Self-Adaptive Feature Transformation Networks for Object Detection in low luminance Images

Despite the recent improvement of object detection techniques, many of them fail to detect objects in low-luminance images. The blurry and dimmed nature of low-luminance images results in the extraction of vague features and failure to detect objects. In addition, many existing object detection methods are based on models trained on both sufficient- and low-luminance images, which also negatively affect the feature extraction process and detection results. In this article, we propose a framework called Self-adaptive Feature Transformation Network (SFT-Net) to effectively detect objects in low-luminance conditions. The proposed SFT-Net consists of the following three modules: (1) feature transformation module, (2) self-adaptive module, and (3) object detection module. The purpose of the feature transformation module is to enhance the extracted feature through unsupervisely learning a feature domain projection procedure. The self-adaptive module is utilized as a probabilistic module producing appropriate features either from the transformed or the original features to further boost the performance and generalization ability of the proposed framework. Finally, the object detection module is designed to accurately detect objects in both low- and sufficient- luminance images by using the appropriate features produced by the self-adaptive module. The experimental results demonstrate that the proposed SFT-Net framework significantly outperforms the state-of-the-art object detection techniques, achieving an average precision (AP) of up to 6.35 and 11.89 higher on the sufficient- and low- luminance domain, respectively.

Return of CFA: call-site sensitivity can be superior to object sensitivity even for object-oriented programs

In this paper, we challenge the commonly-accepted wisdom in static analysis that object sensitivity is superior to call-site sensitivity for object-oriented programs. In static analysis of object-oriented programs, object sensitivity has been established as the dominant flavor of context sensitivity thanks to its outstanding precision. On the other hand, call-site sensitivity has been regarded as unsuitable and its use in practice has been constantly discouraged for object-oriented programs. In this paper, however, we claim that call-site sensitivity is generally a superior context abstraction because it is practically possible to transform object sensitivity into more precise call-site sensitivity. Our key insight is that the previously known superiority of object sensitivity holds only in the traditional k -limited setting, where the analysis is enforced to keep the most recent k context elements. However, it no longer holds in a recently-proposed, more general setting with context tunneling. With context tunneling, where the analysis is free to choose an arbitrary k -length subsequence of context strings, we show that call-site sensitivity can simulate object sensitivity almost completely, but not vice versa. To support the claim, we present a technique, called Obj2CFA, for transforming arbitrary context-tunneled object sensitivity into more precise, context-tunneled call-site-sensitivity. We implemented Obj2CFA in Doop and used it to derive a new call-site-sensitive analysis from a state-of-the-art object-sensitive pointer analysis. Experimental results confirm that the resulting call-site sensitivity outperforms object sensitivity in precision and scalability for real-world Java programs. Remarkably, our results show that even 1-call-site sensitivity can be more precise than the conventional 3-object-sensitive analysis.

"Crystal Wall of Wailing" by Marina Abramovich: Analytical Discussion

The discussion focuses on the recently opened "Crystal Wailing Wall" at the Babi Yar memorial complex, an art object created by the famous artist Marina Abramovich. The authors from different analytical positions and from different fields demonstrate the rich interpretative resource of the Wall. Describing various aspects of the composition, the participants of the discussion draw attention to the difficulties associated with both the discussion of the Holocaust and forms of its commemorative representation.

The combination of artistic and technical techniques in creating decorative elements of the interior

The methods of interior decoration are not only technologies that contribute to the uniqueness and completeness of the conceptual idea of the interior, but also a number of constructive, technological, emotional, psychological and even marketing tasks that must be solved by design methods, and in particular by methods of interior decoration. In this regard, the objects of study are the principles of perception of space, factors that stimulate the study of the architectural environment, ways of recognizing it as an element belonging to a particular object and corresponding to the image of the architectural object. Any interior is a kind of method of communication between an object and a person, it is achieved in various ways that the author – designer models at the stage of project work. In this article, the university is considered as an object and, in order to form the necessary artistic image, the possibilities of synthesizing materials capable of revealing the designer's conceptual idea in an art object are considered. Purpose – in this connection, the goal was set to reveal the technological and artistic features of various objects, in which the combination of different materials makes it possible to convincingly interpret the artistic and figurative tasks of the interior. To implement the research tasks, structural and logical methods were used, which made it possible to conduct experiments at various stages of collecting and processing information and classify various data in the author's tables, diagrams and clusters, which are given in this article. In addition, the article considers the university as a real object of design, and the data formulated in the article can be used in the future as methodological material for the formation of the concept of the artistic image of such educational institutions. The result of this study was the classification of decorative materials used in interior design, analysis and comparative characteristics of various objects that allow analyzing the psycho-emotional aspects of various combinations of materials and their significance for the formation of the artistic image of the interior.

DETERMINATION OF COLORED SURFACE PROPERTIES ART OBJECT AS A MEANS OF CREATING A HARMONIOUS ARCHITECTURAL ENVIRONMENT

The article examines the properties of the colored surface of the Art object as a means of creating a harmonious architectural environment. The question was raised about the relevance of increasing the comfort, functionality, ergonomics, environmental friendliness and aesthetics of the design of the architectural environment, which is associated with global problems caused by the deterioration of the environment and unprecedented measures in connection with the pandemic. Taking into account the fact that the introduction of elements of fine art into the architectural space is always accompanied by only positive emotions, the necessary design of various types of Art objects in the modern architectural space has been determined. It is indicated that the artistic material is the main factor in the objects of fine art, capable of participating in the formation of the aesthetic perception of the environment. The analysis of the existing sources of theoretical and practical experience has shown the relevance of this problem. Based on the results of the analysis, the main properties of the colored surface were systematized, identified and determined, which affect the perception of the texture of colored surfaces of different types of art forms of Art objects, depending on the following factors: 1) color saturation and lighting; 2) distance from observer; 3) property of the surface of the material and the nature of its processing; 4) the color tone of the material surface, its saturation and lightness. Methods of its use in different types of Art objects are proposed. Typical examples of the practical implementation of the use of Art objects using the possibilities of a colored surface in a modern architectural space, made by the authors of the study and modern examples of world art, are presented in a visual table. Based on the results of the study, the main tools were identified that may be necessary in the design practice of architects, designers, artists to create a harmonious architectural environment.

APPLICATION OF ART GLASS IN INTERIORS OF PUBLIC BUILDINGS

The aim of the research is to identify the compositional methods of using art glass in the interiors of public buildings in order to increase their aesthetic expressiveness. In the article the information on the history of art glass development is given. According to the results of the historical analysis, it is concluded that new directions of glass application arose with the development of new technologies of glass production and processing - this process continues to this day. An overview of the state of study of the problem, in particular the research of Kazakova L.V., F.Petryakova, Som-Serdyukova O.M., Daineko V.V., and identified the main areas in which research is conducted. The physical properties of glass and its types by technological features are considered. A historical overview of the development of gutnitsy on the territory of Ukraine. The two main trends in studio glassmaking to date have been identified and a conclusion has been drawn about the evolution of art glass from the subject form to the art object. The current state of art glass formation is characterized by associativity, metaphoricalness, and increased decorativeness. The classification of art glass according to the function of application in public interior is carried out. The basic compositional methods of placing art glass in the space of public interior are revealed. Three degrees of integration of art glass with elements of architecture are formulated: the decor on architectural elements, as a part of architectural elements, is directly an architectural and constructive element. Examples of objects that demonstrate the integration of art glass with architectural elements are given. Henri Matisse's stained glass windows in the Dominican Sisters' Chapel in Mans, France, are described as an example of the use of the "rhythm" compositional technique and Dale Chihuly's glass garden gallery in Seattle with a glass installation that dominates the pavilion. It is concluded that the choice of compositional methods of including art glass in the interior space depends on many factors - the functional purpose of the room, the specifics of space, its size, etc. and should take into account aspects of its psychological impact on man, principles of structural and compositional organization and features life processes.

On the crisis of criticism and public art

At the turn of the millennia, the politically unbiased analytical thought of the world describes the total humanitarian entropy, which has unsafely plunged the theory and practice of art into a deep crisis. Accordingly, academic scientists, and primarily philosophers and culturologists, as well as art historians who have not lost their independent critical thinking ability, are consolidating into an ever-increasing front of those analysts who resist the current situation, because they tend to see behind the superficial statistics of a sharply increasing number of glossy magazines, exhibition reviews and other printed materials, including circulations of ordinary booklets that massively accompany any art projects of all kinds of galleries or public art actions, which go to significant investment funds from private foundations and centers — the premature death of art criticism, which, in the figurative expression of James Elkins, has become “like a trackless thicket, tangled with with unanswered questions”. Artistic practitioners, accustomed to servile survival in the conditions of the global art market, which imposes the rules for the production of a creative product solely in their own interests, are in a state of crisis no less severe than criticism. Manipulative interpretations of the concept of publicity, as well as the orientation of public art towards the function of socio-political and socio-educational regulatory action, like a mediator between society and power, legitimizes and strongly supports the phenomenology of things. Without a transcendental goal, the reification of the community’sthinking leads to a slide of creative consciousness and formal vocabulary of art expression to the level of kitsch, which was sharply criticized back in 1939 by Clement Greenberg. The fetishization of an art object as a commodity contributes to the steady cultivation of an instrumentalized consciousness by artists. Public visual practices, formally inheriting the idea of dissolving in the stream of everyday life, first proclaimed by the historical avant-garde, actually dissolve in consumerism, turning art objects into objectified political and sociocultural invectives, or, according to D. Lukacs’ terminology, such invectives that have undergone the process of reification. Meanwhile, visual public projects also actively use conceptualized clichés in the form of neutral abstract design objects, where the dominant criterion of conformity to the spirit of the times as quasi-modernity is the uncommonness of an innovative solution to lexical expression. The phenomenology of a thing legitimizes any experimentation, but it is not able to overcome the deepening crisis of theory and practice, drawing the cultural and artistic existence of society into a prolonged state of hysteresis. Analysts see the only way out of this situation in the return to the culture of the theory and practice of the traditions of Kantian-Hegelian philosophy, and in particular the postulates of transcendental aesthetics.