Hasil untuk "Aesthetics"

R. Suddaby

Pierluigi Masai, Lorenzo Carta, Mateusz Miroslaw Lis

The integration of Generative AI (GenAI) into audio-visual production is often presented as a radical break from past traditions. However, through a sociomaterial and historical lens, this paper argues that GenAI represents a new development in the long-standing negotiation between creative labor and technological possibilities. Moving beyond the limiting framework of human-machine co-creativity, we adopt an STS-based approach to investigate creativity in the making within the Filmmaking industry. We analyze Filmmaking as a distributed process where agency is shared across diverse human experts and non-human actors, showing how technological innovations have historically reconfigured Filmmaking practices long before the advent of AI. The article introduces an analytical taxonomy of GenAI techniques to illustrate how these technologies do not merely "assist" but can actively reconfigure professional roles, production temporalities, and film aesthetics. By linking sociomaterial configurations to aesthetic outcomes, this reframing suggests that AI technologies in Filmmaking should be seen as mediators that could enable new aesthetic possibilities by blurring the boundaries of traditional filmmaking workflows.

Ying Ba, Tianyu Zhang, Yalong Bai et al.

Contemporary image generation systems have achieved high fidelity and superior aesthetic quality beyond basic text-image alignment. However, existing evaluation frameworks have failed to evolve in parallel. This study reveals that human preference reward models fine-tuned based on CLIP and BLIP architectures have inherent flaws: they inappropriately assign low scores to images with rich details and high aesthetic value, creating a significant discrepancy with actual human aesthetic preferences. To address this issue, we design a novel evaluation score, ICT (Image-Contained-Text) score, that achieves and surpasses the objectives of text-image alignment by assessing the degree to which images represent textual content. Building upon this foundation, we further train an HP (High-Preference) score model using solely the image modality to enhance image aesthetics and detail quality while maintaining text-image alignment. Experiments demonstrate that the proposed evaluation model improves scoring accuracy by over 10\% compared to existing methods, and achieves significant results in optimizing state-of-the-art text-to-image models. This research provides theoretical and empirical support for evolving image generation technology toward higher-order human aesthetic preferences. Code is available at https://github.com/BarretBa/ICTHP.

Jessica Eggers, Angela Dai, Matthew C. Gombolay

As social robots become more common, many have adopted cute aesthetics aiming to enhance user comfort and acceptance. However, the effect of this aesthetic choice on human feedback in reinforcement learning scenarios remains unclear. Previous research has shown that humans tend to give more positive than negative feedback, which can cause failure to reach optimal robot behavior. We hypothesize that this positive bias may be exacerbated by the robot's level of perceived cuteness. To investigate, we conducted a user study where participants critique a robot's trajectories while it performs a task. We then analyzed the impact of the robot's aesthetic cuteness on the type of participant feedback. Our results suggest that there is a shift in the ratio of positive to negative feedback when perceived cuteness changes. In light of this, we experiment with a stochastic version of TAMER which adapts based on the user's level of positive feedback bias to mitigate these effects.

Vivek Veeriah, Federico Barbero, Marcus Chiam et al.

The rapid advancement of Generative AI has raised significant questions regarding its ability to produce creative and novel outputs. Our recent work investigates this question within the domain of chess puzzles and presents an AI system designed to generate puzzles characterized by aesthetic appeal, novelty, counter-intuitive and unique solutions. We briefly discuss our method below and refer the reader to the technical paper for more details. To assess our system's creativity, we presented a curated booklet of AI-generated puzzles to three world-renowned experts: International Master for chess compositions Amatzia Avni, Grandmaster Jonathan Levitt, and Grandmaster Matthew Sadler. All three are noted authors on chess aesthetics and the evolving role of computers in the game. They were asked to select their favorites and explain what made them appealing, considering qualities such as their creativity, level of challenge, or aesthetic design.

Sadra Sabouri, Sepand Haghighi, Elena Masrour

Generative art merges creativity with computation, using algorithms to produce aesthetic works. This paper introduces Samila, a Python-based generative art library that employs mathematical functions and randomness to create visually compelling compositions. The system allows users to control the generation process through random seeds, function selections, and projection modes, enabling the exploration of randomness and artistic expression. By adjusting these parameters, artists can create diverse compositions that reflect intentionality and unpredictability. We demonstrate that Samila's outputs are uniquely determined by two random generation seeds, making regeneration nearly impossible without both. Additionally, altering the point generation functions while preserving the seed produces artworks with distinct graphical characteristics, forming a visual family. Samila serves as both a creative tool for artists and an educational resource for teaching mathematical and programming concepts. It also provides a platform for research in generative design and computational aesthetics. Future developments could include AI-driven generation and aesthetic evaluation metrics to enhance creative control and accessibility.

Yannick Kibolwe Mulundule, Yao Cheng, Amir Ubed et al.

Empowerment in smart clothing, which incorporates advanced technologies, requires the integration of scientific and technological expertise with artistic and design principles. Little research has focused on this unique and innovative field of design until now, and that is about to change. The concept of 'wearables' cut across several fields. A global 'language' that permits both free-form creativity and a methodical design approach is required. Smart clothing designers often seek guidance in their research since it may be difficult to prioritize and understand issues like as usability, production, style, consumer culture, reuse, and end-user needs. Researchers in this research made sure that their design tool was presented in a manner that practitioners from many walks of life could understand. The 'critical route' is a useful tool for smart technology implementation design, study, and development since it helps to clarify the path that must be taken.

Amina, S Abirami, Geeta Rajput et al.

Rehabilitation of an attrited dentition is one of the most challenging task faced by a prosthodontist which requires a systematic, phase wise approach. Hobo’s techniques and Pankey Mann Schuyler’s philosophy are widely used and documented for full mouth rehabilitation. If along with attrition and discoloration teeth are also periodontally compromised, then the extraction of teeth followed by fabrication of complete denture either implant supported or mucosa supported is the only treatment option. In this case series, we have reported three cases of same family with Dentinogenesis Imperfecta, two cases presented with the severely worn dentition, poor aesthetics and difficulty in chewing. To rehabilitate these cases, Hobo’s twin stage technique had been adopted and one case had periodontally compromised teeth along with faulty prosthesis in addition to Dentinogenesis Imperfacta, so removal of faulty prosthesis, full mouth extraction followed by implant supported overdenture was planned.

Gaëtan Robillard

In 1960 in Stuttgart, Max Bense published the book Programming the Beautiful [Programmierung des Sch{ö}nen]. Bense looks in cybernetics for scientific concepts and instigates the thought of programming in the field of literature. His information aesthetics influences a whole generation of scientists and artists - including the Stuttgart Circle, which takes hold of the new aesthetics to carry out the first programmed artistic images. Is Max Bense a visionary? How is he revolutionizing the world of images? The article discusses the cybernetics that inspired Bense: a science of probability that contrasts with the principles of Newtonian physics. Moreover, in the sixties, Max Bense, together with Elisabeth Walther, launched the experimental magazine Rot, which devoted its pages to the concrete poetry and the first computer-generated images of Georg Nees. As Frieder Nake defends through his pioneering work and theory, these images oppose the visible and the computable. This dialectic opens to a critical thinking on the algorithmic image in art and science.

Sophia Dowlatabadi, Bernhard Preim, Monique Meuschke

In various fields, including medicine, age distributions are crucial. Despite widespread media coverage of health topics, there remains a need to enhance health communication. Narrative medical visualization is promising for improving information comprehension and retention. This study explores the most effective ways to present age distributions of diseases through narrative visualizations. We conducted a thorough analysis of existing visualizations, held workshops with a broad audience, and reviewed relevant literature. From this, we identified design choices focusing on comprehension, aesthetics, engagement, and memorability. We specifically tested three pictogram variants: pictograms as bars, stacked pictograms, and annotations. After evaluating 18 visualizations with 72 participants and three expert reviews, we determined that annotations were most effective for comprehension and aesthetics. However, traditional bar charts were preferred for engagement, and other variants were more memorable. The study provides a set of design recommendations based on these insights.

Kathrin Guckes, Marc Schäpers, Margit Pohl et al.

Comparing directed acyclic graphs is essential in various fields such as healthcare, social media, finance, biology, and marketing. DAGs often result from contagion processes over networks, including information spreading, retweet activity, disease transmission, financial crisis propagation, malware spread, and gene mutations. For instance, in disease spreading, an infected patient can transmit the disease to contacts, making it crucial to analyze and predict scenarios. Similarly, in finance, understanding the effects of saving or not saving specific banks during a crisis is vital. Experts often need to identify small differences between DAGs, such as changes in a few nodes or edges. Even the presence or absence of a single edge can be significant. Visualization plays a crucial role in facilitating these comparisons. However, standard hierarchical layout algorithms struggle to visualize subtle changes effectively. The typical hierarchical layout, with the root on top, is preferred due to its performance in comparison to other layouts. Nevertheless, these standard algorithms prioritize single-graph aesthetics over comparison suitability, making it challenging for users to spot changes. To address this issue, we propose a layout that enhances shape changes in DAGs while minimizing the impact on aesthetics. Our approach involves outwardly swapping changes, altering the DAG's shape. We introduce new drawing criteria. Our layout builds upon a Sugiyama-like hierarchical layout and implements these criteria through two extensions. We designed it this way to maintain interchangeability and accommodate future optimizations, such as pseudo-nodes for edge crossing minimization. In our evaluations, our layout achieves excellent results, with edge crossing aesthetics averaging around 0.8 (on a scale of 0 to 1). Additionally, our layout outperforms the base implementation by an average of 60-75\%.

Jun Mitani

This paper focuses on packaging design using origami techniques, specifically designs incorporating curves, known as pillow boxes. While conventional paper packaging boxes are typically cuboid, pillow box designs include curved surfaces, offering both aesthetic and practical advantages. This study analyzes the specific curved folds of pillow boxes, clarifying the fundamental geometric condition these curves must meet. Additionally, it proposes new design variations for pillow boxes based on the condition. The relationship between the shape of the folds and the volume of the final three-dimensional shape is also explored. This research extends the boundaries of functionality and aesthetics in origami design and explores new possibilities in packaging solutions.

Maxwell Joseph Jacobson, Yexiang Xue

Design generation requires tight integration of neural and symbolic reasoning, as good design must meet explicit user needs and honor implicit rules for aesthetics, utility, and convenience. Current automated design tools driven by neural networks produce appealing designs but cannot satisfy user specifications and utility requirements. Symbolic reasoning tools, such as constraint programming, cannot perceive low-level visual information in images or capture subtle aspects such as aesthetics. We introduce the Spatial Reasoning Integrated Generator (SPRING) for design generation. SPRING embeds a neural and symbolic integrated spatial reasoning module inside the deep generative network. The spatial reasoning module samples the set of locations of objects to be generated from a backtrack-free distribution. This distribution modifies the implicit preference distribution, which is learned by a recursive neural network to capture utility and aesthetics. Sampling from the backtrack-free distribution is accomplished by a symbolic reasoning approach, SampleSearch, which zeros out the probability of sampling spatial locations violating explicit user specifications. Embedding symbolic reasoning into neural generation guarantees that the output of SPRING satisfies user requirements. Furthermore, SPRING offers interpretability, allowing users to visualize and diagnose the generation process through the bounding boxes. SPRING is also adept at managing novel user specifications not encountered during its training, thanks to its proficiency in zero-shot constraint transfer. Quantitative evaluations and a human study reveal that SPRING outperforms baseline generative models, excelling in delivering high design quality and better meeting user specifications.

Pakizar Shamoi, Muragul Muratbekova, Assylzhan Izbassar et al.

Harmony level prediction is receiving increasing attention nowadays. Color plays a crucial role in affecting human aesthetic responses. In this paper, we explore color harmony using a fuzzy-based color model and address the question of its universality. For our experiments, we utilize a dataset containing attractive images from five different domains: fashion, art, nature, interior design, and brand logos. We aim to identify harmony patterns and dominant color palettes within these images using a fuzzy approach. It is well-suited for this task because it can handle the inherent subjectivity and contextual variability associated with aesthetics and color harmony evaluation. Our experimental results suggest that color harmony is largely universal. Additionally, our findings reveal that color harmony is not solely influenced by hue relationships on the color wheel but also by the saturation and intensity of colors. In palettes with high harmony levels, we observed a prevalent adherence to color wheel principles while maintaining moderate levels of saturation and intensity. These findings contribute to ongoing research on color harmony and its underlying principles, offering valuable insights for designers, artists, and researchers in the field of aesthetics.

Yuhang Hu, Judah Goldfeder, Zhizhuo Zhang et al.

For robots to truly collaborate and assist humans, they must understand not only logic and instructions, but also the subtle emotions, aesthetics, and feelings that define our humanity. Human art and aesthetics are among the most elusive concepts-often difficult even for people to articulate-and without grasping these fundamentals, robots will be unable to help in many spheres of daily life. Consider the long-promised robotic butler: automating domestic chores demands more than motion planning. It requires an internal model of cleanliness and tidiness-a challenge largely unexplored by AI. To bridge this gap, we propose an approach that equips domestic robots to perform simple tidying tasks via knolling, the practice of arranging scattered items into neat, space-efficient layouts. Unlike the uniformity of industrial settings, household environments feature diverse objects and highly subjective notions of tidiness. Drawing inspiration from NLP, we treat knolling as a sequential prediction problem and employ a transformer based model to forecast each object's placement. Our method learns a generalizable concept of tidiness, generates diverse solutions adaptable to varying object sets, and incorporates human preferences for personalized arrangements. This work represents a step forward in building robots that internalize human aesthetic sense and can genuinely co-create in our living spaces.

Michael Stanton

The demise of the World Trade Towers grotesquely inflated the sublime! Edmund Burke’s inclusion of fear and awe as elements of aesthetics has come to dominate representational canons, but the extreme effect of the 9/11 attacks rendered the concept intolerable while subsequent architectural work seems to have reacted with the proliferation of extreme and often unsettling contortions, vertiginous cantilevers and unbalanced profiles! Standing for the machinations of the previous millennium, upon their extirpation these minimal monoliths became the most potent auspices for the next. Before falling they were extraordinarily blank formally while provoking sectarian rage toward the institutions they stood for - New York, the U.S. and multinational commerce. An improbable history of the violent demise of his buildings plagued their designer as well! Collapse made them true monuments in the funereal sense of the word and profoundly significant as the globe drifts toward dystopia, advantaging plutocracy and distilling resentment in many cultures.

Janošević Predrag

Introduction/Objective. Variations in thickness of soft tissues can influence the position of facial structures as well as facial aesthetics. The objective of the study was to determine whether the frequency of soft tissues imbalance depends on the vertical growth pattern of the face. Methods. The present study consisted of 90 pretreatment lateral cephalograms of adult Serbian Caucasian orthodontic patients (30 male and 60 female), between 18–27 years of age, average 23.6 years. Only the patients with the skeletal class I, based on the values of A-Nasion-point B angle and Wits appraisal, were chosen for the study. All patients were divided into three groups of 30 patients, those with hyperdivergent, hypodivergent and normal vertical growth patterns based on the values of Frankfort mandibular plane angle. Soft tissue of each patient was evaluated following the method given by Merrifield. Results. The obtained results showed that soft tissues of the chin and upper lip were thickest in hypodivergent and thinnest in patients with hyperdivergent growth type. The largest number of patients with soft tissue imbalance was observed in the normal and hyperdivergent vertical growth pattern groups, eight out of 30 patients. The number of patients with imbalance greater than 3 mm was largest in the group with hyperdivergent growth pattern. Conclusion. The pathological skeletal pattern of growth combined with the common occurrence of soft tissue imbalance makes orthodontic treatment in hyperdivergent group of patients more difficult in comparison to patients with normal or hypodivergent growth pattern.

Julieta Viú Adagio

Juan Villoro, consecrated in Latin American Literature as a fiction narrator and prominent author in the Children's Literature publishing market, has developed in parallel a remarkable chronological production that has received little critical attention. The reading of these chronicles in conjunction with interviews given by the author allowed us to notice a self-representation as a chronicler versed in the art of listening. Theme that is the excuse to review part of his production with the focus on his ear attentive to the expressions and manifestations of mass culture. It is interesting to approach chronic listening, a characteristic aspect of its aesthetics, from analyzing the priority place of the voice of the soccer announcer Ángel Fernández, the links with the Mexican counterculture and the construction of a myth of origin that draws on mass culture.

Claus-Christian Carbon, Claus-Christian Carbon, Claus-Christian Carbon

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences relating to ordinary objects and everyday contexts. Here, we follow an ecological approach that assumes art experience has its own specific quality, which is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidence gained in this manner, we emulate and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks, and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large-scale paintings by Pollock and Rothko, preferred viewing distances as well as distances inducing the most intense art experiences – including Aesthetic Aha insights – were much larger than typical viewing distances realized in laboratory studies. Following Carbon’s (2019) terminology of measurement strategies of art experience, the combined use of “Path #1” (real-world context) and “Path #2” (mildly controlled, still ecologically valid settings and contexts) enables us to understand and investigate much closer what is really happening when people experience art.

Valentina Bonello, Claudia Faraone