Image aesthetics assessment has been challenging due to its subjective nature. Inspired by the scientific advances in the human visual perception and neuroaesthetics, we design Brain-Inspired Deep Networks (BDN) for this task. BDN first learns attributes through the parallel supervised pathways, on a variety of selected feature dimensions. A high-level synthesis network is trained to associate and transform those attributes into the overall aesthetics rating. We then extend BDN to predicting the distribution of human ratings, since aesthetics ratings are often subjective. Another highlight is our first-of-its-kind study of label-preserving transformations in the context of aesthetics assessment, which leads to an effective data augmentation approach. Experimental results on the AVA dataset show that our biological inspired and task-specific BDN model gains significantly performance improvement, compared to other state-of-the-art models with the same or higher parameter capacity.
The human brain transforms and synthesizes a torrent of complex and ambiguous sensory information into coherent thought and decisions. Most aesthetic assessment methods adopt simple linear classifiers to categorize the input features, which is obviously oversimplified. Deep networks @cite_4 attempt to emulate the underlying complex neural mechanisms of human perception, and display the ability to describe image content from the primitive level (low-level features) to the abstract level (high-level features). They are composed of multiple non-linear transformations to yield more abstract and descriptive embedding representations. The RAPID model @cite_35 is among the first to apply deep convolutional neural networks (CNN) @cite_26 to the aesthetics rating prediction, where the features are automatically learned. They further improved the model by exploring style annotations @cite_3 associated with images. In fact, even the hidden activations from a generic CNN proved to work reasonably well for aesthetics features @cite_27 .
@cite_35 @cite_26 @cite_4 @cite_3 @cite_27
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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. Recent studies suggest that deep Convolutional Neural Network (CNN) models show higher representational similarity, compared to any other existing object recognition models, with macaque inferior temporal (IT) cortical responses, human ventral stream fMRI activations and human object recognition. These studies employed natural images of objects. A long research tradition employed abstract shapes to probe the selectivity of IT neurons. If CNN models provide a realistic model of IT responses, then they should capture the IT selectivity for such shapes. Here, we compare the activations of CNN units to a stimulus set of 2D regular and irregular shapes with the response selectivity of macaque IT neurons and with human similarity judgements. The shape set consisted of regular shapes that differed in nonaccidental properties, and irregular, asymmetrical shapes with curved or straight boundaries. We found that deep CNNs (Alexnet, VGG-16 and VGG-19) that were trained to classify natural images show response modulations to these shapes that were similar to those of IT neurons. Untrained CNNs with the same architecture than trained CNNs, but with random weights, demonstrated a poorer similarity than CNNs trained in classification. The difference between the trained and untrained CNNs emerged at the deep convolutional layers, where the similarity between the shape-related response modulations of IT neurons and the trained CNNs was high. Unlike IT neurons, human similarity judgements of the same shapes correlated best with the last layers of the trained CNNs. In particular, these deepest layers showed an enhanced sensitivity for straight versus curved irregular shapes, similar to that shown in human shape judgments. In conclusion, the representations of abstract shape similarity are highly comparable between macaque IT neurons and deep convolutional layers of CNNs that were trained to classify natural images, while human shape similarity judgments correlate better with the deepest layers. Convolutional Neural Networks (CNNs) are commonly thought to recognise objects by learning increasingly complex representations of object shapes. Some recent studies suggest a more important role of image textures. We here put these conflicting hypotheses to a quantitative test by evaluating CNNs and human observers on images with a texture-shape cue conflict. We show that ImageNet-trained CNNs are strongly biased towards recognising textures rather than shapes, which is in stark contrast to human behavioural evidence and reveals fundamentally different classification strategies. We then demonstrate that the same standard architecture (ResNet-50) that learns a texture-based representation on ImageNet is able to learn a shape-based representation instead when trained on "Stylized-ImageNet", a stylized version of ImageNet. This provides a much better fit for human behavioural performance in our well-controlled psychophysical lab setting (nine experiments totalling 48,560 psychophysical trials across 97 observers) and comes with a number of unexpected emergent benefits such as improved object detection performance and previously unseen robustness towards a wide range of image distortions, highlighting advantages of a shape-based representation. Analysis-by-synthesis has been a successful approach for many tasks in computer vision, such as 6D pose estimation of an object in an RGB-D image which is the topic of this work. The idea is to compare the observation with the output of a forward process, such as a rendered image of the object of interest in a particular pose. Due to occlusion or complicated sensor noise, it can be difficult to perform this comparison in a meaningful way. We propose an approach that "learns to compare", while taking these difficulties into account. This is done by describing the posterior density of a particular object pose with a convolutional neural network (CNN) that compares an observed and rendered image. The network is trained with the maximum likelihood paradigm. We observe empirically that the CNN does not specialize to the geometry or appearance of specific objects, and it can be used with objects of vastly different shapes and appearances, and in different backgrounds. Compared to state-of-the-art, we demonstrate a significant improvement on two different datasets which include a total of eleven objects, cluttered background, and heavy occlusion.