CompAesth 07: Workshop on Computational Aesthetics

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https://diglib.eg.org/handle/10.2312/320

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The Aesthetics of Graph Visualization
(The Eurographics Association, 2007) Bennett, Chris; Ryall, Jody; Spalteholz, Leo; Gooch, Amy; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
The discipline of graph visualization produces pictorial representations of node link structures. Much effort has been directed toward making such diagrams visually pleasing. A variety of aesthetic heuristics have been proposed, with the assumption that these will improve readability and understanding. We look at a perceptual basis for these heuristics, including Gestalt principles and Norman s emotional design framework. Next, we review the work to date on aesthetic heuristics and examine what has been done to evaluate these heuristics. We summarize this in a framework that outlines graph drawing heuristics, their perceptual basis, and evaluation status.
Aesthetics of Hand-Drawn vs. Computer-Generated Stippling
(The Eurographics Association, 2007) Maciejewski, Ross; Isenberg, Tobias; Andrews, William M.; Ebert, David S.; Sousa, Mario Costa; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
Recent work in non-photorealistic rendering has produced results comparable to hand-drawn artistic images. Inspiration for such techniques has come from many traditional artistic techniques, such as pen-and-ink, to depict tone, depth, and shape. These techniques can create visually appealing images and increase understanding as is evident in their use in medical textbooks, popular science, etc. However, when computer-generated images are visually compared to similar hand-drawn images, studies have shown that subjects are generally able to determine differences between both images. This seems to indicate that there are different aesthetics associated with computer-generated images and hand-drawn images. This paper discusses the implications of varying aesthetics amongst hand-drawn and computer-generated images, focusing particularly on the application of stippling to provide tone and shape to an image.
The Bridge Project
(The Eurographics Association, 2007) Ayiter, Elif; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
The aim of this project is to visually demonstrate a personal understanding of the evolution of the computer generated "image work" [Mat77], by means of a free associative process that utilises the search and query mechanisms of the internet. What has been attempted is the creation of a structure that displays this process by showing the data gathered in detail as well as in its entirety: Zooming in and out of objects and by means of virtual navigation, following free associations that can be evoked through online thesauruses, internet search engines and the ensuing surf mechanisms utilising the act of image creation, very much like collage/assemblage. Thus, seeking chance encounters and found objects, the author does turn not to second hand shops, bookstores and discarded magazines and catalogs, but to the internet.
A Case Study from the Point of View of Aesthetics: A Dialogue Between an Artist and a Computer Scientist
(The Eurographics Association, 2007) Stamp, Arlene; Isenberg, Tobias; Carpendale, Sheelagh; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
Computational Aesthetics draws from both a long history of artistic expression and the possibilities that computational methods can provide. As such, its success depends on a dialogue between the arts world and computer science. Based on the experience we gained through an art-computer science joint project on non-repetitive patterns we attempt to document our personal dialogue, to analyze the experiences we gained from our collaboration, and to extract insights we gained with respect to computational aesthetics.
Celtic Knots Colorization based on Color Harmony Principles
(The Eurographics Association, 2007) Larboulette, Caroline; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
This paper proposes two simple and powerful algorithms to automatically paint Celtic knots with aesthetic colors. The shape of the knot is generated from its dual graph as presented in [KC03]. The first technique uses rules derived from two-colors harmony studies in a Color Order System to select harmonious color pairs. We show that it can efficiently reproduce color combinations utilized in ancient and modern Celtic design. The second technique aims at creating knots with a rainbow type colorization that can be seen in modern Celtic art. The user controls a few parameters like the number of desired different hues, or the average brightness and saturation expected, by defining an ellipse in the color space. The program then accordingly selects a series of colors. In both cases, we apply rules issued from prior Color Science studies.
ColorScheme
(The Eurographics Association, 2007) Rotsztain, Jeremy; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
Composed of colors sampled from Hollywood cinema, ColorScheme is a moving spectral painting that reveals how color is used in film to support the themes and mood of the narrative and to subconsciously encourage emotional and physiological responses in the viewer.
Composition Principles for Quality Depiction and Aesthetics
(The Eurographics Association, 2007) Rivotti, Vera; Proença, João; Jorge, Joaquim; Sousa, Mário Costa; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
Composition is an important aspect of both traditional illustration practices and non-photorealistic rendering methods. Composition means combining drawing elements such as line, tone, texture, focus of attention and arranging them in order, to make one cohesive unit. In this paper we present commonly used terms for drawing composition, present important key principles (unit, balance, center of interest, emphasis), and discuss how such principles are used to precisely convey the information to be depicted, with images embodying rich aesthetic qualities. We present two NPR experiments illustrating compositional principles and aesthetical implications in the context of line rendering of single 3D objects and global illumination mesh interior models
Conceptualizing Birkhoff's Aesthetic Measure Using Shannon Entropy and Kolmogorov Complexity
(The Eurographics Association, 2007) Rigau, Jaume; Feixas, Miquel; Sbert, Mateu; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
In 1928, George D. Birkhoff introduced the Aesthetic Measure, defined as the ratio between order and complexity, and, in 1965, Max Bense analyzed Birkhoff s measure from an information theory point of view. In this paper, the concepts of order and complexity in an image (in our case, a painting) are analyzed in the light of Shannon entropy and Kolmogorov complexity. We also present a new vision of the creative process: the initial uncertainty, obtained from the Shannon entropy of the repertoire (palette), is transformed into algorithmic information content, defined by the Kolmogorov complexity of the image. From this perspective, the Birkhoff s Aesthetic Measure is presented as the ratio between the algorithmic reduction of uncertainty (order) and the initial uncertainty (complexity). The measures proposed are applied to several works of Mondrian, Pollock, and van Gogh.
An Efficient Perception-based Adaptive Color to Gray Transformation
(The Eurographics Association, 2007) Neumann, Laszlo; Cadik, Martin; Nemcsics, Antal; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
The visualization of color images in gray scale has high practical and theoretical importance. Neither the existing local, gradient based methods, nor the fast global techniques give a satisfying result. We present a new color to grayscale transformation, based on the experimental background of the Coloroid system observations. We regard the color and luminance contrasts as a gradient field and we introduce a new simple, yet very efficient method to solve the inconsistency of the field. Having a consistent gradient field, we obtain the resultant image via fast direct integration. The complexity of the method is linear in the number of pixels, making it fast and suitable for high resolution images.
Extracting the Essence from Sets of Images
(The Eurographics Association, 2007) Alexa, Marc; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
We use a set of photographs showing similar scenes as a model for a single photograph this scene. A distance measure for this model is defined by correlating the neigborhoods of pixels in similar positions. A cross analysis of the source images yields confidence values for their pixels. The confidence values together with the distances in pixels are used to steer a variable bandwidth mean shift algorithm that moves an arbitrary image towards one conforming with the model. Furthermore, distances are also used for a non-local means reconstruction of image areas that have no consistent explanation in the source images. This allows reconstructing images of scenes that are inconsistently documented in the source images, e.g. are occluded in the majority of images.
Flattening the Viewable Sphere
(The Eurographics Association, 2007) German, Daniel M.; Burchill, Lloyd; Duret-Lutz, Alexandre; Pérez-Duarte, Sébastien; Pérez-Duarte, Emmanuel; Sommers, Josh; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
The viewable sphere corresponds to the space that surrounds us. The evolution of photography and panoramic software and hardware has made it possible for anybody to capture the viewable sphere. It is now up to the artist to determine what can be done with this raw material. In this paper we explore the underdeveloped field of flat panoramas from an artistic point of view. We argue that its future lies in the exploration of conformal mappings, specialized software, and the interaction of its practitioners via the Internet.
In the Eye of the Beholder - Perception of Indeterminate Art
(The Eurographics Association, 2007) Wallraven, Christian; Kaulard, Kathrin; Kürner, Cora; Pepperell, Robert; Bülthoff, Heinrich; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
How do we interpret an object - a scene - a painting? Perception research and art illuminate from different angles how the vast amount of information in our visually perceived environment is processed by the viewer to form a coherent and consistent interpretation of the world. Using drawings and paintings by the artist Robert Pepperell, this work attempts to connect these different world views. Pepperell s paintings at first glance seem to be a baroque fresco, an expressionist still-life, or a cubist collage; taking a closer look, however, this concrete interpretation vanishes and we are left with an indeterminate painting. Using psychophysical experiments and eye tracking measures, in this work we seek to illuminate the visual processing of information in Pepperell s paintings. More specifically, we will investigate how the pattern of fixations - the loci of interest - change as a function of the task ( What is depicted in this scene? vs. Does this image contain people? ) and of the image content. The interpretation of the experimental results in the context of perceptual research will give first insights into the perception of (indeterminate) art. Conversely, the results are also relevant for art, as they provide a kind of perceptual, measurable validation of the artist s intentions.
Individual Realities: Customizing Aesthetics in Shared Immersive Virtual Environments
(The Eurographics Association, 2007) Sprague, David. W.; Gooch, Amy A.; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
Immersive virtual reality systems such as CAVEs and head-mounted displays offer a unique shared environment for collaborations unavailable in the real world. Virtual environments not only provide users with novel interaction and navigation approaches but each person is also generally provided a unique perspective into the virtual world. Provided each participant sees the virtual environment from a unique display, we argue that a group consensus about the world's aesthetics is often unimportant, unlike in the real world. Each user is able to see a unique custom rendering of the virtual world and we predict no negative impact on other participants. Designing for individual aesthetic preferences also provides numerous potential benefits to system usability including better user satisfaction, an increased sense of presence, and improved task performance. These advantages are discussed in detail. We conclude with a brief discussion about potential experiments intended to clarify both the differences between shared and individual virtual environment aesthetics and the impact aesthetic appeal has on virtual reality usability.
An Information-Theoretic Ambient Occlusion
(The Eurographics Association, 2007) González, Francisco; Sbert, Mateu; Feixas, Miquel; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
Ambient occlusion is a powerful technique that mimics indirect global illumination at a fraction of the cost. In this paper, we introduce a new ambient occlusion technique based on information-theoretic concepts. A viewpoint quality measure is first defined using the concept of mutual information of the channel formed between a set of viewpoints and the polygons of an object. By reversing this channel we can speak of the mutual information of a polygon with respect to all viewpoints. From this polygonal information we represent a kind of ambient occlusion, which is dependent on the importance assigned to each viewpoint and helps to enhance features such as salient parts. Further, the assignation of color to each viewpoint combined with the polygonal information produces a nice visualization of the object. Examples are given with coloroid palettes and non-photorealistic rendering.
Liquid Penetration Modeling for Cloth Dyeing
(The Eurographics Association, 2007) Morimoto, Yuki; Tsuruno, Reiji; Tomimatsu, Kiyoshi; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
This paper presents a model of cloth dyeing using the characteristics of the thread and weave pattern. The proposed dyeing model is based on Fick s second law that defines the molecular transfer under translational diffusion [Fic85]. The algorithm in the proposed model calculates the dyeing distribution from parameters such as the amount of dyeing, saturated amount, and pressure in each cell on a timeline. We improve the algorithm based on Fick s second law to consider a woven cloth structure and describe the proposed model of the structure of woven cloth as a two-layer cellular model. We then visualize the cloth using a simple 2D shading method of asperity by using the color distribution on a dyed image of real woven cloth. In addition, we provide a method for producing dyeing patterns without dyeing diffusion. The proposed method produces images that capture several of the characteristics of dyeing observed in real dyed cloth.
Magnetism and Minimal Surfaces -- a Different Tool for Surface Design
(The Eurographics Association, 2007) Gruber, Franz; Glaeser, Georg; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
The design of free form surfaces is usually based on NURBS and it works well to quickly get shapes that a designer intends to create. Such surfaces then have desired properties like given border lines and C1 or C2 continuity along lines where several surfaces touch. Our approach is to create surfaces with certain physical properties that designers often need. Given a closed or not closed border line, can we then find an elastic surface (comparable with a rubber surface) with the property requiring that in each point the tension is equally distributed? This is simplified spoken the condition for a minimal surface. Our solution does not use any differential equations but rather the following idea: We start from a patch that may be planar or part of a cylinder or any easy to define surface. This patch is tesselated in such a way that the vertices have roughly equal distances. Each point is considered to be magnetic. Now we start a converging real-time-iteration that allows the points to move according to the rules of magnetism. Border lines or parts of them may be fixed and manipulated. The corresponding algorithm is adapted from earlier algorithms by Fruchterman et al. The result is an approximation to a minimal surface that is defined by the fixed border lines. The advantage of such a surface design is twofold: First, the problem is hard to solve exactly by means of differential equations, and second the algorithm works interactively in real time. This means that the designer can change shapes almost as quickly as with conventional free form surfaces. Finally, the surface is already suitably triangulated.
memory [en]code Building a Collective Memory within a Tabletop Installation
(The Eurographics Association, 2007) Schmidt, Holly; Hinrichs, Uta; Dunning, Alan; Carpendale, Sheelagh; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
In this paper, we introduce memory [en]code, a project that evolved through an art+science collaboration. memory [en]code is an interactive tabletop installation that visualizes different concepts of human memory in an interactive and exploratory way. Designed to be installed in a public space, memory [en]code enables people to enter their personal memories and to explore memories entered by other people. Reacting to people s interactions, memory [en]code dynamically changes and redefines itself continuously, in ways similar to human memory. Over time memory [en]code forms a collective memory mirroring the experiences and associations of people that have participated in the installation. Within memory [en]code we have approached the concept of human memory in a way that combines art+sciences and that makes the complexity of memory visible and tangible.
New Methods to Project Panoramas for Practical and Aesthetic Purposes
(The Eurographics Association, 2007) German, Daniel M.; d'Angelo, Pablo; Gross, Michael; Postle, Bruno; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
Recent advances in digital photomontage have simplified the creation of extreme wide-angle views from a vantage point, including the recreation of the entire sphere (we will refer to these type of images as panoramas). In order to minimize the distortion from the point of view of the viewer, panoramas have been typically presented using curved displays (such as the original panoramas, by Barker, in 1787; or several cinematographic systems, such as Circle-Vision 360, still in use), and more recently with the help of the computer (such as the QuickTime VR format). Unfortunately requiring such systems restricts their use, and little research has been done in the representation of panoramas into a flat surface. In this paper we propose the use of several geographic map projections to project a panorama into a flat surface, both for realistic purposes (where the projection can be easily accepted as a faithful representation of the original image) and for artistic purposes (where the projection is used as an artistic tool intended for the creation of an innovative interpretation of the panorama). Finally we explore the use of inclinometers and map projections to automatically project an image from a wide-angle lens (rectilinear or fisheye) into a new image that is more aesthetically pleasant. We believe the projections discussed in this paper will be useful to photographers, artists, and the designers of virtual reality environments, all of who might require the displaying of images with a wide field-of-view.
Perceptual Reparameterization of Material Properties
(The Eurographics Association, 2007) Cunningham, Douglas W.; Wallraven, Christian; Fleming, Roland W.; Straßer, Wolfgang; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
The recent increase in both the range and the subtlety of computer graphics techniques has greatly expanded the possibilities for synthesizing images. In many cases, however, the relationship between the parameters of an algorithm and the resulting perceptual effect is not straightforward. Since the ability to produce specific, intended effects is a natural pre-requisite for many scientific and artistic endeavors, this is a strong drawback. Here, we demonstrate a generalized method for determining both the qualitative and quantitative mapping between parameters and perception. Multidimensional Scaling extracts the metric structure of perceived similarity between the objects, as well as the transformation between similarity space and parameter space. Factor analysis of semantic differentials is used to determine the aesthetic structure of the stimulus set. Jointly, the results provide a description of how specific parameter changes can produce specific semantic changes. The method is demonstrated using two datasets. The first dataset consisted of glossy objects, which turned out to have a 2D similarity space and five primary semantic factors. The second dataset, transparent objects, can be described with a non-linear, 1D similarity map and six semantic factors. In both cases, roughly half of the factors represented aesthetic aspects of the stimuli, and half the low-level material properties. Perceptual reparameterization of computer graphics algorithms (such as those dealing with the representation of surface properties) offers the potential to improve their accessibility. This will not only allow easier generation of specific effects, but also enable more intuitive exploration of different image properties.
A Poetics of Simulation for Audiovisual Performance
(The Eurographics Association, 2007) Jones, Randy; Douglas W. Cunningham and Gary Meyer and Laszlo Neumann
Audiovisual performance is a fertile area for creative expression, an intersection of experimental cinema and computer music that has seen a groundswell of interest in recent years. To create works in this emerging medium, a complex network of relationships between sounds, images and sensor input must be organized. This complexity poses major technical and aesthetic challenges which a systematic approach can help address. This paper presents an analysis of audiovisual performance as two parts: a real time simulation which produces dynamic form, and a visualization by which that form is aestheticized. This approach to a systematic study, or poetics, of the medium is drawn from the study of successful works as well as from film theory and cognitive psychology. Recent audiovisual work by the author is discussed, and technical details are presented. Approaching audiovisual performance as real time simulation provides a practical framework for collaboration between artists and researchers in aesthetic visualization.

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