Nicola Fanelli

Pasquale De Marinis, Nicola Fanelli, Raffaele Scaringi et al.

Few-shot semantic segmentation aims to segment objects from previously unseen classes using only a limited number of labeled examples. In this paper, we introduce Label Anything, a novel transformer-based architecture designed for multi-prompt, multi-way few-shot semantic segmentation. Our approach leverages diverse visual prompts -- points, bounding boxes, and masks -- to create a highly flexible and generalizable framework that significantly reduces annotation burden while maintaining high accuracy. Label Anything makes three key contributions: ($\textit{i}$) we introduce a new task formulation that relaxes conventional few-shot segmentation constraints by supporting various types of prompts, multi-class classification, and enabling multiple prompts within a single image; ($\textit{ii}$) we propose a novel architecture based on transformers and attention mechanisms; and ($\textit{iii}$) we design a versatile training procedure allowing our model to operate seamlessly across different $N$-way $K$-shot and prompt-type configurations with a single trained model. Our extensive experimental evaluation on the widely used COCO-$20^i$ benchmark demonstrates that Label Anything achieves state-of-the-art performance among existing multi-way few-shot segmentation methods, while significantly outperforming leading single-class models when evaluated in multi-class settings. Code and trained models are available at https://github.com/pasqualedem/LabelAnything.

Ivan Rinaldi, Matteo Mendula, Nicola Fanelli et al.

Music generation has advanced markedly through multimodal deep learning, enabling models to synthesize audio from text and, more recently, from images. However, existing image-conditioned systems suffer from two fundamental limitations: (i) they are typically trained on natural photographs, limiting their ability to capture the richer semantic, stylistic, and cultural content of artworks; and (ii) most rely on an image-to-text conversion stage, using language as a semantic shortcut that simplifies conditioning but prevents direct visual-to-audio learning. Motivated by these gaps, we introduce ArtSound, a large-scale multimodal dataset of 105,884 artwork-music pairs enriched with dual-modality captions, obtained by extending ArtGraph and the Free Music Archive. We further propose ArtToMus, the first framework explicitly designed for direct artwork-to-music generation, which maps digitized artworks to music without image-to-text translation or language-based semantic supervision. The framework projects visual embeddings into the conditioning space of a latent diffusion model, enabling music synthesis guided solely by visual information. Experimental results show that ArtToMus generates musically coherent and stylistically consistent outputs that reflect salient visual cues of the source artworks. While absolute alignment scores remain lower than those of text-conditioned systems-as expected given the substantially increased difficulty of removing linguistic supervision-ArtToMus achieves competitive perceptual quality and meaningful cross-modal correspondence. This work establishes direct visual-to-music generation as a distinct and challenging research direction, and provides resources that support applications in multimedia art, cultural heritage, and AI-assisted creative practice. Code and dataset will be publicly released upon acceptance.

Nicola Fanelli, Gennaro Vessio, Giovanna Castellano

Inpainting focuses on filling missing or corrupted regions of an image to blend seamlessly with its surrounding content and style. While conditional diffusion models have proven effective for text-guided inpainting, we introduce the novel task of multi-mask inpainting, where multiple regions are simultaneously inpainted using distinct prompts. Furthermore, we design a fine-tuning procedure for multimodal LLMs, such as LLaVA, to generate multi-mask prompts automatically using corrupted images as inputs. These models can generate helpful and detailed prompt suggestions for filling the masked regions. The generated prompts are then fed to Stable Diffusion, which is fine-tuned for the multi-mask inpainting problem using rectified cross-attention, enforcing prompts onto their designated regions for filling. Experiments on digitized paintings from WikiArt and the Densely Captioned Images dataset demonstrate that our pipeline delivers creative and accurate inpainting results. Our code, data, and trained models are available at https://cilabuniba.github.io/i-dream-my-painting.

Nicola Fanelli, Pasquale De Marinis, Raffaele Scaringi et al.

Multimodal Large Language Models (MLLMs) describe artworks with remarkable fluency, yet the visual reasoning behind their outputs remains opaque. When an MLLM names a style, identifies a subject, or recognizes an iconographic symbol, does it ground each claim in the relevant region of the canvas, draw on an undifferentiated visual signal, or rely primarily on textual priors? We study this using the Token Activation Map (TAM), which produces, for each generated token, a heatmap isolating the visual evidence specific to that token from prior-context interference. Applying TAM to a curated set of paintings spanning multiple periods and genres, we analyze grounding patterns across five semantically distinct token categories: common visual objects, style descriptors, metadata, iconographic tokens, and affective expressions. We find that visual grounding varies substantially with token semantics. We further show that MLLMs attempt to identify artworks and artists, achieving higher accuracy in artist attribution than in title prediction, where hallucinations are more frequent. Finally, we compare TAM with SAM~3 open-vocabulary segmentation. To ensure reproducibility, we release our code, experimental configurations, prompts, and qualitative results on the project page at https://nicolafan.github.io/tamart/.