Every culture and language is unique. Our work expressly focuses on the uniqueness of culture and language in relation to human affect, specifically sentiment and emotion semantics, and how they manifest in social multimedia. We develop sets of sentiment- and emotion-polarized visual concepts by adapting semantic structures called adjective-noun pairs, originally introduced by (2013), but in a multilingual context. We propose a new language-dependent method for automatic discovery of these adjective-noun constructs. We show how this pipeline can be applied on a social multimedia platform for the creation of a large-scale multilingual visual sentiment concept ontology (MVSO). Unlike the flat structure in (2013), our unified ontology is organized hierarchically by multilingual clusters of visually detectable nouns and subclusters of emotionally biased versions of these nouns. In addition, we present an image-based prediction task to show how generalizable language-specific models are in a multilingual context. A new, publicly available dataset of >15.6K sentiment-biased visual concepts across 12 languages with language-specific detector banks, >7.36M images and their metadata is also released.
We address the general challenge of , aiming at both recognition and analysis of sentiment and emotions in visual data, but from a multilingual and cross-cultural perspective. Our work is closely related to Multimedia and Vision research that focus on visual aesthetics @cite_6 , interestingness @cite_15 , popularity @cite_19 , and creativity @cite_4 . Our work also relates to research in Cognitive and Social Psychology, especially emotion and culture research @cite_40 @cite_38 @cite_8 , but also neuroaesthetics @cite_39 , visual preference @cite_39 @cite_5 , and social interaction @cite_2 .
@cite_38 @cite_4 @cite_8 @cite_6 @cite_39 @cite_19 @cite_40 @cite_2 @cite_5 @cite_15
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The increasing adoption of social media provides unprecedented opportunities to gain insight into human nature at vastly broader scales. Regarding the study of population-wide sentiment, prior research commonly focuses on text-based analyses and ignores a treasure trove of sentiment-laden content: images. In this paper, we make methodological and computational contributions by introducing the Smile Index as a formalized measure of societ al happiness. Detecting smiles in 9 million geo-located tweets over 16 months, we validate our Smile Index against both text-based techniques and self-reported happiness. We further make observational contributions by applying our metric to explore temporal trends in sentiment, relate public mood to societ al events, and predict economic indicators. Reflecting upon the innate, language-independent aspects of facial expressions, we recommend future improvements and applications to enable robust, global-level analyses. We conclude with implications for researchers studying and facilitating the expression of collective emotion through socio-technical systems. Visual sentiment analysis, which studies the emotional response of humans on visual stimuli such as images and videos, has been an interesting and challenging problem. It tries to understand the high-level content of visual data. The success of current models can be attributed to the development of robust algorithms from computer vision. Most of the existing models try to solve the problem by proposing either robust features or more complex models. In particular, visual features from the whole image or video are the main proposed inputs. Little attention has been paid to local areas, which we believe is pretty relevant to human's emotional response to the whole image. In this work, we study the impact of local image regions on visual sentiment analysis. Our proposed model utilizes the recent studied attention mechanism to jointly discover the relevant local regions and build a sentiment classifier on top of these local regions. The experimental results suggest that 1) our model is capable of automatically discovering sentimental local regions of given images and 2) it outperforms existing state-of-the-art algorithms to visual sentiment analysis. The recent advancement of social media has given users a platform to socially engage and interact with a larger population. Millions of images and videos are being uploaded everyday by users on the web from different events and social gatherings. There is an increasing interest in designing systems capable of understanding human manifestations of emotional attributes and affective displays. As images and videos from social events generally contain multiple subjects, it is an essential step to study these groups of people. In this paper, we study the problem of happiness intensity analysis of a group of people in an image using facial expression analysis. A user perception study is conducted to understand various attributes, which affect a person’s perception of the happiness intensity of a group. We identify the challenges in developing an automatic mood analysis system and propose three models based on the attributes in the study. An ‘in the wild’ image-based database is collected. To validate the methods, both quantitative and qualitative experiments are performed and applied to the problem of shot selection, event summarisation and album creation. The experiments show that the global and local attributes defined in the paper provide useful information for theme expression analysis, with results close to human perception results. Psychological research results have confirmed that people can have different emotional reactions to different visual stimuli. Several papers have been published on the problem of visual emotion analysis. In particular, attempts have been made to analyze and predict people's emotional reaction towards images. To this end, different kinds of hand-tuned features are proposed. The results reported on several carefully selected and labeled small image data sets have confirmed the promise of such features. While the recent successes of many computer vision related tasks are due to the adoption of Convolutional Neural Networks (CNNs), visual emotion analysis has not achieved the same level of success. This may be primarily due to the unavailability of confidently labeled and relatively large image data sets for visual emotion analysis. In this work, we introduce a new data set, which started from 3+ million weakly labeled images of different emotions and ended up 30 times as large as the current largest publicly available visual emotion data set. We hope that this data set encourages further research on visual emotion analysis. We also perform extensive benchmarking analyses on this large data set using the state of the art methods including CNNs. Psychological research results have confirmed that people can have different emotional reactions to different visual stimuli. Several papers have been published on the problem of visual emotion analysis. In particular, attempts have been made to analyze and predict people's emotional reaction towards images. To this end, different kinds of hand-tuned features are proposed. The results reported on several carefully selected and labeled small image data sets have confirmed the promise of such features. While the recent successes of many computer vision related tasks are due to the adoption of Convolutional Neural Networks (CNNs), visual emotion analysis has not achieved the same level of success. This may be primarily due to the unavailability of confidently labeled and relatively large image data sets for visual emotion analysis. In this work, we introduce a new data set, which started from 3+ million weakly labeled images of different emotions and ended up 30 times as large as the current largest publicly available visual emotion data set. We hope that this data set encourages further research on visual emotion analysis. We also perform extensive benchmarking analyses on this large data set using the state of the art methods including CNNs. A number of psychophysical studies concerning the detection, localization and recognition of objects in the visual field have suggested a two-stage theory of human visual perception. The first stage is the “preattentive” mode, in which simple features are processed rapidly and in parallel over the entire visual field. In the second, “attentive” mode, a specialized processing focus, usually called the focus of attention, is directed to particular locations in the visual field. The analysis of complex forms and the recognition of objects are associated with this second stage.1 The computational justification for such a hypothesis comes from the realization that while it is possible to imagine specific algorithms performing tasks such as shape analysis and recognition at specific locations, it is difficult to imagine these algorithms operating in parallel over the whole visual scene, since such an approach will quickly lead to a combinatorial explosion in terms of required computational resources.2 This is essentially the major critique of Minsky and Papert to a universal application of perceptrons in visual perception.3 Taken together, these empirical and theoretical studies suggest that beyond a certain preprocessing stage, the analysis of visual information proceeds in a sequence of operations, each one applied to a selected location (or locations). Research in face perception and emotion theory requires very large annotated databases of images of facial expressions of emotion. Annotations should include Action Units (AUs) and their intensities as well as emotion category. This goal cannot be readily achieved manually. Herein, we present a novel computer vision algorithm to annotate a large database of one million images of facial expressions of emotion in the wild (i.e., face images downloaded from the Internet). First, we show that this newly proposed algorithm can recognize AUs and their intensities reliably across databases. To our knowledge, this is the first published algorithm to achieve highly-accurate results in the recognition of AUs and their intensities across multiple databases. Our algorithm also runs in real-time (>30 images second), allowing it to work with large numbers of images and video sequences. Second, we use WordNet to download 1,000,000 images of facial expressions with associated emotion keywords from the Internet. These images are then automatically annotated with AUs, AU intensities and emotion categories by our algorithm. The result is a highly useful database that can be readily queried using semantic descriptions for applications in computer vision, affective computing, social and cognitive psychology and neuroscience, e.g., "show me all the images with happy faces" or "all images with AU 1 at intensity c." In this paper we propose a novel aesthetic model emphasizing psycho-visual statistics extracted from multiple levels in contrast to earlier approaches that rely only on descriptors suited for image recognition or based on photographic principles. At the lowest level, we determine dark-channel, sharpness and eye-sensitivity statistics over rectangular cells within a frame. At the next level, we extract Sentibank features (1,200 pre-trained visual classifiers) on a given frame, that invoke specific sentiments such as "colorful clouds", "smiling face" etc. and collect the classifier responses as frame-level statistics. At the topmost level, we extract trajectories from video shots. Using viewer's fixation priors, the trajectories are labeled as foreground, and background camera on which statistics are computed. Additionally, spatio-temporal local binary patterns are computed that capture texture variations in a given shot. Classifiers are trained on individual feature representations independently. On thorough evaluation of 9 different types of features, we select the best features from each level -- dark channel, affect and camera motion statistics. Next, corresponding classifier scores are integrated in a sophisticated low-rank fusion framework to improve the final prediction scores. Our approach demonstrates strong correlation with human prediction on 1,000 broadcast quality videos released by NHK as an aesthetic evaluation dataset. This paper presents the techniques employed in our team's submissions to the 2016 Emotion Recognition in the Wild contest, for the sub-challenge of group-level emotion recognition. The objective of this sub-challenge is to estimate the happiness intensity of groups of people in consumer photos. We follow a predominately bottom-up approach, in which the individual happiness level of each face is estimated separately. The proposed technique is based on geometric features derived from 49 facial points. These features are used to train a model on a subset of the HAPPEI dataset, balanced across expression and headpose, using Partial Least Squares regression. The trained model exhibits competitive performance for a range of non-frontal poses, while at the same time offering a semantic interpretation of the facial distances that may contribute positively or negatively to group-level happiness. Various techniques are explored in combining these estimations in order to perform group-level prediction, including the distribution of expressions, significance of a face relative to the whole group, and mean estimation. Our best submission achieves an RMSE of 0.8316 on the competition test set, which compares favorably to the RMSE of 1.30 of the baseline. In this tutorial, we define and discuss key aspects of the problem of computational inference of aesthetics and emotion from images. We begin with a background discussion on philosophy, photography, paintings, visual arts, and psychology. This is followed by introduction of a set of key computational problems that the research community has been striving to solve and the computational framework required for solving them. We also describe data sets available for performing assessment and outline several real-world applications where research in this domain can be employed. A significant number of papers that have attempted to solve problems in aesthetics and emotion inference are surveyed in this tutorial. We also discuss future directions that researchers can pursue and make a strong case for seriously attempting to solve problems in this research domain. Human beings often assess the aesthetic quality of an image coupled with the identification of the image’s semantic content. This paper addresses the correlation issue between automatic aesthetic quality assessment and semantic recognition. We cast the assessment problem as the main task among a multi-task deep model, and argue that semantic recognition task offers the key to address this problem. Based on convolutional neural networks, we employ a single and simple multi-task framework to efficiently utilize the supervision of aesthetic and semantic labels. A correlation item between these two tasks is further introduced to the framework by incorporating the inter-task relationship learning. This item not only provides some useful insight about the correlation but also improves assessment accuracy of the aesthetic task. In particular, an effective strategy is developed to keep a balance between the two tasks, which facilitates to optimize the parameters of the framework. Extensive experiments on the challenging Aesthetic Visual Analysis dataset and Photo.net dataset validate the importance of semantic recognition in aesthetic quality assessment, and demonstrate that multitask deep models can discover an effective aesthetic representation to achieve the state-of-the-art results. In this paper we study the connection between sentiment of images expressed in metadata and their visual content in the social photo sharing environment Flickr. To this end, we consider the bag-of-visual words representation as well as the color distribution of images, and make use of the SentiWordNet thesaurus to extract numerical values for their sentiment from accompanying textual metadata. We then perform a discriminative feature analysis based on information theoretic methods, and apply machine learning techniques to predict the sentiment of images. Our large-scale empirical study on a set of over half a million Flickr images shows a considerable correlation between sentiment and visual features, and promising results towards estimating the polarity of sentiment in images. This paper explores two new aspects of photos and human emotions. First, we show through psychovisual studies that different people have different emotional reactions to the same image, which is a strong and novel departure from previous work that only records and predicts a single dominant emotion for each image. Our studies also show that the same person may have multiple emotional reactions to one image. Predicting emotions in “distributions” instead of a single dominant emotion is important for many applications. Second, we show not only that we can often change the evoked emotion of an image by adjusting color tone and texture related features but also that we can choose in which “emotional direction” this change occurs by selecting a target image. In addition, we present a new database, Emotion6, containing distributions of emotions. ABSTRACT How is visual information linked to aesthetic experience, and what factors determine whether an individual finds a particular visual experience pleasing? We have previously shown that individuals aesthetic responses are not determined by objective image features but are instead a function of internal, subjective factors that are shaped by a viewers personal experience. Ye t for many classes of stimuli, culturally shared semantic associations give rise to similar aesthetic taste across people. In this paper, we investigated factors that govern whether a set of observers will agree in which images are preferred, or will instead exhibit more per sonalized aesthetic preferences. In a series of experiments, observers were asked to make aesthetic judgments for different categories of visual stimuli that are commonly evaluated in an aesthetic manner (faces, natural landscapes, architecture or artwork). By measuring agreement across observers, this method was able to reveal instances of highly individualistic preferences. We found that observers showed high agreement on their preferences for images of faces and landscapes, but much lower agreement for images of artwork and architecture. In addition, we found higher agreement for he terosexual males making judgments of beautiful female faces than of beautiful male faces. These results suggest that preferences for stimulus categories that carry evolutionary significance (landscapes and faces) come to rely on similar information across individuals, whereas preferences for artifacts of human culture such as architecture and artwork, which have fewer basic-level category distinctions and reduced behavioral relevance, rely on a more personalized set of attributes. Keywords: Aesthetics, individual differences, visual preference, artwork, landscapes, faces, architecture Recognition of emotions in user-generated videos has attracted increasing research attention. Most existing approaches are based on spatial features extracted from video frames. However, due to the broad affective gap between spatial features of images and high-level emotions, the performance of existing approaches is restricted. To bridge the affective gap, we propose recognizing emotions in user-generated videos with kernelized features. We reformulate the equation of the discrete Fourier transform as a linear kernel function and construct a polynomial kernel function based on the linear kernel. The polynomial kernel is applied to spatial features of video frames to generate kernelized features. Compared with spatial features, kernelized features show superior discriminative capability. Moreover, we are the first to apply the sparse representation method to reduce the impact of noise contained in videos; this method helps contribute to performance improvement. Extensive experiments are conducted on two challenging benchmark datasets, that is, VideoEmotion-8 and Ekman-6. The experimental results demonstrate that the proposed method achieves state-of-the-art performance. Visual sentiment analysis is getting increasing attention because of the rapidly growing amount of images in online social interactions and several emerging applications such as online propaganda and advertisement. Recent studies have shown promising progress in analyzing visual affect concepts intended by the media content publisher. In contrast, this paper focuses on predicting what viewer affect concepts will be triggered when the image is perceived by the viewers. For example, given an image tagged with "yummy food," the viewers are likely to comment "delicious" and "hungry," which we refer to as viewer affect concepts (VAC) in this paper. To the best of our knowledge, this is the first work explicitly distinguishing intended publisher affect concepts and induced viewer affect concepts associated with social visual content, and aiming at understanding their correlations. We present around 400 VACs automatically mined from million-scale real user comments associated with images in social media. Furthermore, we propose an automatic visual based approach to predict VACs by first detecting publisher affect concepts in image content and then applying statistical correlations between such publisher affect concepts and the VACs. We demonstrate major benefits of the proposed methods in several real-world tasks - recommending images to invoke certain target VACs among viewers, increasing the accuracy of predicting VACs by 20.1 and finally developing a social assistant tool that may suggest plausible, content-specific and desirable comments when users view new images. With the ever-expanding volume of visual content available, the ability to organize and navigate such content by aesthetic preference is becoming increasingly important. While still in its nascent stage, research into computational models of aesthetic preference already shows great potential. However, to advance research, realistic, diverse and challenging databases are needed. To this end, we introduce a new large-scale database for conducting Aesthetic Visual Analysis: AVA. It contains over 250,000 images along with a rich variety of meta-data including a large number of aesthetic scores for each image, semantic labels for over 60 categories as well as labels related to photographic style. We show the advantages of AVA with respect to existing databases in terms of scale, diversity, and heterogeneity of annotations. We then describe several key insights into aesthetic preference afforded by AVA. Finally, we demonstrate, through three applications, how the large scale of AVA can be leveraged to improve performance on existing preference tasks. User-generated video collections are expanding rapidly in recent years, and systems for automatic analysis of these collections are in high demands. While extensive research efforts have been devoted to recognizing semantics like "birthday party" and "skiing", little attempts have been made to understand the emotions carried by the videos, e.g., "joy" and "sadness". In this paper, we propose a comprehensive computational framework for predicting emotions in user-generated videos. We first introduce a rigorously designed dataset collected from popular video-sharing websites with manual annotations, which can serve as a valuable benchmark for future research. A large set of features are extracted from this dataset, ranging from popular low-level visual descriptors, audio features, to high-level semantic attributes. Results of a comprehensive set of experiments indicate that combining multiple types of features--such as the joint use of the audio and visual clues--is important, and attribute features such as those containing sentiment-level semantics are very effective. The ability to rank the images based on their appearance finds many real-world applications, such as image retrieval or image album creation. Despite the recent dominance of deep learning methods in computer vision which often result in superior performance, they are not always the methods of choice because they lack interpretability. In this paper, we investigate the possibility of improving the image aesthetic inference of the convolutional neural networks with hand-designed features that rely on domain expertise in various fields. We perform a comparison of hand-crafted feature sets in their ability to predict fine-grained aesthetics scores on two image aesthetics data sets. We observe that even feature sets published earlier are able to compete with more recently published algorithms and, by combining the algorithms, a significant improvement in predicting image aesthetics is possible. By using a tree-based learner, we perform the feature elimination to understand the best performing features overall and across different image categories. Only roughly 15 and 8 of the features are needed to achieve full performance in predicting a fine-grained aesthetic score and binary classification, respectively. By combining the hand-crafted features with metafeatures that predict the quality of an image based on convolutional neural network features, the model performs better than a baseline VGG16 model. One can, however, achieve more significant improvement in both aesthetics score prediction and binary classification by fusing the hand-crafted features and the penultimate layer activations. Our experiments indicate an improvement up to 2.2 achieving current state-of-the-art binary classification accuracy on the aesthetic visual analysis data set when the hand-designed features are fused with activations from VGG16 and ResNet50 networks. We address the challenge of sentiment analysis from visual content. In contrast to existing methods which infer sentiment or emotion directly from visual low-level features, we propose a novel approach based on understanding of the visual concepts that are strongly related to sentiments. Our key contribution is two-fold: first, we present a method built upon psychological theories and web mining to automatically construct a large-scale Visual Sentiment Ontology (VSO) consisting of more than 3,000 Adjective Noun Pairs (ANP). Second, we propose SentiBank, a novel visual concept detector library that can be used to detect the presence of 1,200 ANPs in an image. The VSO and SentiBank are distinct from existing work and will open a gate towards various applications enabled by automatic sentiment analysis. Experiments on detecting sentiment of image tweets demonstrate significant improvement in detection accuracy when comparing the proposed SentiBank based predictors with the text-based approaches. The effort also leads to a large publicly available resource consisting of a visual sentiment ontology, a large detector library, and the training testing benchmark for visual sentiment analysis.