Exploring the structure of a real-time, arbitrary neural artistic stylization network

In this paper, we present a method which combines the flexibility of the neural algorithm of artistic style with the speed of fast style transfer networks to allow real-time stylization using any content/style image pair. We build upon recent work leveraging conditional instance normalization for multi-style transfer networks by learning to predict the conditional instance normalization parameters directly from a style image. The model is successfully trained on a corpus of roughly 80,000 paintings and is able to generalize to paintings previously unobserved. We demonstrate that the learned embedding space is smooth and contains a rich structure and organizes semantic information associated with paintings in an entirely unsupervised manner.Comment: Accepted as an oral presentation at British Machine Vision Conference (BMVC) 201

History of art paintings through the lens of entropy and complexity

Art is the ultimate expression of human creativity that is deeply influenced by the philosophy and culture of the corresponding historical epoch. The quantitative analysis of art is therefore essential for better understanding human cultural evolution. Here we present a large-scale quantitative analysis of almost 140 thousand paintings, spanning nearly a millennium of art history. Based on the local spatial patterns in the images of these paintings, we estimate the permutation entropy and the statistical complexity of each painting. These measures map the degree of visual order of artworks into a scale of order-disorder and simplicity-complexity that locally reflects qualitative categories proposed by art historians. The dynamical behavior of these measures reveals a clear temporal evolution of art, marked by transitions that agree with the main historical periods of art. Our research shows that different artistic styles have a distinct average degree of entropy and complexity, thus allowing a hierarchical organization and clustering of styles according to these metrics. We have further verified that the identified groups correspond well with the textual content used to qualitatively describe the styles, and that the employed complexity-entropy measures can be used for an effective classification of artworks.Comment: 10 two-column pages, 5 figures; accepted for publication in PNAS [supplementary information available at http://www.pnas.org/highwire/filestream/824089/field_highwire_adjunct_files/0/pnas.1800083115.sapp.pdf

Merleau-Ponty and neuroaesthetics: Two approaches to performance and technology

This is an Author's Accepted Manuscript of an article published in Digital Creativity, 23(3-4), 225 - 238, 2012. Copyright @ 2012 Taylor & Francis, available online at: http://www.tandfonline.com/10.1080/14626268.2012.709941.Assisted by the rapid growth of digital technology, which has enhanced its ambitions, performance is an increasingly popular area of artistic practice. This article seeks to contextualise this within two methodologically divergent yet complimentary intellectual tendencies. The first is the work of the philosopher Merleau-Ponty, who recognised that our experience of the world has an inescapably ‘embodied’ quality, not reducible to mental accounts, which can be vicariously extended through specific instrumentation. The second is the developing field of neuroaesthetics; that is, neurological research directed towards the analysis, in brain-functional terms, of our experiences of objects and events which are culturally deemed to be of artistic significance. I will argue that both these contexts offer promising approaches to interpreting developments in contemporary performance, which has achieved critical recognition without much antecedent theoretical support

Uncertainties in the Algorithmic Image

The incorporation of algorithmic procedures into the automation of image production has been gradual, but has reached critical mass over the past century, especially with the advent of photography, the introduction of digital computers and the use of artificial intelligence (AI) and machine learning (ML). Due to the increasingly significant influence algorithmic processes have on visual media, there has been an expansion of the possibilities as to how images may behave, and a consequent struggle to define them. This algorithmic turnhighlights inner tensions within existing notions of the image, namely raising questions regarding the autonomy of machines, author- and viewer- ship, and the veracity of representations. In this sense, algorithmic images hover uncertainly between human and machine as producers and interpreters of visual information, between representational and non-representational, and between visible surface and the processes behind it. This paper gives an introduction to fundamental internal discrepancies which arise within algorithmically produced images, examined through a selection of relevant artistic examples. Focusing on the theme of uncertainty, this investigation considers how algorithmic images contain aspects which conflict with the certitude of computation, and how this contributes to a difficulty in defining images