Steven J. Frank

Steven J. Frank

Can we define what it means to be "creative," and if so, can our definition drive artificial intelligence (AI) systems to feats of creativity indistinguishable from human efforts? This mixed question is considered from technological and social perspectives. Beginning with an exploration of the value we attach to authenticity in works of art, the article considers the ability of AI to detect forgeries of renowned paintings and, in so doing, somehow reveal the quiddity of a work of art. We conclude by considering whether evolving technical capability can revise traditional relationships among art, artist, and the market.

Steven J. Frank, Andrea M. Frank

We use convolutional neural networks (CNNs) to analyze authorship questions surrounding the works of Leonardo da Vinci -- in particular, Salvator Mundi, the world's most expensive painting and among the most controversial. Trained on the works of an artist under study and visually comparable works of other artists, our system can identify likely forgeries and shed light on attribution controversies. Leonardo's few extant paintings test the limits of our system and require corroborative techniques of testing and analysis.

Steven J. Frank

Pathology slides of lung malignancies are classified using resource-frugal convolution neural networks (CNNs) that may be deployed on mobile devices. In particular, the challenging task of distinguishing adenocarcinoma (LUAD) and squamous-cell carcinoma (LUSC) lung cancer subtypes is approached in two stages. First, whole-slide histopathology images are downsampled to a size too large for CNN analysis but large enough to retain key anatomic detail. The downsampled images are decomposed into smaller square tiles, which are sifted based on their image entropies. A lightweight CNN produces tile-level classifications that are aggregated to classify the slide. The resulting accuracies are comparable to those obtained with much more complex CNNs and larger training sets. To allow clinicians to visually assess the basis for the classification -- that is, to see the image regions that underlie it -- color-coded probability maps are created by overlapping tiles and averaging the tile-level probabilities at a pixel level.

Steven J. Frank, Andrea M. Frank

Trained on the works of an artist under study and visually comparable works of other artists, convolutional neural networks can identify forgeries and provide attributions. They can also assign classification probabilities within a painting, revealing mixed authorship and identifying regions painted by different hands.

Steven J. Frank, Andrea M. Frank

As a training and analysis strategy for convolutional neural networks (CNNs), we slice images into tiled segments and use, for training and prediction, segments that both satisfy a criterion of information diversity and contain sufficient content to support classification. In particular, we utilize image entropy as the diversity criterion. This ensures that each tile carries as much information diversity as the original image, and for many applications serves as an indicator of usefulness in classification. To make predictions, a probability aggregation framework is applied to probabilities assigned by the CNN to the input image tiles. This technique facilitates the use of large, high-resolution images that would be impractical to analyze unmodified; provides data augmentation for training, which is particularly valuable when image availability is limited; and the ensemble nature of the input for prediction enhances its accuracy.