We present an investigation into the relation between design princi- ples in Japanese gardens, and their associated perceptual effects. This leads to the realization that a set of design principles described in a Japanese gardening text by Shingen (1466), shows many parallels to the visual effects of perceptual grouping, studied by the Gestalt school of psychology. Guidelines for composition of rock clusters closely relate to perception of visual figure. Garden design elements are arranged into patterns that simplify figure-ground segmentation, while (...) seemingly balancing the visual salience of subparts and the global arrangement. Visual ‘ground’ is analyzed via medial axis transformation (MAT), often associated with shape perception in humans. MAT analysis reveals implicit structure in the visual ground of a quintessential rock garden design. The MAT structure enables formal com- parison of structure of figure and ground. They share some aesthetic qualities, with interesting differences. Both contain naturalistic asymmetric, self-similar, branching structures. While the branching pattern of the ground converges towards the viewer, that of the figure converges in the opposite direction. (shrink)

A model of face representation, inspired by the biology of the visual system, is compared to experimental data on the perception of facial similarity. The face representation model uses aggregate primary visual cortex (V1) cell responses topographically linked to a grid covering the face, allowing comparison of shape and texture at corresponding points in two facial images. When a set of relatively similar faces was used as stimuli, this Linked Aggregate Code (LAC) predicted human performance in similarity judgment experiments. When (...) faces of perceivable categories were used, dimensions such as apparent sex and race emerged from the LAC model without training. The dimensional structure of the LAC similarity measure for the mixed category task displayed some psychologically plausible features but also highlighted differences between the model and the human similarity judgements. The human judgements exhibited a racial perceptual bias that was not shared by the LAC model. The results suggest that the LAC based similarity measure may offer a fertile starting point for further modelling studies of face representation in higher visual areas, including studies of the development of biases in face perception. (shrink)

Two art exhibitions, “Training Humans” and “Making Faces,” and the accompanying essay “Excavating AI: The politics of images in machine learning training sets” by Kate Crawford and Trevor Paglen, are making substantial impact on discourse taking place in the social and mass media networks, and some scholarly circles. Critical scrutiny reveals, however, a self-contradictory stance regarding informed consent for the use of facial images, as well as serious flaws in their critique of ML training sets. Our analysis underlines the non-negotiability (...) of informed consent when using human data in artistic and other contexts, and clarifies issues relating to the description of ML training sets. (shrink)

Twenty-five years ago, my colleagues Miyuki Kamachi and Jiro Gyoba and I designed and photographed JAFFE, a set of facial expression images intended for use in a study of face perception. In 2019, without seeking permission or informing us, Kate Crawford and Trevor Paglen exhibited JAFFE in two widely publicized art shows. In addition, they published a nonfactual account of the images in the essay “Excavating AI: The Politics of Images in Machine Learning Training Sets.” The present article recounts the (...) creation of the JAFFE dataset and unravels each of Crawford and Paglen’s fallacious statements. I also discuss JAFFE more broadly in connection with research on facial expression, affective computing, and human-computer interaction. (shrink)

Position: (1) Partial solutions to machine intelligence can lead to systems which may be useful creating interesting and expressive musical works. (2) An appropriate general goal for this field is augmenting human expression. (3) The study of the aesthetics of human augmentation in musical performance is in its infancy. -/- CHI 2015 Workshop on Collaborating with Intelligent Machines: Interfaces for Creative Sound, April 18, 2015, Seoul, Republic of Korea.