-sided base, part of the capitals |
363_6 | Three hulls of the ancient stone pillars, in depth
two ancient stone pillars, square-based with base line and long
an ancient stone pillar for a fountain
a fragment of an ancient stone monument with the Latin word: "dici"
holy throne made of stone (column of reddish sandstone, in height above the floor holding the stone plate with dimensions ) |
363_7 | Origin of the name of the monastery
The name Divljana is derived from Latin Divus, meaning "divine" or "god". Professor S. Petrović mentions toponyms with the base and root words: giant (Ser. див) and wild (Ser. Дивји). Giants were part of Serbian pre-Christian mythology. The Serbian word div (Ser. див), itself was derived from the word dievo, and related words were used in Indo-European languages for naming gods: Indian Deva, Old-Persian Daeva or Divus, and Latin Deus. However, it is obvious that the present name Divljana comes from the Latin word Divian, which means "land of the gods" (sr. Боговина). |
363_8 | Early Christian church |
363_9 | The first church at this location was an early Christian three-nave basilica. This can be seen from the period of its construction, from archaeological research and by comparison with other churches of the same type in the area. Christian churches in Remesiana from that era were generally oriented east–west with the altar on the east side, where the dimensions were . Above the main entrance stood a porch which would have been borne by two massive pillars with bases and capitals. On the capitals, there were usually engravings of the early Christian sign of the cross and the letter omega. The floors and wall paneling were made of marble. The Church of St. Demetrius in Divljana had dimensions of . The former church in Divljana was very similar to the present-day church which was almost the same size, with the same foundation and at the same location, except that it had a larger western portal. The present church was built in the Romanesque and Renaissance styles. The church had a |
363_10 | two-story roof in combination with west facade and thus created the impression of a three-nave church. Here there is no dome but its decorations include 124 blind arcades, pilaster strips and trefoil. |
363_11 | The founder of this church was Nicetas of Remesiana (338–420). It was built between 392 and 395. Nicetas is well known by his achievements throughout the Roman Empire, where he was an active missionary and writer. He held the position of bishop in Remesiana (366–420), leaving many of the oldest churches and monasteries in the area. His importance is reflected by the fact that other early monasteries were established at the time: in Milan between 374 and 379 by Bishop Ambrose, in Tugasta in 398 by St. Augustine, and in Marseille in 415 by John Cassian. However, at the time when the Divljana Monastery was created, the Roman Empire suffered frequent incursions by the Goths across the Danube, and the monastery was frequently destroyed. In these times, bishop Nicetas, who was in touch with senior state and church officials, did his utmost to protect Christianity in the region. |
363_12 | Based on research undertaken by M. Kostić, it is no coincidence that the monastery was located where it stands. Choosing a place to build a monastery dedicated to St. Demetrios was not only due to its extraordinary natural environment, but also because it is very close to the Divljana hot springs. Like other hot springs, these were known for their medicinal composition and their sacred connotations, but over time there were changes to the composition of the water due to demineralization. In the Middle Ages, the function of the holy place resulted in the Divljana monastery. The role of the place "Diviana" becomes clearer when the Thracian Triballi tribe from Ponišavlje began to worship at hot springs and rivers, especially in spas and other sources of healing waters. They developed a cult of the gods of health and vitality. All this led to the founding of a Christian monastery. |
363_13 | After the closing of the pagan temple in 392, the monastery was built on the same site between 392 and 395, at a time when Christianity had already been established as the official religion in the Roman Empire. Based on archaeological research, it remains to be proven whether the original church of the Divljana monastery was on the same site as the medieval church. |
363_14 | The selection of the Thessaloniki miracle worker St. Demetrius as patron of the monastery was by the Bishop Niketa, indicating the rapid development and expansion of the worship of this saint in Thessaloniki. Thessaloniki had been the capital of the prefecture of Illyria, to which Remesiana (Bela Palanka) belonged at the end of the 4th century. It is not known exactly when the first church, dedicated to St Demetrius, was built, but prefect Leontius built a large basilica in Thessaloniki, and later, in 412, he built another in the Sirmium. Niketa had multiple connections with Thessaloniki, and some of these connections were with his master chief of the church with whom he discussed everything; another connection was that he traveled by boat from Thessaloniki to east and west, and also met with the Emperor Theodosius. All this becomes clearer from the fact that Thessaloniki for Niketa was the same as for St. Sava 800 years later.
The main temple of Middle Ponišavlje |
363_15 | Divljana monastery survived the fall of the Roman Empire, and around it there was a permanent settlement of pagan Slavs in the Ponišavlje district around 614. But soon after that, Christian life on that location disappeared for the next two centuries, clearly confirming the renewal and reaffirmation of worship in 870 when re-Christianization began. The re-opening of dioceses and parishes was undertaken by the Greek hierarchy of the Patriarchate of Constantinople. All shrines that were in evidence as Christian churches were restored. Since Remesiana had been destroyed, Divljana monastery became a center of this region for an extended period, as can be seen from a charter by Emperor Basil II from 1019. The temple has survived much rebuilding. In one reconstruction, elements in the Byzantine style were taken. This region was the center of Christianity in Ponišavlje until the Turks arrived, leading to its destruction and abandonment. Before the devastation, the monastery owned of land as |
363_16 | well as Prnjavor (an earlier name for the village of Divljana) which covered another . |
363_17 | One of the final demolitions occurred in 1386, during the great military campaign of the Turks at Niš, when they destroyed and burned the whole Ponišavlje district, including towns, villages and monasteries. In that military campaign, the Turks moved from Sofia to Niš, under the leadership of Sultan Murad, who later was killed in Kosovo. Another demolition took place in 1389 with the battle of Kosovo, leading to heavy battles in the Pirot region. The church was restored in 1395 and stood until 1902 when it was destroyed for the last time. Thereafter came the present church. Based on travel writer Stephan Gerlach's notes in 1578, five monks in the monastery held school there. From the Turkish cadastral census of 1595, we see that Divljana monastery is not new and that means that the monastery had already come under Turkish rule from 1574, requiring payment of 300 groat in tax to the Turkish authority. Also, from the stone monument from 1670, we learn of Stojan Vuja from Suračevo. One |
363_18 | oktoih was repaired in 1714. The same sources reveal that in 1723, a fair was held in the name of Mary (mother of Jesus). In 1719, the Austrian diplomat K. Drish mentioned that monks were living in the monastery by the rules of St. Basil, the most prominent in the clergy. |
363_19 | Later, the monks Arsenius and Maksimus were recorded in the Kardzhali pogrom in 1796, on the territory of Ponišavlje district; two years later, in 1798, a well was dug for the monastery. Before the battle of Čegar, the monastery was burned during the First Serbian Uprising in 1809. Thereafter, the monastery library and whole church interior were reconstructed, and the sponsor of this work, Thracian guild from Pirot, donated an icon of St. Spyridon in 1820. In 1873, the narthex was demolished, and in 1876–77 the monastery quarters were burnt with the fire reaching the library and destroying two parchment manuscripts. After the liberation from the Turks in 1878, it was decided a new church should be built with construction beginning in 1902 and ending in 1908. In 1902, the nave was demolished and after that the church was completed as it stands today. The author of the new church was the architect Milorad Rudivić. During the Bulgarian occupation between 1915 and 1916, Bulgarians looted |
363_20 | and vandalized the monastery, which was the last seen of an old record which told of how St. Sava spent a time at the monsatery. |
363_21 | After the liberation and the October Revolution, Russian nuns, doctors and officers escaped in large numbers, and some of them came to Divljana monastery. They painted and arranged the new temple, and in 1933, they built a winter church dedicated to Sarov miracle worker St. Seraphim. They lived in the monastery until the beginning of World War II, when the remains of a sorority of Serbian nuns moved into the monastery. After the war, all property was revoked from the monastery, and a church dedicated to St Demetrius was restored; the monastery quarters were demolished and on its foundation a new one was built in 2005.
Architects D. Milutinović and M. Valtrović made color illustrations and measured drawings of the church, immediately after liberation from the Turks in 1878. After that, the monastery was visited by M. Milicević between 1878 and 1882, F. Kanic in 1889, Stevan Sremac in 1892, Vulić and Premeštajn in 1900, and A. Belić in 1901. |
363_22 | Not far from the monastery is an oak tree more than 1000 years old, which is an attraction for tourists.
References
Serbian Orthodox monasteries in Serbia
Pirot District
14th-century Serbian Orthodox church buildings
Medieval sites in Serbia
Christian monasteries established in the 14th century
Medieval Serbian Orthodox monasteries |
364_0 | NBA Street V3 is a basketball video game developed by EA Canada and published by EA Sports BIG. It is the third installment in the NBA Street series, released in February 2005 for the GameCube, PlayStation 2, and Xbox consoles. It also received a port to the PlayStation Portable under the name NBA Street Showdown. Baron Davis of the New Orleans Hornets is featured on the cover of the game. |
364_1 | Like its predecessor, NBA Street V3 focuses on the streetball variation of basketball, featuring 3-on-3 matches and dunk contests. Players are able to perform over-the-top trick moves in order to get past opposing players and gain points in order to earn a Gamebreaker, a shot or dunk that gifts the player extra points and removes a point from the opposing team. The main Street Challenge mode allows players to create their own player in the game, along with their own streetball court, build up reputation, defeat rival teams, and win various dunk contests and tournaments. The game features all 30 NBA teams along with five players from each team, as well as numerous NBA legends, such as Larry Bird and Magic Johnson. |
364_2 | Gameplay
NBA Street V3 focuses on the streetball variation of basketball, with a more arcade-like style of gameplay compared to the simulation style of EA Sports' NBA Live series. Games have three players on each team with no out of bounds, fouls, or game clock; they include a shot clock, however. Games are usually played until a team scores 21 points, though a team must win by at least two points; the game continues past 21 points otherwise. Each short range shot is worth one point, while a shot from long range (beyond the usual three-point line) is worth two. They can also be played with NBA scoring rules, however, where a short range shot is worth two points and a long range shot is worth three. In exhibition games, the player may use a custom rule set that allows for the game to be played with either scoring rules and up to any number of points, with 50 being the limit. |
364_3 | In NBA Street V3, Gamebreakers return to their original format from NBA Street, becoming once again unpocketable. This time, while in the air just before landing a dunk, the person controlling the Gamebreaker can do tricks with the right analog stick or pass the ball to teammates. Depending on how well these tricks are executed, and how long the ball is passed (each player may only have the ball once during a Gamebreaker), a dunk could be worth two to four points, and the opposing player's score would be subtracted by one, causing a three-to-five point swing. In an NBA game, the score changes become three to five points for the offense and a loss of two for the defense, amounting to a five-to-seven point swing. The risks added by this mechanic are the possibility of overdoing the tricks and therefore missing the basket, or (due to the variance in offensive points) allowing an opponent to take advantage of a poor or failed Gamebreaker to entirely reverse the momentum of the game. The |
364_4 | same controls for the Gamebreaker apply in the new Dunk Contest feature. The "trick stick" is also used on the ground for specific tricks, while the trick button now performs a random trick. |
364_5 | 12 courts based on real-life locations are featured in the game; The Cage, Gun Hill, Dyckman, and Rucker Park in New York City, Garland Park (known as "The Hawk" in-game) in Pittsburgh, Pennsylvania, The Dome in Baltimore, Maryland, Tandy Recreation Center in St. Louis, Missouri, Foss Park in Chicago, Illinois, MacGregor Park in Houston, Texas, Venice Beach in Los Angeles, California, Mosswood Park in Oakland, California, and Brighton Beach in Brighton, England, the only European court in the game. Players can also create their own courts, which can be used as their home court in the Street Challenge mode. After selecting which city the court is in, players can edit all aspects of the court, including its surface, backboard, backdrop, and wall murals. The player can buy more items for their court as they progress through the game and earn Street Points. Aside from customization of National Basketball Association players, it includes detailed character creators. The GameCube version |
364_6 | contains Mario, Luigi, and Princess Peach as playable characters. This was part of a deal Nintendo had with EA Sports to have Nintendo's intellectual properties appear in EA franchises. |
364_7 | Development
NBA Street V3 was developed by EA Canada, and was released under the EA Sports BIG franchise. Its developing team largely consisted of the same people who developed SSX 3 and NBA Street Vol. 2. The game was first unveiled in July 2004 and was intended to be, according to the game's executive producer William Mozell, "[a] celebration of the culture and inventive style of street basketball".
Reception
The game was met with very positive reception upon release. GameRankings and Metacritic gave it a score of 88% and 89 out of 100 for the PlayStation 2 and Xbox versions, and 88% and 88 out of 100 for the GameCube version. |
364_8 | Detroit Free Press gave the PS2 version all four stars and called it "deceptively deep, graphically sharp and a beauty to behold in the hands of two skilled players." USA Today gave the game three-and-a-half stars out of four, saying, "Style, style and more style sums up the presentation of EA's hallmark street franchise. The courts look authentic and D.J. Bobbito Garcia returns with more colorful play-by-play. The music is mostly classic hip-hop and rap artists like House of Pain and the Beastie Boys that fit nicely within the action." The Sydney Morning Herald gave it four stars out of five, saying, "The game has never looked better with easily recognisable pro players and vividly detailed courts. But where this latest installment excels is in enhanced options and customisation for serious fans, while still offering pick-up-and-play access for those after a quick sporting fix."
References
External links |
364_9 | 2005 video games
National Basketball Association video games
NBA Street game series
Electronic Arts games
PlayStation 2 games
Video games developed in Canada
Xbox games
GameCube games
EA Sports Big games
Video games set in Pittsburgh
Video games with alternative versions |
365_0 | Abida Parveen (; born 20 February 1954) is a Pakistani singer, composer and musician of Sufi music. She is also a painter and entrepreneur. Parveen is one of the highest paid singers in Pakistan. Her singing and music has earned her many accolades, and she has been dubbed as the 'Queen of Sufi music'. |
365_1 | Born and raised in Larkana into a Sindhi Sufi family, she was trained by her father Ustad Ghulam Haider who was a famous singer and music teacher. She plays Pump organ, Keyboard and Sitar. Parveen started performing in the early 1970s and came into global prominence in the 1990s. Since 1993, Parveen has toured globally, performing her first international concert at Buena Park, California. She has also performed in Churches several times. Parveen features in Pakistan's popular musical show Coke Studio and was a judge on the pan-South Asia contest show Sur Kshetra alongside Runa Laila and Asha Bhosle hosted by Ayesha Takia. She had appeared in various Indian and Pakistani Music reality shows including Pakistan Idol, Chhote Ustaad and STAR Voice of India. She is among The 500 Most Influential Muslims of the world with the power to induce hysteria in her audience, Parveen is a "Global Mystic Sufi Ambassador". In the last few years she has sung in a Pepsi commercial collaborating with |
365_2 | Atif Aslam for this. |
365_3 | Parveen is regularly referred to as one of the world's greatest mystic singers. She sings mainly ghazals, thumri, khyal, qawwali, raga (raag), Sufi rock, classical, semi-classical music and her specialty, kafi, a solo genre accompanied by percussion and harmonium, using a repertoire of songs by Sufi poets. Parveen sings in Urdu, Sindhi, Saraiki, Punjabi, Arabic and Persian. Parveen notably sung a famous song in Nepali language called "Ukali Orali Haruma", originally by Nepali singer Tara Devi, in a concert in Kathmandu, Nepal and in 2017, she was designated a 'Peace Ambassador' by SAARC.
Parveen is best known for singing in an impassioned, loud voice, especially on the song Yaar ko Humne from the album Raqs-e-Bismil and Tere Ishq Nachaya which is a rendition of Bulleh Shah's poetry. She was bestowed Pakistan's second highest civilian award Nishan-e-Imtiaz in 2012 and the highest civilian award Hilal-e-Imtiaz in March 2021 by the President of Pakistan.
Early life |
365_4 | Parveen was born in Ali Goharabad in Larkana, Sindh, Pakistan. She received her musical training initially from her father, Ustad Ghulam Haider, whom she refers as Baba Sain and Gawwaya. He had his own musical school where Parveen got her devotional inspiration from. She and her father would often perform at shrines of Sufi Saints. Parveen's talent compelled her father to choose her as his musical heir over his two sons. Growing up, she attended her father's music school, where her foundation in music was laid. Later Ustad Salamat Ali Khan of the Sham Chaurasia gharana also taught and nurtured her. Parveen always remembers that she was never forced towards this occupation and she sang her first complete kalam when she was only 3 years old.
Career |
365_5 | Parveen had already begun performing at Dargahs and Urs in the early 1970s, but it was in 1973, on Radio Pakistan, that she achieved her first real breakthrough with the Sindhi song Tuhinje zulfan jay band kamand widha. In 1977 she was introduced as an official singer on Radio Pakistan. Since then, Parveen has risen to prominence and is now considered one of the finest vocal artists of Pakistan. She has imbued Sufi music with a new identity, marking the beginning of this journey at Sultana Siddiqui's Awaz-o-Andaz in 1980.
Parveen travels internationally, often performing at sold-out venues. Her 1988 performance in Chicago was recorded by the Hazrat Amir Khusrau Society of Art and Culture, which issued a LP of her songs. Her 1989 performance in London's Wembley Conference Centre was broadcast on the BBC. Parveen cites her motivation for international travel as being to spread Sufism, peace and the divine message. In doing so, she also promotes Pakistani culture. |
365_6 | In the 1990s Parveen licensed her spiritual ghazals to Bollywood, since her "spiritual brother", Khan, recorded songs for Bollywood. Recently Abida also performed at the grand finale of Sindh Festival arranged by Bilawal Bhutto Zardari in Thatta. |
365_7 | Abida had a special appearance in the super hit Lollywood movie "Zindagi" starring Sultan Rahi, Arif Lohar, Attaullah Khan Esakhelvi in lead cast for which she performed her famous rendition of Sufi Sachal Sarmast 'mahi yar di gharoli bhar di'.
In 2007, Parveen collaborated with Shehzad Roy on a song entitled Zindagi, dedicated to children's social problems .
In the same year she performed at the annual Oslo mela in Norway.
In 2010, Parveen performed at London's prestigious Royal Albert Hall, along with Bollywood playback singer Sonu Nigam.
In 2010, Parveen performed at the Asia Society's Sufi Music Festival in New York City.
In 2010, she performed in Union Square, Manhattan, in first Sufi Music Festival in New York City.
Parveen performs annually at the Indian film-maker Muzaffar Ali's Jahan-e-Khusrau event where she is reputed to be the top performer.
In 2010, she judged the Indo-Pak venture Sur Kshetra TV Show. |
365_8 | She performed in Manchester International Festival, 2013 in Bridgewater Hall.
Abida also collaborated in Manchester in 2013 with composer John Tavener for remarkable composition 'Mahamatar' for a Werner Herzog film about pilgrimage.
She had performed in Holland festival 2014 in Stopera, Amsterdam.
Praveen was the grand performer of Dhaka International Folk Fest, 2015 in Bangladesh where she also received an award.
In the Sindh Litreture Festival, 2016, she performed the grand show and cut the ribbon on its inauguration alongside SLF chairperson.
In the same year, she performed 2nd International Sufi Festival at Karachi.
In 2016, she collaborated with Indian Music director duo Salim–Sulaiman and an Orchestra in Toronto(Canada) for special song called "Noor e Illahi" released on Eid.
In 2017, on new year eve Abida released 'Mulk e Khuda' a patriotic song featuring natural sites and landscapes of Pakistan. |
365_9 | She has performed in the finale of Alchemy Festival, 2017 at Southbank Centre, London.
In the same year a Music video of romantic gazal "Ahat Si" was released by Abida feat. Saima Ajram.
Her performance includes the annual Faiz International Festival at the death anniversary of Faiz Ahmad Faiz. |
365_10 | Coke Studio appearances
Parveen began performing on the internationally acclaimed Pakistani show Coke Studio in 2010. She sang three songs: "Ramooz-e-Ishq", "Nigah-e-Darwaishaan", and "Soz-e-Ishq" in episodes 1 (Reason), 3 (Conception), and 5 (Realization), respectively of season 3. Parveen said she admired the programme because it offered a Dargahi environment. She commented:
"This project which Rohail Hyatt has started is indeed great and I would like to be a part of it for a long time. The music that comes out of this project reaches both the heart and soul and it always compliments the lyrics without overriding the true message of the kalams. This platform builds on those messages of our Sufi elders."
She was invited back in season 7 in 2014. She sang "Mein Sufi Hoon" with Rais Khan and performed "dost" as a solo. She also performed "Chaap Tilak" (A popular Sufi poem by Sufi poet Amir Khusro) in a duet with Rahat Fateh Ali Khan. |
365_11 | Abida was also a part of season 9. Her first song along with other artists in the season, "Ae Rah Haq K Shaheedo" was dedicated to the war martyrs. After that she sang a duet with Ali Sethi entitled "Aaqa", then solo an entitled "Maula-i-Kull".
She also performed in season 14, singing "Tu Jhoom" with Naseebo Lal.
Quotes
"Pakistan seems disconnected from the outside. But it is built and running on prayers of our Sufi kings, our pirs. Poor people, rich people – we are all God's servants … I'm lucky. My audience is my God."
"The songs purify the soul of a human being, the human is so involved that he has left God. The songs bring us near to God, near the Almighty, so that the human soul should be purified and satisfied."
Personal life
Education
Abida got her master's degree from Sindh and also learnt Urdu, Sindhi and Persian specifically. |
365_12 | Marriage and family
In 1975, Abida married Ghulam Hussain Sheikh, senior producer at Radio Pakistan, who had retired from his job in the 1980s to manage and mentor Parveen's career. After he died of a heart attack on an international flight in the early 2000s, their daughter Maryam took up that role. There is a sense that Parveen's career has taken a more commercial route as a result of it. The couple has two daughters Pereha Ikram and Marium Hussain, and a son Sarang Latif who is a music director. All three children act as her advisors. Her family understands her need for riyaz ( daily vocal music practice) and its required space to do that practice.
Abida Parveen Gallery
Parveen is also interested in the arts. She owns the Abida Parveen Gallery which features jewellery, paintings, her music CDs, awards section and garments and accessories and is run by her daughters. She also has her own music recording studio there. |
365_13 | Clothing style
Parveen has a distinctive clothing style which she has created herself for ease and comfort. She wears long simple frocks buttoned up to the top covered with a coat. She is always accompanied by an ajrak, a sindhi duppatta, which she claims comes from the dargah (mausoleum) of Sufi saint Shah Abdul Latif Bhittai and her wardrobe is full of it.
Other
Parveen has taken Bayyat and became a disciple of Najeeb Sultan, her spiritual master. Parveen suffered a heart attack during a performance in Lahore on 28 November 2010. Angiography and angioplasty were performed on her. She regained her health soon after.
Awards and recognitions |
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