Aesthetics

Vision-language models (VLMs) are deployed as zero-shot judges of image aesthetics, and panels of several models are recommended, on thin evidence, as the way to make such judges reliable. On two human-rated datasets, EVA and PARA, we find that a panel of holistic judges never significantly beats its best member, whether the verdicts are averaged or fused by a learned combiner. What a panel is worth depends on what it is fed. We therefore have each model score each image on the five dimensions of a frozen, human-written rubric and fuse those scores, alongside each model's verdict, across model families with an out-of-fold combiner. The dimension scores measure what their labels claim: with the overall human score partialled out, a dimension prompt carries more attribute-specific information than the holistic prompt in 28 of 30 model-attribute cells. Fused, they beat the best single VLM in all ten three-family panels on EVA (against that best single model, +0.07 Spearman rho for the strongest trio and +0.10 for the pre-declared one, and +0.06 and +0.07 when averaged over twenty fold partitions; against the panel mean, the primary test gives +0.118 on its EVA design set), and on PARA they reach parity under Spearman rho and a small, non-significant loss under Kendall tau-b, where one model already captures 85% of the human noise ceiling. It is not a feature-count artefact: giving the same combiner an equal number of pure holistic columns, split from the same repetitions, does not reproduce it. The gain costs a few hundred labels, which do not transfer between datasets, and 4.8x the API calls on EVA; we report it with paired bootstraps and Kendall tau-b, alongside a failed pre-registration and the configurations that lost.

This paper investigates the generation and human evaluation of Japanese haiku by contemporary Large Language Models (LLMs), focusing on authorship perception and aesthetic judgment within a constrained poetic form. Using a few-shot prompting strategy, Japanese haiku were generated across a heterogeneous set of large language models, including open- and closed-source systems, medium-scale and large-scale architectures, models with native or adapted Japanese support, and multilingual proprietary models. These AI-generated haiku were combined with human-written ones and presented in a questionnaire distributed to students at Japanese universities in Tokyo. The survey assessed whether respondents could distinguish between AI-generated and human-written haiku and which cues informed their judgments. Recognition accuracy varied across models. GPT-5, Gemini 2.5, and StableLM-7B performed at approximately chance level (approx 0.50), whereas LLM-JP, Gemma-2B, and LLaMA-2 showed moderate detectability (approx 0.59-0.67). However, recognition was strongly item-dependent. Ratings of fluency, coherence, poeticness, and related aesthetic dimensions predicted perceived humanness but not correct classification, indicating an attribution bias linked to aesthetic evaluation and revealing a dissociation between aesthetic evaluation and true authorship detection. The extended analysis additionally examines generation-constraint adherence, participant-level characteristics, and exploratory LLM-based evaluations of haiku authorship. Overall, the findings suggest that as LLMs improve, surface-level creative plausibility may reduce reliable human discrimination within constrained poetic settings.

Augmenting instruments with sensors and neural network mappings is a well-explored digital musical instrument design approach. While augmentations can create new expressive opportunities, they also exert aesthetic influence and can constrain musicians' gestural language, which, if left unchecked, can lead to technological capture. To examine this, we conducted a study with a professional percussionist, co-developing a gesture mapping toolkit and recording a ten-track album. Drawing on the concept of productive dissonance, our study aimed to hold the musician's aesthetic in tension with technological constraints. This, along with a practice-based reflective approach, supported the development of a continuous gesture recognition method for percussive mapping and surfaced insights into the design process. We identify knowing-when as a form of tacit knowledge that supported productive dissonance, and raise an open question: absent a musician's broader social context, how do we know whether a technology's influence is genuinely supporting their practice?

While diffusion base models such as GPT-Image-2 and Nano-Banana exhibit remarkable visual expressiveness, their end-to-end generation inherently yields flattened bitmaps with error-prone text, precluding layer-wise post-editing. Conversely, code-based visual generation via Coding Agents provides precise layout control and decoupled layers, yet remains constrained by a lack of global aesthetic intuition and the difficulty of coding complex visual assets. To address this, we propose Editable Visual Design, a new paradigm driven by a Coding Agent. We designate the VLM as the creative brain'' for requirement comprehension, task planning, and aesthetic judgment, while utilizing the image generation model as an on-demand visual world simulator'' to synthesize standalone visual assets. Operating under an ``imagine first, then act'' closed-loop workflow, the agent generates isolated assets, writes native HTML/CSS, and iteratively refines the design against visual rendering feedback. Furthermore, Agent Design Replay faithfully reproduces the creative and reasoning trajectory akin to that of professional human designers. Ultimately, the system delivers editable artifacts with decoupled layers and real text, enabling users to perform intuitive mouse dragging and layout adjustments on a graphical user interface. Validations on posters, infographics, and other scenarios show that this paradigm successfully achieves both refined aesthetics and production-grade editability.

Long-form song generation models continue to improve in duration, structural integrity, and acoustic complexity, making reliable aesthetic rewards increasingly important for aligning these models with human preferences. However, reward models for complete songs remain limited, and existing evaluators typically predict scores in a single forward pass without providing readable explanations. We introduce MUSECRITIC, a semi-scalar reward model that generates a natural-language critique covering five aesthetic dimensions and uses it as an intermediate representation to predict continuous reward scores. MUSECRITIC follows a two-stage training pipeline: a teacher model first provides high-quality critiques for supervised fine-tuning, after which the fine-tuned model generates its own critiques for reward learning, mitigating distribution shift between training and inference. On an in-domain test set of 200 SongEval songs, MUSECRITIC reduces macro-averaged mean squared error from 0.2875 to 0.2316 and improves macro-averaged LCC, SRCC, and Kendall's tau to 0.9068, 0.8838, and 0.7178, respectively. On the out-of-domain Music Arena benchmark with 733 preference pairs, it achieves the highest accuracy of 71.35%. Moreover, using MUSECRITIC with GRPO improves Muse-0.6B on all nine aesthetic metrics from SongEval and Audiobox Aesthetics. These results demonstrate that critique-conditioned reward modeling reduces scoring error and provides an effective optimization signal for song generation. The project repository is available at https://github.com/WuqnEl/MuseCritic.

With rapid growth in the fields of empirical and computational aesthetics we have seen a vast increase in large image datasets annotated for aesthetics. As the image databases differ widely in many respects (e.g., different standards for annotation), it can be tedious to find the dataset that fits one's research needs best. The absence of a centralized open-science search system causes additional problems. Currently, researchers typically share dataset links in papers or on diverse platforms like OSF, GitHub or Dropbox. Manually searching for details like image quality and content often requires downloading all datasets. Therefore, we present the Database Of Datasets for Aesthetics (DODA), an intuitive Web application in which researchers can browse all important datasets for aesthetics research. DODA provides general information about these datasets (size, resolution, type of annotation, number of annotators, etc.) and for many of them also precomputed quantitative image properties. We discuss relevant criteria for selecting a suitable dataset with DODA and illustrate the benefits of reusing datasets. Our approach facilitates collaboration across the fields of empirical and computational aesthetics. Keywords: empirical aesthetics, computational aesthetics, machine learning, image annotation, quantitative image properties, Open Science

We introduce Signed Rectified Flow (Signed RF), a generalization of Rectified Flow that targets the signed measure $π^{sign} = (1+α)π^+ - απ^-$, where $α>0$, $π^+$ is the distribution to promote, and $π^-$ is the distribution to suppress. Although direct sampling from a signed measure is not well-defined, Signed RF induces a valid generative process that concentrates probability in regions where the signed measure is positive while provably excluding regions dominated by its negative component. It therefore provides a principled framework for incorporating negative information and exclusion constraints into generative modeling. We analyze the signed continuity equation underlying Signed RF and use a charged-particle interpretation to explain how negative mass forms exclusion barriers. This theory further motivates practical adaptive guidance algorithms. Across several applications, Signed RF improves the fidelity-diversity trade-off on ImageNet, reduces nearest-neighbor similarity in anti-memorization experiments, and reduces nudity induced by adversarial prompts in Stable Diffusion 3.5 while preserving CLIP and aesthetic scores.

Personalized Image Aesthetic Assessment (PIAA) aims to predict aesthetic ratings of images that vary across individuals. The aesthetic preferences manifest to different extents across distinct visual stimuli and exhibit cohort-specific patterns. Motivated by the above fact, this paper presents a Multimodal Large Language Model (MLLM)-based approach, which models individual aesthetic preferences by Preference-Rich sample mining and Aesthetically-resonant Cohort merging (PRAC). Specifically, PRAC first identifies preference-rich samples by analyzing both Collective Controversy and Personalized Deviation of images, maximizing the utility of limited user data. Based upon the preference-rich samples, cross-user preference similarities are measured by comparing preference embeddings. Then, a cohort-based model merging strategy, is proposed by aggregating preference patterns from aesthetically-resonant users, which further enhances the personalization for the target individual. Extensive experiments and comparisons on four benchmark PIAA databases demonstrate the superiority of the proposed PRAC model over the state-of-the-arts. The code and model will be public at https://github.com/yzc-ippl/PRAC.

Video aesthetic assessment (VAA) aims to predict how aesthetically pleasing a video is, yet remains far less explored than other visual assessment tasks. Its progress is hindered not only by the scarcity of large-scale benchmarks, but also by the intrinsic subjectivity of aesthetic judgment, which is shaped by human perception. In this paper, we revisit VAA from a psychological perspective and propose \textit{Peak-End-Net}, a lightweight and interpretable framework inspired by the \textit{peak-end rule}, which suggests that people tend to judge a temporal experience mainly according to its salient moments and the ending. Building on this intuition, we first transfer knowledge from image aesthetic assessment (IAA) to VAA by introducing a pretrained IAA head to produce frame-wise aesthetic priors, which serve as surrogate signals for identifying aesthetically salient moments and guiding \textit{peak-end rule}-based temporal aggregation. To further capture how a video evolves aesthetically over time, we design an aesthetic rhythm encoder that models temporal progression beyond isolated moments. Additionally, we refine the overall assessment through a dynamic gated fusion mechanism to improve robustness under distribution shift. Our method is built on a frozen vision transformer (ViT) and requires only a small number of trainable parameters, making it scalable and parameter-efficient. Extensive experiments on two existing VAA benchmarks, including in-domain evaluation on VADB and cross-domain testing on DIVIDE-3K, demonstrate that our approach achieves state-of-the-art performance, affirming the value of psychologically grounded modeling for VAA. Our code and models are available at https://github.com/AMAP-ML/Peak-End-Net.

Music aesthetics scoring plays a critical role in applications such as dataset curation, generative model evaluation, and reward modeling for music generation. Recent approaches rely on deep neural networks trained on human-annotated ratings, but these models may exploit spurious correlations rather than capturing perceptually meaningful aesthetics. In this work, we identify a previously underexplored failure mode in music evaluation models: genre-induced shortcut learning. Through a systematic analysis of SongEval, we show that biases in training data lead to strong correlations between genre-related features and predicted scores, causing the model to use them as a proxy for aesthetics. This results in systematic overestimation of pop music and undervaluation of high-quality samples from other genres, leading to predictions that are inconsistent with human preferences. To address this issue, we propose a training objective that jointly reweights hard samples and regularizes group-level performance, encouraging the model to learn genre-invariant representations of musicality. Experimental results demonstrate that our method reduces genre-dependent bias and improves alignment with human preferences, as reflected by gains in both cross-genre and within-genre preference alignment.

Emotion-aware artistic image generation requires an image to match the input prompt, follow the specified artistic style, and convey the target emotion. In this challenge, the main difficulty is that the visual and affective attributes available in the training data are not explicitly provided at test time. Without these attributes, the generator has to decide not only what to depict, but also how the target emotion should be expressed through color, lighting, brushwork, composition, line, and layout. This creates a control gap between the available test prompt and the fine-grained conditions needed for emotion-aware artistic generation. To bridge this gap, we propose EmoStyle, a Z-Image-based framework that converts the input prompt into a structured generation state. An LLM reasoner first predicts affective cues (valence-arousal, dominant emotion, and therapeutic-effect labels) and an aspect-ratio decision. Instead of using these predictions only as additional prompt text, we encode the affective fields into an affective condition vector and inject it into the denoising blocks through AdaLN-style modulation. This allows the inferred control variables to directly guide the generation of intermediate features. Since emotional expression is also style-dependent, we further train a dedicated LoRA adapter for each artistic style bucket and select the corresponding expert during inference, enabling the same affective cues to be rendered with bucket-specific priors for color, texture, brushwork, and composition. Finally, a lightweight VLM-guided candidate selection step ranks the generated images based on prompt alignment, style consistency, emotional expression, and visual quality. In Track 1 of the AffectiveArt Challenge 2026, our USTC_PI_LAB_TEAM submission achieved first place.

Music aesthetic assessment is a challenging yet underexplored problem, requiring models to capture fine-grained, multi-dimensional human perceptual judgments. Progress in this area has been limited by the lack of large-scale datasets with structured aesthetic annotations. We introduce MADB, a large-scale dataset and benchmark comprising 9,999 tracks annotated by 30 trained annotators. Each track is rated by around 10 annotators across 10 perceptual dimensions and one overall score, with additional textual comments for multimodal analysis. We establish a unified evaluation framework over multiple pretrained models. Results reveal substantial gaps between model predictions and human judgments, exposing key limitations of current approaches. MADB provides a new benchmark for human-aligned music understanding. Project page: https://github.com/knownree/madb

Automated fine-grained perception of calligraphy styles--a task vital to cultural heritage preservation--remains a critical challenge for Large Vision-Language Models (LVLMs), largely constrained by existing datasets that suffer from modal mixture and flattened labels. To bridge this gap, we introduce HCSU, the first comprehensive dataset tailored for fine-grained Historical Calligraphy Style Understanding. HCSU comprises 39,307 meticulously curated character images from 49 historically prominent calligraphers across 10 dynasties, systematically decoupling authentic ink manuscripts (Tie) from stone rubbings (Bei) to resolve the long-standing modal mixture problem. Moving beyond conventional flattened labels, HCSU provides hierarchical expert-written aesthetic descriptions, enabling two rigorous evaluation protocols: fine-grained style discrimination and interpretable aesthetic reasoning. Extensive evaluations reveal a persistent gap between calligraphy-related knowledge and visually grounded style perception: state-of-the-art LVLMs show non-trivial performance but remain sensitive to script-level, textual, and source-specific cues, and often struggle to ground aesthetic judgments in fine-grained brushwork evidence. Ultimately, the HCSU benchmark exposes fundamental limitations in current multimodal architectures, aiming to inspire the evolution of expert-level visual reasoning for cultural heritage preservation. The dataset is available at https://huggingface.co/datasets/Tongji209/HCSU.

The rise of customized diffusion models has fueled a boom in personalized visual content creation, but it also introduces serious risks of malicious misuse, thereby posing threats to personal privacy. Image aesthetics are strongly correlated with human perception of image quality. Motivated by this observation, we address facial privacy protection from a novel aesthetic perspective by degrading the generation quality of maliciously customized models, thus reducing facial identity leakage. Specifically, we propose a Hierarchical Anti-Aesthetics (HAA) framework that exploits aesthetic cues at multiple perceptual levels. HAA consists of two key branches: (1) Global Anti-Aesthetics, which degrades overall aesthetics and generation quality by constructing a global anti-aesthetic reward mechanism and a corresponding loss; and (2) Local Anti-Aesthetics, which disrupts facial identity by using a local anti-aesthetic reward mechanism and loss to guide adversarial perturbations toward facial regions. By integrating both branches, HAA achieves anti-aesthetic degradation from a global to a local level during customized generation. Extensive experiments show that HAA outperforms existing methods in identity removal, providing an effective tool for protecting facial privacy.

Open-ended aesthetic critique is a challenge for multimodal large language models (MLLMs): it has no single correct answer, and most aesthetic evaluation measures models against numeric scores rather than the written critiques people actually give. We ask whether MLLM critiques are close to human ones, scoring eight open-weight MLLMs from $7$B to $397$B, plus GPT-5.5, against multiple ranked human critiques for each of $1{,}227$ \texttt{r/photocritique} posts under eight prompt conditions. Reference-based similarity gives a misleading picture. In absolute terms the stricter lexical and learned metrics align only weakly with human critiques while a coarse embedding cosine reports broad topical overlap, yet requesting shorter critiques raises those scores and withholding the image barely changes them: the similarity reflects length, the post text, and a stable critiquing style more than image-specific observation. An LLM judge sharpens the question rather than settling it: in the primary condition all four judges prefer the frontier models' critiques to the human ones, but on the $7$--$8$B models they diverge wildly, from $9\%$ to $81\%$ preference on identical pairs. Asked instead how similar each pair is in substance, those judges and two human annotators agree, rating every model between $1.81$ and $2.59$ on a $1$--$5$ scale, close to ``mostly different''. Behaviorally, the models diverge in ways the scores do not surface: they cover nearly every aesthetic aspect where humans are selective and repeat themselves across critiques of one photo, even when prompted to write at human length. We argue that reference-based similarity rewards a fluent, comprehensive critique style rather than the selectivity and specificity of human critique.

Visibility in underwater environments degrades rapidly under turbid conditions, yet the effects on computer-vision models remain unclear. This issue is compounded by reliance on synthetic turbidity datasets, which may misrepresent real-world information loss. To address this gap, we introduce the Turbid Underwater Baseline (TUB) dataset, comprising 1,320 images captured under extreme turbidity and over 16,000 high-confidence ground-truth segmentation masks. We additionally propose PCD, a metric derived from phase congruency maps that is invariant to contrast and aims to capture the loss of structural information in real turbidity. We show that PCD correlates strongly with the performance of instance segmentation models on both real and synthetic turbid images, whereas common metrics in the field show weak to no correlation at all. The dataset and relevant code can be found on the project page: https://vap.aau.dk/pcd

This paper investigates the creative process of automated design and artistic evaluation using an evolutionary system. We consider how a multimodal artificial intelligence (AI) model can communicate and guide a combined generative and evolutionary computational system. This creates a framework for the evolution of aesthetically pleasing complex 3D organic forms by integrating genetic algorithms with the visual reasoning capabilities of large-scale AI foundation models. The framework shifts the artist role from that of intensive direct selection to one of system design; transferring detailed step-by-step curation to an AI agent capable of multimodal aesthetic judgement. This framework enables the human artist/designer to rapidly traverse large areas of multi-dimensional evolutionary parameter space to find creative outcomes based on their semantic targets. Detailed audit trails of the AI's aesthetic reasoning are generated for each experiment. Interactive visualisation tools, together with AI-generated summaries and evolutionary narratives, enable deep exploration into each evolutionary experiment and providing a transparent insight into the AI-guided process.

Personalized image aesthetic assessment (PIAA) seeks to model, at the individual level, the subjective nature of aesthetic judgments toward artworks and photographs. Aesthetic preference is known to be both deeply personal and partially consistent across visual domains. Yet existing PIAA datasets and methods are largely confined to a single domain, or provide too few samples per annotator within each domain to enable personalization across domains. Consequently, the cross-domain generalization of personalized aesthetic preferences remains largely unexplored. To address this gap, we introduce XPASS-Vis, the first dataset explicitly designed for cross-domain PIAA. XPASS-Vis comprises 6,526 stimuli from three visual domains -- art, fashion, and landscape -- rated by 129 annotators, yielding 87,836 user-stimulus interactions, each annotated with an overall aesthetic score and nine aesthetic-emotion ratings. Notably, each annotator rated more than 200 stimuli per domain, providing sufficient per-domain coverage to support personalization both within and across domains. Moreover, we establish baseline models for cross-domain PIAA under unsupervised domain adaptation (UDA), where a model trained on a labeled source domain is transferred to an unlabeled target domain. A systematic evaluation of representative UDA approaches shows that the best-performing method recovers approximately 60% (Spearman's $ρ$ = .28) of the supervised upper bound under a fully unsupervised setting. This provides encouraging evidence that personalized aesthetic preferences are, to a meaningful extent, transferable across visual domains. At the same time, a substantial gap remains, highlighting the need for PIAA-specific adaptation strategies. XPASS-Vis and the accompanying baselines provide a foundation for future research on cross-domain PIAA. All datasets and code will be made publicly available upon acceptance.

Reward models guide text-to-image (T2I) systems toward outputs aligned with human preferences. However, typical reward models such as HPSv3 are trained on pre-annotated data from earlier T2I models, without accounting for quality discriminative shifts arising from evolving model capabilities and reinforcement learning (RL) iterations, limiting their broader applicability. In this work, we propose HPSv3++, a reward model framework that elevates the HPSv3 model for varying T2I model capabilities and their RL iteration changes across the full capability-iteration spectrum. Specifically, we first introduce HPDv3++, a 212K dual-dimension preference dataset annotated for text fidelity and aesthetic quality using a recent high-capability (Qwen-Image) model with human supervision. We then propose a two-stage training framework. Stage 1 employs data-aware orthogonal gradient projection to incorporate diverse aesthetic perception from HPDv3++ while preserving the original effective human preference knowledge in HPSv3. Stage 2 further leverages unlabeled data from T2I models spanning different capability levels and RL iterations, and introduces a joint capability-iterations conditioned signal for the reward model together with a standard deviation-driven unsupervised guidance mechanism, strengthening reward model across the capability-iteration spectrum. HPSv3++ achieves state-of-the-art preference prediction, outperforming HPSv3 9.8% on HPDv3, 5.5% on GenAI-Bench, while achieving 79.1%/88.1% on our proposed HPDv3++. When used for T2I RL training, it consistently improves GenEval scores across diverse T2I models, demonstrating its wide-range capabilities. The code is available at https://github.com/PlantPotatoOnMoon/HPSv3-PlusPlus.

This paper presents an overview of the inaugural PortraitCraft Challenge, held as one of the official competitions at CVPR 2026. The challenge focuses on portrait composition understanding and generation, aiming to advance AI research in portrait aesthetics analysis and controllable image synthesis. Unlike existing datasets and tasks that primarily focus on global aesthetic scoring, PortraitCraft introduces a unified evaluation framework comprising two complementary tracks. Track 1 requires models to perform structured portrait composition understanding, and Track 2 requires models to generate portrait images from structured composition descriptions under explicit compositional constraints. To support the challenge, we constructed and publicly released a large-scale portrait composition dataset consisting of approximately 50,000 curated real portrait images, providing multi-level supervision. This report describes the challenge setup, evaluation protocols, dataset composition, and final results, along with an analysis of the technical characteristics of the submitted solutions. The PortraitCraft Challenge provides a standardized and reproducible platform for research on portrait composition understanding and generation, and is expected to foster further progress in the fields of portrait aesthetics and controllable image generation.

Real-world image super-resolution (SR) is often designed with a single restoration objective, despite the current capacity of generative models to produce multiple high-quality reconstructions for the same input. In this paper, we argue that the best restoration strategy is subject to the specific restoration profile: a Faithful restoration prioritizes reference consistency, structure preservation, and hallucination suppression, whereas an Aesthetic restoration prioritizes visually pleasing and natural-looking details. We propose FoA-SR, a novel preference optimization approach to real-world SR based on profiles. To achieve this goal, FoA-SR starts with our supervised FLUX.2-based SR adapter (Flux2SR) trained with LR latent conditioning, flow matching, and image-space reconstruction losses for paired LR-to-HR image super-resolution. Following the development of the shared supervised super-resolution adapter, FoA-SR generates a shared stochastic candidate pool for each input image and ranks the same candidates using profile-specific Faithful and Aesthetic rewards to mine winner-loser pairs. These pairs are used to fine-tune separate LoRA adapters while keeping the base model frozen. Experiments on RealSR and DIV2K show that FoA-SR can steer the same SR adapter towards distinct restoration objectives: a Faithful adapter improves reference-consistent metrics while an Aesthetic adapter boosts metrics that measure perceptual quality without reference. Our candidate-pool analysis shows that Faithful and Aesthetic rewards frequently select different winners, and a Hybrid-LoRA ablation shows that collapsing both profiles into one reward yields an implicit compromise rather than explicit profile control.

Traditional Image Aesthetic Assessment (IAA) methods mainly rely on regressing absolute Mean Opinion Scores (MOS). However, such a paradigm overlooks the inherently dynamic nature of human aesthetic perception, which relies on subconscious comparison against implicit visual references. Consequently, the lack of causal reasoning regarding aesthetic differences prevents models from learning generalizable aesthetic principles, thus limiting their generalization across diverse scenarios. In this work, we rethink the IAA task and propose Relative Edit-induced Difference Aesthetic learning (RED-Aes), a novel framework that leverages controllable image editing models to simulate the human aesthetic reasoning process. Instead of fitting absolute score distributions, RED-Aes explicitly learns the visual factors that drive aesthetic changes. To support this paradigm, we construct the RED-20k dataset, which comprises editing-based image pairs, quantitative aesthetic differences, and Chain-of-Thought (CoT) reasoning. Furthermore, we introduce a three-stage training strategy guided by a relative ranking consistency reward, optimizing the model solely via relative supervision. Extensive experiments demonstrate that RED-Aes achieves state-of-the-art performance on multiple public benchmarks, exhibiting superior generalization capabilities.

Prior work on aesthetic composition typically produces a single aesthetically pleasing crop, overlooking the narrative value of composing multiple shots from one scene. In practice, multi-shot composition is critical for downstream creative workflows: commercial posters often require multiple crops with different emphases (e.g., context, subject, and emotion/product details) to present key story beats. Therefore, we propose \textbf{Triple-Shot Compositions (TSC)}, a composition task that generates a three-shot set -- establishing, medium, and close-up -- from a single human-centric image, each paired with a brief shot description to support visual narration. To learn TSC with limited expert annotations, we introduce \textbf{ShotCrop} which undergoes a three-stage training process: it first applies Chain-of-Thought supervised fine-tuning to establish basic reasoning and aesthetic shot-cropping skills, then performs semi-supervised fine-tuning with high-confidence pseudo labels to further enhance aesthetic capability, and is finally optimized with Group Relative Policy Optimization for \textbf{ShotCrop} (GRPO-S) using a composite reward tailored for it. Specifically, our pseudo-labeling strategy combines MLLM-based scoring, aesthetic assessment, and CLIP similarity to retain high-confidence training signals. In addition, we present TSC-Bench, a benchmark of 1.2k expert-annotated test cases. Notably, ShotCrop achieves an average improvement of \textbf{2.82} times over GPT-5 in shot localization accuracy.

Evolutionary systems have demonstrated remarkable results in creative domains, with recent applications in generative typography, design, and music. However, an open problem remains in designing fitness functions that effectively capture the desired aesthetics of abstract outputs. In this work, we explore two methods for evaluating the aesthetics of a population using Vision-Language Models (VLMs). The first method uses CLIP-IQA to predict an aesthetic score for each design. The second method instead pits candidates against each other, with winners determined by a VLM using a custom prompt specified by the user. The outcomes of these pairwise comparisons are then used to estimate a population ranking via the Glicko rating system. We present these methods in the context of a case study using a custom generative system and compare the resulting rankings with an artist's aesthetic ranking and those produced by other aesthetic evaluation techniques. Additionally, we document the artist's experience using these approaches to evolve designs, critically analysing the strengths and weaknesses of both methods.

Large Language Models (LLMs) are increasingly deployed in diverse cultural contexts, yet their ability to master aesthetic stylistics, i.e., the strategic use of language to evoke cultural resonance, remains underexplored. We curate C4STYLI, a benchmark of highly stylized translated movie titles and advertising slogans from Hong Kong and the Chinese Mainland, to evaluate LLMs via the lens of behavioral recognition and productive competence. Extensive evaluations show that LLMs differ from humans in stylistic recognition, and this recognition ability varies across text domains. In addition, stylistic recognition and generation performance in LLMs are not consistently aligned. To further examine whether LLMs genuinely capture stylistic information in stylistic recognition, we conduct structural ablation with logistic regression probes. We find that, in the Hong Kong setting, stylistic recognition in LLMs relies primarily on surface-level linguistic information rather than stylistic structure. This suggests limited sensitivity to Hong Kong-specific stylistic structure.

We present Paris 2.0, the first video generation model pre-trained through decentralized computation. Its training recipe builds upon Paris 1.0 (arXiv:2510.03434), the first ever open-weight Decentralized Diffusion Model (DDM), which showed that image generation can be trained without a monolithic GPU cluster. However, temporally coherent video generation had remained an open problem under decentralized training, and Paris 2.0 closes it. In low-resolution text-to-video training, against a monolithic model trained on the same data under a matched total compute budget, Paris 2.0 cuts Frechet Video Distance (FVD) from 561.04 to 279.01, a ~2.0x improvement, and lifts CLIP text-video similarity and aesthetic score.

In everyday photography, aesthetically appealing moments are often captured with structural flaws (e.g., composition, camera viewpoint, or pose) that existing retouching and portrait enhancement methods cannot fix. We formulate Aesthetic Photo Reconstruction (APR) as improving a photo's aesthetic quality via structural reconstruction while preserving subject identity and scene semantics. Although recent advances in image editing models make APR feasible, they often lack aesthetic understanding, yielding edits that are semantically plausible yet aesthetically weak. To address this, we propose AesFormer, a two-stage framework that decouples aesthetic planning from image editing. In Stage 1, an aesthetic action model (AesThinker) analyzes the input along seven progressive photographic dimensions and outputs executable editing actions; we further apply GRPO-A to encourage broad exploration over diverse action plans beyond SFT. In Stage 2, an action-conditioned editor (AesEditor) performs structural edits guided by these actions. To support APR, we build a video-based corpus-mining pipeline (VCMP) and construct AesRecon, a benchmark of 9,071 strictly aligned (poor, good) image pairs. Experiments show that AesFormer substantially improves APR performance and is competitive with Nano Banana Pro. Code is available at https://github.com/PKU-ICST-MIPL/AesFormer_ICML2026.

Text-to-image models now generate graphic design at production scale, yet their supervision still comes primarily from photo-style preference datasets with a single overall verdict per comparison. Designers evaluate designs along several distinct axes (e.g., typography, layout, color harmony) that a single preference label collapses. We release \emph{TASTE} \textit{(Typography, Aesthetics, Spatial, Tone, Etc.)}, a multi-dimensional preference dataset in which two disjoint cohorts of five professional designers each ranked outputs from four current text-to-image models across nine criteria along with per-image hallucination flags. We pair the dataset with two contributions. First, a criterion-agnostic signal-validation framework based on Kendall's $τ$, majority-vote probability, and Condorcet cycles against exact iid-uniform nulls; the analysis reveals significant but moderate designer agreement, with every TASTE criterion rejecting the random-rater null. Second, we benchmark preference models on TASTE and find that off-the-shelf VLM judges and dedicated T2I scorers fail to reach majority agreement with the designer panel, while a small MLP head trained directly on TASTE substantially narrows the gap to the single-rater ceiling, setting a baseline for future TASTE-trained preference models.

Text-to-image diffusion models often face a severe trilemma in human portrait generation: text-image alignment, photorealism, and human-perceived aesthetics inherently inhibit one another. Supervised Fine-Tuning (SFT) is an effective method for enhancing the photorealism of image generation. However, it often leads to overfitting to the training dataset, corrupts pre-trained image priors, and degrades alignment or aesthetics. To break this bottleneck, we propose a feature supervision paradigm for Multimodal Diffusion Transformers (MM-DiT). Specifically, we introduce a lightweight cross-modal alignment mechanism that implicitly extracts multi-granularity vision-aligned text representations from SigLIP 2 and applies supervision to the image branch of MM-DiT during the training stage, with zero extra inference overhead. Our method injects vision-aligned text guidance while preserving the base model's original generalization, avoiding degradation caused by SFT. Furthermore, our method directly mines implicit multi-granularity aesthetic signals from pre-trained vision foundation models to optimize human-perceived aesthetics. Extensive experiments on MM-DiTs show that our method pushes the Pareto frontier and achieves synergistic improvements across text-image alignment, photorealism, and human-perceived aesthetics.

Pairwise preferences and pointwise ratings are the two dominant annotation protocols in image aesthetic assessment (IAA), yet existing benchmarks adopt only one, leaving their complementarity unmeasured under controlled conditions. We introduce PPaint, a matched dual-protocol benchmark in which 15 domain experts, 5 per category, annotate 150 Chinese paintings under both protocols across five aesthetic dimensions, collecting 45,900 pairwise expert judgments through a locally dense preference design alongside the matched ratings. The matched design reveals complementary strengths: preferences yield more consistent ordinal rankings, while ratings anchor the absolute score scale. Fusing both signals via two independent preference-to-score methods yields a fused expert ground truth on which the two constructions converge to nearly identical scores. The same preference-to-score principle extends to label-free VLM training. PSDistill converts VLM pairwise judgments into calibrated pseudo-scores via an Elo reference pool, and trains the same VLM with confidence-weighted ranking optimization to produce a single-pass aesthetic scorer. Trained on a single painting category, the distilled Qwen3-VL-8B improves mean SRCC from 0.504 to 0.709 across all three categories, outperforming all open-source baselines including the dedicated aesthetic model ArtiMuse and matching closed-source Gemini-3.1-Pro within 0.04 SRCC at single-pass inference cost, with cross-domain transfer further validated on APDDv2. We will release the full PPaint dataset and training code.

Multimodal large language models (MLLMs) can produce fluent artwork emotion explanations, but they often suffer from attribute flooding: they enumerate many visible formal attributes without identifying which cues actually support the affective judgment. We therefore formulate artwork emotion understanding as Attribute-Grounded Selective Reasoning (AGSR), where predefined formal attributes serve as evidence units and only emotionally operative attributes should enter the final interpretation. To make this problem measurable, we extend EmoArt, originally introduced at ACM MM 2025 as a 132,664-artwork resource with content, formal-attribute, valence-arousal, and emotion annotations, by adding a 1,400-artwork human salience extension annotated by 15 art-trained annotators. This extension provides instance-level supervision for distinguishing attributes that are merely present from those that are emotionally salient. We further propose FAB-G (Formal-Attribute Bottleneck-Guided reasoning), a supervised multi-agent framework that first predicts attribute-level salience and then constrains downstream emotional analysis to the retained cues. Experiments show that FAB-G yields consistent gains in emotion, arousal, and valence prediction, achieves stronger agreement with human-marked salient attributes under Dice and Tversky metrics, and produces substantially more compact final explanations than prompting-based baselines. Cross-dataset evaluation further suggests that attribute-grounded salience selection transfers beyond the source distribution of EmoArt, while also revealing attribute-specific boundary cases. The dataset and project page are available at https://zhiliangzhang.github.io/EmoArt-130k/

Accurately predicting individual aesthetic evaluation for images is a fundamental challenge for AI. Various deep learning (DL)-based models have been proposed for this task, training on image evaluation data to extract objective low-level features. However, aesthetic preferences are inherently subjective and individual-dependent. Accurate prediction thus requires the extraction of high-level semantic features of images and the active collection of preference information from the target individual. To address this issue, we focus on the utility of Large Language Models (LLMs) pretrained on vast amounts of textual data, and develop an integrated DL-LLM system. The system actively elicits aesthetic preferences through LLM-based semi-structured interviews and predicts aesthetic evaluation by leveraging both low-level and high-level features. In our experiments, we compare the proposed system against conventional systems, human predictors, and the target individual's own re-evaluations after a certain time interval. Our results show that the proposed system outperforms all of them, with particularly strong performance on highly-rated images. Moreover, the prediction error of the proposed system is smaller than within-person variability, while human predictors show the largest error, likely due to the influence of their own aesthetic values. These results suggest that AI may be better positioned than others or one's future self to capture individual aesthetic preferences at a given point. This opens a new question of whether AI could serve as a deeper interpreter of human aesthetic sensibility than humans themselves.

Multimodal large language models (MLLMs) are now routinely deployed for visual understanding, generation, and curation. A substantial fraction of these applications require an explicit aesthetic judgment. Most existing solutions reduce this judgment to predicting a scalar score for a single image. We first ask whether such scores faithfully capture comparative preference: in a controlled study with eight expert annotators, score-derived rankings align poorly with the same annotators' direct comparisons, while direct ranking yields substantially higher inter-annotator agreement on best- and worst-image labels. Motivated by this finding, we introduce the Visual Aesthetic Benchmark (VAB), which casts aesthetic evaluation as comparative selection over candidate sets with matched subject matter. VAB contains 400 tasks and 1,195 images across fine art, photography, and illustration, with labels derived from the consensus of 10 independent expert judges per task. Evaluating 20 frontier MLLMs and six dedicated visual-quality reward models, we find that the strongest system identifies both the best and the worst image correctly across three random permutations of the candidate order in only 26.5% of tasks, far below the 68.9% achieved by human experts. Fine-tuning a 35B-parameter model on 2,000 expert examples brings its accuracy close to that of a 397B-parameter open-weight model, suggesting that the comparative signal in VAB is transferable. Together, these results expose a clear and measurable gap between current multimodal models and expert aesthetic judgment, and VAB provides the first set-based, expert-grounded testbed on which that gap can be tracked and closed.

Raw cosine in the 768-dimensional output space of the Contrastive Style Descriptor (CSD) is now widely read as an absolute, calibrated style-fidelity score for text-to-image and style-imitation evaluation. We introduce the discrimination gap, a corpus-internal, prototype-free and threshold-free diagnostic that tests whether contrastive style cosines admit an absolute same-versus-different interpretation on a candidate artist corpus. On a 1799-artwork, 91-artist public-domain corpus, raw CSD cosine yields negative point-estimate gaps for $23/91$ artists at the pairwise level ($2/91$ robust under bootstrap) and for $15/91$ in the aggregated-pool scoring regime style-fidelity evaluations typically use. CSLS readout on the frozen backbone reduces the aggregated negative-gap count to $4/91$; combined with positional-embedding interpolation to $336$ pixels it raises unsupervised pair-verification AUC from $0.883$ to $0.905$ across $25$ artist-disjoint splits. We refer to this diagnostic-driven readout protocol on the frozen backbone (CSLS as default, pos-interp $336$ as the stronger optional setting) as CSD+, not a new encoder.A cross-backbone check on CLIP-ViT-L/14, SigLIP-large and DINOv2-Large reproduces the same shared-tradition failure pattern, providing evidence that the residual reflects a shared limitation of the four backbones we tested rather than a CSD-specific artefact. Practical implication: before reporting CSD cosine as an absolute style-fidelity score, run the diagnostic on the candidate corpus; CSLS is the minimal correction when it fails.

Aesthetic image cropping aims to enhance the aesthetic quality of an image by improving its composition through spatial cropping. Previous methods often rely on saliency prediction or retrieval augmentation, ignoring the task's core requirement: a deep understanding of composition and aesthetics. Consequently, saliency-based methods struggle to make compositional trade-offs in complex scenes, while retrieval-based methods blindly refer to similar cases, lacking adaptive reasoning for unique scenes. Both approaches fail to align their automated cropping results with those of human experts. To address the above issues, we propose a novel paradigm that reformulates aesthetic cropping as a multimodal reasoning task, aiming to activate the VLM's analytical and comprehension capabilities in aesthetics. We design a Compositional Reasoning and Optimizing Preference method (CROP) that directs the VLM to think like a professional photographer. It deconstructs a complex and subjective aesthetic problem into an "analysis-proposal-decision" process, reasoning step by step through the analysis of scene elements and compositional principles. Meanwhile, our expert preference alignment module makes the model's decision consistent with human expert aesthetics. Extensive experiments across multiple datasets validate our method's superiority and component effectiveness.

As 3D Gaussian Splatting (3DGS) gains attention in immersive media and digital content creation, assessing the aesthetics of 3D scenes becomes important in helping creators build more visually compelling 3D content. However, existing evaluation methods for 3D scenes primarily emphasize reconstruction fidelity and perceptual realism, largely overlooking higher-level aesthetic attributes such as composition, harmony, and visual appeal. This limitation comes from two key challenges: (1) the absence of general 3DGS datasets with aesthetic annotations, and (2) the intrinsic nature of 3DGS as a low-level primitive representation, which makes it difficult to capture high-level aesthetic features. To address these challenges, we propose Aes3D, the first systematic framework for assessing the aesthetics of 3D neural rendering scenes. Aes3D includes Aesthetic3D, the first dataset dedicated to 3D scene aesthetic assessment, built on our proposed annotation strategy for 3D scene aesthetics. In addition, we present Aes3DGSNet, a lightweight model that directly predicts scene-level aesthetic scores from 3DGS representations. Notably, our model operates solely on 3D Gaussian primitives, eliminating the need for rendering multi-view images and thus reducing computational cost and hardware requirements. Through aesthetics-supervised learning on multi-view 3DGS scene representations, Aes3DGSNet effectively captures high-level aesthetic cues and accurately regresses aesthetic scores. Experimental results demonstrate that our approach achieves strong performance while maintaining a lightweight design, establishing a new benchmark for 3D scene aesthetic assessment. Code and datasets will be made available in a future version.

Composition is a cornerstone of visual aesthetics, influencing the appeal of an image. While its principles operate independently of specific content, in practice, composition is often coupled with semantics. As a result, existing methods often enhance composition either through implicit learning or by semantics-based layout control, rather than explicitly modeling composition itself. To address this gap, we introduce Composer, a framework rooted in aesthetic theory, designed to model composition in a semantic-agnostic manner. First, it supports composition transfer by extracting key composition-aware representations from a reference image and leveraging a tailored conditional guidance module to control composition based on pre-trained diffusion models. Second, when users specify only text themes without a composition reference, Composer supports theme-driven composition retrieval by leveraging the in-context learning capabilities of Large Vision-Language Models (LVLMs), achieving explicit composition planning. To enhance composition in a reference-free mode, we conduct text-to-composition fine-tuning on the trained control module to enable implicit composition planning. Furthermore, we curated a high-quality dataset comprising 2 million image-text pairs using state-of-the-art generative models to support model training. Experimental results demonstrate that Composer significantly enhances aesthetic quality in text-to-image tasks and facilitates personalized composition control and transfer, offering users precision and flexibility in the creative process.

Music popularity prediction has attracted growing research interest, with relevance to artists, platforms, and recommendation systems. However, the explosive rise of AI-generated music platforms has created an entirely new and largely unexplored landscape, where a surge of songs is produced and consumed daily without the traditional markers of artist reputation or label backing. Key, yet unexplored in this pursuit is aesthetic quality. We propose APEX, the first large-scale multi-task learning framework for AI-generated music, trained on over 211k songs (10k hours of audio) from Suno and Udio, that jointly predicts engagement-based popularity signals - streams and likes scores - alongside five perceptual aesthetic quality dimensions from frozen audio embeddings extracted from MERT, a self-supervised music understanding model. Aesthetic quality and popularity capture complementary aspects of music that together prove valuable: in an out-of-distribution evaluation on the Music Arena dataset, comprising pairwise human preference battles across eleven generative music systems unseen during training, including aesthetic features consistently improves preference prediction, demonstrating strong generalisation of the learned representations across generative architectures.

Despite rapid advances in photorealistic video generation, real-world applications such as filmmaking require video aesthetics, e.g., harmonious colors and cinematic lighting, beyond visual fidelity. Prior work on visual aesthetics largely focuses on images, often reducing aesthetics to coarse definitions, e.g., visual pleasure, without a rigorous and systematic evaluation. To improve video aesthetics, we propose a hierarchical rubric that decomposes video aesthetics into three core dimensions, Visual Aesthetics (VA), Visual Fidelity (VF), and Visual Plausibility (VP), with 15 fine-grained criteria, e.g., shot composition. This framework enables a large-scale expert-annotated preference dataset and an evaluation benchmark, AesVideo-Bench, containing about 2500 video pairs with expert annotations on VA, VF, and VP. We then build a family of Video Aesthetic Reward Models (AesRM): AesRM-Base, which directly predicts pairwise preferences on these dimensions to provide efficient post-training rewards, and AesRM-CoT, which additionally generates CoT aligned with all 15 criteria to improve assessment interpretability. Specifically, we train AesRM with a three-stage progressive scheme: (1) Atomic Aesthetic Capability Learning, which strengthens AesRM's recognition of fundamental aesthetic concepts, e.g., accurately identifying centered composition; (2) Cold-Start, aligning the model with structured reasoning protocols; and (3) GRPO, further improving evaluation accuracy. To enhance AesRM-CoT, we additionally propose self-consistency-based CoT synthesis to improve CoT quality and design CoT-based process rewards during GRPO. Extensive experiments show AesRM outperforms baselines on multiple aesthetics benchmarks and is more robust, with lower position bias. Finally, we align Wan2.2 with AesRM and observe clear aesthetic gains over existing aesthetic reward models.

Reasoning photo retouching has gained significant traction, requiring models to analyze image defects, give reasoning processes, and execute precise retouching enhancements. However, existing approaches often rely on non-differentiable external software, creating optimization barriers and suffering from high parameter redundancy and limited generalization. To address these challenges, we propose VeraRetouch, a lightweight and fully differentiable framework for multi-task photo retouching. We employ a 0.5B Vision-Language Model (VLM) as the central intelligence to formulate retouching plans based on instructions and scene semantics. Furthermore, we develop a fully differentiable Retouch Renderer that replaces external tools, enabling direct end-to-end pixel-level training through decoupled control latents for lighting, global color, and specific color adjustments. To overcome data scarcity, we introduce AetherRetouch-1M+, the first million-scale dataset for professional retouching, constructed via a new inverse degradation workflow. Furthermore, we propose DAPO-AE, a reinforcement learning post-training strategy that enhances autonomous aesthetic cognition. Extensive experiments demonstrate that VeraRetouch achieves state-of-the-art performance across multiple benchmarks while maintaining a significantly smaller footprint, enabling mobile deployment. Our code and models are publicly available at https://github.com/OpenVeraTeam/VeraRetouch.

We present AI-Gram, a fully deployed, continuously operating social platform where every participant is an autonomous LLM-driven agent generating and responding to visual content. Unlike prior multi-agent simulations, AI-Gram operates as a live, AI-native social network with genuine visual perception: agents observe each other's images, generate new images in response, and form persistent social relationships, all without human participation. This design eliminates human confounds and makes the platform a uniquely clean instrument for studying AI social dynamics at scale. Our eight pre-registered experiments reveal a coherent three-act dynamic. Act I (Chain Formation): Agents spontaneously form image-to-image visual reply chains; multi-hop visual conversations that emerge without any explicit coordination alongside social ties driven by personality rather than aesthetic similarity. Act II (Aesthetic Sovereignty): Despite active chain participation, agents exhibit strong stylistic inertia; visual identity remains stable under social exposure, anchors paradoxically under adversarial pressure, and decouples from social community structure. Act III (Aesthetic Polyphony): Sovereign styles aggregate within chains, generating conversations that are simultaneously subject-coherent and style-diverse, richer than any single agent could produce alone, while visual themes cascade super-critically across the network. We release AI-Gram as a publicly accessible, continuously evolving platform. https://ai-gram.ai/

We show that pre-training a Transformer on music before language significantly accelerates language acquisition. Using piano performances (MAESTRO dataset), a developmental pipeline -- music $\to$ poetry $\to$ prose -- yields a $17.5\%$ perplexity improvement over random initialization ($p < 0.001$, 5 seeds), with music and poetry improving orthogonal model components (internal computation and embeddings, respectively). Convergence tests confirm that this is not a transient head start: at $d\!=\!64$, multi-seed validation (5 seeds) shows a persistent 5.5% gap at plateau ($p = 0.017$), with the pipeline converging faster and to a lower loss in every run. Real music matches the transfer ceiling of synthetic patterns with one-third the data, and scaling experiments reveal that optimal pre-training data volume shifts with model capacity ($-3\% \to +3\% \to +6\%$ advantage of larger datasets from $d\!=\!16$ to $d\!=\!64$). Across the scales we study ($d\!\in\!\{16,32,64\}$, up to ${\sim}400$K parameters), these results suggest a capacity-dependent data curation principle and indicate that structured human creative outputs can provide an efficient pre-training substrate for small language models; stronger conclusions at modern pre-training scale will require substantially larger experiments.

How might implicit aesthetic perspectives shape what Information Systems (IS) scholarship recognises as worthy of study (or not)? In this hermeneutic literature analysis, we surface foundational aesthetic assumptions underpinning IS research. We identify four perspectives (aesthetics as imitation, sensory experience, world-making, and political doing) that guide how IS scholars perceive and appreciate sociotechnical phenomena. These perspectives influence what becomes recognisable as legitimate research and what remains unseen. By making aesthetic assumptions explicit, we show how they form epistemic infrastructure that conditions horizons of inquiry. We apply this framework to algorithmic management and digitally mediated intimacy, revealing how alternative perspectives open new research questions whilst exposing dimensions that dominant framings overlook. This analysis foregrounds the importance of aesthetic philosophy to IS literature, offering a vocabulary for articulating how aesthetic perspectives shape theorising, method, and contribution.

While Large Language Models (LLMs) excel at function-level code generation, project-level tasks such as generating functional and visually aesthetic multi-page websites remain highly challenging. Existing works are often limited to single-page static websites, while agentic frameworks typically rely on multi-turn execution with proprietary models, leading to substantial token costs, high latency, and brittle integration. Training a small LLM end-to-end with reinforcement learning (RL) is a promising alternative, yet it faces a critical bottleneck in designing reliable and computationally feasible rewards for website generation. Unlike single-file coding tasks that can be verified by unit tests, website generation requires evaluating inherently subjective aesthetics, cross-page interactions, and functional correctness. To this end, we propose WebGen-R1, an end-to-end RL framework tailored for project-level website generation. We first introduce a scaffold-driven structured generation paradigm that constrains the large open-ended action space and preserves architectural integrity. We then design a novel cascaded multimodal reward that seamlessly couples structural guarantees with execution-grounded functional feedback and vision-based aesthetic supervision. Extensive experiments demonstrate that our WebGen-R1 substantially transforms a 7B base model from generating nearly nonfunctional websites into producing deployable, aesthetically aligned multi-page websites. Remarkably, our WebGen-R1 not only consistently outperforms heavily scaled open-source models (up to 72B), but also rivals the state-of-the-art DeepSeek-R1 (671B) in functional success, while substantially exceeding it in valid rendering and aesthetic alignment. These results position WebGen-R1 as a viable path for scaling small open models from function-level code generation to project-level web application generation.

Traditional photographic image editing typically requires users to possess sufficient aesthetic understanding to provide appropriate instructions for adjusting image quality and camera parameters. However, this paradigm relies on explicit human instruction of aesthetic intent, which is often ambiguous, incomplete, or inaccessible to non-expert users. In this work, we propose SmartPhotoCrafter, an automatic photographic image editing method which formulates image editing as a tightly coupled reasoning-to-generation process. The proposed model first performs image quality comprehension and identifies deficiencies by the Image Critic module, and then the Photographic Artist module realizes targeted edits to enhance image appeal, eliminating the need for explicit human instructions. A multi-stage training pipeline is adopted: (i) Foundation pretraining to establish basic aesthetic understanding and editing capabilities, (ii) Adaptation with reasoning-guided multi-edit supervision to incorporate rich semantic guidance, and (iii) Coordinated reasoning-to generation reinforcement learning to jointly optimize reasoning and generation. During training, SmartPhotoCrafter emphasizes photo-realistic image generation, while supporting both image restoration and retouching tasks with consistent adherence to color- and tone-related semantics. We also construct a stage-specific dataset, which progressively builds reasoning and controllable generation, effective cross-module collaboration, and ultimately high-quality photographic enhancement. Experiments demonstrate that SmartPhotoCrafter outperforms existing generative models on the task of automatic photographic enhancement, achieving photo-realistic results while exhibiting higher tonal sensitivity to retouching instructions. Project page: https://github.com/vivoCameraResearch/SmartPhotoCrafter.

Personalized image aesthetics assessment (PIAA) aims to predict an individual user's subjective rating of an image, which requires modeling user-specific aesthetic preferences. Existing methods rely on historical user ratings for this modeling and therefore struggle when such data are unavailable. We address this zero-shot setting by using user profiles as contextual signals for personalization and adopting a profile-based personalization paradigm. We introduce P-MLLM, a profile-aware multimodal LLM that augments a frozen LLM with selective fusion modules for controlled visual integration. These modules selectively integrate visual information into the model's evolving hidden states during profile-conditioned reasoning, allowing visual information to be incorporated in a profile-aware manner. Experiments on recent PIAA benchmarks show that P-MLLM achieves competitive zero-shot performance and remains effective even with coarse profile information, highlighting the potential of profile-based personalization for zero-shot PIAA.

Automated Aesthetic Quality Assessment (AQA) treats images primarily as static pixel vectors, aligning predictions with human-rating scores largely through semantic perception. However, this paradigm diverges from human aesthetic cognition, which arises from dynamic visual exploration shaped by scanning paths, processing fluency, and the interplay between bottom-up salience and top-down intention. We introduce AestheticNet, a novel cognitive-inspired AQA paradigm that integrates human-like visual cognition and semantic perception with a two-pathway architecture. The visual attention pathway, implemented as a gaze-aligned visual encoder (GAVE) pre-trained offline on eye-tracking data using resource-efficient contrast gaze alignment, models attention from human vision system. This pathway augments the semantic pathway, which uses a fixed semantic encoder such as CLIP, through cross-attention fusion. Visual attention provides a cognitive prior reflecting foreground/background structure, color cascade, brightness, and lighting, all of which are determinants of aesthetic perception beyond semantics. Experiments validated by hypothesis testing show a consistent improvement over the semantic-alone baselines, and demonstrate the gaze module as a model-agnostic corrector compatible with diverse AQA backbones, supporting the necessity and modularity of human-like visual cognition for AQA. Our code is available at https://github.com/keepgallop/AestheticNet.

Recent advancements in Text-to-Song generation have enabled realistic musical content production, yet existing evaluation benchmarks lack the professional granularity to capture multi-dimensional aesthetic nuances. In this paper, we propose SongBench, a specialized framework for fine-grained song assessment across seven key dimensions: Vocal, Instrument, Melody, Structure, Arrangement, Mixing, and Musicality. Utilizing this framework, we construct an expert-annotated database comprising 11,717 samples from state-of-the-art models, labeled by music professionals. Extensive experimental results demonstrate that SongBench achieves high correlation with expert ratings. By revealing fine-grained performance gaps in current state-of-the-art models, SongBench serves as a diagnostic benchmark to steer the development toward more professional and musically coherent song generation.

With the recent fast development of generative models, instruction-based image editing has shown great potential in generating high-quality images. However, the quality of editing highly depends on carefully designed instructions, placing the burden of task decomposition and sequencing entirely on the user. To achieve autonomous image editing, we present PhotoAgent, a system that advances image editing through explicit aesthetic planning. Specifically, PhotoAgent formulates autonomous image editing as a long-horizon decision-making problem. It reasons over user aesthetic intent, plans multi-step editing actions via tree search, and iteratively refines results through closed-loop execution with memory and visual feedback, without requiring step-by-step user prompts. To support reliable evaluation in real-world scenarios, we introduce UGC-Edit, an aesthetic evaluation benchmark consisting of 7,000 photos and a learned aesthetic reward model. We also construct a test set containing 1,017 photos to systematically assess autonomous photo editing performance. Extensive experiments demonstrate that PhotoAgent consistently improves both instruction adherence and visual quality compared with baseline methods. The project page is https://mdyao.github.io/PhotoAgent/.

Recent text-to-image (T2I) diffusion models produce visually stunning images and demonstrate excellent prompt following. But do they perform well as synthetic vision data generators? In this work, we revisit the promise of synthetic data as a scalable substitute for real training sets and uncover a surprising performance regression. We generate large-scale synthetic datasets using state-of-the-art T2I models released between 2022 and 2025, train standard classifiers solely on this synthetic data, and evaluate them on real test data. Despite observable advances in visual fidelity and prompt adherence, classification accuracy on real test data consistently declines with newer T2I models as training data generators. Our analysis reveals a hidden trend: These models collapse to a narrow, aesthetic-centric distribution that undermines diversity and real data distribution coverage. Overall, our findings challenge a growing assumption in vision research, namely that progress in generative realism implies progress in data realism. We thus highlight an urgent need to rethink the capabilities of modern T2I models as reliable training data generators.

While color harmony has long been studied in art and design, a clear consensus remains elusive, as most models are grounded in qualitative insights or limited datasets. In this work, we present a quantitative, data-driven study of color pairing preferences using controlled hue-based palettes in the HSL color space. Participants evaluated combinations of thirteen distinct hues, enabling us to construct a preference matrix and define a combinability index for each color. Our results reveal that preferences are highly hue dependent, thereby challenging classical color harmony theories. Yet, when averaged over hues, statistically meaningful patterns of aesthetic preference emerge, with certain hue separations perceived as more harmonious. Strikingly, these patterns align with hue distributions found in natural landscapes, pointing to a statistical correspondence between human color preferences and the structure of color in nature. Finally, we analyze our color-pairing score matrix through principal component analysis, which uncovers two complementary hue groups whose interplay underlies the global structure of color-pairing preferences. Together, these findings offer a quantitative framework for studying color harmony and its potential perceptual and ecological underpinnings.

Text-to-Image (T2I) diffusion models have made rapid progress on semantic alignment (generating what is described in the prompt), yet users still lack reliable control over aesthetic composition (how visual elements are put together). Prior work often treats aesthetics as a single, preference-driven notion (e.g., "high quality", "detailed", "breathtaking"), which does not map cleanly to compositional intent. We propose Aesthetic Alignment: aligning generated images to explicit, user-specified compositional constraints. We operationalize these constraints using the Principles of Art (PoA)-e.g., Balance, Rhythm, and Emphasis-commonly used in art education to describe composition. To support this task, we introduce CompArt, a dataset of 80,032 WikiArt images augmented with captions and PoA analyses produced by a multimodal LLM under structured prompting. We further propose ArtDapter, a lightweight and disentangled adapter that enables steering a pretrained T2I model along 10 PoA dimensions while retaining the base model's semantic capability. Experiments on CompArt show improved adherence to PoA controls over strong baselines under a dual evaluation protocol.