Art

Artistic Text Recognition (ATR) remains challenging because word images often combine decorative fonts, curved layouts, object-like characters, clutter, and severe distortions. This paper studies WordArt-V1.5 as a standardized benchmark for this setting and evaluates recent scene and artistic text recognizers under a common protocol. We propose a confidence-aware ensemble that combines SVTRv2, PARSeq, and MAERec after fine-tuning on the official training split. The ensemble selects predictions using the minimum confidence over disagreement positions, emphasizing characters that separate competing hypotheses. For long words, where a single character error can invalidate the whole prediction, we add a targeted refinement stage based on Needleman-Wunsch alignment and lexicon-guided correction. On the WordArt-V1.5 Test B split, the proposed system reaches 89.90% Word Recognition Accuracy, improving the best individual fine-tuned model by 1.77 percentage points. The long-word refinement produces a modest global gain, but improves the targeted long-word subset by 2.72 percentage points. Finally, an error analysis of all remaining mistakes shows that 48.8% are associated with labeling issues, visual ambiguity, or illegible samples, highlighting the value of diagnostic reporting for future ATR benchmarks and models. Our source code is available at https://github.com/lucas-azdias/Artistic-Text-Recognition/.

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.

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/.

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.

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.

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.

Existing visual emotion understanding methods typically ignore cultural variations in emotional perception. We introduce culture-conditioned visual emotion understanding, a task that predicts the culture-specific emotional perception of a given image and explains the underlying rationale. Although related benchmarks exist, they are limited by inconsistent individual annotations, which hinder the derivation of majority-supported culture-level emotion labels, and imbalanced cultural coverage. Thus, we present ArtECulture, a benchmark containing 6,792 artworks with culture-specific emotion labels and explanations across English, Chinese, and Arabic cultures, with balanced Western and non-Western content. Evaluations of 16 open- and closed-source Multimodal Large Language Models (MLLMs) under a zero-shot setting reveal that the task remains challenging, with the best model achieving below 50% accuracy. To address this limitation, we introduce a retrieval-augmented culture-conditioned emotion understanding framework, which leverages a concept-based cultural emotion knowledge base to inject explicit cultural knowledge into MLLMs without additional training. The framework improves both culturally aligned emotion prediction and grounded explanation generation. Our benchmark and code will be publicly released.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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/.

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.

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).

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.

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.

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.

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.

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.

Classifying artworks presents a significant challenge due to the complex interplay of fine-grained details and abstract features that condition the style or genre of an artwork. This paper presents a systematic investigation of the effectiveness of supervised and self-supervised backbones as feature extractors for both artwork classification and retrieval, with a particular focus on paintings. We conduct an extensive experimental evaluation using the DINO family and CLIP models, assessing multiple classification strategies and feature representations. Our results demonstrate that employing a self-supervised backbone leads to consistent improvements in artwork classification performance. Moreover, our work provides insights into the applicability of classification and retrieval modules in real-world applications, such as virtual reality (VR) applications that support museum navigation.

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

Cultural heritage institutions increasingly disseminate research and interpretive materials globally, but multilingual dissemination is constrained by limited budgets and staffing. In terminology-dense domains such as rock art, translation quality depends on accurate, consistent specialised terms, and small lexical errors can mislead non-specialists and reduce reuse. We compare three English MT setups for a Spanish academic rock art text, focusing on simple, operationally feasible interventions rather than complex model-side modifications: (1) DeepL as a strong NMT baseline, (2) Gemini-Simple (LLM with a basic prompt), and (3) Gemini-RAG (the same LLM with glossary-augmented prompting via term-pair retrieval). Using PEARMUT, we conduct a human evaluation via (i) multi-way Direct Assessment (0--100) and (ii) targeted terminology auditing with a restricted MQM taxonomy. Gemini-RAG yields the highest exact-match terminology accuracy (81.4%), versus Gemini-Simple (69.1%) and DeepL (64.4%), while preserving overall quality (mean DA 85.3 Gemini-RAG vs. 85.2 Gemini-Simple), outperforming DeepL (80.3). These results show that glossary-augmented prompting is a low-overhead way to improve terminology control in cultural-heritage translation if institutions maintain minimal terminology resources and lightweight evaluation procedures.

Jailbreak attacks -- adversarial prompts that bypass LLM alignment through purely linguistic manipulation -- pose a growing operational security threat, yet the field lacks large-scale, reproducible infrastructure for generating, categorizing, and evaluating them systematically. This paper addresses that gap with three contributions. (1) Large-scale compositional jailbreak dataset. We construct 114,000 adversarial prompts by applying 912 composing strategies to 125 harmful seed prompts from JailBreakV-28K. Every prompt is assigned to one of 14 cybersecurity attack categories (e.g., malware, phishing, privilege escalation) via a six-model majority-vote pipeline, and each strategy is ranked by effectiveness per category, enabling principled strategy selection grounded in concrete adversarial objectives. (2) Automated jailbreak generation. We instruction-fine-tune category-aware LLMs on Moderate and Optimal subsets, producing models that synthesize fluent jailbreak prompts from a harmful seed at inference time -- no templates, no gradient search. Our generators achieve perplexity 24-39 versus 40-140 for AutoDAN and AmpleGCG, with safety-filter evasion rates of 0.29-0.51 Mal (LlamaPromptGuard-2-86M), enabling controllable, scalable red-teaming under realistic adversarial conditions. (3) OPTIMUS: a training-free jailbreak evaluator. OPTIMUS is a continuous metric J(S,H) that jointly captures semantic similarity between the harmful seed and the jailbreak (S) and harmfulness probability (H) via calibrated penalty functions. Unlike binary attack success rate (ASR), OPTIMUS requires no task-specific training, generalizes across evolving strategies, and exposes a stealth-optimal regime (S*=0.57, H*=0.43) that ASR misses. Experiments across 114,000 prompts confirm that OPTIMUS separates Weak, Moderate, and Optimal jailbreaks with category-level evidence binary evaluation cannot supply.

Video generation models internalize physical realism as their prior. Anime deliberately violates physics: smears, impact frames, chibi shifts; and its thousands of coexisting artistic conventions yield no single "physics of anime" a model can absorb. Physics-biased models therefore flatten the artistry that defines the medium or collapse under its stylistic variance. We present AniMatrix, a video generation model that targets artistic rather than physical correctness through a dual-channel conditioning mechanism and a three-step transition: redefine correctness, override the physics prior, and distinguish art from failure. First, a Production Knowledge System encodes anime as a structured taxonomy of controllable production variables (Style, Motion, Camera, VFX), and AniCaption infers these variables from pixels as directorial directives. A trainable tag encoder preserves the field-value structure of this taxonomy while a frozen T5 encoder handles free-form narrative; dual-path injection (cross-attention for fine-grained control, AdaLN modulation for global enforcement) ensures categorical directives are never diluted by open-ended text. Second, a style-motion-deformation curriculum transitions the model from near-physical motion to full anime expressiveness. Third, deformation-aware preference optimization with a domain-specific reward model separates intentional artistry from pathological collapse. On an anime-specific human evaluation with five production dimensions scored by professional animators, AniMatrix ranks first on four of five, with the largest gains over Seedance-Pro 1.0 on Prompt Understanding (+0.70, +22.4 percent) and Artistic Motion (+0.55, +16.9 percent). We are preparing accompanying resources for public release to support reproducibility and follow-up research.

Visual art remains largely inaccessible to blind and low-vision (BLV) audiences due to brief or absent alt-text, which rarely conveys the sensory, spatial, or emotional qualities of an artwork. This study presents an automated workflow that generates multi-sensory art descriptions and synchronized audio narration using large language models and text-to-speech services. The system, orchestrated through Zapier, converts uploaded images into rich narrative captions without human intervention, enabling rapid, scalable production of accessible media. Quantitative evaluation across 50 artworks shows that AI-generated descriptions contain significantly higher lexical diversity, adjective density, and narrative detail than baseline captions, while maintaining comparable readability levels. Statistical tests (t-tests, ANOVA) confirm meaningful differences in richness and length, and the full pipeline produces text-plus-audio outputs in under 20 seconds per image at a cost below $0.05. Findings demonstrate that automated captioning can bridge gaps in museum and digital-collection accessibility, with implications for broader public engagement. Future work can incorporate user studies with BLV participants to assess comprehension, preference, and optimal levels of interpretive language.

Although the cultural (mis)alignment of Large Language Models (LLMs) has attracted increasing attention -- often framed in terms of cultural bias -- until recently there has been limited work on the design and development of datasets for cultural assessment. Here, we review existing approaches to such datasets and identify their main limitations. To address these issues, we propose design guidelines for annotators and report on the construction of a dataset built according to these principles. We further present a series of contrastive experiments conducted with this dataset. The results demonstrate that our design yields test sets with greater discriminative power, effectively distinguishing between models specialized for a given culture and those that are not, ceteris paribus.

Appreciating multi-figure paintings requires understanding how characters relate through subtle cues like gaze alignment, gesture, and spatial arrangement. We present MIRAGE, an evidence-centric framework designed to scaffold the exploration of these "micro-interactions" in multi-figure artworks. While such cues are essential for deep narrative appreciation, they are often distributed across complex scenes and difficult for viewers to systematically identify. Existing vision-language models (VLMs) frequently fail to provide reliable assistance, offering ungrounded interpretations that lack traceable visual evidence. MIRAGE addresses this by constructing a structured intermediate representation capturing identities, pose cues, and gaze hypotheses. However, the challenge extends beyond extracting these cues to coordinating them during interpretation. Without an explicit mechanism to organize and reconcile relational evidence, models often collapse multiple interaction hypotheses into a single unstable or weakly grounded narrative, even when low-level signals are available. This representation allows users to verify how high-level interpretations are anchored in low-level visual facts. By separating spatial grounding from narrative generation, MIRAGE enables users to inspect and reason about figure-to-figure relationships through a verifiable evidence layer. We evaluate MIRAGE against painting-only VLM baselines using a blind assessment protocol. Results show that MIRAGE significantly improves identity consistency, reduces relational hallucinations, and increases the coverage of subtle interactions. These findings suggest that structured grounding can serve as a critical interaction control layer, providing the necessary scaffolding for a more reliable, transparent, and human-led understanding of complex visual narratives.

Adversarial robustness evaluation underpins every claim of trustworthy ML deployment, yet the field suffers from fragmented protocols and undetected gradient masking. We make two contributions. (1) Structured synthesis. We analyze nine peer-reviewed corpus sources (2020--2026) through seven complementary protocols, producing the first end-to-end structured analysis of the field's consensus and unresolved challenges. (2) Auto-ART framework. We introduce Auto-ART, an open-source framework that operationalizes identified gaps: 50+ attacks, 28 defense modules, the Robustness Diagnostic Index (RDI), and gradient-masking detection. It supports multi-norm evaluation (l1/l2/linf/semantic/spatial) and compliance mapping to NIST AI RMF, OWASP LLM Top 10, and the EU AI Act. Empirical validation on RobustBench demonstrates that Auto-ART's pre-screening identifies gradient masking in 92% of flagged cases, and RDI rankings correlate highly with full AutoAttack. Multi-norm evaluation exposes a 23.5 pp gap between average and worst-case robustness on state-of-the-art models. No prior work combines such structured meta-scientific analysis with an executable evaluation framework bridging literature gaps into engineering.

Understanding artworks requires multi-step reasoning over visual content and cultural, historical, and stylistic context. While recent multimodal large language models show promise in artwork explanation, they rely on implicit reasoning and internalized knowl- edge, limiting interpretability and explicit evidence grounding. We propose A-MAR, an Agent-based Multimodal Art Retrieval framework that explicitly conditions retrieval on structured reasoning plans. Given an artwork and a user query, A-MAR first decomposes the task into a structured reasoning plan that specifies the goals and evidence requirements for each step. Retrieval is then conditionedon this plan, enabling targeted evidence selection and supporting step-wise, grounded explanations. To evaluate agent-based multi- modal reasoning within the art domain, we introduce ArtCoT-QA. This diagnostic benchmark features multi-step reasoning chains for diverse art-related queries, enabling a granular analysis that extends beyond simple final answer accuracy. Experiments on SemArt and Artpedia show that A-MAR consistently outperforms static, non planned retrieval and strong MLLM baselines in final explanation quality, while evaluations on ArtCoT-QA further demonstrate its advantages in evidence grounding and multi-step reasoning ability. These results highlight the importance of reasoning-conditioned retrieval for knowledge-intensive multimodal understanding and position A-MAR as a step toward interpretable, goal-driven AI systems, with particular relevance to cultural industries. The code and data are available at: https://github.com/ShuaiWang97/A-MAR.