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Register a new userSensory Optimization: Neural Networks as a Model for Understanding and Creating Art
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Added by
Owain Evans
Publication date
2019
fields
Informatics Engineering
and research's language is
English
Authors
Owain Evans
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This article is about the cognitive science of visual art. Artists create physical artifacts (such as sculptures or paintings) which depict people, objects, and events. These depictions are usually stylized rather than photo-realistic. How is it that humans are able to understand and create stylized representations? Does this ability depend on general cognitive capacities or an evolutionary adaptation for art? What role is played by learning and culture? Machine Learning can shed light on these questions. Its possible to train convolutional neural networks (CNNs) to recognize objects without training them on any visual art. If such CNNs can generalize to visual art (by creating and understanding stylized representations), then CNNs provide a model for how humans could understand art without innate adaptations or cultural learning. I argue that Deep Dream and Style Transfer show that CNNs can create a basic form of visual art, and that humans could create art by similar processes. This suggests that artists make art by optimizing for effects on the human object-recognition system. Physical artifacts are optimized to evoke real-world objects for this system (e.g. to evoke people or landscapes) and to serve as superstimuli for this system.
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This paper proposes a way to understand neural network artworks as juxtapositions of natural image cues. It is hypothesized that images with unusual combinations of realistic visual cues are interesting, and, neural models trained to model natural images are well-suited to creating interesting images. Art using neural models produces new images similar to those of natural images, but with weird and intriguing variations. This analysis is applied to neural art based on Generative Adversarial Networks, image stylization, Deep Dreams, and Perception Engines.
There are two classes of generative art approaches: neural, where a deep model is trained to generate samples from a data distribution, and symbolic or algorithmic, where an artist designs the primary parameters and an autonomous system generates samples within these constraints. In this work, we propose a new hybrid genre: neuro-symbolic generative art. As a preliminary study, we train a generative deep neural network on samples from the symbolic approach. We demonstrate through human studies that subjects find the final artifacts and the creation process using our neuro-symbolic approach to be more creative than the symbolic approach 61% and 82% of the time respectively.
In complex systems, we often observe complex global behavior emerge from a collection of agents interacting with each other in their environment, with each individual agent acting only on locally available information, without knowing the full picture. Such systems have inspired development of artificial intelligence algorithms in areas such as swarm optimization and cellular automata. Motivated by the emergence of collective behavior from complex cellular systems, we build systems that feed each sensory input from the environment into distinct, but identical neural networks, each with no fixed relationship with one another. We show that these sensory networks can be trained to integrate information received locally, and through communication via an attention mechanism, can collectively produce a globally coherent policy. Moreover, the system can still perform its task even if the ordering of its inputs is randomly permuted several times during an episode. These permutation invariant systems also display useful robustness and generalization properties that are broadly applicable. Interactive demo and videos of our results: https://attentionneuron.github.io/
The scope of research in the domain of activation functions remains limited and centered around improving the ease of optimization or generalization quality of neural networks (NNs). However, to develop a deeper understanding of deep learning, it becomes important to look at the non linear component of NNs more carefully. In this paper, we aim to provide a generic form of activation function along with appropriate mathematical grounding so as to allow for insights into the working of NNs in future. We propose Self-Learnable Activation Functions (SLAF), which are learned during training and are capable of approximating most of the existing activation functions. SLAF is given as a weighted sum of pre-defined basis elements which can serve for a good approximation of the optimal activation function. The coefficients for these basis elements allow a search in the entire space of continuous functions (consisting of all the conventional activations). We propose various training routines which can be used to achieve performance with SLAF equipped neural networks (SLNNs). We prove that SLNNs can approximate any neural network with lipschitz continuous activations, to any arbitrary error highlighting their capacity and possible equivalence with standard NNs. Also, SLNNs can be completely represented as a collections of finite degree polynomial upto the very last layer obviating several hyper parameters like width and depth. Since the optimization of SLNNs is still a challenge, we show that using SLAF along with standard activations (like ReLU) can provide performance improvements with only a small increase in number of parameters.
Whilst there are perhaps only a few scientific methods, there seem to be almost as many artistic methods as there are artists. Artistic processes appear to inhabit the highest order of open-endedness. To begin to understand some of the processes of art making it is helpful to try to automate them even partially. In this paper, a novel algorithm for producing generative art is described which allows a user to input a text string, and which in a creative response to this string, outputs an image which interprets that string. It does so by evolving images using a hierarchical neural Lindenmeyer system, and evaluating these images along the way using an image text dual encoder trained on billions of images and their associated text from the internet. In doing so we have access to and control over an instance of an artistic process, allowing analysis of which aspects of the artistic process become the task of the algorithm, and which elements remain the responsibility of the artist.
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