Computational Beauty: Aesthetic Judgment at the Intersection of Art and Science

In part one of the Critique of Judgment, Immanuel Kant wrote that "the judgment of taste...is not a cognitive judgment, and so not logical, but is aesthetic."\cite{Kant} While the condition of aesthetic discernment has long been the subject of philosophical discourse, the role of the arbiters of that judgment has more often been assumed than questioned. The art historian, critic, connoisseur, and curator have long held the esteemed position of the aesthetic judge, their training, instinct, and eye part of the inimitable subjective processes that Kant described as occurring upon artistic evaluation. Although the concept of intangible knowledge in regard to aesthetic theory has been much explored, little discussion has arisen in response to the development of new types of artificial intelligence as a challenge to the seemingly ineffable abilities of the human observer. This paper examines the developments in the field of computer vision analysis of paintings from canonical movements with the history of Western art and the reaction of art historians to the application of this technology in the field. Through an investigation of the ethical consequences of this innovative technology, the unquestioned authority of the art expert is challenged and the subjective nature of aesthetic judgment is brought to philosophical scrutiny once again.

Toward Automated Discovery of Artistic Influence

Considering the huge amount of art pieces that exist, there is valuable information to be discovered. Examining a painting, an expert can determine its style, genre, and the time period that the painting belongs. One important task for art historians is to find influences and connections between artists. Is influence a task that a computer can measure? The contribution of this paper is in exploring the problem of computer-automated suggestion of influences between artists, a problem that was not addressed before in a general setting. We first present a comparative study of different classification methodologies for the task of fine-art style classification. A two-level comparative study is performed for this classification problem. The first level reviews the performance of discriminative vs. generative models, while the second level touches the features aspect of the paintings and compares semantic-level features vs. low-level and intermediate-level features present in the painting. Then, we investigate the question "Who influenced this artist?" by looking at his masterpieces and comparing them to others. We pose this interesting question as a knowledge discovery problem. For this purpose, we investigated several painting-similarity and artist-similarity measures. As a result, we provide a visualization of artists (Map of Artists) based on the similarity between their works

Collaborative Discriminant Locality Preserving Projections With its Application to Face Recognition

We present a novel Discriminant Locality Preserving Projections (DLPP) algorithm named Collaborative Discriminant Locality Preserving Projection (CDLPP). In our algorithm, the discriminating power of DLPP are further exploited from two aspects. On the one hand, the global optimum of class scattering is guaranteed via using the between-class scatter matrix to replace the original denominator of DLPP. On the other hand, motivated by collaborative representation, an $L_2$-norm constraint is imposed to the projections to discover the collaborations of dimensions in the sample space. We apply our algorithm to face recognition. Three popular face databases, namely AR, ORL and LFW-A, are employed for evaluating the performance of CDLPP. Extensive experimental results demonstrate that CDLPP significantly improves the discriminating power of DLPP and outperforms the state-of-the-arts.

Visual-Semantic Scene Understanding by Sharing Labels in a Context Network

We consider the problem of naming objects in complex, natural scenes containing widely varying object appearance and subtly different names. Informed by cognitive research, we propose an approach based on sharing context based object hypotheses between visual and lexical spaces. To this end, we present the Visual Semantic Integration Model (VSIM) that represents object labels as entities shared between semantic and visual contexts and infers a new image by updating labels through context switching. At the core of VSIM is a semantic Pachinko Allocation Model and a visual nearest neighbor Latent Dirichlet Allocation Model. For inference, we derive an iterative Data Augmentation algorithm that pools the label probabilities and maximizes the joint label posterior of an image. Our model surpasses the performance of state-of-art methods in several visual tasks on the challenging SUN09 dataset.

Learning Hypergraph Labeling for Feature Matching

This study poses the feature correspondence problem as a hypergraph node labeling problem. Candidate feature matches and their subsets (usually of size larger than two) are considered to be the nodes and hyperedges of a hypergraph. A hypergraph labeling algorithm, which models the subset-wise interaction by an undirected graphical model, is applied to label the nodes (feature correspondences) as correct or incorrect. We describe a method to learn the cost function of this labeling algorithm from labeled examples using a graphical model training algorithm. The proposed feature matching algorithm is different from the most of the existing learning point matching methods in terms of the form of the objective function, the cost function to be learned and the optimization method applied to minimize it. The results on standard datasets demonstrate how learning over a hypergraph improves the matching performance over existing algorithms, notably one that also uses higher order information without learning.