THE DEVELOPMENT OF AN IDEA

Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing it becomes the experience; so that we are not quite clear why we are engaged in a particular work. And because we are more interested in plastic matters than we are in a matter of words one can begin a picture and carry it through and stop it and do nothing about the title at all. I believe that this statement by Baziotes has a great deal to do with the way I feel about my painting. Perhaps it is because I cherish the idea that in my painting, and in paintings that I respond to, there is a certain reality which goes beyond words. It is not that I feel painting cannot be talked about, it is that I feel some painting should not be talked about

CanvasGAN: A simple baseline for text to image generation by incrementally patching a canvas

We propose a new recurrent generative model for generating images from text captions while attending on specific parts of text captions. Our model creates images by incrementally adding patches on a "canvas" while attending on words from text caption at each timestep. Finally, the canvas is passed through an upscaling network to generate images. We also introduce a new method for generating visual-semantic sentence embeddings based on self-attention over text. We compare our model's generated images with those generated Reed et. al.'s model and show that our model is a stronger baseline for text to image generation tasks.Comment: CVC 201

X-ray image separation via coupled dictionary learning

In support of art investigation, we propose a new source sepa- ration method that unmixes a single X-ray scan acquired from double-sided paintings. Unlike prior source separation meth- ods, which are based on statistical or structural incoherence of the sources, we use visual images taken from the front- and back-side of the panel to drive the separation process. The coupling of the two imaging modalities is achieved via a new multi-scale dictionary learning method. Experimental results demonstrate that our method succeeds in the discrimination of the sources, while state-of-the-art methods fail to do so.Comment: To be presented at the IEEE International Conference on Image Processing (ICIP), 201

Surfaces, depths and hypercubes: Meyerholdian scenography and the fourth dimension

An appreciation of Meyerhold’s engagement with theatrical space is fundamental to understanding his directorial and pedagogic practice. This article begins by establishing Meyerhold’s theoretical and practical engagement with theatre as a fundamentally scenographic process, arguing for a reconceptualisation of the director as ‘director-scenographer’. Focusing on the construction of depth and surface in Meyerholdian theatre, the article goes on to identify trends in the director’s approach to space, with an emphasis on the de-naturalisation of depth on stage. This denaturalisation is seen as taking three forms: the rejection of depth as a prerequisite in theatrical space, the acknowledgement of the two-dimensional surface as surface, and the restructuring of depth space into a series of restricted planes. The combination of these trends indicates a consistent and systematic process of experimentation in Meyerhold’s work. In addition, this emphasis on depth and surface, and the interaction between the two, also highlights the contextualisation of Meyerhold’s practice within the visual, philosophical and scientific culture of the early twentieth century, echoing the innovations in n-dimensional geometry and particularly, the model of the fourth spatial dimension seen in the work of Russian philosopher P. D. Ouspensky

Painterly rendering techniques: A state-of-the-art review of current approaches

In this publication we will look at the different methods presented over the past few decades which attempt to recreate digital paintings. While previous surveys concentrate on the broader subject of non-photorealistic rendering, the focus of this paper is firmly placed on painterly rendering techniques. We compare different methods used to produce different output painting styles such as abstract, colour pencil, watercolour, oriental, oil and pastel. Whereas some methods demand a high level of interaction using a skilled artist, others require simple parameters provided by a user with little or no artistic experience. Many methods attempt to provide more automation with the use of varying forms of reference data. This reference data can range from still photographs, video, 3D polygonal meshes or even 3D point clouds. The techniques presented here endeavour to provide tools and styles that are not traditionally available to an artist. Copyright © 2012 John Wiley & Sons, Ltd