•We introduce using the VAD dictionary for the first time to generate affective explanations for paintings.•Our proposed affective embedding can be easily adapted to other image captioning ...models.•The experiments results show that our whole model can lead to a performances increase.•Ablation studies show the efficiencies of our proposed modules.
Fine art paintings take an important place in human history and are one of the fundamental components of human culture. Even though deep learning in fine art paintings attracts increasing attention from researchers, few works focus on understanding the interplay between the visual content, its triggered affect, and language aiming to explain that affect. Most visual captioning models can only deal with tasks of generating captions describing objective affairs but lack the capabilities of generating affective explanations. In this paper, we introduce the use of the VAD (Valence, Arousal, and Dominance) dictionary in our model and propose a gated concatenation mechanism to construct word affective embedding. Corporating with the use of the affective loss function, our model outperforms the state-of-the-art in automatic evaluation metrics and subjective evaluations.
The image captioning of fine art paintings aims at generating a sentence to describe the painting content. Compared with photographic images, there are few annotated data of clear and precise content ...descriptions for paintings. Besides, painting images usually have abstract expressions, making it hard to extract their representative features. In this paper, we propose a virtual-real semantic alignment training process to address these challenges in painting captioning. To provide sufficient training data, we generate a virtual painting captioning dataset by applying style transfer to a large-scale photographic image captioning dataset and maintaining their annotations. To tackle the difficulty of abstract expressions, we employ a semantic alignment loss between photographic image features and virtual painting features to guide the training of the painting feature extractor. We evaluate our method in two data-hungry scenarios where only a few or no annotated painting data for training. According to the evaluation results on a public painting captioning dataset and our annotated painting captioning dataset, our model achieves significant improvements and higher data efficiency than the baselines in the two data-hungry scenarios on all datasets.
Art is a person's creative phenomenon to express themselves in an event. It can be found in music, by hand, in the appearance of drama, or even in vocal sports. In learning, students often find ...problems that originate within themselves or originate in their environment. The problems that originate within themselves can be a lack of interest in reading, a lack of vocabulary, or a shortage of visual aids that make it easier for them to grasp science. The purpose of this study in al-Hidayah. Boarding School is to learn the arts of fine arts strategy for effectively mastering vocabulary. The methods used in this scientific work are those of quantitative research, data exploration, experimental design, and survey. Experiments were carried out to reinforce the initial hypothesis that with fine arts, vocabulary study was easier to understand. Surveys provide excellent databases for scientific reference. As for the results of this study being a fine art strategy for mastering vocabulary effectively, students can understand the vocabulary learned from teachers, and they can choose their way to select the correct vocabulary in translating, antonyms, word translations, or hyponyms.
This research is a descriptive study that aims to analyze the effective application of metacognitive through instructional media, the meticulous subjects used in this study are 3 students who have ...high, medium, low ability. What was done in the Elementary School Education Study Program of the University of Muhammadiyah Sidoarjo. The theory used is Slavin's metacognitive theory and the theory of the effectiveness of learning using Dunn's theory. Test the validity of the data using triangulation techniques, namely observation, documentation, and interviews. The results of the analysis obtained from this study were, subject A did metacognitive thinking and the existing media proved to be effective in helping metacognitive way of thinking, whereas in subject B the metacognitive way of thinking had been done only in the process of monitoring and evaluation was still lacking, the use of media on the object image said the subject helps in the process of his work. While the subject C metacognitive thought process has been carried out, only the evaluation process is still lacking, while the existing media helps in the process of metacognitive thinking. So it can be concluded that the media is very effective in helping the application of metacognitive thinking in producing two-dimensional works of art in students of elementary school teacher study programs at the University of Muhammadiyah Sidoarjo.
With the development of the Internet, many art works are uploaded for people to enjoy. To make it more convenient for viewers to understand and analyze the content of art works. In this paper, we use ...the GNN graph neural network analysis model to extract the art style, creation period, color expression and other features of the works through the work feature saliency attention module, and classify them using the similarity metric. At the same time, we put forward the GNNMMVisRe model to explore the works from the visual multimodality. The analysis results concluded that the Impressionist style of art works had its heyday in the 18th-19th centuries, when the number of works reached 11,674. The Baroque classicism style reached its heyday in the mid-18th century with 5,921 pieces. In terms of color use, low saturation and low luminance color palettes were selected, with average values of 81.3% and 83.4%, respectively. Using the GNN model to categorize, analyze and study the art works improves the understanding and appreciation of the works. It is also significant for the further development of art.
Art practices occupy a space of liminality within academia, being valid, appropriate to illustrate questions and discourses in social sciences and humanities, and not sufficient in mainstream ...academia to assert what art foregrounds as ‘knowledge’. So, what happens when art has something to claim through non-academic methods of inquiry? Even more complicated, what happens when art allows putting forward theoretical hypothesis involving the immateriality of affect? Departing from a practice-led research focusing on the endurance of white, cisgender, and heteropatriarchic impositions, as well as the ways these impositions materialise themselves on the body, this paper explores the possibilities of Fucking with grammar, a writing method developed throughout the writing of my PhD research. Linguistics has been stretched for centuries by QUILTBAG individuals — queer and questioning, unsure, intersex, lesbian, transgender and two-spirit, bisexual, asexual and aromantic, gay and genderqueer; swardspeak, lavender, and code-switching all entail ways of reshaping and creating language as response to socio-political necessities, camouflage, or simply to access a jargon that can be more faithful to practices and embodiments of the group creating it. However, there is a different kind of reclaiming emerging, when performance artist, actress, and activist Linn da Quebrada utters “I am a cisgender woman with one breast and a penis,” she is committing the kind of epistemic disobedience that undoes epistemology. Here, I focus on disobediences that bring western epistemologies to collapse. These challenges that contribute to what Denise Ferreira da Silva calls “the end of the world as we know it” (2014). To end what ‘we’ know requires a different ‘how’, it entails methodological deployments that help bringing into crisis academic hierarchies regarding research corroborability. Questioning after Audre Lorde: how does one make tangible the immeasurable and unpredictable without being averted and undercut by the tools still sustaining the master’s house? The approach I propose here is Fucking with grammar. Fucking with is associated with messing with someone; fuck you or fuck me is negatively perceived; in sex, ‘fuck you’ or ‘fuck me’ is one-sided — the act of fucking should be fucking with, because even when saying ‘I want to fuck you’ it is still necessary more than one person for this ‘fucking’ to actually happen. Similarly, in English, the correct preposition following the verb ‘to dream’ is ‘of’ or ‘about’, which makes absolutely no sense: because when one is dreaming, one is embedded in a withness that ‘of’ or ‘about’ cannot account for. This piece shares how I fuck with grammar within a practice-led PhD research: applying Portuguese and Turkish grammar structures to English, generating verbs or nouns out of adjectives and vice versas. Fucking with grammar is a mode of surpassing some of language’s limitations when speaking of that which is immaterial; it is a semantic slap in the face calling for decolonisation of one’s immediacy of logic when assuming typos and linguistic ignorance within writings not following English normativities. I t is a method that contributes to a broader challenge to formats sustaining hierarchies around what is considered ‘academic’ research.
The aim of this paper is to identify the risks that need to be addressed when holding fine art, determine which are perceived as being the most important, and whether the risk perception is ...influenced by demographic variables such as age, educational background, and field of occupation. To identify the risks and evaluate the risk perception, we used a purposely designed questionnaire and sent it via various sources of communication systems and applications to individuals knowledgeable on fine arts. Findings revealed that, generally, art deterioration, art fraud, and art theft are the three main highlighted risks, with art deterioration considered in the high-risk range. In terms of risk perception, forgery is the biggest concern. On the other hand, considerations of the investment value of art lessened perceived risk exposure. Furthermore, the study has shown that certain risk perceptions were influenced by the participants' demographic variables. Both the identified risks and risk perception considerations analyzed within this study provide us with insights as to what needs to be considered when offering fine art insurance, particularly when it comes to which risks that are perceived as being the most pressing by potential policyholders, and how these perceptions vary according to individual demographics variables as noted above.
PurposeThis study aims to determine the influence of relationship marketing on consumer behavior in the fine arts sector. Specifically, it examines the relationship marketing dynamics that ...significantly impact art enthusiasts' intention to purchase and their satisfaction with the artist.Design/methodology/approachThe proposed model was tested through the “structural equation modeling” technique to explain how and to what extent each variable affected purchase intention and satisfaction. Using a paper-based and online survey method to gather data, the authors analyzed 303 responses from art students, art collectors and art dealers in Mongolia. Eight hypotheses, including two mediating hypotheses, were developed and tested.FindingsThe results indicated that relationship investment and communication significantly influence trust, satisfaction and purchase intention, while trust significantly influences satisfaction and purchase intention. The study also assessed the vital role of trust as a mediator.Practical implicationsThe study's results provide insights that may help artists, art collectors and art dealers promote and improve the sales of their art products. The interactions demonstrated between the construct reveal essential implications for art marketers interested in relationship marketing strategies.Originality/valueThis study is the first to explore the application of relationship marketing in the fine arts industry.
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