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Artículos de revistas sobre el tema "Artwork Recognition"

Autor: Grafiati

Publicado: 10 de marzo de 2023

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1

Wu, Tianyou. "Art Product Recognition Model Design and Construction of VR Model." Security and Communication Networks 2022 (June 22, 2022): 1–13. http://dx.doi.org/10.1155/2022/3994102.

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The artwork embodies a profound human history and carries the essence of human civilization. Its content is complex and covers a wide range. How to use advanced technology to quickly and accurately classify and retrieve is an important research topic in the field. In our study, we first according to the requirements of practical application scenarios and existing data conditions proposed an overall scheme of artwork identification and retrieval. Through the functional analysis of the software required and the comparison of various databases, we present the system architecture design and data c

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Theodosiou, Zenonas, Marios Thoma, Harris Partaourides, and Andreas Lanitis. "A Systematic Approach for Developing a Robust Artwork Recognition Framework Using Smartphone Cameras." Algorithms 15, no. 9 (2022): 305. http://dx.doi.org/10.3390/a15090305.

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The provision of information encourages people to visit cultural sites more often. Exploiting the great potential of using smartphone cameras and egocentric vision, we describe the development of a robust artwork recognition algorithm to assist users when visiting an art space. The algorithm recognizes artworks under any physical museum conditions, as well as camera point of views, making it suitable for different use scenarios towards an enhanced visiting experience. The algorithm was developed following a multiphase approach, including requirements gathering, experimentation in a virtual env

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3

Yang, Heekyung, Jongdae Han, and Kyungha Min. "Distinguishing Emotional Responses to Photographs and Artwork Using a Deep Learning-Based Approach." Sensors 19, no. 24 (2019): 5533. http://dx.doi.org/10.3390/s19245533.

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Visual stimuli from photographs and artworks raise corresponding emotional responses. It is a long process to prove whether the emotions that arise from photographs and artworks are different or not. We answer this question by employing electroencephalogram (EEG)-based biosignals and a deep convolutional neural network (CNN)-based emotion recognition model. We employ Russell’s emotion model, which matches emotion keywords such as happy, calm or sad to a coordinate system whose axes are valence and arousal, respectively. We collect photographs and artwork images that match the emotion keywords

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4

Tian, Tian, and Feng Nan. "A Multitask Convolutional Neural Network for Artwork Appreciation." Mobile Information Systems 2022 (April 14, 2022): 1–8. http://dx.doi.org/10.1155/2022/8804711.

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The computational aesthetics of pictorial art is an important part of human artistic creation, and the computational aesthetics of pictorial art images is a computationally computable human aesthetic process using machines, which has important applications and scientific significance in the automated analysis of large-scale paintings and the computational modeling of perception by machines. To this end, this paper proposes a multitask convolutional neural network model for emotion and rating of artworks. (1) An artwork appreciation dataset consisting of fifty Chinese paintings and fifty Wester

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Jiang, Dayou, and Jongweon Kim. "Artwork Recognition for Panorama Images Based on Optimized ASIFT and Cubic Projection." International Journal of Machine Learning and Computing 8, no. 1 (2018): 54–60. http://dx.doi.org/10.18178/ijmlc.2018.8.1.663.

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6

Brossman, Craig, and George R. Cross. "Model-based recognition of characters in trademark artwork." Pattern Recognition Letters 11, no. 5 (1990): 363–70. http://dx.doi.org/10.1016/0167-8655(90)90046-5.

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7

Thomas, KErstin. "The Still Life of Objects – Heidegger, Schapiro, and Derrida reconsidered." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 81–102. http://dx.doi.org/10.28937/1000106256.

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Kerstin Thomas revaluates the famous dispute between Martin Heidegger, Meyer Schapiro, and Jacques Derrida, concerning a painting of shoes by Vincent Van Gogh. The starting point for this dispute was the description and analysis of things and artworks developed in his essay, “The Origin of the Work of Art”. In discussing Heidegger’s account, the art historian Meyer Schapiro’s main point of critique concerned Heidegger’s claim that the artwork reveals the truth of equipment in depicting shoes of a peasant woman and thereby showing her world. Schapiro sees a striking paradox in Heidegger’s claim

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8

Cetinic, Eva. "Towards Generating and Evaluating Iconographic Image Captions of Artworks." Journal of Imaging 7, no. 8 (2021): 123. http://dx.doi.org/10.3390/jimaging7080123.

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To automatically generate accurate and meaningful textual descriptions of images is an ongoing research challenge. Recently, a lot of progress has been made by adopting multimodal deep learning approaches for integrating vision and language. However, the task of developing image captioning models is most commonly addressed using datasets of natural images, while not many contributions have been made in the domain of artwork images. One of the main reasons for that is the lack of large-scale art datasets of adequate image-text pairs. Another reason is the fact that generating accurate descripti

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9

Iliadis, Lazaros, Spyridon Nikolaidis, Panagiotis Sarigiannidis, Shaohua Wan, and Sotirios Goudos. "Artwork Style Recognition Using Vision Transformers and MLP Mixer." Technologies 10, no. 1 (2021): 2. http://dx.doi.org/10.3390/technologies10010002.

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Through the extensive study of transformers, attention mechanisms have emerged as potentially more powerful than sequential recurrent processing and convolution. In this realm, Vision Transformers have gained much research interest, since their architecture changes the dominant paradigm in Computer Vision. An interesting and difficult task in this field is the classification of artwork styles, since the artistic style of a painting is a descriptor that captures rich information about the painting. In this paper, two different Deep Learning architectures—Vision Transformer and MLP Mixer (Multi-

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10

Del Chiaro, Riccardo, Andrew D. Bagdanov, and Alberto Del Bimbo. "Webly-supervised zero-shot learning for artwork instance recognition." Pattern Recognition Letters 128 (December 2019): 420–26. http://dx.doi.org/10.1016/j.patrec.2019.09.027.

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11

Yang and Min. "A Multi-Column Deep Framework for Recognizing Artistic Media." Electronics 8, no. 11 (2019): 1277. http://dx.doi.org/10.3390/electronics8111277.

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We present a multi-column structured framework for recognizing artistic media from artwork images. We design the column of our framework using a deep neural network. Our key idea is to recognize the distinctive stroke texture of an artistic medium, which plays a key role in distinguishing artistic media. Since stroke texture is in a local scale, the whole image is not proper for recognizing the texture. Therefore, we devise two ideas for our framework: Sampling patches from an input image and employing a Gram matrix to extract the texture. The patches sampled from an input artwork image are pr

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12

Hall, Peter, Hongping Cai, Qi Wu, and Tadeo Corradi. "Cross-depiction problem: Recognition and synthesis of photographs and artwork." Computational Visual Media 1, no. 2 (2015): 91–103. http://dx.doi.org/10.1007/s41095-015-0017-1.

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13

Tao, Zoe. "Shame and its Soundscapes." Music and Medicine 11, no. 2 (2019): 133. http://dx.doi.org/10.47513/mmd.v11i2.594.

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In this essay, I engage with issues of shame and social marginalization through “assisted” musical artworks, which combine an individual’s words with my musical accompaniment. Despite being a first-year medical student without clinical or therapeutic credentials, I generate interpretations of how collaborative, improvisatory, and informal artworks I have created as a music volunteer may assist in recognition and affirmation of one’s humanity. I present and discuss one experience in hospice care and its accompanying artwork which reflected the beauty and humanity of an individual I became close

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Aerne, Annatina. "Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere." Social Inclusion 9, no. 4 (2021): 180–90. http://dx.doi.org/10.17645/si.v9i4.4180.

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How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a public, thus generating the necessary recognition for additional subjects. We propose a typology that categorizes artworks’ contribution to an inclusive public sphere. The typology is based on two axes: (a) artworks’ explicitness in attributing the status of a subject to a previous object and (b) the num

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van Paasschen, Jorien, Elisa Zamboni, Francesca Bacci, and David Melcher. "Consistent Emotions Elicited by Low-Level Visual Features in Abstract Art." Art & Perception 2, no. 1-2 (2014): 99–118. http://dx.doi.org/10.1163/22134913-00002012.

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It is often assumed that works of art have the ability to elicit emotion in their observers. An emotional response to a visual stimulus can occur as early as 120 ms after stimulus onset, before object categorisation can take place. This implies that emotions elicited by an artwork may depend in part on bottom-up processing of its visual features (e.g., shape, colour, composition) and not just on object recognition or understanding of artistic style. We predicted that participants are able to judge the emotion conveyed by an artwork in a manner that is consistent across observers. We tested thi

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16

Wan, Jixin, and Yu Xiaobo. "Intelligent Retrieval Method of Approximate Painting in Digital Art Field." Scientific Programming 2021 (November 20, 2021): 1–8. http://dx.doi.org/10.1155/2021/5796600.

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With the rapid development of Internet technology and the wide application of image acquisition equipment, the number of digital artwork images is exploding. The retrieval of near-similar artwork images has a wide application prospect for copyright infringement, trademark registration, and other scenes. However, compared with traditional images, these artwork images have the characteristics of high similarity and complexity, which lead to the retrieval accuracy not meeting the demand. To solve the above problems, an intelligent retrieval method of artwork image based on wavelet transform and d

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17

Jabbar, Muhammad Shahid, Jitae Shin, and Jun-Dong Cho. "AI Ekphrasis: Multi-Modal Learning with Foundation Models for Fine-Grained Poetry Retrieval." Electronics 11, no. 8 (2022): 1275. http://dx.doi.org/10.3390/electronics11081275.

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Artificial intelligence research in natural language processing in the context of poetry struggles with the recognition of holistic content such as poetic symbolism, metaphor, and other fine-grained attributes. Given these challenges, multi-modal image–poetry reasoning and retrieval remain largely unexplored. Our recent accessibility study indicates that poetry is an effective medium to convey visual artwork attributes for improved artwork appreciation of people with visual impairments. We, therefore, introduce a deep learning approach for the automatic retrieval of poetry suitable to the inpu

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18

Chen, Haibo, Lei Zhao, Lihong Qiu, et al. "Creative and diverse artwork generation using adversarial networks." IET Computer Vision 14, no. 8 (2020): 650–57. http://dx.doi.org/10.1049/iet-cvi.2020.0014.

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Philipp-Foliguet, Sylvie, Michel Jordan, Laurent Najman, and Jean Cousty. "Artwork 3D model database indexing and classification." Pattern Recognition 44, no. 3 (2011): 588–97. http://dx.doi.org/10.1016/j.patcog.2010.09.016.

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20

Pasqualino, Giovanni, Antonino Furnari, Giovanni Signorello, and Giovanni Maria Farinella. "An unsupervised domain adaptation scheme for single-stage artwork recognition in cultural sites." Image and Vision Computing 107 (March 2021): 104098. http://dx.doi.org/10.1016/j.imavis.2021.104098.

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21

Gao, Yang, Neng Chang, and Kai Shang. "Multi-layer and multi-order fine-grained feature learning for artwork attribute recognition." Computer Communications 173 (May 2021): 214–19. http://dx.doi.org/10.1016/j.comcom.2021.03.006.

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22

Shyrman, Roman. "Video Surveillance as an Educational Exercise and Artwork." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (2022): 28–37. http://dx.doi.org/10.31866/2617-2674.5.1.2022.256949.

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The purpose of the article is to analyze the importance of training exercises in video surveillance for the creative abilities’ development of film and television directors; to prove the necessity and usefulness of such exercises not only for documentarians but also for feature film and animation directors; identify specific methods of the director’s work on video surveillance. The research methodology is based on a theoretical analysis of the work of outstanding film directors, in particular films and evidence on the nature of documentary films by Hertz Frank and Frederick Wiseman and analysi

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23

Kloppmann, W., L. Leroux, P. Bromblet, et al. "Competing English, Spanish, and French alabaster trade in Europe over five centuries as evidenced by isotope fingerprinting." Proceedings of the National Academy of Sciences 114, no. 45 (2017): 11856–60. http://dx.doi.org/10.1073/pnas.1707450114.

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A lack of written sources is a serious obstacle in the reconstruction of the medieval trade of art and art materials, and in the identification of artists, workshop locations, and trade routes. We use the isotopes of sulfur, oxygen, and strontium (S, O, Sr) present in gypsum alabaster to unambiguously link ancient European source quarries and areas to alabaster artworks produced over five centuries (12th–17th) held by the Louvre museum in Paris and other European and American collections. Three principal alabaster production areas are identified, in central England, northern Spain, and a major

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24

Reysen, Stephen, Courtney N. Plante, Sharon E. Roberts, and Kathleen C. Gerbasi. "Fan and Non-Fan Recollection of Faces in Fandom-Related Art and Costumes." Journal of Cognition and Culture 18, no. 1-2 (2018): 224–29. http://dx.doi.org/10.1163/15685373-12340024.

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Abstract We compared face recognition of humans and fandom-themed characters (art and costumes) between a sample of furries (fans of anthropomorphic animal art) and non-furries. Participants viewed images that included humans, drawn anthropomorphic animals, and anthropomorphic animal costumes, and were later tested on their ability to recognize faces from a subset of the viewed images. While furries and non-furries did not differ in their recollection of human faces, furries showed significantly better memory for faces in furry-themed artwork and costumes. The results are discussed in relation

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Milani, Federico, Nicolò Oreste Pinciroli Pinciroli Vago, and Piero Fraternali. "Proposals Generation for Weakly Supervised Object Detection in Artwork Images." Journal of Imaging 8, no. 8 (2022): 215. http://dx.doi.org/10.3390/jimaging8080215.

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Object Detection requires many precise annotations, which are available for natural images but not for many non-natural data sets such as artworks data sets. A solution is using Weakly Supervised Object Detection (WSOD) techniques that learn accurate object localization from image-level labels. Studies have demonstrated that state-of-the-art end-to-end architectures may not be suitable for domains in which images or classes sensibly differ from those used to pre-train networks. This paper presents a novel two-stage Weakly Supervised Object Detection approach for obtaining accurate bounding box

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Marnin-Distelfeld, Shahar, and Uri Dorchin. "“I AM NOT AN ARTIST, I MAKE ART”: AMATEURISH ARTISTS IN ISRAEL AND THE SENSE OF CREATIVITY." Creativity Studies 13, no. 1 (2020): 64–86. http://dx.doi.org/10.3846/cs.2020.9907.

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This study deals with self-taught visual artists who are considered “amateurish” by the establishment of the Memorial Center in Kiryat Tiv’on, Israel, where they have exhibit their artwork. We will try to figure out both the explicit and implicit characteristics of “amateurish” artists, and challenge the supposed linkage between amateurism and lack of creativity. The methodology applied combines a sociological point of view, drawing on in-depth interviews with the artists, along with a visual analysis of the artwork produced. The theory of “modest” artists, by Marie Buscatto, and the theory of

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Jabbar, Muhammad Shahid, Chung-Heon Lee, and Jun Dong Cho. "ColorWatch: Color Perceptual Spatial Tactile Interface for People with Visual Impairments." Electronics 10, no. 5 (2021): 596. http://dx.doi.org/10.3390/electronics10050596.

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Tactile perception enables people with visual impairments (PVI) to engage with artworks and real-life objects at a deeper abstraction level. The development of tactile and multi-sensory assistive technologies has expanded their opportunities to appreciate visual arts. We have developed a tactile interface based on the proposed concept design under considerations of PVI tactile actuation, color perception, and learnability. The proposed interface automatically translates reference colors into spatial tactile patterns. A range of achromatic colors and six prominent basic colors with three levels

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Milani, Federico, and Piero Fraternali. "A Dataset and a Convolutional Model for Iconography Classification in Paintings." Journal on Computing and Cultural Heritage 14, no. 4 (2021): 1–18. http://dx.doi.org/10.1145/3458885.

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Iconography in art is the discipline that studies the visual content of artworks to determine their motifs and themes and to characterize the way these are represented. It is a subject of active research for a variety of purposes, including the interpretation of meaning, the investigation of the origin and diffusion in time and space of representations, and the study of influences across artists and artworks. With the proliferation of digital archives of art images, the possibility arises of applying Computer Vision techniques to the analysis of art images at an unprecedented scale, which may

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VOEGELIN, SALOMÉ. "Sonic memory material as ‘pathetic trigger’." Organised Sound 11, no. 1 (2006): 13–18. http://dx.doi.org/10.1017/s1355771806000033.

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Memory, according to Henri Bergson, is gleaned from the present and realises the present perception from its sensory-motor elements through movements towards that which it perceives.The purpose of this article is to propose and debate the deliberate use of such ‘present memory’ in the sonic artwork. The suggestion is that sonic memory material – sounds that are plundered from old recordings – can be collaged into complex sonic works to produce, not a nostalgic experience in the sense of a recognition of the past, but a current production of sonic material in a continually present perception. S

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Fuxjäger, Anton. "Translation, Emphasis, Synthesis, Disturbance: On the function of music in visual music." Organised Sound 17, no. 2 (2012): 120–27. http://dx.doi.org/10.1017/s1355771812000040.

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Starting from the premiss that the central aesthetic feature of non-representational moving images (visual music) is their structuring of reception time, the function of the accompanying music in contributing to the total (combined) temporal structure of the resulting artwork is discussed. A taxonomy of the different roles that music can play in the production and reception of visual music consisting of three basic categories is presented and examples are given:•‘Music translations’: certain parameters of the accompanying music are transcoded into certain visual parameters, the accompanying mu

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Yang, Heekyung, and Kyungha Min. "A Saliency-Based Patch Sampling Approach for Deep Artistic Media Recognition." Electronics 10, no. 9 (2021): 1053. http://dx.doi.org/10.3390/electronics10091053.

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We present a saliency-based patch sampling strategy for recognizing artistic media from artwork images using a deep media recognition model, which is composed of several deep convolutional neural network-based recognition modules. The decisions from the individual modules are merged into the final decision of the model. To sample a suitable patch for the input of the module, we devise a strategy that samples patches with high probabilities of containing distinctive media stroke patterns for artistic media without distortion, as media stroke patterns are key for media recognition. We design thi

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Masiero, A., G. Tucci, A. Conti, L. Fiorini, and A. Vettore. "INITIAL EVALUATION OF THE POTENTIAL OF SMARTPHONE STEREO-VISION IN MUSEUM VISITS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 5, 2019): 837–42. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-837-2019.

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<p><strong>Abstract.</strong> The recent introduction of new technologies such as augmented reality, machine learning and the worldwide spread of mobile devices provided with imaging, navigation sensors and high computational power can be exploited in order to drammatically change the museum visit experience. Differently from the traditional use of museum docents or audio guides, the introduction of digital technologies already proved to be useful in order to improve the interest of the visitor thanks to the increased interaction and involvement, reached also by means of visu

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Wicaksono, Singgih Prio. "VISUAL STRATEGIES OF CONTEMPORARY ART: A Case Study of Banksy’s Artworks." Journal of Urban Society's Arts 7, no. 1 (2020): 9–14. http://dx.doi.org/10.24821/jousa.v7i1.3924.

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Visual Strategy of Contemporary Art: The Study of Banksy’s Artwork. The development of contemporary art has introduced a new understanding and recognition of esthetics. This article aims to describe postesthetic phenomena as trends in the visual communication of contemporary art. The method used is a descriptive approach and analysis of Banksy's work. This study produces a discussion about: 1). Postesthetic symptoms in Banksy's work, 2). Characteristics of Banksy's work, 3). Banksy's symbolic meaning, 3). Social implications arising from the postesthetic approach to Banksy's work. Keywords: vi

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KIM, Sa-Ra. "What Is the Reason for Learning Art?: Changes of Learner’s Recognition on Art through Art Expression Teaching." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 15 (2022): 575–90. http://dx.doi.org/10.22251/jlcci.2022.22.15.575.

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Objectives This study started from the fact that confinement in the formalism of art expression cannot persuade students to answer the question of ‘What is the reason for learning art?’. Hence, the purpose of this study is to clarify whether learner’s recognition on art can be changed through the case on teaching art expression. Methods This study is done for the objects of the three 6th graders with insufficient confidence in practical skills in art. The researcher planned and practiced art expression class for one 6th grader and analyzed the study result by focusing on the student’s wo

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Cook, Jenny, Nina Fudge, Eleanor Stevens, and Christopher McKevitt. "Stroke through a lens: Exposing the challenges of establishing a visual arts project as a research engagement activity." Research for All 1, no. 1 (2017): 84–105. http://dx.doi.org/10.18546/rfa.01.1.07.

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To celebrate 20 years of an epidemiological study, the South London Stroke Register, we collaborated with student artists and stroke survivors to create an exhibition of visual arts displayed at a series of events in 2015–16. This paper explores the expectations placed on researchers to engage with different publics, touching on current debates around institutional support and recognition. We critically reflect on the project process, identifying challenges and offering recommendations. We include the perspectives of the stroke survivors and the student artists, and examples of the artwork.

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Hien, Ngo Le Huy, Luu Van Huy, and Nguyen Van Hieu. "Artwork style transfer model using deep learning approach." Cybernetics and Physics, Volume 10, 2021, Number 3 (October 30, 2021): 127–37. http://dx.doi.org/10.35470/2226-4116-2021-10-3-127-137.

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Art in general and fine arts, in particular, play a significant role in human life, entertaining and dispelling stress and motivating their creativeness in specific ways. Many well-known artists have left a rich treasure of paintings for humanity, preserving their exquisite talent and creativity through unique artistic styles. In recent years, a technique called ’style transfer’ allows computers to apply famous artistic styles into the style of a picture or photograph while retaining the shape of the image, creating superior visual experiences. The basic model of that process, named ’Neural St

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Aspinall, Peter J. "Social Representations of Art in Public Places: A Study of Everyday Explanations of the Statue of ‘A Real Birmingham Family’." Genealogy 5, no. 3 (2021): 59. http://dx.doi.org/10.3390/genealogy5030059.

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This article focuses on the social/cultural representations of the statue of A Real Birmingham Family cast in bronze and unveiled in Britain’s second city in October 2014. It reveals a family comprising two local mixed-race sisters, both single mothers, and their sons, unanimously chosen from 372 families. Three of the four families shortlisted for the statue were ‘mixed-race’ families. The artwork came about through a partnership between the sculptress, Gillian Wearing, and the city’s Ikon Gallery. A number of different lay representations of the artwork have been identified, notably, that it

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Schreiber, Rebecca M. "The Work of Arte Urgente." Latin American and Latinx Visual Culture 4, no. 3 (2022): 23–43. http://dx.doi.org/10.1525/lavc.2022.4.3.23.

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This essay examines how migrant/refugee youth from Central America use their bodies as part of collaborative performances in which they narrate their experiences as social actors within the context of the so-called “child migrant crisis.” In Arte Urgente (Urgent Art) workshops organized by Caleb Duarte with students from Fremont High School’s Newcomer Education Support and Transition (NEST) Program, they created performances in which they staged a response to the structural conditions that compelled them to migrate and that shaped their everyday lives. The emphasis on performance resonates wit

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Cho, Jun-Dong, and Yong Lee. "ColorPoetry: Multi-Sensory Experience of Color with Poetry in Visual Arts Appreciation of Persons with Visual Impairment." Electronics 10, no. 9 (2021): 1064. http://dx.doi.org/10.3390/electronics10091064.

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Visually impaired visitors experience many limitations when visiting museum exhibits, such as a lack of cognitive and sensory access to exhibits or replicas. Contemporary art is evolving in the direction of appreciation beyond simply looking at works, and the development of various sensory technologies has had a great influence on culture and art. Thus, opportunities for people with visual impairments to appreciate visual artworks through various senses such as hearing, touch, and smell are expanding. However, it is uncommon to provide a multi-sensory interactive interface for color recognitio

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Andrea Orlando, Santi, Antonino Furnari, and Giovanni Maria Farinella. "Egocentric visitor localization and artwork detection in cultural sites using synthetic data." Pattern Recognition Letters 133 (May 2020): 17–24. http://dx.doi.org/10.1016/j.patrec.2020.02.014.

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Pinciroli Vago, Nicolò Oreste Pinciroli, Federico Milani, Piero Fraternali, and Ricardo da Silva Torres. "Comparing CAM Algorithms for the Identification of Salient Image Features in Iconography Artwork Analysis." Journal of Imaging 7, no. 7 (2021): 106. http://dx.doi.org/10.3390/jimaging7070106.

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Iconography studies the visual content of artworks by considering the themes portrayed in them and their representation. Computer Vision has been used to identify iconographic subjects in paintings and Convolutional Neural Networks enabled the effective classification of characters in Christian art paintings. However, it still has to be demonstrated if the classification results obtained by CNNs rely on the same iconographic properties that human experts exploit when studying iconography and if the architecture of a classifier trained on whole artwork images can be exploited to support the muc

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Mather, George. "Aesthetic Judgement of Orientation in Modern Art." i-Perception 3, no. 1 (2012): 18–24. http://dx.doi.org/10.1068/i0447aap.

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When creating an artwork, the artist makes a decision regarding the orientation at which the work is to be hung based on their aesthetic judgement and the message conveyed by the piece. Is the impact or aesthetic appeal of a work diminished when it is hung at an incorrect orientation? To investigate this question, Experiment 1 asked whether naïve observers can appreciate the correct orientation (as defined by the artist) of 40 modern artworks, some of which are entirely abstract. Eighteen participants were shown 40 paintings in a series of trials. Each trial presented all four cardinal orienta

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43

Buddeus, Hana. "Enlarged Details and Close-up Views: Art Reproduction in 1930s Czechoslovakia." Artium Quaestiones, no. 33 (December 30, 2022): 61–86. http://dx.doi.org/10.14746/aq.2022.33.3.

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Each photograph captures an artwork within a particular frame of space and time, providing a perspective that is contingent and dependent on the era the photograph was made in (Bergstein 1992). Moreover, every photograph is always embedded in specific material conditions and has its own social life (Edwards–Hart 2004). The aim of this article is to show the particularity of reproductions of artworks in 1930s Czechoslovakia and the motivations and discussions behind the extensive use of detail. I argue that the pronounced interest in close-up views is a result of a series of circumstances speci

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Boulton, Padraig, and Peter Hall. "Under Material Skin Lie the Bones of Identity." Art and Perception 8, no. 3-4 (2020): 387–406. http://dx.doi.org/10.1163/22134913-bja10020.

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This paper explores the automated recognition of objects and materials and their relation to depictions in images of all kinds: photographs, artwork, doodles by children, and any other visual representation. The way artists of all cultures, ages and skill levels depict objects and materials furnishes a gamut of ‘depictions’ so wide as to present a severe challenge to current algorithms — none of them perform satisfactorily across any but a few types of depiction. Indeed, most algorithms exhibit a significant performance loss when the images used are non photographic in nature. This loss can be

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45

Moualla, Aliaa, Sofiane Boucenna, Ali Karaouzene, Denis Vidal, and Philippe Gaussier. "Is it useful for a robot to visit a museum?" Paladyn, Journal of Behavioral Robotics 9, no. 1 (2018): 374–90. http://dx.doi.org/10.1515/pjbr-2018-0025.

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AbstractIn this work, we study how learning in a special environment such as a museum can influence the behavior of robots. More specifically, we show that online learning based on interaction with people at a museum leads the robots to develop individual preferences. We first developed a humanoid robot (Berenson) that has the ability to head toward its preferred object and to make a facial expression that corresponds to its attitude toward said object. The robot is programmed with a biologically-inspired neural network sensory-motor architecture. This architecture allows Berenson to learn and

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46

Lee, Isack, and Seok Bong Yoo. "Latent-PER: ICA-Latent Code Editing Framework for Portrait Emotion Recognition." Mathematics 10, no. 22 (2022): 4260. http://dx.doi.org/10.3390/math10224260.

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Although real-image emotion recognition has been developed in several studies, an acceptable accuracy level has not been achieved in portrait drawings. This paper proposes a portrait emotion recognition framework based on independent component analysis (ICA) and latent codes to overcome the performance degradation problem in drawings. This framework employs latent code extracted through a generative adversarial network (GAN)-based encoder. It learns independently from factors that interfere with expression recognition, such as color, small occlusion, and various face angles. It is robust again

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47

DELANY, CLARE, and HEATHER GAUNT. "“I Left the Museum Somewhat Changed”: Visual Arts and Health Ethics Education." Cambridge Quarterly of Healthcare Ethics 27, no. 3 (2018): 511–24. http://dx.doi.org/10.1017/s0963180117000913.

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Abstract:A common goal of ethics education is to equip students who later become health practitioners to not only know about the ethical principles guiding their practice, but to also autonomously recognize when and how these principles might apply and assist these future practitioners in providing care for patients and families. This article aims to contribute to discussions about ethics education pedagogy and teaching, by presenting and evaluating the use of the visual arts as an educational approach designed to facilitate students’ moral imagination and independent critical thinking about e

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Howell, Richard D., Patrick B. Scott, and Jeffrey Diamond. "The Effects of “Instant” Logo Computing Language on the Cognitive Development of Very Young Children." Journal of Educational Computing Research 3, no. 2 (1987): 249–60. http://dx.doi.org/10.2190/a0qk-hb7a-rxqb-70nc.

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This study was designed to investigate whether the use of Logo accelerates the cognitive development of five- to seven-year-old children in a kindergarten class as measured by Piagetian-based tests of conservation of length, measurement and the ability to identify Euclidean shapes. The students in the study were exposed to an expanded form of “Instant Logo” programming language using a guided discovery instructional approach. The training period lasted for six months. Posttest results indicated no significant differences between groups on all the measures, however the Logo teachers reported fa

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Robinson, Dylan. "Reparative interpellation: public art’s Indigenous and non-human publics." Journal of Visual Culture 21, no. 1 (2022): 69–84. http://dx.doi.org/10.1177/14704129221088299.

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This article considers the multiple ways in which public art interpellates viewers as settlers, Indigenous and non-human subjects. It could be argued that much public artwork in the late 20th and early 21st century has a ‘reparative’ function through its socially-engaged, community-specific and consciousness-raising aspects. To do so, however, would be to conflate the reparative with the recognition of injustice rather than understand it as the action of repair. The author asserts that for public art to engage in reparative work necessitates interrupting the normative forms and materialities o

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Cabezos-Bernal, Pedro M., Pablo Rodriguez-Navarro, and Teresa Gil-Piqueras. "Documenting Paintings with Gigapixel Photography." Journal of Imaging 7, no. 8 (2021): 156. http://dx.doi.org/10.3390/jimaging7080156.

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Digital photographic capture of pictorial artworks with gigapixel resolution (around 1000 megapixels or greater) is a novel technique that is beginning to be used by some important international museums as a means of documentation, analysis, and dissemination of their masterpieces. This line of research is extremely interesting, not only for art curators and scholars but also for the general public. The results can be disseminated through online virtual museum displays, offering a detailed interactive visualization. These virtual visualizations allow the viewer to delve into the artwork in suc

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