Hasil untuk "Art"

Yifu Zhang, Pei Sun, Yi Jiang et al.

Multi-object tracking (MOT) aims at estimating bounding boxes and identities of objects in videos. Most methods obtain identities by associating detection boxes whose scores are higher than a threshold. The objects with low detection scores, e.g. occluded objects, are simply thrown away, which brings non-negligible true object missing and fragmented trajectories. To solve this problem, we present a simple, effective and generic association method, tracking by associating almost every detection box instead of only the high score ones. For the low score detection boxes, we utilize their similarities with tracklets to recover true objects and filter out the background detections. When applied to 9 different state-of-the-art trackers, our method achieves consistent improvement on IDF1 score ranging from 1 to 10 points. To put forwards the state-of-the-art performance of MOT, we design a simple and strong tracker, named ByteTrack. For the first time, we achieve 80.3 MOTA, 77.3 IDF1 and 63.1 HOTA on the test set of MOT17 with 30 FPS running speed on a single V100 GPU. ByteTrack also achieves state-of-the-art performance on MOT20, HiEve and BDD100K tracking benchmarks. The source code, pre-trained models with deploy versions and tutorials of applying to other trackers are released at https://github.com/ifzhang/ByteTrack.

René Ranftl, Alexey Bochkovskiy, V. Koltun

We introduce dense prediction transformers, an architecture that leverages vision transformers in place of convolutional networks as a backbone for dense prediction tasks. We assemble tokens from various stages of the vision transformer into image-like representations at various resolutions and progressively combine them into full-resolution predictions using a convolutional decoder. The transformer backbone processes representations at a constant and relatively high resolution and has a global receptive field at every stage. These properties allow the dense prediction transformer to provide finer-grained and more globally coherent predictions when compared to fully-convolutional networks. Our experiments show that this architecture yields substantial improvements on dense prediction tasks, especially when a large amount of training data is available. For monocular depth estimation, we observe an improvement of up to 28% in relative performance when compared to a state-of-the-art fully-convolutional network. When applied to semantic segmentation, dense prediction transformers set a new state of the art on ADE20K with 49.02% mIoU. We further show that the architecture can be fine-tuned on smaller datasets such as NYUv2, KITTI, and Pascal Context where it also sets the new state of the art. Our models are available at https://github.com/intel-isl/DPT.

Zihang Dai, Hanxiao Liu, Quoc V. Le et al.

Transformers have attracted increasing interests in computer vision, but they still fall behind state-of-the-art convolutional networks. In this work, we show that while Transformers tend to have larger model capacity, their generalization can be worse than convolutional networks due to the lack of the right inductive bias. To effectively combine the strengths from both architectures, we present CoAtNets(pronounced"coat"nets), a family of hybrid models built from two key insights: (1) depthwise Convolution and self-Attention can be naturally unified via simple relative attention; (2) vertically stacking convolution layers and attention layers in a principled way is surprisingly effective in improving generalization, capacity and efficiency. Experiments show that our CoAtNets achieve state-of-the-art performance under different resource constraints across various datasets: Without extra data, CoAtNet achieves 86.0% ImageNet top-1 accuracy; When pre-trained with 13M images from ImageNet-21K, our CoAtNet achieves 88.56% top-1 accuracy, matching ViT-huge pre-trained with 300M images from JFT-300M while using 23x less data; Notably, when we further scale up CoAtNet with JFT-3B, it achieves 90.88% top-1 accuracy on ImageNet, establishing a new state-of-the-art result.

Xiangnan He, Kuan Deng, Xiang Wang et al.

Graph Convolution Network (GCN) has become new state-of-the-art for collaborative filtering. Nevertheless, the reasons of its effectiveness for recommendation are not well understood. Existing work that adapts GCN to recommendation lacks thorough ablation analyses on GCN, which is originally designed for graph classification tasks and equipped with many neural network operations. However, we empirically find that the two most common designs in GCNs -- feature transformation and nonlinear activation -- contribute little to the performance of collaborative filtering. Even worse, including them adds to the difficulty of training and degrades recommendation performance. In this work, we aim to simplify the design of GCN to make it more concise and appropriate for recommendation. We propose a new model named LightGCN, including only the most essential component in GCN -- neighborhood aggregation -- for collaborative filtering. Specifically, LightGCN learns user and item embeddings by linearly propagating them on the user-item interaction graph, and uses the weighted sum of the embeddings learned at all layers as the final embedding. Such simple, linear, and neat model is much easier to implement and train, exhibiting substantial improvements (about 16.0% relative improvement on average) over Neural Graph Collaborative Filtering (NGCF) -- a state-of-the-art GCN-based recommender model -- under exactly the same experimental setting. Further analyses are provided towards the rationality of the simple LightGCN from both analytical and empirical perspectives.

Fabian Isensee, P. Jaeger, Simon A. A. Kohl et al.

F. Jameson

Now in paperback, Fredric Jameson’s most wide-ranging work seeks to crystalize a definition of ”postmodernism”. Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

Daniel S. Park, William Chan, Yu Zhang et al.

We present SpecAugment, a simple data augmentation method for speech recognition. SpecAugment is applied directly to the feature inputs of a neural network (i.e., filter bank coefficients). The augmentation policy consists of warping the features, masking blocks of frequency channels, and masking blocks of time steps. We apply SpecAugment on Listen, Attend and Spell networks for end-to-end speech recognition tasks. We achieve state-of-the-art performance on the LibriSpeech 960h and Swichboard 300h tasks, outperforming all prior work. On LibriSpeech, we achieve 6.8% WER on test-other without the use of a language model, and 5.8% WER with shallow fusion with a language model. This compares to the previous state-of-the-art hybrid system of 7.5% WER. For Switchboard, we achieve 7.2%/14.6% on the Switchboard/CallHome portion of the Hub5'00 test set without the use of a language model, and 6.8%/14.1% with shallow fusion, which compares to the previous state-of-the-art hybrid system at 8.3%/17.3% WER.

Chien-Yao Wang, H. Liao, I-Hau Yeh et al.

Neural networks have enabled state-of-the-art approaches to achieve incredible results on computer vision tasks such as object detection. However, such success greatly relies on costly computation resources, which hinders people with cheap devices from appreciating the advanced technology. In this paper, we propose Cross Stage Partial Network (CSPNet) to mitigate the problem that previous works require heavy inference computations from the network architecture perspective. We attribute the problem to the duplicate gradient information within network optimization. The proposed networks respect the variability of the gradients by integrating feature maps from the beginning and the end of a network stage, which, in our experiments, reduces computations by 20% with equivalent or even superior accuracy on the ImageNet dataset, and significantly outperforms state-of-the-art approaches in terms of AP50 on the MS COCO object detection dataset. The CSPNet is easy to implement and general enough to cope with architectures based on ResNet, ResNeXt, and DenseNet.

Terrance Devries, Graham W. Taylor

Convolutional neural networks are capable of learning powerful representational spaces, which are necessary for tackling complex learning tasks. However, due to the model capacity required to capture such representations, they are often susceptible to overfitting and therefore require proper regularization in order to generalize well. In this paper, we show that the simple regularization technique of randomly masking out square regions of input during training, which we call cutout, can be used to improve the robustness and overall performance of convolutional neural networks. Not only is this method extremely easy to implement, but we also demonstrate that it can be used in conjunction with existing forms of data augmentation and other regularizers to further improve model performance. We evaluate this method by applying it to current state-of-the-art architectures on the CIFAR-10, CIFAR-100, and SVHN datasets, yielding new state-of-the-art results of 2.56%, 15.20%, and 1.30% test error respectively. Code is available at this https URL

Katie Pratt, Andrew Bick, John Parsons

F. Hutter, H. Hoos, Kevin Leyton-Brown

J. Bowlby

Andreas Wächter, L. Biegler

B. Boehm

S. Wolfram

I. Akyildiz, W. Su, Y. Sankarasubramaniam et al.

R. Tsai

Dylan Ebert

Rendering 3D scenes as pixel art requires that discrete pixels remain stable as the camera moves. Existing methods snap the camera to a grid. Under orthographic projection, this works: every pixel shifts by the same amount, and a single snap corrects all of them. Perspective breaks this. Pixels at different depths drift at different rates, and no single snap corrects all depths. Texel splatting avoids this entirely. Scene geometry is rendered into a cubemap from a fixed point in the world, and each texel is splatted to the screen as a world-space quad. Cubemap indexing gives rotation invariance. Grid-snapping the origin gives translation invariance. The primary limitation is that a fixed origin cannot see all geometry; disocclusion at probe boundaries remains an open tradeoff.

Takaya Arita, Wenxian Zheng, Reiji Suzuki et al.

This study explored how large language models (LLMs) perform in two areas related to art: writing critiques of artworks and reasoning about mental states (Theory of Mind, or ToM) in art-related situations. For the critique generation part, we built a system that combines Noel Carroll's evaluative framework with a broad selection of art criticism theories. The model was prompted to first write a full-length critique and then shorter, more coherent versions using a step-by-step prompting process. These AI-generated critiques were then compared with those written by human experts in a Turing test-style evaluation. In many cases, human subjects had difficulty telling which was which, and the results suggest that LLMs can produce critiques that are not only plausible in style but also rich in interpretation, as long as they are carefully guided. In the second part, we introduced new simple ToM tasks based on situations involving interpretation, emotion, and moral tension, which can appear in the context of art. These go beyond standard false-belief tests and allow for more complex, socially embedded forms of reasoning. We tested 41 recent LLMs and found that their performance varied across tasks and models. In particular, tasks that involved affective or ambiguous situations tended to reveal clearer differences. Taken together, these results help clarify how LLMs respond to complex interpretative challenges, revealing both their cognitive limitations and potential. While our findings do not directly contradict the so-called Generative AI Paradox--the idea that LLMs can produce expert-like output without genuine understanding--they suggest that, depending on how LLMs are instructed, such as through carefully designed prompts, these models may begin to show behaviors that resemble understanding more closely than we might assume.

Zhe Jin, Tat-Seng Chua

Text-to-Image (T2I) diffusion models (DM) have garnered widespread adoption due to their capability in generating high-fidelity outputs and accessibility to anyone able to put imagination into words. However, DMs are often predisposed to generate unappealing outputs, much like the random images on the internet they were trained on. Existing approaches to address this are founded on the implicit premise that visual aesthetics is universal, which is limiting. Aesthetics in the T2I context should be about personalization and we propose the novel task of aesthetics alignment which seeks to align user-specified aesthetics with the T2I generation output. Inspired by how artworks provide an invaluable perspective to approach aesthetics, we codify visual aesthetics using the compositional framework artists employ, known as the Principles of Art (PoA). To facilitate this study, we introduce CompArt, a large-scale compositional art dataset building on top of WikiArt with PoA analysis annotated by a capable Multimodal LLM. Leveraging the expressive power of LLMs and training a lightweight and transferrable adapter, we demonstrate that T2I DMs can effectively offer 10 compositional controls through user-specified PoA conditions. Additionally, we design an appropriate evaluation framework to assess the efficacy of our approach.