Organizations: 1Iowa State University · 2Independent Researcher · University of Dhaka
Abstract
Asked to animate the same modern artwork under different random seeds, a text to video model returns visibly different films, one reading per seed. Because modern art is ambiguous by intent, this disagreement is signal, not noise. Yet prevailing uncertainty quantification (UQ) collapses a set of generations to a dispersion scalar that says how much the seeds differ but not how: it cannot tell a compact interpretation from a dominant reading plus an outlier, two competing modes, or diffuse instability, nor whether the set still contains a rendering faithful to the original. We present the first study of the structure of generative uncertainty for modern art animation, and a reusable protocol for identifying source blind multiseed uncertainty: a suite of seven source blind and six reference aware estimators; a distributional profile (robust spread, outlier influence, explicit topology, multimodality, anisotropy, leave one seed influence, reference coverage); a distribution model ablation (vMF, Kent, ACG, Student t, kernel, mixture); eight identification questions; and an artwork level statistical protocol. We build the first corpus: 250 modern artwork captions rendered by Wan2.1 14B under four seeds (1000 videos) across 4 encoders, artworks withheld from generation. As a diagnostic the protocol succeeds: it classifies seed set topology at balanced accuracy 0.98 (chance 0.25), isolates the outlier configuration at AUROC 1.00 where a scalar reaches only 0.35, and splits high uncertainty artworks into reference covering (n=97) and reference missing (n=56) diversity, reliably from three seeds and across encoders.
Generative text-to-image models are typically trained on large-scale web-scraped datasets that include diverse visual content such as copyrighted and stylistically distinctive artworks, raising concerns about ownership, attribution, and the unintended reuse of protected visual expressions. A key issue is that models can learn stylistic patterns from this data and reproduce them in generated outputs without any explicit reference in the prompt. We refer to this phenomenon as The Silent Brush, where such learned styles reappear even when they are not requested. Existing evaluation methods mainly focus on near-duplicate retrieval or membership inference and do not account for this form of unintended stylistic resurfacing across prompts. To address these gaps, we first formulate guiding principles for evaluation of The Silent Brush. We then introduce Art Arena, an evaluation protocol that measures how strongly artworks are encoded, how they interact, and how frequently their stylistic traits reappear in generated outputs without explicit mention in prompts. We evaluate Art Arena on widely used text-to-image diffusion models, including Stable Diffusion v1.5, Stable Diffusion XL (SDXL), and SANA-1.5, and design it to generalize across text-to-image generative systems. Our results show that The Silent Brush arises from differences in representational strength and interaction dynamics between artworks, leading to asymmetric blending in model generations. Code and evaluation resources are available at: https://anonymous.4open.science/r/ArtArena-EBE4.
The aim of this paper is twofold. First, it investigates whether newer generative models are getting better at pastiching contemporary artworks. Second, it explores the consistency of the multidimensional nature of stylistic evaluation across different LLMs. Building on previous work, we analyze stylistic similarity between AI generated pastiches and the original artworks of twelve contemporary artists. We used five complementary computer vision models to capture texture, color, semantics, composition, and perceptual features through cosine distance in high-dimensional embedding spaces. The distances obtained show that the newer image generation model that we used has produced pastiches with improved semantic alignment and greater diversity than the model used in previous work. However, it was slightly less performant on shallow features such as color, texture, and perceptual adherence. Our findings confirm that artistic style is inherently multidimensional, and measuring it does not depend on any spatial architecture. These quantitative findings are contextualized through feedback from human evaluators, which are the artists themselves.
Anca Dinu, Andreiana Mihail, Andra-Maria Florescu +2
Few-step distillation improves the efficiency of autoregressive (AR) video generation, but often causes diversity collapse: under the same prompt, different noise samples tend to produce highly similar videos with weakened motion dynamics. We analyze this degradation in Distribution Matching Distillation (DMD)-distilled AR video generators and find that, in the autoregressive setting, it takes the form of a structured uncertainty collapse: the mode-seeking bias of DMD maps different noise samples to nearly identical first chunks, and the deterministic AR cache then propagates this collapsed state to all subsequent chunks, turning a local loss of stochasticity at the rollout root into a global suppression of temporal variation. Based on this analysis, we propose Uncertainty DMD, a simple uncertainty-injection framework that restores stochasticity at two key stages of AR generation: a timestep perturbation for the first chunk to increase first-chunk diversity, and a stochastic cache-writing mechanism for later chunks to preserve uncertainty in autoregressive conditioning. The method requires no architectural changes and introduces only lightweight perturbation operations. The same perturbation mechanisms are used during both training and inference. Experiments show that Uncertainty DMD consistently improves diversity and motion dynamics while maintaining comparable per-sample visual quality.