Neural Face Editing with Intrinsic Image Disentangling

Traditional face editing methods often require a number of sophisticated and task specific algorithms to be applied one after the other --- a process that is tedious, fragile, and computationally intensive. In this paper, we propose an end-to-end generative adversarial network that infers a face-specific disentangled representation of intrinsic face properties, including shape (i.e. normals), albedo, and lighting, and an alpha matte. We show that this network can be trained on "in-the-wild" images by incorporating an in-network physically-based image formation module and appropriate loss functions. Our disentangling latent representation allows for semantically relevant edits, where one aspect of facial appearance can be manipulated while keeping orthogonal properties fixed, and we demonstrate its use for a number of facial editing applications.Comment: CVPR 2017 ora

The Figure in Art: Selections from the Gettysburg College Collection

The Figure in Art: Selections from the Gettysburg College Collection is the second annual exhibition curated by students enrolled in the Art History Methods class. This exhibition is an exciting academic endeavor and provides an incredible opportunity for engaged learning, research, and curatorial experience. The eleven student curators are Diane Brennan, Rebecca Duffy, Kristy Garcia, Megan Haugh, Dakota Homsey, Molly Lindberg, Kathya Lopez, Kelly Maguire, Kylie McBride, Carolyn McBrady and Erica Schaumberg. Their research presents a multifaceted view of the representation of figures in various art forms from different periods and cultures.https://cupola.gettysburg.edu/artcatalogs/1017/thumbnail.jp

A Safe House for Orphan Parts an Architectural Proposal for a US Center for Illicit Antiquities

Though very different institutions, the Met, the Getty, and US Immigration and Customs have a striking similarity in one regard. Each holds unmatched collections of antiquities. They focus efforts on study, acquisition, and object transfer. However, the Met and the Getty are renowned museums and ICE recovers and repatriates black market goods, keeping their collection in several top-secret warehouses. One such warehouse in Queens houses over 2,500 seized artifacts including “a huge stone Buddha from India, terra-cotta horsemen from China, reliefs from Iraq, Syria, and Yemen” Unlike the carefully curated collections at institutions like the Met, these pieces are a wildly varying group of rescues. These looted “parts” become displaced from their site or museum context and either disappear into private collections or spend years in government facilities awaiting repatriation. In parallel globally and in the United States, the means and methods of war have greatly evolved leaving a vast aging building stock of military orphans. Traditional building typologies including munitions storage, forts, and bunkers have been superseded but are expensive or difficult to demolish. In addition, these spaces are crafted around defensive, introverted narratives. A Safe House for Orphan Parts posits the role of architecture in repatriation and speculates on the proposed relationship between the orphan part and the orphaned building. The project seeks to explore the architectural opportunities to tell the story of looting in relation to terrorism