The cross-depiction problem refers to the task of recognising visual objects regardless of their depictions; whether photographed, painted, sketched, etc . In the past, some researchers considered cross-depiction to be domain adaptation (DA). More recent work considers cross-depiction as domain generalisation (DG), in which algorithms extend recognition from one set of domains (such as photographs and coloured artwork) to another (such as sketches). We show that fixing the last layer of AlexNet to random values provides a performance comparable to state of the art DA and DG algorithms, when tested over the PACS benchmark. With support from background literature, our results lead us to conclude that texture alone is insufficient to support generalisation; rather, higher-order representations such as structure and shape are necessary.
Datasets exhibit bias, which can be problematic. In photographic image recognition, bias for particular camera settings and other attributes can prevent models generalising well @cite_12 . This motivated the collection of the multi-domain VLCS dataset: an aggregation of photos from Caltech, LabelMe, Pascal VOC 2007 and SUN09 @cite_12 . Until recently, domain adaptation and generalisation in image recognition focused on transfer across photo-only benchmarks. Now, more datasets are available that cover larger domains shift across more varying depictive styles @cite_15 @cite_31 @cite_13 and better reflect the cross-depiction problem. We make use of the PACS dataset provided by Li al @cite_31 . As a domain generalisation benchmark, where one domain is an unseen target domain, PACS is a far more challenging task than photographic benchmarks. Li al @cite_31 measured an average KL-divergence @cite_14 of 0.85 between training and test domains across PACS, compared to 0.07 across VLCS.
@cite_31 @cite_14 @cite_15 @cite_13 @cite_12
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The problem of domain generalization is to learn from multiple training domains, and extract a domain-agnostic model that can then be applied to an unseen domain. Domain generalization (DG) has a clear motivation in contexts where there are target domains with distinct characteristics, yet sparse data for training. For example recognition in sketch images, which are distinctly more abstract and rarer than photos. Nevertheless, DG methods have primarily been evaluated on photo-only benchmarks focusing on alleviating the dataset bias where both problems of domain distinctiveness and data sparsity can be minimal. We argue that these benchmarks are overly straightforward, and show that simple deep learning baselines perform surprisingly well on them. In this paper, we make two main contributions: Firstly, we build upon the favorable domain shift-robust properties of deep learning methods, and develop a low-rank parameterized CNN model for end-to-end DG learning. Secondly, we develop a DG benchmark dataset covering photo, sketch, cartoon and painting domains. This is both more practically relevant, and harder (bigger domain shift) than existing benchmarks. The results show that our method outperforms existing DG alternatives, and our dataset provides a more significant DG challenge to drive future research. Visual object classification and detection are major problems in contemporary computer vision. State-of-art algorithms allow thousands of visual objects to be learned and recognized, under a wide range of variations including lighting changes, occlusion, point of view and different object instances. Only a small fraction of the literature addresses the problem of variation in depictive styles (photographs, drawings, paintings etc.). This is a challenging gap but the ability to process images of all depictive styles and not just photographs has potential value across many applications. In this paper we model visual classes using a graph with multiple labels on each node; weights on arcs and nodes indicate relative importance (salience) to the object description. Visual class models can be learned from examples from a database that contains photographs, drawings, paintings etc. Experiments show that our representation is able to improve upon Deformable Part Models for detection and Bag of Words models for classification. Computer vision systems are designed to work well within the context of everyday photography. However, artists often render the world around them in ways that do not resemble photographs. Artwork produced by people is not constrained to mimic the physical world, making it more challenging for machines to recognize.,,This work is a step toward teaching machines how to categorize images in ways that are valuable to humans. First, we collect a large-scale dataset of contemporary artwork from Behance, a website containing millions of portfolios from professional and commercial artists. We annotate Behance imagery with rich attribute labels for content, emotions, and artistic media. Furthermore, we carry out baseline experiments to show the value of this dataset for artistic style prediction, for improving the generality of existing object classifiers, and for the study of visual domain adaptation. We believe our Behance Artistic Media dataset will be a good starting point for researchers wishing to study artistic imagery and relevant problems. This dataset can be found at https: bam-dataset.org Datasets are an integral part of contemporary object recognition research. They have been the chief reason for the considerable progress in the field, not just as source of large amounts of training data, but also as means of measuring and comparing performance of competing algorithms. At the same time, datasets have often been blamed for narrowing the focus of object recognition research, reducing it to a single benchmark performance number. Indeed, some datasets, that started out as data capture efforts aimed at representing the visual world, have become closed worlds unto themselves (e.g. the Corel world, the Caltech-101 world, the PASCAL VOC world). With the focus on beating the latest benchmark numbers on the latest dataset, have we perhaps lost sight of the original purpose? The goal of this paper is to take stock of the current state of recognition datasets. We present a comparison study using a set of popular datasets, evaluated based on a number of criteria including: relative data bias, cross-dataset generalization, effects of closed-world assumption, and sample value. The experimental results, some rather surprising, suggest directions that can improve dataset collection as well as algorithm evaluation protocols. But more broadly, the hope is to stimulate discussion in the community regarding this very important, but largely neglected issue.