We propose a new approach to designing visual markers (analogous to QR-codes, markers for augmented reality, and robotic fiducial tags) based on the advances in deep generative networks. In our approach, the markers are obtained as color images synthesized by a deep network from input bit strings, whereas another deep network is trained to recover the bit strings back from the photos of these markers. The two networks are trained simultaneously in a joint backpropagation process that takes characteristic photometric and geometric distortions associated with marker fabrication and marker scanning into account. Additionally, a stylization loss based on statistics of activations in a pretrained classification network can be inserted into the learning in order to shift the marker appearance towards some texture prototype. In the experiments, we demonstrate that the markers obtained using our approach are capable of retaining bit strings that are long enough to be practical. The ability to automatically adapt markers according to the usage scenario and the desired capacity as well as the ability to combine information encoding with artistic stylization are the unique properties of our approach. As a byproduct, our approach provides an insight on the structure of patterns that are most suitable for recognition by ConvNets and on their ability to distinguish composite patterns.
Image representations, from SIFT and Bag of Visual Words to Convolutional Neural Networks (CNNs), are a crucial component of almost any image understanding system. Nevertheless, our understanding of them remains limited. In this paper we conduct a direct analysis of the visual information contained in representations by asking the following question: given an encoding of an image, to which extent is it possible to reconstruct the image itself? To answer this question we contribute a general framework to invert representations. We show that this method can invert representations such as HOG and SIFT more accurately than recent alternatives while being applicable to CNNs too. We then use this technique to study the inverse of recent state-of-the-art CNN image representations for the first time. Among our findings, we show that several layers in CNNs retain photographically accurate information about the image, with different degrees of geometric and photometric invariance. Large Convolutional Network models have recently demonstrated impressive classification performance on the ImageNet benchmark [18]. However there is no clear understanding of why they perform so well, or how they might be improved. In this paper we explore both issues. We introduce a novel visualization technique that gives insight into the function of intermediate feature layers and the operation of the classifier. Used in a diagnostic role, these visualizations allow us to find model architectures that outperform on the ImageNet classification benchmark. We also perform an ablation study to discover the performance contribution from different model layers. We show our ImageNet model generalizes well to other datasets: when the softmax classifier is retrained, it convincingly beats the current state-of-the-art results on Caltech-101 and Caltech-256 datasets.  This paper addresses the visualisation of image classification models, learnt using deep Convolutional Networks (ConvNets). We consider two visualisation techniques, based on computing the gradient of the class score with respect to the input image. The first one generates an image, which maximises the class score [5], thus visualising the notion of the class, captured by a ConvNet. The second technique computes a class saliency map, specific to a given image and class. We show that such maps can be employed for weakly supervised object segmentation using classification ConvNets. Finally, we establish the connection between the gradient-based ConvNet visualisation methods and deconvolutional networks [13].