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10 papers in the last four weeks, down 17% on the four weeks before. 0.1% of all new papers.

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Latest papers 79

Oct 1, 2026cs.RO

Query-Conditioned Articulation Estimation from a Single Image

Enabling robots to estimate the kinematic parameters of articulated objects unlocks a wide range of capabilities for interaction and manipulation. The estimation has to happen from the information the robot currently observes, often just a single RGB image of an object it has never seen before. Current single-image approaches couple articulation part segmentation with articulation estimation, making their predictions vulnerable to missed detections and incorrect part associations, and they regress metric 3D geometry that a single view fixes only up to scale. We present QueryArt, a model that estimates articulation parameters from a single RGB image, a 2D query point, and camera intrinsics. QueryArt is trained to estimate the 3D articulation geometry relative to the queried point and in units of its depth, which keeps its target identifiable from the image alone. A single depth measurement at the query point then supplies the scale and recovers the metric parameters. We train QueryArt on a curated mixture of synthetic and real-world articulation datasets. We evaluate QueryArt on several benchmarks and compare it against recent baselines. QueryArt outperforms recent baselines on most articulation metrics, including on out-of-distribution data. To demonstrate the model's capabilities in real-world settings, we evaluate QueryArt on a mobile manipulator across 57 manipulation trials spanning 16 object parts and five viewpoint classes, achieving a 70.2% success rate. We provide code and videos at: https://abwerby.github.io/queryart/

Abdelrhman Werby, Fabio Scaparro, Kai O. Arra

Socially Intelligent Robotics Lab, Institute for Artificial Intelligence, University of Stuttgart, Germany

Category-Level Object Pose Estimation Articulated Kinematics Art Robot Systems 3D Geometry

Sep 29, 2026cs.RO

FineART: Fine-Grained Annotated Robotic Trajectory Dataset and Vision-Language-Action Model for Bimanual Manipulation

Robots operating in real-world environments must often execute complex, multi-step bimanual tasks over long horizons rather than single, isolated actions. Current manipulation datasets struggle to support this capability: although single-arm datasets reach hundreds of thousands of trajectories, they typically provide only one high-level instruction per episode, while existing bimanual datasets with subtask labels annotate only part of their recorded hours. We present FineART, a densely annotated bimanual manipulation dataset comprising 40,543 episodes (1,718 hours) and 533,913 subtasks across 151 tasks. We also introduce FineART-VLA, a vision-language-action policy that predicts its own next subtask to guide its actions. Mid-training on FineART's subtask annotations raises FineART-VLA's success at following spatial instructions from 32.0% to 100.0%. With step-by-step human subtask guidance, it also raises success on unseen long-horizon tasks from 16.0% to 76.0%. Furthermore, after minimal fine-tuning on a new robot, the policy requires only one-tenth of the data needed by baselines without this mid-training and generalizes zero-shot to tasks unseen on the new hardware. We open-source the full dataset, model weights, and training code.

Jade Choghari, Pepijn Kooijmans, Mansi Agarwal +8

Scale AI · Hugging Face · University of Southern California +1

Bimanual Manipulation Long-Horizon Task Planning Art

Sep 29, 2026cs.AI

From Retrieval to Reasoning: Agentic Mechanism Prediction from Cell Painting Profiles

Cell Painting is a high-content morphological profiling assay widely used for phenotype-based biological inference, with mechanism of action (MOA) prediction as a central application. Existing approaches largely formulate Cell Painting-based inference as representation matching, assigning predictions from nearby reference perturbations in morphological feature space. However, retrieved neighbors are often noisy and partially misleading evidence due to batch effects, non-specific cytotoxicity, phenotypic convergence, and source-dependent variability. We reformulate Cell Painting-based MOA prediction as a calibrated evidence reasoning problem, where retrieved neighbors are treated as uncertain observations that must be evaluated, compared, and sometimes rejected before supporting a mechanistic conclusion. We propose PhenoAIR, a reliability-aware multi-agent framework that maintains a candidate-centric evidence memory and performs controller-guided refinement over phenotype- and mechanism-side evidence. PhenoAIR uses offline reference-set calibration to weight evidence by source reliability, phenotype stability, and mechanism-level confusion. We evaluate PhenoAIR on a benchmark constructed from JUMP Cell Painting profiles and annotations, covering controlled, realistic, and discovery-oriented open-world MOA prediction settings. PhenoAIR outperforms representation-matching and LLM-based baselines across all settings.

Jiayuan Chen, Botao Yu, Tianyu Liu +3

Department of Computer Science and Engineering, The Ohio State University · Department of Biomedical Informatics, The Ohio State University · Department of Biostatistics, Yale University +1

Phenotypes Cells Mechanistic Interpretability Clinical Prediction Art

Sep 28, 2026cs.RO

CoBrush: A Hierarchical Planning Framework for Human-Robot Co-Painting

Embodied co-painting requires a robot to repeatedly update a shared physical canvas while human intent evolves over interaction. Existing reference-driven painters or reactive assistants are typically optimized for single-shot rendering or sketch completion, limiting their ability to sustain coherent multi-round collaboration or to construct complex, content-rich scenes over time. We present CoBrush, a hierarchical framework that formulates multi-round co-painting as a coordinated semantic, spatial, and execution process. By separating high-level intent inference from spatial grounding and stroke-level control, the system supports progressive scene development on real acrylic canvases. We evaluate the framework through real human-robot painting sessions, stress tests, and user studies. Compared to single-turn baselines, our approach achieves stronger semantic alignment, more stable spatial progression, and higher perceived plausibility of robot actions. These results demonstrate that structured multi-stage reasoning improves the coherence and robustness of interactive painting and supports the progressive development of content-rich physical artworks.

Dantong Qin, Yike Guo, Qinlin Liu +2

Faculty of Industrial Design Engineering, Delft University of Technology, 2628 CD Delft, The Netherlands · Department of Computer Science and Engineering, Electronic and Computer Engineering, Hong Kong University of Science and Technology, Kowloon Hong Kong

Human-Robot Collaboration Human-Robot Interaction Art Scene Context Spatial Grounding Planning

Sep 23, 2026cs.CV

Track2Art: Motion-Centric Articulated Object Model Recovery from 2D Point Trackers

Understanding articulated objects is fundamental for robotic interaction, requiring accurate rigid-part discovery and the recovery of their kinematic relations. Existing approaches often treat articulation as a by-product of reconstructed geometry or recover it through per-instance optimization. We instead build on the hypothesis that articulation is directly observable from persistent motion: points on the same rigid part move coherently, while relative motion between parts reveals their kinematic constraints. We present Track2Art, a motion-centric framework for recovering structured articulated objects from RGB-D interaction videos. Track2Art lifts tracked image points into persistent 3D trajectories and combines pretrained tracking features, visual descriptors, and explicit trajectory geometry. These representations are grouped into a variable number of rigid-part hypotheses and subsequently used to recover directed kinematic relations, joint types, and joint geometry through rotation-equivariant learned--analytic reasoning. On the aligned 20-object PartNet-Mobility suite, Track2Art achieves 0.695 Point IoU and 0.410 end-to-end J@20, while requiring neither ground-truth part counts nor test-time optimization.

Xiaotong Li, Yixiong Jing, Junsheng Ding +4

Department of Engineering, University of Cambridge, Cambridge CB2 1PZ, U.K. · School of Engineering and Design, Technical University of Munich · Munich Center for Machine Learning (MCML), Munich, Germany.

Articulated Kinematics Articulated Objects Structure-From-Motion 3D Models Objects Art

Sep 21, 2026cs.CV

Applications of Neural Cellular Automata: State of the Art, Challenges and Opportunities

Neural Cellular Automata (NCAs) are a new type of neural network architecture which enable accurate and robust inference at extremely small model sizes. Recently, NCAs have advanced to become interesting low-resource alternatives to convolution- and attention-based architectures for various tasks such as image analysis, synthetic image generation, and simulation. The rapid development and increased research interest necessitate a comprehensive review of the emerging technology. This review provides an overview of the fundamentals of NCAs, applications to medical imaging, as well as insights into the state of the art. We analyze recent modifications to the originally proposed NCA architecture with respect to their efficiency and accuracy. Furthermore, we review practical applications in real-world scenarios with a focus on medical image analysis, segmentation, classification, registration, depth estimation, and image synthesis. Finally, we identify several advantages of NCAs, research gaps, and conclude with an analysis of future opportunities for NCAs in medical applications in confined settings or areas that have particular demands for robustness or efficient data processing.

Nick Lemke, Niklas Ihm, John Kalkhof +11

Technical University of Darmstadt, Darmstadt, Germany · ImFusion GmbH, Munich, Germany · Inria Center at University Cˆote d’Azur, Sophia Antipolis, France +9

Neural Cellular Automata Medical Images Challenges Art

Sep 21, 2026cs.SD

ART-NAD: An Articulatory Inversion-based Neural Acoustic Distance for Pathological Speech Intelligibility Assessment

Speech assessment tools for speakers with speech pathology must be both accurate and interpretable if they are to be adopted in clinical practice. Existing reference-audio measures such as the Neural Acoustic Distance (NAD) reach high speaker-level correlations with listener intelligibility scores but operate on self-supervised features that are hard to interpret, providing only frame-level explanations. We propose ART-NAD, a reference-audio intelligibility metric that replaces the \texttt{wav2vec2} features of NAD with vocal-tract constriction variables (tract variables, TVs) predicted from audio by a speaker-independent acoustic-to-articulatory inversion model trained on the same \texttt{wav2vec2} features. ART-NAD is computed as the multivariate Dynamic Time Warping distance between the nine-channel quasi-TV trajectories of the test and one or more references. Across 20 reference-audio protocols spanning six pathological-speech datasets and five languages, ART-NAD with silence trimming (ART-NAD-FA) reaches the same average speaker-level Pearson correlation as NAD-FA (both

r=0.71

) on the same self-supervised backbone, with no significant per-protocol difference (Wilcoxon

p=0.18

), and is the strongest reference-audio metric on 6 of the 20 protocols. Beside the score itself, each TV channel visualizes which constriction deviates from the reference over time, providing interpretable information as to where articulation breaks down.

Bence Mark Halpern, Thomas Tienkamp, Defne Abur +1

Nagoya University Nagoya, Japan · University of Cologne Cologne, Germany · University of Groningen Groningen, the Netherlands

Articulatory Vocal Tract Shape Dysarthric Speech Seed-Tts-Eval Benchmark Neural Audio Art

Sep 21, 2026cs.LG

Graph-to-Grid (G2G): Continuous-Coordinate Feature Painting for Soccer Pass Surfaces

Dense pass surfaces give, for every pitch cell, whether a pass played there would arrive, whether the carrier would choose it, and what the possession would then be worth. The networks that draw them read the state as a raster of per-cell counts, losing where inside a cell each player stands. LiDAR detectors, bird's-eye-view perception and graph weather models move entity features onto a grid, binning each entity to a cell or learning the transfer. We evaluate the interpolated form: each player's features are scattered bilinearly onto the grid at the player's measured coordinates, so the surface loss trains the per-player encoder end to end. Those systems adopt an interface; this paper measures one. On 53,628 passes from the 2022 World Cup, painting improves selection likelihood over the same core fed rasters alone by about a quarter of a nat: in every match of an eight-fold cross-validation, with every arm tuned over five seeds, and after retraining on seven Bundesliga and 2. Bundesliga matches from another provider. Thirteen pre-specified studies locate the gain: painting the nine raw player features with no encoder carries three quarters of it, and the learned encoder and message passing add a smaller, resolved increment. Painting also helps the original SoccerMap and a canonical U-Net, whereas offset channels, a finer raster, an attention painter and a raster-free decoder do not. Frozen across the provider boundary the likelihood advantage is lost; injected tracking error compresses it. These results concern observed-endpoint prediction, not calibrated evaluation of hypothetical passes.

Kaan Günay, Orhun Gun

Sabancı University, Istanbul, Turkey · Carnegie Mellon University, Pittsburgh, PA, USA

Grid Encoders Art

Sep 17, 2026cs.CV

FunArt: Decoding Functional Structure and Articulation from Generative 3D Latents

To operate effectively in human environments, robots must identify articulated objects, segment their movable and interactive parts, and estimate their kinematic models. Existing articulated scene representations typically recover kinematics from observed interactions, while methods operating on static scans often decouple articulation from functional interactive elements. We present FunArt, a framework that constructs articulation-aware functional 3D scene graphs from posed RGB-D observations captured in a single static configuration. FunArt reconstructs object instances, converts their fused geometry directly into the O-Voxel representation of TRELLIS.2, and exploits its frozen, sparse-compression VAE as a structural prior. A lightweight query-based decoder combines compact object-level latents with dense, surface-aligned features to jointly segment movable parts and functional interactive elements while estimating motion type, axis, origin, and range. On the Articulate3D dataset, FunArt achieves state-of-the-art performance across movable-part segmentation, articulation estimation, and functional-element segmentation, both with and without ground-truth object input. In the end-to-end setting, it outperforms the strongest baselines by 1.5 AP_{50} points for movable parts, 2.8 AP_{50} points under joint origin-and-axis constraints, and 6.7 AP_{50} points for functional elements. These results demonstrate that generative 3D latents encode actionable structural cues that can initialize robotic perception and planning before physical interaction.

Dennis Rotondi, Abdelrhman Werby, Kai O. Arras

University of Stuttgart, Germany · International Max Planck Research School for Intelligent Systems

3D Scene Graphs Robotic Perception Articulated Objects Art Ground Truth

Sep 17, 2026cs.LG

SCGFM-ART: Amortized Relational Transport for Structure-Centric Graph Foundation Models

Graph foundation models (GFMs) aim to learn transferable representations across severely heterogeneous graph domains. However, severe domain shifts in topology, graph scale, and feature semantics impede the construction of a unified, domain-agnostic representation space. To address this, we propose SCGFM-ART, a structure-centric GFM framework that aligns arbitrary graphs onto a shared relational atlas via Amortized Relational Transport (ART). The relational atlas serves as a universal coordinate system defined by a finite set of relational landmarks (bases), while ART directly predicts reusable, end-to-end graph-to-base transport plans, bypassing costly runtime Gromov-Wasserstein optimizations. Under this formulation, SCGFM-ART decomposes a graph into a unified representation: globally via its relational response coordinates relative to the atlas, and locally via its node-to-role structural correspondences. These correspondences project disparate node attributes into a canonical role space, resolving structural and semantic heterogeneity within a singular alignment interface. Rigorously modeling graphs and atlas bases as finite measured relational spaces, we establish coordinate fidelity bounds, prove stability under predicted transport plans, and derive an amortized coverage bound that guarantees our learning objective tightly surrogates ideal relational coverage. Benchmarked across 14 cross-domain graph- and node-level classification tasks, SCGFM-ART achieves state-of-the-art transferability, securing superior average ranks of 2.29 and 1.14, respectively. Topological perturbation analyses demonstrate that node-role transport retains fine-grained structural nuances beyond global coordinates. On real-world benchmarks, the amortized formulation yields 44.2 to 85.1 times faster frozen target-domain inference by avoiding iterative alignment at test time.

Xiaodong He, Xincheng Wang, Zhao Kang

University of Electronic Science and Technology of China, Chengdu, China

Graph Foundation Model Foundation Model Atlas Art

Sep 17, 2026cs.GR

Printing the Underdetermined: Materializing Multi-solutionness in Figurative Paintings

Figurative paintings are often approached as if they depict a single recoverable 3D scene: viewers infer depth and occlusion, and reconstruction pipelines attempt to converge to one stable model. We instead foreground multi-solutionness, the non-uniqueness of 3D configurations compatible with a single painted image, and propose a workflow that keeps this non-uniqueness visible and material. Multi-solutionness arises from two sources: unobserved content, where backsides and occluded volumes admit multiple plausible completions, and observed cues, where perspective, shading, and occlusion still underconstrain geometry. When additional views are synthesized by a video generative model without explicit 3D constraints, small frame-level drifts become inevitable rather than exceptional. Our pipeline samples multiple camera-orbit multi-view video sequences from one painting, reconstructs each sequence with 3D Gaussian Splatting into a point-based Gaussian scene representation where density halos and ghosting expose unresolved degrees of freedom, and fabricates these representations as physical artifacts using DreamPrinting. By treating multiple compatible interpretations as explicit outputs rather than residual error, we provide a computational framework for spatial readings of figurative painting that can be inspected, compared, and discussed in both digital and physical form.

Yutao Ming, Teng Xu, Youjia Wang +6

ShanghaiTech University, China · Crysta AI, China · Crysta AI, Shanghai, China +1

Art Generative Models Code Completion

Sep 14, 2026cs.HC

MAIA: Multi-Agent Intent Articulation for Requirement Discovery in Art Commissions

In bespoke art commissions, laypeople know what they feel but lack the words to specify it: one participant wanted a laid-off truck driver depicted as "a ghost in his own machine" but left the medium, scale, and palette unsaid. We frame this as an articulation bottleneck at an under-served upstream stage: requirement discovery, which precedes any artist or image generator and forces the commissioner to constitute intent in the first place. We present MAIA (Multi-Agent Intent Articulation), a multi-agent system that scaffolds this stage through Socratic inquiry under a "Verification over Invention" rule, turning vague affect into a text-only brief of visual terms the user verifies. In a within-subjects study (N = 16), the full configuration produced a large, significant gain in Cognitive Support over a minimal baseline (r = 0.96, p_FDR = 0.015; LMM p_FDR < 0.001). Thematic analysis traces the same mechanism, and a validator gate structurally blocks unratified content. A complementary blind review by three professional concept artists on a sampled set of briefs corroborates this improvement from the artist's side: AI rewriting improved visual completeness and executability in all eight sampled tasks (task-level Wilcoxon p = 0.008; FDR q = 0.010), with directionally larger gains under MAIA than under the baseline (underpowered, d = 1.4-2.6).

Yu-Chao Wang, Yanhong Lu, Yingjie Victor Chen +1

School of Applied and Creative Computing Purdue University West Lafayette, Indiana, USA

Artistic Ownership Art Cognitive Science Discovery

Sep 14, 2026cs.CV

Same Encoder, Different Winner: A Paired-View Framework for Cell Painting Encoder Evaluation

Vision encoders for Cell Painting are typically ranked by a single evaluation, commonly replicate mean average precision (mAP). We introduce CP-BG-Bench, a paired-view evaluation framework that holds the central cell fixed across four matched views (raw crop C, segmented S, and density-augmented variants CD and SD), ablating or augmenting surrounding pixels as a controlled intervention. Instantiating the framework on three datasets (JUMP-CP, RxRx1, RxRx3-core) and three encoders (DINOv3 ViT-B/16, OpenPhenom, SubCell) under four community-standard protocols (replicate mAP, scIB batch integration, CellProfiler feature prediction, cross-batch perturbation recall), we find that the four protocols rank the same encoders systematically differently, with disagreements decomposing along three axes: cell versus background, morphology versus context, and within-study versus across-batch. The largest effect: on RxRx3-core, SubCell with segmented inputs retains 94% of crop replicate mAP but only 32% of crop R@10, so the within-study signal preserved under segmentation is largely non-transferable; density augmentation recovers 84% of the within-study C-to-S gap but only 8% of the cross-batch gap. Segmented views predict CellProfiler features as well as or better than crops on two of three datasets, inverting the replicate-mAP ranking, and the C-to-S gap varies by an order of magnitude across datasets while remaining similar across encoders, indicating that background-driven gain is set by experimental design rather than by the encoder. Single-metric ranking of Cell Painting encoders is therefore sensitive to the protocol used, and protocol disagreements are interpretable as projections onto the three axes the paired-view design exposes. We will release the paired-view datasets, reconstruction pipelines, 36 trained checkpoints, aggregated embeddings, and the full evaluation suite.

Tim Treis, Nikita Moshkov, Johan Fredin Haslum +2

Institute of Computational Biology, Helmholtz Munich · School of Computation, Information and Technology, Technical University of Munich · Broad Institute of MIT and Harvard

Pixel-Level Annotation Mean Average Precision Encoders Multi-View Art Scale Gap

Aug 31, 2026cs.CV

Lot Machine: Multimodal Lot Extraction from Auction Catalogs

For provenance research and art market studies, auction catalogs are an essential resource to trace specific objects over time and space. While historical auction catalogs follow established domain conventions, their internal formatting remains highly variable, and their large-scale analysis is currently restricted by the lack of machine-readable representations of the auction lots. We propose a pipeline to automatically extract structured lot-level metadata from German Sales, a large database of historical auction and sales catalogs from the 19th and 20th centuries. Using a manually annotated test set of representative catalog pages, we evaluate Vision-Language Models (VLMs) under varying prompt strategies and constrained decoding frameworks. To reflect the practical constraints faced by cultural heritage institutions, including budget, compute resources, and data privacy requirements, we benchmark the methods across different deployment modes ranging from commercial providers to locally hosted, quantized models. We find that commercial endpoints establish the performance ceiling, while institutional gateways offer a viable, privacy-preserving alternative. Local deployments remain feasible, but strictly require enforcing the output structure during generation to guarantee a valid JSON format. While varying degrees of human-in-the-loop correction are still necessary, this work demonstrates that a VLM-based pipeline can successfully unlock historical auction catalogs for large-scale automated analysis.

Mathias Zinnen, Alisha Mund, Sabine Lang +3

Pattern Recognition Lab, FAU Erlangen · Department of Digital Humanties and Social Studies, FAU Erlangen

Catalogs Extraction Metadata Human Annotations Provenance Visual Document Retrieval+2

Aug 30, 2026cs.CV

Conducting Stylistic Analysis of Paintings through an Art-History Agent

Attributing an artwork to an artist has traditionally relied on detailed visual observations and descriptions, known as stylistic analysis in art history. By contrast, current artificial intelligence (AI) models used in the field offer only unexplained probabilistic classifications. To bridge this methodological gap, we present an AI framework that automates stylistic analysis of paintings, providing a foundation for enhancing evidence collection, discovery, and verification. By training a vision transformer (ViT) on a large corpus of paintings with metadata, our system encodes this art history-specific data as embeddings. These representations are factorized via sparse dictionary learning into a shared set of features that recur across the training set. A large language model (LLM) then interprets each feature by retrieving associated artworks and their accompanying curator-written texts, and synthesizes them into descriptions that reflect their stylistic attributes. Finally, an autonomous coordinator LLM applies a reasoning-and-action (ReAct) framework to weight, test, and refine these features into cohesive descriptions of an artwork, or comparisons of artworks. This approach converts detailed visual features into descriptive terms, addressing a key challenge in art history. It thus connects the use of images as data with the semantic concerns of humanists, establishing vision-based computational art history as an area for future growth.

Marc S. Walton, Astrid Harth

Museum Studies Programme, The University of Hong Kong, Hong Kong SAR · Department of Chinese and History, City University Hong Kong, Hong Kong SAR

Artistic Ownership Art Stylistic Fidelity

Aug 13, 2026cs.CV

SCULPT: Subtractive Composition for 3D Part Generation

Part-aware 3D generation aims to create digital assets that are coherent as complete objects while exposing structural parts for editing, material assignment, animation, and reuse. Existing methods impose this structure outside the native generation loop: segmentation-based methods partition an already generated shape, while additive methods synthesize parts from predefined layouts, boxes, or tokens and then reconcile them into a whole. The former preserves the generated geometry but fixes the object before part boundaries are determined; the latter exposes part cardinality but often leaves shared boundaries vulnerable to gaps, interpenetrations, and material discontinuities. In this paper, we propose SCULPT, a framework that addresses these challenges through subtractive composition. Given a complete object represented in a structured 3D latent space, SCULPT iteratively applies a joint split predictor to generate one extracted part together with the remaining object. The predictor performs a coupled denoising process conditioned on both the image and the current 3D state, so the extracted part and updated remainder are generated together rather than reconciled after generation. The joint split predictor processes both outputs on the union of their native sparse 3D supports, allowing neighboring supports to overlap rather than imposing a disjoint voxel partition. The rollout ends when the remainder support becomes empty or reaches a fixed safety cap, allowing the number of generated parts to adapt to each object within that bound. Extensive experiments demonstrate state-of-the-art geometry on PartObjaverse while preserving strong complete-object reconstruction after part assembly. Results on four dataset images, one text-to-image-generated input, and one real-world photograph further show fine-grained textured part decomposition beyond the benchmark.

Sikuang Li, Chen Yang, Jiemin Fang +5

Shanghai Jiao Tong University · This work was done during an internship at Huawei. · Huawei

3D Models Art Decomposition Text-To-Image

Aug 11, 2026cs.CV

MMArt: A Multi-Perspective Multimodal Dataset for Visual Art Understanding

Recent vision-language models demonstrate impressive general visual understanding, yet their art interpretation remains shallow: they describe surface content but struggle with formal analysis, grounded historical interpretation, or affective characterization. We argue this is not only a model but also a dataset limitation. Existing art datasets are single perspective resources, where no dataset provides narrative, formal, emotional, and historical perspectives simultaneously for the same artworks. We introduce MMArt, a large-scale dataset of 74,234 WikiArt paintings, each annotated with four independently annotated perspectives plus a harmonized unified caption, produced by specialized vision-language models or human annotation and validated through complementary quality evaluations. Two complementarity analyses establish that perspectives encode genuinely distinct information. A generative analysis shows that formal analysis descriptions best preserve compositional style, and historical descriptions carry strong affective signal in reconstructed images. A discriminative retrieval analysis reveals task-asymmetry: narrative descriptions drive retrieval (R@1 = 44.0%), while formal descriptions, strongest for reconstruction, are nearly nondiscriminative at retrieval scale (R@1 = 7.8%). Leave-one-out analysis further confirms that historical descriptions are the least replaceable perspective across both tasks. Together, the two analyses establish that no single perspective suffices for all tasks, directly motivating MMArt multi-perspective design. The dataset, code, and additional information are available at https://shuaiwang97.github.io/MMArt/.

Shuai Wang, Wangyuan Ding, Yixian Shen +5

University of Amsterdam, Amsterdam, The Netherlands · Amazon AGI, United States of America · College of Business and Economics, University of Johannesburg, South Africa

Art Large-Scale Image Datasets Multimodal Dataset Recent Vision-Language Models Perspective Affective

Aug 7, 2026q-bio.QM

JUMP-lite: Compact, reproducible benchmarking of cell representations

Image-based profiling captures rich phenotypic signatures for drug discovery and functional genomics. Large public datasets like JUMP Cell Painting now provide millions of images for systematic study. However, JUMP alone occupies 115 TB, and fragmented evaluation practices make systematic comparisons of representation methods impractical for many researchers. Here we present Nahual, an open-source framework for reproducible model deployment, and JUMP-lite, a 92.0 GB subset of JUMP that is approximately 1,250-fold smaller, selected to cover genetic modalities and compound annotations and reduced via lossy JPEG XL compression. Using these resources, we benchmark five representation methods, including classical features (CellProfiler) and deep learning models (MorphEM, OpenPhenom, SubCell, DINOv2). Moderate compression broadly retains signal relative to uncompressed images. Standardized phenotypic activity and consistency metrics reveal meaningful performance differences across methods. Together, JUMP-lite and Nahual provide a foundation for accessible, reproducible benchmarking of image-based cell representations.

Alán F. Muñoz, Johan Fredin Haslum, Runxi Shen +2

Broad Institute of MIT and Harvard, Cambridge, MA 02142, USA

Cells Phenotypes Benchmark Datasets Reproducibility Art

Aug 7, 2026cs.CV

Beyond Starry Night: Shortcut-Aware Control-State Planning for Artist-Grounded Text to Image Generation

Artist-grounded image generation requires more than appending an artist name to a prompt. Image models often respond to artist names through canonical shortcuts, such as recurring motifs, generic palettes, or overrepresented period signatures, rather than preserving the user's intended scene. We introduce Atelier, a shortcut-aware control-state planning framework for artist-grounded image generation. Atelier translates underspecified artistic intent into an explicit control state that separates scene anchors, preserve/transform decisions, style-regime hypotheses, role-bound artist evidence, and shortcut-avoidance constraints. It grounds this state using artist-level knowledge and local patch references, compiles backend-aware generation plans, and iteratively refines candidates through global and local authenticity feedback. We further introduce ArtIntentBench, a benchmark covering Van Gogh and Qi Baishi across artwork re-rendering, period/style-controlled generation, historically unseen subjects, shortcut auditing, and human preference evaluation. Across open-weight and closed-source generators, Atelier improves artist-level style fidelity, preserves source structure more faithfully, and substantially reduces shortcut substitution compared with prompt-engineered, retrieval-augmented, and general-purpose agent baselines. These results suggest that artist-grounded generation is bottlenecked not only by image synthesis, but by the upstream inference of explicit, evidence-grounded artistic controls.

Kuan Xing, Ye Wang, Changyi Gan +4

Jilin University · Adobe · University of Wisconsin

Image Generation Artistic Ownership Art

Aug 6, 2026cs.CV

Learning visual representations for compositional analysis of artworks and photographs

Composition, the deliberate arrangement of visual elements, is central to how meaning, emotion, and aesthetic quality are conveyed in artwork, yet it remains among the least formalized dimensions of visual understanding. Prior work highlights a persistent gap in learning meaningful compositional representations, attributing it to semantic bias and suggesting that human-inspired approaches may be key. We compare two parallel paradigms for composition analysis: a human-inspired method grounded in perceptual grouping, and fine-tuned foundation models enabled by recent large-scale compositional datasets. The human-inspired approach uses object-centric models for region-level decomposition and a graph attention network to capture spatial relationships between elements. Both paradigms are evaluated on composition score/category prediction, compositional image retrieval, and visual saliency detection. With frozen encoders, the human-inspired method achieves competitive performance while remaining interpretable. When sufficient data enables fine-tuning, large self-supervised models outperform significantly, but at the cost of interpretability and cross-domain generalization.

Fatemeh Behrad, Tinne Tuytelaars, Johan Wagemans

KU Leuven University Belgium

Visual Representations Art Symbolic Music Generation

Aug 5, 2026cs.HC

ArtAnno: Annotating Implicit Semantics in Artworks through LLM Agent-Driven Bidirectional Human-AI Augmentation

High-quality annotation of artworks is essential for computational art research, yet extracting implicit semantics remains challenging due to the reliance on culturally grounded meanings and deep contextual knowledge behind the images. Current AI-assisted annotation tools often lack assistance or rely on one-way workflows where experts have to perform extra manual calibrations to improve AI models, resulting in limited efficiency. To address this, we propose Bidirectional Human-AI Augmentation(BiHAA), a closed-loop framework in which skills and domain knowledge base evolve through real-time interaction and bidirectional HAI augmentation. Informed by a formative study with 20 artwork annotators from different backgrounds, we implement this framework in ArtAnno, an artwork annotation system driven by a multi-agent architecture. The system includes a Proactive Agentic Support Module, where AI augments humans through semantic mining and label suggestion, and an Interaction-Driven Evolution Module, where human expertise continuously enhances the AI through distilling annotation trajectories into reusable experience. Evaluation through a user study and two case studies demonstrates that our framework and system improve annotation efficiency, enable knowledge accumulation, and reduce the effort of information seeking and verification for annotators with limited domain expertise. We conclude by discussing broader implications and future directions.

Xiaoyan Gu, Yifang Wang, Wenqing Zheng +6

School of Computer and Computing Science, Hangzhou City University Hangzhou, Zhejiang, China

Artistic Ownership Art Human-Ai Collaboration Human Annotators Implicit Artificial Intelligence Search

Aug 5, 2026cs.CV

ToolArtist: Tool-Using Unified Multimodal Models for Agentic Image Generation

Text-to-image (T2I) models can produce visually compelling images, yet they remain limited on open-world tasks that require complex semantic understanding, multi-step reasoning, and the integration of external world knowledge. Existing efforts introduce agent capabilities into image generation, but they either prescribe a fixed workflow or place only a subset of the open-world image generation process under agent control. Consequently, reasoning, tool invocation, and image generation are not coordinated by a single policy. We propose ToolArtist, a fully agentic image generation model obtained by post-training a Unified Multimodal Model (UMM). ToolArtist dynamically orchestrates reasoning, external tool use, and native image generation within one unified policy. During Supervised Fine-Tuning (SFT), we equip a teacher agent with search tools alongside an image-generation tool. We then convert the collected trajectories into a UMM compatible format, where the image-generation tool is concealed while the resulting generated images are retained. During Reinforcement Learning (RL), we develop an agentic RL infrastructure for UMMs and introduce Reason-Act-Draw GRPO (RAD-GRPO), which uses complementary intent and quality rewards to jointly optimize the model. Experiments show that placing the entire open-world image-generation process under an agent policy consistently outperforms approaches with fixed pipelines or only partially agent-controlled components. We release the training data and the complete post-training infrastructure.

Jiahao Zhao, Xiaomin Yu, Zhongxiang Sun +5

1RUC · 2HKUST(GZ) · 3NUS +1

Image Generation Multimodal Generation Multimodal Agents Multimodal Model Art

Aug 3, 2026cs.GR

Toward Uncertainty Quantification in Modern Art

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.

Tirtho Roy, Ushashi Bhattacharjee, Showrav Kumar Saha +3

1Iowa State University · 2Independent Researcher · University of Dhaka

Art Uncertainty Uncertainty Quantification Random

Aug 3, 2026cs.SD

Sounding Canvas: Embedding Algorithms in Networked, Sensorial Sound Art

Sounding Canvas turns painting into a touch-responsive multimodal installation by embedding capacitive sensors, real-time decision models, and networking inside the canvas. Touches trigger spatialised sounds that appear to emanate from the painting itself. The work embeds algorithms physically, as sensing and computation concealed behind the artwork; perceptually, through an offline visual-to-sonic mapping that aligns a painting's features with sound descriptors; and performatively, through online models that shape live interaction with visitors and with remote canvases over a network. We describe the artistic rationale and technical implementation, combining a CNN-based offline mapping that defines the sound vocabulary with two online event managers, a higher-order Markov model and an LSTM-based policy, that balance responsiveness with guided exploration. We discuss how these layers make algorithms perceptible through behaviour rather than code, how networking transforms solitary touch into distributed co-authorship, and how the system raises questions of authorship, agency, and evaluation in embedded algorithmic artworks.

Luciano Ciamarone, Dora Motèque, Marco Giordano

independent researcher · Dpt. of Information Engineering, Computer Science and Mathematics (DISIM), University of L’Aquila, L’Aquila, Italy

Artistic Ownership Art Multi-Modal Data Optical Networks Lane-Level Map Generation

Aug 3, 2026cs.RO

Adaptive Human-Robot Collaborative Painting Combining Preference-Based Optimization and Dynamic Motion Primitives

This work presents a human-centered collaborative framework that integrates Preference-Based Optimization (PBO) and Dynamic Movement Primitives (DMPs) to optimize robot-assisted tasks such as painting. The system allows the operator to perform the process while the robot adapts its behavior in real-time, dynamically adjusting the orientation of the piece in order to match the orientation of the operator's hand. The PBO framework leverages the GLISp algorithm to iteratively refine control parameters such as execution time, robot responsiveness, and rotation amplification through human feedback. Moreover, DMPs have been modified to enhance the reactive behavior of the robot and its adaptability to ergonomic requirements. The method was validated with a heterogeneous group of participants executing \rev{painting tasks}. The results show that our strategy effectively reduces operator effort while optimizing process outcomes.

C. Cella, M. Ristic, M. Faroni +2

Politecnico di Milano

Human-Robot Collaboration Motion Primitives Human-Centered Framework Art

Aug 3, 2026cs.CV

IDraw: Artist Verification from Digital Drawing Images

As digital drawings are increasingly shared online, reliable authorship verification has become important for protecting artists and resolving disputes. Yet when authorship is questioned, verification may have to rely only on the disputed drawing and reference drawings known to be created by the claimed artist. This setting is challenging for two reasons. First, artist-specific drawing behavior, such as pen pressure and movement speed, is informative but is not available from a completed drawing. Second, similarities in the depicted object or scene can obscure similarities arising from the artist. We propose IDraw, a framework that learns from drawings paired with tablet-pen sensor signals collected from separate training artists. This allows IDraw to infer drawing behavior from completed images during a later authorship dispute, without requiring sensor data from the artist being verified. IDraw also reduces the influence of drawing content by identifying information shared by drawings of the same object across different artists and suppressing it before comparing drawings. To support this approach, we construct the first multimodal dataset for digital drawing authorship verification, containing 1,110 drawings from 37 artists and 14 types of tablet-pen sensor signals. Evaluated on previously unseen artists across nine image-encoder backbones, IDraw consistently outperforms standard image-based verification and reduces verification error by up to 40%. These results demonstrate that inferring drawing behavior from completed images and suppressing drawing content improve digital drawing authorship verification.

Nayoung Kim, Nan Jiang, Bangjie Sun +3

1Korea Advanced Institute of Science and Technology (KAIST) · 2National University of Singapore (NUS)

Art Sketches Authorship Reference-Guided Multimodal In-Context Verification

Aug 1, 2026cs.CL

OpenART: Scaling Agent Red Teaming via Open-Ended Environment Evolution

AI agents operate in persistent environments where early state changes can influence decisions far into the future. Unlike conventional language-model interactions, agent behavior is mediated through a shared state that is repeatedly modified and reused across long-horizon workflows. Current safety benchmarks often fail to capture these cumulative risks because they focus on short, static tasks. To address these limitations, we introduce OpenART, an open-ended arena for scalable agent red teaming through environment evolution. OpenART provides over 10,000 validated stateful scenarios across 50 domains, drawing from a pool of more than 500,000 tools and skills. These tasks require a median of 97 tool calls and enable unified evaluation across 75 different agent-model configurations. To systematically explore these evolving attack surfaces, we propose the Evolutionary Markov Hypergraph Attack (EMHA). EMHA is a black-box policy that performs feedback-driven environment evolution by coordinating authorized state transitions without requiring parameter updates. Throughout the evaluation, task objectives remain fixed while only the environment state changes. Across all configurations, EMHA achieves a pooled Attack Success Rate (ASR) of 85.0%. Its advantage over instruction-only evolution increases from approximately 2% on simple environments to over 17% on the most complex ones, demonstrating that environment evolution increasingly exposes safety failures as task complexity grows. Furthermore, our analysis shows that the specific runtime implementation of an agent explains a significant portion of safety variation beyond the underlying model's capabilities. These results establish OpenART as a scalable foundation for studying agent safety in complex, evolving environments.

Yunhao Chen, Xin Wang, Yixu Wang +6

Fudan University · Shanghai Artiﬁcial Intelligence Laboratory · Work done during Yunhao Chen’s internship at Shanghai AI Lab. +1

Red-Teaming Artificial Intelligence Safety Safety Benchmarks Evolutionary Optimization Methods Art

Jul 24, 2026cs.HC

Unboxing Diffusion Models for the Arts: Interactive Model Bending and Practice-Based Explainability

Explainable AI (XAI) in creative practice can be less about technocentric explanation and more about enabling artists to inspect modify and debug models as part of making Yet largescale texttoimage diffusion systems are typically presented as opaque endtoend tools limiting this kind of material engagement We argue that even large models can function as creative materials when their internal structure is made visible and manipulable To support this we propose a handson approach to explainability centred on experimentation and intervention We instantiate this approach with a model bending and an interactive (inspection) interface integrated into ComfyUIs nodebased workflow including interactive layer selection and intervention controls Through qualitative and quantitative analysis of bending interventions in Stable Diffusion 15 we show how manipulating specific components of a diffusion pipeline produces relatively consistent families of visual effects allowing artists to build practical layerlevel intuition about how different parts of the model shape generated images

Ahmed M. Abuzuraiq, Philippe Pasquier

School of Interactive Arts and Technology, Surrey, Canada

Text-To-Image Diffusion Models Explainable Artificial Intelligence Explainability Diffusion Models Art Creativity

Jul 22, 2026cs.AI

Can an AI System Be Creative? A Critical Perspective from Art and Engineering

This paper examines the question of whether artificial intelligence (AI) systems can be creative, approached from the dual perspective of a researcher trained in electrical engineering, pattern recognition, machine learning, and neural networks, who has also spent most of his life engaged in the arts as actor, stage and film director, writer, composer, and visual artist, and in philosophy. Drawing on Margaret Boden's foundational framework, both her three properties of creativity (novelty, surprise, and value) and her three types of creative processes (combinatorial, exploratory, and transformational), the paper argues that AI systems are structurally incapable of creativity in its strongest sense. While they exhibit genuine capability in the domain of combinatorial creativity, they are significantly bounded in exploratory creativity, and fundamentally incapable of transformational creativity. The paper further argues that the most important limitation of current AI systems is not the absence of novelty per se, but the absence of any mechanism for serendipity, accident, or the unexpected, all of which play a central role in the phenomenology of creativity, and the absence of any subject position from which to recognize and welcome such chance events. The paper concludes by proposing a model of human, AI creative collaboration that is both realistic and generative, illustrated by several concrete experiments. The paper is itself a demonstration of the thesis it advances: it was composed through a deliberate human AI collaborative process, which is described in the methodological note that opens it.

Ivan Magrin-Chagnolleau

Affiliated Scholar, Chapman University, Orange, California

Creativity Artificial Intelligence Systems Art Engineering Methodology

Jul 22, 2026cs.CL

Back to Back with a Copy: A Computational Analysis of AI-Generated Visual Contemporary Art Pastiches

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

University of Bucharest, Bucharest, Romania

Stylistic Fidelity Art Generative Artificial Intelligence Generative Models

Jul 21, 2026cs.CV

SynGallery: A Synthetic Gallery of Real Paintings for Instance-Level Artwork Recognition

Instance-level artwork recognition requires matching a handheld visitor photograph to a specific work in a large museum collection. This is challenging because painting datasets typically provide clean catalog images for training, while test queries are captured under oblique viewpoints, gallery lighting, reflections, frames, and other scene-level variations. We present SynGallery, a synthetic gallery dataset for artwork retrieval that addresses this gap without collecting additional real photographs. Starting from catalog images of real paintings, we place each artwork into a procedurally generated 3D gallery scene and render it from multiple viewpoints under varied geometric and appearance conditions, while preserving the exact identity of the original work. The resulting dataset contains 24,490 rendered views of 4,898 paintings from the Met benchmark. We show that these synthetic views provide a stronger training signal than the corresponding studio photographs. At the same number of training data points, training only on SynGallery improves art painting recognition from 67.18 to 73.47 GAP

^-

. When added to the full Met training set, SynGallery improves the published benchmark protocol from 35.97 to 38.48 GAP. Ablation experiments show that the gain comes primarily from geometric viewpoint variation rather than photographic realism: blur, sensor noise, and image compression consistently reduce performance.

Patryk Bartkowiak, Jakub Markil, Bartosz Kotrys +3

Adam Mickiewicz University · ArtiCollect · KAUST +1

Jul 20, 2026cs.LG

The Art of Not Forgetting

We introduce CMP (Cognitive Memory Primitive), an architecture that represents inputs as sparse relational codes, stores them in a two-tier competitive memory, and learns entirely through local, gradient-free updates, with no backpropagation anywhere in the network. We use this architecture to test a specific hypothesis: that catastrophic forgetting, usually treated as a training-time defect to be patched with replay or regularization, is instead a structural consequence of how backpropagation assigns credit and that a learning rule that is local and sparse by construction should resist it without a patch. On a controlled domain-incremental protocol across 15 text domains, three-seed replicated, CMP's backward transfer is 15-19x better than a matched-size Transformer trained with online EWC, and the result survives a domain-order control (reported as a range, +0.24 to +0.44, rather than a single figure). We report this alongside a real, substantial accuracy gap versus the Transformer baseline, a null result on a recognized vision benchmark, and a diagnosed, unresolved failure attempting to combine this architecture with a separate mechanism that improves raw accuracy, disclosed because an honest negative result is more useful than an omitted one. The central claim is narrow and falsifiable: local, sparse, non-backpropagation learning measurably resists catastrophic forgetting better than backpropagation with its standard fix, under conditions we state precisely.

Ashmith Atmuri, Akshay Kumar, Yashaswini Rao Bhogarajula

Arkadhi Labs

Catastrophic Forgetting Backpropagation Semantic Memory Art

Jul 20, 2026cs.CY

The Aura in the Machine: Genealogy and the Status of the Work of Art in the Generative Era

This paper frames Generative Artificial Intelligence (AI) not as an unprecedented technological rupture, but as an industrial-scale manifestation of a deeply rooted historical process. Through a genealogy of generative arts, it shows how AI's questions on authorship and creativity have precise historical precedents. A taxonomy of generative systems is proposed across three functional categories (medium, artwork, instrument), the attribution of which is editorial rather than ontological. From individual cognitive atrophy to Model Collapse, the systemic risks of creative automation are identified; environmental enrichment is proposed as an antidote. The role of the artist undergoes a radical metamorphosis: from craftsman of the object to entropic agent, systems designer, explorer, and negentropic curator. This pipeline-based taxonomy rests on a specific premise: the algorithmic system remains medium, instrument, or artwork, while creative agency resides in the humans distributed along it. Algorithmic Repetition is introduced as the aesthetic degeneration of aligned generative systems; the Benjaminian aura does not dissolve in the generative era but condenses upon the productive system. Manifestation is proposed as a third ontological status for generative works, transcending the dichotomy between original and copy. To support the proposed theses, two complementary aspects are examined: the radicalization of distributed authorship; and the reevaluation of older generative models, whose instability constitutes an aesthetic degree of freedom lost by recent ones.

Giorgio Presti

Department of Computer Science, Universit`a degli Studi di Milano, Via G. Celoria, Milan, 20133, Italy.

Generative Artificial Intelligence Artistic Ownership Art Authorship New Era Lineages+1

Jul 20, 2026cs.CV

Reviving Ancient Paintings via Poem: A Colorization Framework for Aligning Cultural Semantics

The irreversible fading of ancient paintings disrupts the "congruence between poems and paintings", a core aesthetic principle where visual imagery harmonizes with literary inscriptions. Although diffusion models provide strong generative priors, restoring historically faithful colors remains difficult: visual restoration is inherently ambiguous, while direct text guidance often causes modern semantic bias, over-saturation, and cross-boundary color leakage. To address this, we propose PoemColor, a poem-guided ancient painting colorization framework. Our method aligns poetic cultural semantics with painting restoration through two key designs. First, the Poetic Painting Projector (P3) converts implicit poetic context into a classical color-aware condition via poem-to-palette pretraining, reducing the ambiguity of poem-to-color mapping. Second, Structure-Aware Semantic Attention (SASA) regulates how poetic color semantics are injected into the diffusion backbone by jointly controlling their propagation direction and regional injection strength. In addition, we construct a hybrid restoration dataset that integrates synthetic degradation with expert-restored artifacts, providing both scalable supervision and real classical color references. Extensive experiments demonstrate that our framework significantly outperforms state-of-the-art methods, delivering controllable colorization that revives both historical authenticity and poetic semantics.

Junming Gao, Biao Zhu, Xiaosong Wang +1

Zhejiang University, Hangzhou, China · Hangzhou Research Institute of AI and Holographic Technology, Hangzhou, China

Jul 17, 2026q-bio.QM

Auditing Retrieval-Augmented LLM Hypotheses for Longitudinal Cell Painting Morphology

High-content morphological profiling (Cell Painting) yields sensitive, high-dimensional signatures of cellular state, but translating longitudinal morphology trajectories into interpretable biology remains difficult, especially for weak, chronic perturbations such as low-dose-rate ionizing radiation. Large language models (LLMs) can synthesize heterogeneous evidence into biological narratives, yet their scientific use requires quantitative auditing. We present an evaluation-first, retrieval-augmented interpretation framework for longitudinal Cell Painting morphology, applied to a 9-week RPE-1 time course across five dose rates (0.003--6.0 mGy/hr). Week-matched treated-control morphology deltas are combined with retrieved perturbation neighbors, pathway context, and literature evidence through stable evidence identifiers, enabling an LLM to generate structured, evidence-linked hypotheses that are hierarchically summarized while preserving provenance. We introduce two quantitative auditing tests: V1 citation validity, which verifies that cited evidence identifiers exist in the prompt, and V2 proxy-based morphology compatibility, which evaluates consistency between predicted biological processes and the most altered morphology features. In our experiments, V1 detected no invalid evidence references, while V2 showed meaningful morphology compatibility that increased with perturbation strength and was positively associated with an independent morphology drift summary. The framework produces auditable, falsifiable biological hypotheses, including an adaptive phenotype involving metabolic reprogramming and proteostatic stress at lower dose rates (0.003--0.3 mGy/hr). Current limitations include proxy-based evaluation and the lack of ground-truth mechanism labels.

Gilchan Park, Guang Zhao, Byung-Jun Yoon +1

Brookhaven National Laboratory Upton, New York, USA

Cells Model Auditing Art Rapid Adaptation

Jul 16, 2026cs.AI

Man, Machine, and Masterpiece: Artistic Ownership in the AI Era

The integration of AI-driven systems in creative work has sparked debates among artists and legal communities about notions of ownership. Yet there remains little consensus on how ownership should be defined and attributed when human and AI contributions are intertwined. To provoke critical reflection on these tensions, we designed ArtSplit, a provotype that explicitly quantifies human and AI contributions across different stages of creative work. Rather than aiming to resolve ownership, the provotype was used to elicit artists' responses to the idea of attributing ownership through measurable actions in the creative workflow. We argue that quantification fails to align with artists' understandings of creative intent and agency, and that efforts to measure ownership risk diluting long-standing assumptions through which artists understand and practice creative work. This critique challenges the impulse to transform a historically and socially situated relation into a technical problem.

Sofi Gjing Jovanovska, Kuntal Ghosh, Daniel Muhu Njenga +2

University of Siegen Siegen, Germany

Artistic Ownership Art Artificial Intelligence Systems

Jul 9, 2026cs.LG

ArtMine: Discovering and Formalizing Artistic Processes

Understanding how artworks are created requires reasoning about the iterative decisions, material operations, and contextual influences that shape artistic production. While recent generative AI systems can synthesize artworks with high fidelity, they primarily model distributions over finished artifacts rather than the creative processes underlying their creation. In practice, artistic workflows are only partially documented through fragmented sources such as archival records, preparatory studies, correspondence, etc., making process-level understanding difficult to formalize computationally. In this work, we introduce ArtMine, a framework for discovering and formalizing artistic processes from heterogeneous historical evidence. Our approach synthesizes heterogeneous artwork evidence into a structured repository, from which a Peircean abductive agent infers evidence-grounded production steps. These steps are converted into a compositional graph and rendering prompt, then optimized through self-reflection over deviations between the generated and reference artworks. We provide a preliminary proof-of-concept case study using open-domain historical sources across multiple artists and artistic movements, demonstrating that fragmented documentary evidence can support coherent, interpretable, and auditable representations of artistic workflows. By modeling creative processes rather than only final artifacts, our work moves toward process-centred human-AI co-creativity systems that can support artistic interpretation, creative education, reflective collaboration, and computational studies of cultural production.

Kaustubh Kumar, Ashutosh Ranjan, Vivek Srivastava +2

1TCS Research, Pune, India · 2Indian Institue of Technology, Patna, India.

Artistic Ownership Art Generative Processes Agentic Workflows Human-Ai Collaboration Abductive Reasoning

Jul 7, 2026cs.HC

VisTCP: A Visualization Framework to Construct Knowledge-Graph-Based Representation for Traditional Chinese Painting

Structured representation can characterize semantic objects and relationships in images. It provides a possible effective way for the semantic understanding of Traditional Chinese Paintings (TCPs) to better support archaeology and art history research. However, most image-oriented structured representation methods perform poorly on TCPs, due to two major challenges: 1) the objects and events of TCPs exhibit substantial differences from modern natural images, which results in semantic misunderstandings of TCPs; and 2) it is difficult to achieve accurate identification of ancient objects and events in TCPs, even for domain experts.In this paper, we propose VisTCP, a visualization framework that combines a TCP-oriented intelligent model and expert knowledge, which enables art historians to achieve trustworthy structured representations of TCPs in a human-in-the-loop manner. Firstly, we conduct a pilot study with three domain experts to build a semantic taxonomy of TCPs. Then, expert-annotated data are used to train a TCP-oriented structured representation model, which can automatically extract meaningful objects and their relationships in TCPs. To inform users of the model uncertainty, we design a joint embedding visualization view to show the differences between expert annotations and model predictions. This allows users to refine the structured representation based on their domain knowledge, enabling iterative optimization of the model. Finally, we conduct a case study, a usage scenario, and expert interviews on a real dataset to demonstrate the effectiveness of VisTCP in supporting the structured representation and semantic understanding of TCPs.

Zhiguang Zhou, Fengling Zheng, Miaoxin Hu +9

School of Media and Design, Hangzhou Dianzi University · School of Computer Science, Hangzhou Dianzi University · State Key Lab of CAD&CG, Zhejiang University +1

Visual Representations Art Visualization History

Jul 7, 2026cs.AI

ArtisanCAD: An Industrial-Level CAD Agent with Expert-Grounded Knowledge Distillation

Computer-aided design (CAD) for industrial components requires long-horizon procedural modeling, robust feature dependencies, editable parametric geometry, and production-grade B-Rep execution. Existing text-to-CAD methods have made promising progress in generating CAD programs from natural-language descriptions, but they still struggle when user prompts are ambiguous, underspecified, or only describe high-level design intent. They also rarely exploit expert procedural knowledge naturally available in industrial workflows, such as CATIA operation recordings, macro logs, drawing notes, and engineering descriptions. We present ArtisanCAD, a skill-guided industrial CAD agent with expert-grounded knowledge distillation. The core of ArtisanCAD is CAD intermediate representation (CAD-IR), an executable procedural representation that encodes parameters, ordered operations, MCP tool bindings, dependencies, generated entities, and verification rules. CAD-IR plays two key roles: it first serves as the carrier for distilling expert CAD procedures into reusable parameterized skills; then it provides a procedural scaffold that turns vague or intermediate-level prompts into complete executable CAD operations. ArtisanCAD retrieves expert-derived skills, instantiates and revises CAD-IR, executes the resulting procedure through a dedicated CATIA-MCP backend, and uses multi-view visual feedback for iterative refinement, and finally generates production-ready B-Rep models. On the Text2CAD benchmark, CAD-IR improves generation from intermediate prompts by reducing mean Chamfer Distance from

14.83

to

9.88

, showing its ability to bridge ambiguous textual intent and executable CAD construction. On four complex automotive components, CAD-IR enables expert CATIA recordings to be distilled into reusable skills, allowing ArtisanCAD to generate editable CATIA-native B-Rep models for new variant requests.

Yunhan Xu, Qifeng Wu, Xunjin Li +10

Peking University, Beijing 100871, China · TenFong Technology Co., Ltd., Shenzhen 518000, Guangdong, China · Eastern Institute of Technology, Ningbo 315200, Zhejiang, China +2

Image-To-Cad Generation Procedural Craft Art Knowledge Distillation

Jul 2, 2026cs.RO

Choreographing the Way of Water: A Computational Framework for Aquatic Robotic Art

Robotic choreography in open water is governed by nonlinear fluid dynamics, which impose significant challenges due to environmental disturbances and nonlinear system dynamics. This paper presents the cyber-physical architecture of Way of Water, a vertically integrated framework that orchestrates a fleet of autonomous surface vessels as a distributed choreographic platform. Moving beyond the surface-pixel paradigm, these vessels use laminar nozzles and multi-zone lighting to extend their expressive range from the 2D water plane into the 3D volumetric domain. Our primary contribution is the Way of Water Studio, a browser-based, timeline-compositing authoring paradigm that treats the fleet as a DAW-like instrument for music-responsive choreography. The Studio encapsulates Sequential Convex Programming for trajectory generation and Model Predictive Control for disturbance rejection presented through a visual timeline, broadening access to high-performance aquatic robotics for non-programmer artists. Grounding the Studio is the full cyber-physical stack: a custom holonomic chassis, a state-estimation and control stack tuned for the aquatic domain, and an LTE/MQTT fleet link with RTK-GPS time synchronization. We report on the system's validation across two distinct deployments: an 18-vessel Swan Lake interpretation at Lake Zurich and an 8-vessel Time Space Existence 2025 Venice Biennale demonstration at Forte Marghera, establishing a foundational reference for the design and deployment of fluidic robotic swarms.

Aswin Ramachandran, Christopher Golling, Sebastian Burmester +4

ETH Zurich Zurich, Switzerland

Swarms Water Duet Cyber-Physical System Art

Jul 2, 2026cs.CV

PWM-ArtGen: Part World Model for Articulated Object Generation

The key challenge in articulated 3D object generation from a single image is accurately predicting the underlying kinematic structure. Existing methods either infer kinematic parameters directly from a static image that lacks dynamic part-level kinematic relationships, or estimate parameters from visual dynamics generated from a single image, which is prone to accumulated errors of two steps. Moreover, the limited scale and diversity of existing annotated datasets further hinder generalization to complex, real-world objects. To overcome these limitations, we propose to learn the joint distribution of visual dynamics and kinematic parameters. Recognizing that articulated objects can be formulated as dynamic systems, we propose a unified Part World Model called PWM-ArtGen. To leverage unannotated data, this model couples action diffusion and image diffusion with independent diffusion timesteps, which enables visual branch co-training. We further curate a photorealistic dataset of 19.7k part-level image pairs without kinematic annotations, to support co-training. Experiments demonstrate that PWM-ArtGen substantially outperforms existing baselines in the resting state and exhibits strong zero-shot generalization to out-of-distribution objects.

Wentao Zheng, Ancong Wu

School of Computer Science and Engineering, Sun Yat-sen University, China

Art Articulated Objects World Models Kinematics Objects

Jul 2, 2026cs.CV

Mirror Illusion Art

Mirror Illusion Art is a novel reflection-conditioned 3D illusion where one object yields two target appearances (front and mirror). The task is formulated as inverse design from two target 2D images (front and mirror) to a printable 3D object with geometry and texture. Prior topology-driven and shadow-based approaches demand substantial manual effort, optimize shape only, and often yield non-smooth or incomplete geometry. To address these challenges, we propose AutoMIA, an automated Mirror Illusion Art design pipeline that jointly optimizes shape and color. To stabilize optimization and suppress artifacts, four mechanisms are introduced: (1) projection-alignment component (PAC) selection to reduce surface noise, (2) position-weighted adaptive (PWA) suppression for background noise, (3) internal voxel preservation (IVP) to prevent internal fractures, and (4) shape-color decoupled (SCD) optimization that balance shape and color optimization. AutoMIA generate diverse smooth Mirror Illusion artworks successfully both in the digital and physical world, with only around 76s design time and 2.6 GB memory on average using a single RTX 3090, advancing inverse graphics and computational design. Our code is available at https://github.com/zxp555/AutoMIA.

Xiaopei Zhu, Zeyuan Li, Jun Zhu +1

Department of Computer Science and Technology, BNRist, Tsinghua University · Huazhong University of Science and Technology · IDG/McGovern Institute for Brain Research, Tsinghua University +1

Art Generative Inverse Design Inverse Design 3D Scene Understanding Voxel

Jun 28, 2026cs.CL

Resolution Thresholds in VLM Detection of Harmful ASCII Art Across Construction Modes and Languages

Large Vision-Language Models (VLMs) are increasingly deployed as content moderation tools, yet they remain vulnerable to jailbreak attacks in which harmful text is visually encoded as ASCII art. This can allow inappropriate or harmful content to bypass moderation systems. To address this vulnerability, this paper investigates how image resolution affects VLM detection of harmful ASCII art across eight character construction modes (L1-L8), ranging from dense block characters to word-embedded designs. We evaluate eight state-of-the-art VLMs on English and Chinese corpora using a pipeline that generates ASCII art images at ten resolution scales, probing whether a consistent detection-failure threshold exists across models, modes, and languages. Results indicate that detection rates decline sharply above certain resolution thresholds, and that word-based modes are the most resistant to detection across the full resolution range. These findings reveal a systematic vulnerability in VLM-based content moderation systems and motivate resolution-aware evaluation standards.

Yikai Hua, Peter West

Department of Computer Science The University of British Columbia

Vision-Language Foundation Models Art

Jun 27, 2026cs.CV

Mural: Transferring LLM knowledge to image generation via Mixture-of-Transformers

Leveraging capabilities of large language models (LLMs) in text-to-image (T2I) synthesis is an important research direction. In this work we investigate whether the knowledge of a frozen LLM can be effectively utilized in T2I generation when trained exclusively on standard text-image pairs. We integrate a frozen, reasoning-capable LLM with a diffusion-based image generator via shared attention within the Mixture-of-Transformers (MoT) architecture. Our experiments span two critical questions: (1) what degree of the LLM's intrinsic knowledge remains accessible during T2I training, and (2) what novel capabilities emerge in the resulting system. Across established benchmarks, our models achieve strong performance among unified understanding-generation systems: 0.85 on GenEval, 86.75 on DPG-Bench, and 0.66 on WISE with inference-time reasoning, using only text-image data. Remarkably, we uncover emergent behaviors absent from training data, including cross-lingual image generation, color-guided composition, emoji / ASCII scene construction, and generation directed by world knowledge. These results demonstrate that pretrained LLM knowledge can guide image synthesis under standard text-to-image training paradigms, without interleaved multimodal signals or explicit reasoning supervision. Our findings open new avenues for harnessing frozen model capabilities in resource-constrained multimodal learning.

Achin Jain, Jie An, Siddharth Chaudhary +1

Amazon AGI

Modern Text-To-Image Models Image Generation Multimodal Generation Frozen Language Model Transformer Architectures Synthesis+1

Jun 26, 2026cs.CV

Understanding How MLLMs Describe Artworks Using Token Activation Maps

Multimodal Large Language Models (MLLMs) describe artworks with remarkable fluency, yet the visual reasoning behind their outputs remains opaque. When an MLLM names a style, identifies a subject, or recognizes an iconographic symbol, does it ground each claim in the relevant region of the canvas, draw on an undifferentiated visual signal, or rely primarily on textual priors? We study this using the Token Activation Map (TAM), which produces, for each generated token, a heatmap isolating the visual evidence specific to that token from prior-context interference. Applying TAM to a curated set of paintings spanning multiple periods and genres, we analyze grounding patterns across five semantically distinct token categories: common visual objects, style descriptors, metadata, iconographic tokens, and affective expressions. We find that visual grounding varies substantially with token semantics. We further show that MLLMs attempt to identify artworks and artists, achieving higher accuracy in artist attribution than in title prediction, where hallucinations are more frequent. Finally, we compare TAM with SAM~3 open-vocabulary segmentation. To ensure reproducibility, we release our code, experimental configurations, prompts, and qualitative results on the project page at https://nicolafan.github.io/tamart/.

Nicola Fanelli, Pasquale De Marinis, Raffaele Scaringi +3

Department of Computer Science University of Bari Aldo Moro Bari, Italy

Long Visual-Token Sequences Multimodal Large Language Models Art Visual Grounding Benchmarks Textual Priors

Jun 24, 2026cs.SD

FoleySet: A Multi-Level Human-Annotated Foley Sound Dataset

In audiovisual post-production, Foley refers to synchronous sound effects associated with human actions, such as footsteps, cloth rustle, and prop handling, that are recreated to match the on-screen movements and interactions of characters. These sounds are often recorded by professional Foley artists using physical props. This resource-intensive workflow has motivated data-driven research on Foley, including tasks such as classification, retrieval, and generation; however, high-quality annotated Foley datasets for training remain scarce. To address this gap, we present FoleySet, a publicly available Foley dataset of 10,000 audio clips annotated with a two-level Foley taxonomy. This dataset provides a standardized, Creative Commons-licensed resource for data-driven Foley classification, retrieval, and generation.

Sunshiyu Wang, Alexander Lerch

Music Informatics Group Georgia Institute of Technology Atlanta, USA

Video Dataset Art

Jun 23, 2026cs.RO

ArtiTwinSplat: Interactable Digital Twin Reconstruction via Gaussian Splatting from RGB-D videos

Deploying robots in unstructured real-world environments needs accurate, interactive models of the objects. Constructing these models at scale remains a critical bottleneck for robotic system integration. We present ArtiTwinSplat, a framework that automatically constructs articulated, photo-realistic digital twins of objects directly from RGB-D videos, requiring no CAD models, simulation assets, or manual annotations. Our method is built on 3D Gaussian Splatting that preserve geometric fidelity and photometric realism, coupled with an unsupervised articulation discovery pipeline that recovers part structure and joint kinematics from observed motion alone. With tracking and optimization stages our method provides stable, queryable digital twins that support real-time rendering, viewpoint control, and interactive manipulation. Unlike prior methods confined to simulation, ArtiTwinSplat operates directly on real-world observations and produces twins that are immediately usable by downstream robot planning and learning systems. This method offers a practical, scalable pathway toward digital twin construction, lowering the integration barrier for articulated object manipulation in embodied AI and human-robot collaboration contexts.

Pranjal Mishra, René Zurbrügg, Max Wilder-Smith +4

1ETH Zürich, Zürich, Switzerland. · 2Microsoft, Zürich, Switzerland. · University of Bonn, Bonn, Germany.

Robotic Systems Rgb-Depth Cameras Gaussian Splatting Simultaneous Localization And Mapping Systems Embodied Artificial Intelligence Gaussian Splatting Art+1

Jun 19, 2026cs.RO

ASCII Art Turns LLMs into VLA Controllers

Vision--Language--Action (VLA) controllers are often built by extending vision--language models (VLMs) with action supervision, relying on multimodal backbones with large data and compute requirements. We demonstrate that a text-only large language model (LLM) can be adapted into a VLA-style controller when visual observations are rendered into a text input using an ASCII representation. This ASCII-as-vision interface enables existing training and deployment stacks for LLMs to efficiently condition on visual state, follow natural-language instructions, and produce constrained, executable actions. We fine-tune and compare multiple LLMs and VLMs across model families and scales, using both expert demonstrations from a planning-based teacher, as well as DAgger for iterative improvement. In a 2D manipulation benchmark, in both simulation and on a physical manipulator, the resulting controllers can identify task-relevant entities and plan feasible action sequences. Our results suggest that ASCII rendering can serve as a lightweight, interpretable modality bridge from images to text, complementing conventional VLA pipelines, and opening directions for VLA research with text-only backbones.

Yitao Jiang, Roy Xing, Luyang Zhao +3

Dept. of Computer Science, Dartmouth College, Hanover, NH, USA. · Dept. of Electrical and Computer Engineering, Clemson University, Clemson, SC, USA. · Dept. of Mechanical and Aerospace Engineering, University of Houston, Houston, TX, USA.

Jun 18, 2026cs.HC

Editorial Alignment: A Participatory Approach to Engaging Editorial Expertise in LLM-mediated Knowledge Dissemination

The emergence of LLM-driven information services is reshaping the conditions under which public knowledge institutions operate, threatening to absorb the editorial function these institutions exist to exercise. While LLMs offer powerful new affordances for knowledge dissemination, editorial authority is challenged by pretrained LLMs that arrive already aligned with the values and dissemination strategies of their commercial developers. This paper investigates editor participation in re-aligning LLM interfaces to editorial standards through design workshops, in a case study where we design and implement an LLM-enabled encyclopedia interface with a Nordic public knowledge institution. We introduce editorial alignment as a design practice within Participatory AI, framing AI alignment as a design process and positioning the editorial standard as a design artefact that translates editorial practice and values into alignment objectives for technical implementation. Last, we discuss how editorial alignment can create space for ongoing participation and give editors agency in LLM-mediated knowledge dissemination.

Simon Aagaard Enni, Malthe Stavning Erslev, Karl-Emil Kjær Bilstrup +1

Aarhus University Aarhus, Denmark · University of Copenhagen Copenhagen, Denmark

Large Language Model Workflows Value Alignment Art

Jun 18, 2026cs.CV

Evaluation of Image Matching for Art Skills Assessment

While some individuals possess a natural talent for drawing, mastering this skill requires dedicated training and practice. Determining one's skill in the art of drawing requires proper comprehensive assessment. In this paper, we propose a method to measure drawing skill by by matching the hand-drawn image with the original template. Existing techniques often involve complex processes. However, advancements in computer vision allow us to train computers to perform these comparisons at a human-like level, thereby resolving the tedious and overwhelming traditional process. Using computer vision applications, determining image similarity involves identifying the level of similarities in an image with a reference image. We have implemented and analyzed the SIFT feature and Siamese network to measure image similarity. Our results indicate that it is feasible to assess art skill levels. Through feature analysis, we found that SIFT-based key point matching provides a more effective means of detecting drawing skills.

Asaad Alghamdi, Michael Poor, Trung-Nghia Le +1

University of Dayton, Ohio, United States · University of Science, VNU-HCM, Ho Chi Minh City, Vietnam · Vietnam National University, Ho Chi Minh City, Vietnam

Art Sketches Computer Vision Similarity and Metrics

Jun 15, 2026cs.SD

ArtNet: A JEPA-Like Articulatory Predictive Framework for Robust Zero-Shot Phoneme Recognition

Zero-shot cross-lingual phoneme recognition is often hindered by the fragility of direct acoustic-to-symbol mapping, which is susceptible to language-specific variations. Echoing joint-embedding predictive architecture (JEPA) work in vision, we propose ArtNet, a framework that explores a structured feature prediction task based on articulatory features to enhance acoustic robustness. Specifically, ArtNet integrates an articulatory predictor, designed to extract universal articulatory representations from self-supervised learning (SSL) features, with a variational information bottleneck (VIB) to suppress language-specific variations. Experiments on seven unseen languages demonstrate that ArtNet, particularly when synergized with the proposed vector-space inventory alignment (VSIA) strategy, significantly outperforms competitive baselines, achieving a 20.56% relative reduction in phoneme error rate (PER) and 7.01% in phoneme feature error rate (PFER).

Zeqian Hu, Fuliang Weng, Shu Shang +1

Fudan University, China · Pedawise, Shanghai, China

Articulatory Joint-Embedding Predictive Architectures Art

Jun 10, 2026cs.AI

The Art of Interrogation: Consistency Amplifies Factuality in Spatial Reasoning

Current Large Reasoning Models (LRMs) exhibit remarkable general capabilities but significantly underperform in spatial reasoning tasks. Existing approaches treat this gap as a knowledge deficit, relying on supervised fine-tuning (SFT) to ingest labeled spatial data from external vision sources or synthetic engines. In contrast, we argue that for many tasks, spatial reasoning capabilities are already present in pre-trained LRMs but require alignment through logical coherence under geometric 2D and 3D constraints. In this work, we propose a self-supervised reinforcement learning (RL) framework that targets the internal reasoning process without requiring ground-truth annotations. By formalizing the notion of consistency verifiers -- reward functions that check for geometric and semantic consistency under transformations -- we demonstrate that models can improve their spatial reasoning abilities. We use both image transformations, like flipping, and textual transformations, like swapping the order of objects in the question, and propose a new optimal transport-based RL strategy, OT-GRPO, which is a minimal-matching variant of group relative policy optimization tailored to pairwise verifiers. We show that this label-free consistency training approaches the accuracy of models trained with ground-truth supervision and achieves similar generalization across diverse tasks and data domains.

Theo Uscidda, Marta Tintore Gazulla, Maks Ovsjanikov +2

CREST, ENSAE, Institut Polytechnique de Paris · Google Zurich · Google DeepMind

Spatial Reasoning LLM Reasoning Strategies Ground Truth Art

Jun 9, 2026cs.CV

Improving Text-Instance Alignment Of Foreground Conditioned Out-Painting Via Customized Concept Embedding

To showcase products, merchants often incur substantial costs creating high-quality display images. Foreground Conditioned Outpainting (FCO) meets this demand, allowing users to create desired backgrounds for foreground instances at a low cost by adjusting the text prompt. However, existing text-driven FCO methods exhibit critical flaws in their outputs, most notably the presence of artifacts, which refer to regions in the synthesized background that share the same semantics as the foreground instance. Such artifacts diminish the object's prominence and degrade image quality. We attribute the issue to the misalignment between the given instance and text-derived concept embeddings. To address this, we propose the Customized Concept Embedding Diffusion (CCE-Diffusion) framework. Its core is a CCE-Module to customize concept embeddings, bridging the gap between generic noun semantics and a specific visual instance. An Instance-Aware Loss guides the module's optimization, while a Semantic-Preserving Prompt Template prevents customized embeddings from distorting other words in the prompt. Both qualitative and quantitative evaluations demonstrate that CCE-Diffusion significantly reduces artifacts in the outputs. As a plug-and-play component, the CCE-Module can integrate with various FCO methods, enhancing their performance.

Yihao Zhao, Xuan Han, Bin He +1

College of Electronic and Information Engineering, Tongji University, Shanghai, China · State Key Laboratory of Autonomous Intelligent Unmanned Systems, Frontiers Science Center for Intelligent Autonomous Systems, Ministry of Education, Shanghai, China

Inpainting Image-Text Alignment Text-To-Image Diffusion Models Contrastive Alignment Diffusion Models Text Embeddings+3

Jun 4, 2026cs.CV

Gender Artifacts from Art History to Text-to-Image Generation

Artistic styles are rooted in specific socio-historical contexts that encode social hierarchies, including distinct constructions of gender. Yet in AI research, style has long been treated as a surface-level visual property: a filter of color, brushstroke, and texture applied to otherwise content-neutral scenes. We introduce the first dataset to investigate the interplay between gender representation and style in both historical and generated images. StyleGender comprises 74k images spanning 19 artistic styles, comprising art historical images with style and gender annotations, T2I-generated images under controlled style and gender prompts, and a semantically aligned set enabling direct art history-to-generation comparison. By proposing two Set Gender Artifact (SGA) metrics (PixelSGA and MaskSGA), capturing gender signals at the pixel level and in compositional structure, we show that (1) gender representation shapes visual features across artistic styles, (2) style keywords carry these patterns into T2I generation, and (3) generative models tend to amplify gender artifacts beyond what is observed in historical sources.

Piera Riccio, Miriam Doh, Benedikt Höltgen +2

University of Amsterdam Amsterdam, Netherlands · Université Libre de Bruxelles Brussels, Belgium · Hasso Plattner Institut University of Potsdam Potsdam, Germany +1

Gender Artistic Ownership Generative Artificial Intelligence Art Artificial Intelligence Research History

Jun 2, 2026cs.AI

CP-Agent: Context-Aware Multimodal Reasoning for Cellular Morphological Profiling under Chemical Perturbations

Cell Painting combines multiplexed fluorescent staining, high-content imaging, and quantitative analysis to generate high-dimensional phenotypic readouts to support diverse downstream tasks such as mechanism-of-action (MoA) inference, toxicity prediction, and construction of drug-disease atlases. However, existing workflows are slow, costly and difficult to interpret. Approaches for drug screening modeling predominantly focus on molecular representation learning, while neglecting actual experimental context (e.g., cell line, dosing schedule, etc.), limiting generalization and MoA resolution. We introduce CP-Agent, an agentic multimodal large language model (MLLM) capable of generating mechanism-relevant, human-interpretable rationales for cell morphological changes under drug perturbations. At its core, CP-Agent leverages a context-aware alignment module, CP-CLIP, that jointly embeds high-content images and experimental metadata to enable robust treatment and MoA discrimination (achieving a maximum F1-score of 0.896). By integrating CP-CLIP outputs with agentic tool usage and reasoning, CP-Agent compiles rationales into a structured report to guide experimental design and hypothesis refinement. These capabilities highlight CP-Agent's potential to accelerate drug discovery by enabling more interpretable, scalable, and context-aware phenotypic screening -- streamlining iterative cycles of hypothesis generation in drug discovery.

Yuxin Zhang, Yiyao Li, Ping Shu Ho +3

Department of Electrical and Computer Engineering, The University of Hong Kong · School of Computing and Data Science, The University of Hong Kong · Nvidia AI Technology Center +2

Drug Discovery Multimodal Agents Cp-Agent Mitotic Figures Multimodal Reasoning Art

Jun 1, 2026cs.CL

PlanarBench: Evaluating LLM Spatial Reasoning via Planar Graph Drawing

Existing LLM graph benchmarks typically ask models to answer graph-theoretic questions or compute symbolic solutions rather than construct spatial layouts. Within-task difficulty is also primarily stratified by vertex count. However, existing research also suggests that task difficulty is more closely related to the number of constraints imposed by the edges than to the number of vertices being arranged. We introduce PlanarBench, a benchmark that asks models to produce crossing-free ASCII drawings of planar graphs given only an edge list. Across 91 model configurations and 199 non-isomorphic connected planar graphs with 2-7 vertices, edge count is more strongly associated with mean task score than vertex count (

r=-0.85

) versus (

r=-0.47

) and remains strongly associated after controlling for vertex count (

r_p=-0.80

). PlanarBench provides a controlled setting for separating these two difficulty axes. In addition, neither drawing area nor total response length demonstrated a meaningful correlation with score, which is evidence against a simple output-size explanation. Performance varies widely: the best model scores 159.5 out of 199, most models below 30B parameters score under 25, and substantial failures remain among frontier systems.

Oleksandr Nikitin, Anna Kravchenko

Spatial Reasoning Large Language Model Planning Edge Art

May 29, 2026cs.MM

A Pilot Study on Curator-Guided Multilingual Art Description for Blind and Low-Vision Audiences with Small Vision-Language Models

Blind and low-vision (BLV) audiences remain underserved by visual art descriptions, particularly across languages and in museum settings where privacy and intellectual-property constraints may favour small on-premise vision-language models (VLMs). This pilot study investigates curator-guided multilingual art description with Qwen2.5-VL-3B-Instruct for German, Romanian, and Serbian. We construct a parallel BLV-oriented caption corpus from artwork images and metadata, and compare language-specific LoRA adapters with a single multilingual adapter under a fixed backbone and training budget. Evaluation combines automatic lexical and embedding-based metrics with an LLM-as-Judge protocol calibrated against a small Romanian BLV pilot study. Under our pilot setup, language-specific adapters show more stable controllability and visually grounded description quality for Romanian and Serbian, while multilingual adaptation remains competitive in German. We frame these findings as deployment-oriented evidence for small on-premise VLMs, and highlight the need for larger BLV user studies and broader language coverage before drawing general conclusions about multilingual accessibility.

Iosif Tsangko, Andreas Triantafyllopoulos, George Margetis +2

Technical University of Munich Munich, Germany · Foundation for Research and Technology – Hellas Heraklion, Greece · National University of Science and Technology Politehnica Bucharest Bucharest, Romania

Recent Vision-Language Models Low-Rank Adaptation Adapters Art Text Corpora

May 27, 2026cs.CL

Playing with Words, Improving with Rewards: Training Language Models for Creative Association

Large Language Models (LLMs) are being applied to increasingly difficult problems and use cases. To navigate their vast solution spaces effectively, LLMs need to be creative. Yet the subjective nature of creativity and the limits of human judgment make training LLMs for creativity especially challenging. As a solution, we train LLMs on Codenames, a word-association game that exercises the two central axes of creativity, divergent and convergent thinking, while yielding objectively verifiable outcomes. This verifiability lets us bypass human judgment and train with Reinforcement Learning with Verifiable Rewards (RLVR). We train Qwen3-1.7B, 4B, and 8B models and evaluate them on ten creativity and four reasoning benchmarks. We find that the precision-diversity trade-off is scale-dependent: the 8B model prioritizes creativity over precision, while the 1.7B and 4B models gain reasoning precision at the cost of creativity. Concretely, the 8B model shows modest but consistent creativity gains (8 of 10 benchmarks) with only minor reasoning degradation, whereas the smaller models achieve substantial gains on reasoning tasks. Our study presents a scalable and effective solution to train LLMs for creativity.

Vijeta Deshpande, Namrata Shivagunde, Sherin Muckatira +5

University of Massachusetts Lowell · Dartmouth College · University of Amsterdam +2

Creativity Reasoning Benchmark Art

May 26, 2026cs.MM

MinhwaNet: Faithful but Insufficient Object Grounding in Korean Folk Painting

Korean folk painting (minhwa) is built from a small vocabulary of auspicious symbols, a tiger for protection, a pair of birds for marital harmony, a peony for wealth, that recur across many of its painted genres. This suggests an obvious computational approach, identify which symbols appear in a painting and read the genre from the inventory. Working with a public corpus that pairs whole paintings, eight-field bilingual curatorial captions, and a separate set of expert object crops, we find that this approach does not work. A model given only a list of which symbols a painting contains predicts the genre far worse than a model that fuses the image with the curatorial text, and forcing the genre representation to be object-grounded actively hurts accuracy. The visual evidence on which the genre prediction rests is nonetheless localized and inspectable. A leakage-safe object evidence map projected from a part-level detector is spatially faithful to where curators isolated symbolic objects and to a patch-based surrogate's own gradient saliency. We name this configuration a faithful-but-insufficient dissociation. The part-level explanation is honest about what the part-level model sees, yet the genre target turns on how symbols are arranged rather than on which ones appear. The same lens separates a content label that survives transfer to held-out source institutions, genre, from a style label that does not, era, a prediction we confirm on two further labels in the corpus. We release the multimodal system, a worked-example reading of one painting's evidence map against its catalogue, and a set of evaluation cautions that recur in long-tailed heritage collections.

Joonhyung Bae

Korea Advanced Institute of Science and Technology (KAIST), South Korea · Korea Advanced Institute of Science and Technology (KAIST), Daejeon, South Korea

Art Captions Representation Quality Saliency Incomplete Leakage

May 23, 2026cs.CV

Artiverse: A Diverse and Physically Grounded Dataset for Articulated Objects

We present Artiverse, a diverse and physically grounded dataset of high-quality articulated 3D objects designed for realistic functional modeling and simulation. Artiverse contains 5.4K human-authored objects across a broad range of 88 categories, aggregated from multiple 3D static repositories. Objects are annotated with functional parts, interior structures, realistic kinematic relationships and articulated joints including multi-DoF joints, and physical attributes such as metric scale, material, and mass. We develop a semi-automated annotation pipeline that combines few-shot segmentation, geometric reasoning, and multi-stage human verification to achieve high-quality and efficient annotation, reducing manual annotation time by over 30%. We demonstrate the value of Artiverse on tasks of part mobility analysis, articulated object generation, and physics-based interaction. Artiverse provides a data resource to advance functional understanding for articulated objects.

Denys Iliash, Jiayi Liu, Egor Fokin +4

Simon Fraser University · 2Canada-CIFAR AI Chair, Amii

3D Models Articulated Objects Objects Art Kinematics