Critiquing-based Modeling of Subjective Preferences

Funding Information: This work has been supported by Helsinki Institute for Information Technology HIIT. Publisher Copyright: © 2022 ACM.Applications designed for entertainment and other non-instrumental purposes are challenging to optimize because the relationships between system parameters and user experience can be unclear. Ideally, we would crowdsource these design questions, but existing approaches are geared towards evaluation or ranking discrete choices and not for optimizing over continuous parameter spaces. In addition, users are accustomed to informally expressing opinions about experiences as critiques (e.g. it's too cold, too spicy, too big), rather than giving precise feedback as an optimization algorithm would require. Unfortunately, it can be difficult to analyze qualitative feedback, especially in the context of quantitative modeling. In this article, we present collective criticism, a critiquing-based approach for modeling relationships between system parameters and subjective preferences. We transform critiques, such as "it was too easy/too challenging", into censored intervals and analyze them using interval regression. Collective criticism has several advantages over other approaches: "too much/too little"-style feedback is intuitive for users and allows us to build predictive models for the optimal parameterization of the variables being critiqued. We present two studies where we model: These studies demonstrate the flexibility of our approach, and show that it produces robust results that are straightforward to interpret and inline with users' stated preferences.Peer reviewe

Flickr: A case study of Web2.0

The “photosharing” site Flickr is one of the most commonly cited examples used to define Web2.0. This paper explores where Flickr’s real novelty lies, examining its functionality and its place in the world of amateur photography. The paper draws on a wide range of sources including published interviews with its developers, user opinions expressed in forums, telephone interviews and content analysis of user profiles and activity. Flickr’s development path passes from an innovative social game to a relatively familiar model of a website, itself developed through intense user participation but later stabilising with the reassertion of a commercial relationship to the membership. The broader context of the impact of Flickr is examined by looking at the institutions of amateur photography and particularly the code of pictorialism promoted by the clubs and industry during the C20th. The nature of Flickr as a benign space is premised on the way the democratic potential of photography is controlled by such institutions. Several optimistic views of the impact of Flickr such as its facilitation of citizen journalism, “vernacular creativity” and in learning as an “affinity space” are evaluated. The limits of these claims are identified in the way that the system is designed to satisfy commercial purposes, continuing digital divides in access and the low interactivity and criticality on Flickr. Flickr is an interesting source of change, but can only to be understood in the perspective of long term development of the hobby and wider social processes

The Digital Cultural Atlas Project: Design Research and Cultural Narratives. An Experiential Approach for Design Education.

This paper outlines an approach developed for teaching research methods in a graphic design program, working in an interdisciplinary context with cultural researchers. Initially, the Digital Cultural Atlas (DCA) is introduced, as a 'work-in-progress' web site, which locates a diversity of geographic and place-based cultural resources across Greater Western Sydney. The initial information architecture consists of ‘bird’s eye view’ cartographic maps and cultural project resources. Through a teaching project in design research, students consider ways in which experiential ‘on the ground’ visual stories can be included. Initial student research identifies a diversity of observed cultural community contexts and situations. This is followed by a second smaller scale study of fewer sites, using an understanding of participatory design research. In this stage, each student researches an individual community context using two 'voices' of the self - as participant, and as observer. These engagements with the self as 'actor' are recorded in a journal format across a specific time period, with reference to reflections prior to, during, and after 'action'. These provide the basis for the new visual stories in the DCA. This paper describes and critiques this approach to teaching design research in visual communication, based on the DCA. In so doing, it links design research with human experiences of community and culture to engage with wider debates about the design of digital mapping spaces as information systems. The paper concludes with some reflections about the project's possible future as an ongoing participatory community resource which engages with both geographic and experiential web content and form. Keywords: Design Education; Participatory Design; Visual Narrative; Digital Mapping Systems; Community Identity; Designer As Actor</p

Sex Sells: The Iconography of Sex Work in Contemporary Art Since 1973

Sex Sells: The Iconography of Sex Work in Contemporary Art Since 1973, explores contemporary renderings of the sex worker as a response to the heavily constructed formalist ideology of the “pure gaze” which privileged the heterosexual male voyeur. The analysis covers a broad range of media, sectioned off into three chapters—painting and photography, body art, and systemic critiques—to explore the affordances of each in critiquing the position of the voyeur as well as the larger capitalistic system. The first chapter investigates the ways in which realistic pictorial renderings depicted the sex worker to impose the voyeuristic viewing position of pornography onto the art-viewer. The second focuses on the relationship between the viewer and the commodified female body, as performers replaced the art commodity with their sexualized bodies. The third chapter discusses larger institutional critiques which illuminate the processes of class structuring in capitalism by recreating the capitalist exploitation or institutional shortcomings of our current sociopolitical system. Taken together, these works respond to the modernist commodification of the art object and female sexuality, which formalist viewing dynamics both reflected and promoted. The artists emphasize the real ramifications of class construction and relational or performative identity to understand how larger social processes play out on certain marginalized bodies, thus highlighting the inherent problems embedded in these social, cultural, and economic systems

VILA: Learning Image Aesthetics from User Comments with Vision-Language Pretraining

Assessing the aesthetics of an image is challenging, as it is influenced by multiple factors including composition, color, style, and high-level semantics. Existing image aesthetic assessment (IAA) methods primarily rely on human-labeled rating scores, which oversimplify the visual aesthetic information that humans perceive. Conversely, user comments offer more comprehensive information and are a more natural way to express human opinions and preferences regarding image aesthetics. In light of this, we propose learning image aesthetics from user comments, and exploring vision-language pretraining methods to learn multimodal aesthetic representations. Specifically, we pretrain an image-text encoder-decoder model with image-comment pairs, using contrastive and generative objectives to learn rich and generic aesthetic semantics without human labels. To efficiently adapt the pretrained model for downstream IAA tasks, we further propose a lightweight rank-based adapter that employs text as an anchor to learn the aesthetic ranking concept. Our results show that our pretrained aesthetic vision-language model outperforms prior works on image aesthetic captioning over the AVA-Captions dataset, and it has powerful zero-shot capability for aesthetic tasks such as zero-shot style classification and zero-shot IAA, surpassing many supervised baselines. With only minimal finetuning parameters using the proposed adapter module, our model achieves state-of-the-art IAA performance over the AVA dataset.Comment: CVPR 2023, https://github.com/google-research/google-research/tree/master/vil

Contemporary art of Iraqis and categorical assumptions of nationality: an analysis of the art and narratives of Hana Mal Allah, Adel Abidin and Wafaa Bilal

Iraqi art is a field of study that has been marginalized and misrepresented by scholars and western art institutions. Since the American-led occupation of Iraq in 2003, however, scholars and curators have shown an increased amount of interest in exhibiting the works of artists from Iraq. Resulting from both the limited amount of scholarly research on their art and from a western tendency to categorize a people in terms of nationality, Iraqi artists are now being carelessly grouped into easy and inaccurate classifications. To illustrate the fallacies of this new categorical trend, this paper analyzes the art and lives of three Iraqi artists, Hana Mal Allah, Adel Abidin and Wafaa Bilal

The Artist’s Voice and the Written Word: Language in Art from 1960 to 1975

Between 1960 and 1975 there was an outpouring of artists writing critically in the United States, reflecting a mass desire to reclaim the voice of the artist in a critic-dominated art world. Texts in general rapidly spread throughout the artistic landscape during this period; as Conceptual artists challenged notions of visuality and viewership, we see a dramatic increase in artists engaging with experimental writing. This generation of artists, which included Dan Graham and Robert Smithson, had a fascination with the written word’s potential as an art medium, many using the art magazine as an alternative venue to the “elitist” art gallery or museum. This thesis explores the fluid boundaries between art and text during this integral period, bringing to light the ways in which visual language and written language were seamlessly integrated through Conceptual Art in order to challenge the meaning of what art and art writing should be

Smile and Style: An Ethnographic Analysis of ISU\u27s Gamma Phi Circus

Gamma Phi Circus of Illinois State University is the oldest collegiate circus in the United States, and one of only two still in existence. Founded in 1926 by Clifford “Pop” Horton, a gymnastics instructor, it began as a small group of men performing human pyramids and tumbling at sporting events. By 1931, it was an actively performing college circus troupe. Now, with a rich, 82 year performance history, Gamma Phi has roughly 70 performers and holds highly attended performances every April, in conjunction with a rigorous year-round practice schedule. I chose to focus my research on Gamma Phi because they represent a strikingly visual and dynamic performance tradition. The performances that members create visually convey certain essential aspects of what it means to be a member of Gamma Phi. Members of the college circus share a set of goals, ethics, and characteristics which both create the culture of which they are a part, and qualify them as members. The information I gathered in collaboration with the members of Gamma Phi focused on the ways in which circus performance is learned and how that process helps Gamma Phi achieve its performance goals