To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Digital inpainting methods are being designed with the desire for an automated and visually convincing interpolation of images. In this chapter we give an overview of approaches and trends in digital image inpainting and provide a preview of our discussion in Chapters 4 through 7. Before we start with this, let us raise our consciousness about the challenges and hurdles we might face in the design of inpainting problems.
The first immediate issue of image inpainting is, of course, that we do not know the truth but can only guess. We can make an educated guess, but still it will never be more than a guess. This is so because once something is lost, it is lost, and without additional knowledge (based on the context, e.g., historical facts), the problem of recovering this loss is an ambiguous one. Just look at Figure 2.1, and I ask you: is it a black stripe behind a grey stripe or a grey stripe behind a black stripe? Thus, the challenge of image inpainting is that the answer to the problem might not be unique. We will discuss this and strategies to make ‘good’ guesses based on the way our perception works in Chapter 3.
When inspecting different inpainting methods in the course of this book, you should be aware of the fact that mathematical inpainting methods are designed for inpainting the image completely automatically, that is, without intervention (supervision) by the user. Hence, the art of designing efficient and qualitatively high inpainting methods is really the skill of modelling the mechanisms that influence what the human brain can usually do in an instant. At present, we are still far away from a fair competition with the human brain. Digital inpainting methods are currently not (will never be?) as smart as our brain. In particular, no all-round inpainting model exists that can solve a variety of inpainting problems with sufficient quality. One of the main shortcomings of inpainting methods is their inability to realistically reconstruct both structure and texture simultaneously (see Section 2.2).
The study of solutions to systems of semi-linear parabolic partial differential equations has attracted considerable attention over the past fifty years.In the case when the nonlinearity satisfies a local Lipschitz condition, the fundamental theory is well developed (see, for example, the texts of Friedman [21], Fife [20], Rothe [65], Smoller [70], Samarskii et al. [67], Volpert et al. [72], Leach and Needham [36], and references therein). The situation when the nonlinearity does not necessarily satisfy a local Lipschitz condition is less well studied, but contributions have been made in the case of specific non-Lipschitz nonlinearities which have aided in particular applications (see, for example, Aguirre and Escobedo [5]; Needham et al. [36], [54], [29], [33], [40], [41], [42], [43] and references therein), and for the corresponding steady state elliptic problems (see, for example, Stakgold [71], Bandle et al [9], [10], [11], [12], [13], Abdullaev [2], [3], [4], [1] and references therein). The aim of this monograph is to exhibit general results concerning semi-linear parabolic partial differential equations that do not necessarily satisfy a local Lipschitz condition. The approach is classical, in the sense that the results relate entirely to the well-posedness criteria for classical solutions, in the sense of Hadamard [39], and the main results are principally established within the framework of real analysis. The approach used to develop the existence theory in this monograph has similarities with the method of successive approximations for systems of first order ordinary differential equations, as detailed in [17] and [16]. Alternative approaches may be possible through the concepts of weak solutions and the framework of semigroup theory. These alternative approaches are amenable, and very effective, in the case of Lipschitz continuous nonlinearities, as exemplified in the monographs by Henry [26] and Pazy [62]. However, the extensions to non-Lipschitz nonlinearities have not been developed and our approach provides an effective development of the classical theory for Lipschitz continuous nonlinearities.
In a glass furnace solid batches of material are fed into a chamber and radiation heating applied. An individual batch is melted over the course of several minutes to form molten glass. A travelling front within the batch designates the progress of the melting, a process characterized by multiple radiation reflections. This results in an effective conductivity within the melting zone that is significantly larger than that in the unmelted batch. Approximations based on these disparate conductivities enable accurate explicit expressions for the almost constant melting front speed and the associated temperature profile to be derived. Our results compare favourably with existing numerical simulations of the process, with the advantage of being both analytic and relatively simple. These predictions may be useful in suggesting how a furnace might be most effectively controlled under varying batch conditions, as well as ensuring the quality of the glass sheets produced.