Imagine placing a rubber band near the edge of an object in a photograph. If the rubber band could feel the contrast of the image — bright on one side, dark on the other — it would shrink and warp until it hugged the boundary perfectly. That is the idea behind active contours, introduced by Michael Kass, Andrew Witkin, and Demetri Terzopoulos in 1988. Because the curve slithers toward edges like a snake, they simply called it a snake.
A snake is a parametric curve where runs along the curve. The curve evolves over time to minimize a total energy functional:
The internal energy resists stretching and bending, keeping the curve smooth. The image energy pulls the curve toward features like edges and lines. Left to evolve, the snake deforms until it cannot lower its energy any further — and at that point it sits right on the boundary it was chasing.
This elegant mechanism bypasses the need to specify exactly which pixels belong to an object. You place the snake near the object, let the energy do the work, and read off the boundary when it settles.
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