Kang Zhang

Yilin Ye, Rong Huang, Kang Zhang et al.

The recent advances of AI technology, particularly in AI-Generated Content (AIGC), have enabled everyone to easily generate beautiful paintings with simple text description. With the stunning quality of AI paintings, it is widely questioned whether there still exists difference between human and AI paintings and whether human artists will be replaced by AI. To answer these questions, we develop a computational framework combining neural latent space and aesthetics features with visual analytics to investigate the difference between human and AI paintings. First, with categorical comparison of human and AI painting collections, we find that AI artworks show distributional difference from human artworks in both latent space and some aesthetic features like strokes and sharpness, while in other aesthetic features like color and composition there is less difference. Second, with individual artist analysis of Picasso, we show human artists' strength in evolving new styles compared to AI. Our findings provide concrete evidence for the existing discrepancies between human and AI paintings and further suggest improvements of AI art with more consideration of aesthetics and human artists' involvement.

Hee Suk Yoon, Eunseop Yoon, Joshua Tian Jin Tee et al.

Multimodal Dialogue Response Generation (MDRG) is a recently proposed task where the model needs to generate responses in texts, images, or a blend of both based on the dialogue context. Due to the lack of a large-scale dataset specifically for this task and the benefits of leveraging powerful pre-trained models, previous work relies on the text modality as an intermediary step for both the image input and output of the model rather than adopting an end-to-end approach. However, this approach can overlook crucial information about the image, hindering 1) image-grounded text response and 2) consistency of objects in the image response. In this paper, we propose BI-MDRG that bridges the response generation path such that the image history information is utilized for enhanced relevance of text responses to the image content and the consistency of objects in sequential image responses. Through extensive experiments on the multimodal dialogue benchmark dataset, we show that BI-MDRG can effectively increase the quality of multimodal dialogue. Additionally, recognizing the gap in benchmark datasets for evaluating the image consistency in multimodal dialogue, we have created a curated set of 300 dialogues annotated to track object consistency across conversations.

Aven Le Zhou, Jiayi Ye, Tianchen Liu et al.

As a communication channel, body movements have been widely explored in behavioral studies and kinesics. Performing and visual arts share the same interests but focus on documenting and representing human body movements, such as for dance notation and visual work creation. This paper investigates body movements in oriental calligraphy and how to apply calligraphy principles to stimulate and archive body movements. Through an artwork (Wushu), the authors experiment with an interactive and generative approach to engage the audience's bodily participation and archive the body movements as a compendium of generated calligraphy. The audience assumes the role of both writers and readers; creating ("writing") and appreciating ("reading") the generated calligraphy becomes a cyclical process within this infinite "Book," which can motivate further attention and discussions concerning Chinese characters and calligraphy.

Jinhui Yu, Kailin Wu, Kang Zhang et al.

Negative afterimage appears in our vision when we shift our gaze from an over stimulated original image to a new area with a uniform color. The colors of negative afterimages differ from the old stimulating colors in the original image when the color in the new area is either neutral or chromatic. The interaction between stimulating colors in the test and inducing field in the original image changes our color perception due to simultaneous contrast, and the interaction between changed colors perceived in the previously-viewed field and the color in the currently-viewed field also affects our perception of colors in negative afterimages due to successive contrast. Based on these observations we propose a computational model to estimate colors of negative afterimages in more general cases where the original stimulating color in the test field is chromatic, and the original stimulating color in the inducing field and the new stimulating color can be either neutral or chromatic. We validate our model with human experiments.