Composite Texture Synthesis

Many textures require complex models to describe their intricate structures. Their modeling can be simplified if they are considered composites of simpler subtextures. After an initial, unsupervised segmentation of the composite texture into the subtextures, it can be described at two levels. One is a label map texture, which captures the layout of the different subtextures. The other consists of the different subtextures. This scheme has to be refined to also include mutual influences between textures, mainly found near their boundaries. The proposed composite texture model also includes these. The paper describes an improved implementation of this idea. Whereas in a previous implementation subtextures and their interactions were synthesized sequentially, this paper proposes a parallel implementation, which yields results of higher qualit

PICTURE: PhotorealistIC virtual Try-on from UnconstRained dEsigns

In this paper, we propose a novel virtual try-on from unconstrained designs (ucVTON) task to enable photorealistic synthesis of personalized composite clothing on input human images. Unlike prior arts constrained by specific input types, our method allows flexible specification of style (text or image) and texture (full garment, cropped sections, or texture patches) conditions. To address the entanglement challenge when using full garment images as conditions, we develop a two-stage pipeline with explicit disentanglement of style and texture. In the first stage, we generate a human parsing map reflecting the desired style conditioned on the input. In the second stage, we composite textures onto the parsing map areas based on the texture input. To represent complex and non-stationary textures that have never been achieved in previous fashion editing works, we first propose extracting hierarchical and balanced CLIP features and applying position encoding in VTON. Experiments demonstrate superior synthesis quality and personalization enabled by our method. The flexible control over style and texture mixing brings virtual try-on to a new level of user experience for online shopping and fashion design.Comment: Project page: https://ningshuliang.github.io/2023/Arxiv/index.htm

Impressionistic techniques applied in sound art & design

Sound art and design collectively refer to the process of specifying, acquiring, manipulating or generating sonic elements to evoke emotion and environment. Sound is used to convey the intentions, emotions, spirit or aura of a story, performance, or sonic installation. Sound connects unique aural environments, creating an immersive experience via mood and atmosphere. Impressionistic techniques such as Impasto, Pointillism, Sgraffito, Stippling introduced by 19th-century painters captured the essence of their subject in more vivid compositions, exuding authentic movements and atmosphere. This thesis applied impressionistic techniques using sound art and design to project specific mood and atmosphere responses among listeners. Four unique sound textures, each representing a technique from Impressionism, and a fifth composite sound texture were created for this project. All five sound textures were validated as representative of their respective Impressionistic technique. Only sonic Pointillism matched its emotive intent. This outcome supports the research question that sound art and design can be used to direct listeners’ mood and atmosphere responses. Partnering Impressionistic principles with sound art and design offers a deeper palette to sonically deliver more robust, holistic soundscapes for amplifying an audience’s listening experience. This project provides a foundation for future explorations and studies in applying cross-disciplinary artistic techniques with sound art and design or other artistic endeavors

Comparing Evolutionary Operators, Search Spaces, and Evolutionary Algorithms in the Construction of Facial Composites

Facial composite construction is one of the most successful applications of interactive evolutionary computation. In spite of this, previous work in the area of composite construction has not investigated the algorithm design options in detail. We address this issue with four experiments. In the first experiment a sorting task is used to identify the 12 most salient dimensions of a 30-dimensional search space. In the second experiment the performances of two mutation and two recombination operators for interactive genetic algorithms are compared. In the third experiment three search spaces are compared: a 30-dimensional search space, a mathematically reduced 12-dimensional search space, and a 12-dimensional search space formed from the 12 most salient dimensions. Finally, we compare the performances of an interactive genetic algorithm to interactive differential evolution. Our results show that the facial composite construction process is remarkably robust to the choice of evolutionary operator(s), the dimensionality of the search space, and the choice of interactive evolutionary algorithm. We attribute this to the imprecise nature of human face perception and differences between the participants in how they interact with the algorithms. Povzetek: Kompozitna gradnja obrazov je ena izmed najbolj uspešnih aplikacij interaktivnega evolucijskega ra?cunanja. Kljub temu pa do zdaj na podro?cju kompozitne gradnje niso bile podrobno raziskane možnosti snovanja algoritma. To vprašanje smo obravnavali s štirimi poskusi. V prvem je uporabljeno sortiranje za identifikacijo 12 najbolj izstopajo?cih dimenzij 30-dimenzionalnega preiskovalnega prostora. V drugem primerjamo u?cinkovitost dveh mutacij in dveh rekombinacijskih operaterjev za interaktivni genetski algoritem. V tretjem primerjamo tri preiskovalne prostore: 30-dimenzionalni, matemati?cno reducirani 12-dimenzionalni in 12-dimenzionalni prostor sestavljen iz 12 najpomembnejših dimenzij. Na koncu smo primerjali uspešnost interaktivnega genetskega algoritma z interaktivno diferencialno evolucijo. Rezultati kažejo, da je proces kompozitne gradnje obrazov izredno robusten glede na izbiro evolucijskega operatorja(-ev), dimenzionalnost preiskovalnega prostora in izbiro interaktivnega evolucijskega algoritma. To pripisujemo nenatan?cni naravi percepcije in razlikam med interakcijami uporabnikov z algoritmom

TiO2-doped resorcinol–formaldehyde (RF) polymer and carbon gels with photocatalytic activity

Resorcinol-formaldehyde (RF) polymer gels offer a relatively easy and versatile route for incorporating metals into a carbon aerogel matrix. The hybrid materials thus obtained are ideal candidates for applications involving enhanced adsorption or catalysis. This paper presents a detailed study of Ti-doped RF and carbon aerogels. The metal was introduced into the system at three different stages of the preparation process: during polymerization, by impregnation of the RF gel, or by impregnation of the carbon gel. The structure and morphology of the samples are compared using low temperature N2 adsorption, SEM, and small and wide angle X-Ray scattering (SAXS/WAXS) methods. The TiO2-doped carbon aerogels display photocatalytic activity in breaking down aromatic compounds