Following the success of the previous editions of the Workshop on Computer VISion for ART Analysis held in 2012, `14, `16, `18 and `20 we present the VISART VI workshop, in conjunction with the 2022 European Conference on Computer Vision (ECCV 2022). VISART will continue its role as a forum for the presentation, discussion and publication of Computer Vision (CV) techniques for the analysis of art. As with the prior edition, VISART VI offers two tracks:
1. Computer Vision for Art - technical work (standard ECCV submission, 14 page excluding references)
2. Uses and Reflection of Computer Vision for Art (Extended abstract, 4 page, excluding references)
The recent explosion in the digitisation of artworks highlights the concrete importance of application in the overlap between CV and art; such as the automatic indexing of databases of paintings and drawings, or automatic tools for the analysis of cultural heritage. Such an encounter, however, also opens the door both to a wider computational understanding of the image beyond photo-geometry, and to a deeper critical engagement with how images are mediated, understood or produced by CV techniques in the `Age of Image-Machines' (T. J. Clark). Submissions to our first track should primarily consist of technical papers, our second track therefore encourages critical essays or extended abstracts from art historians, artists, cultural historians, media theorists and computer scientists.
The purpose of this workshop is to bring together leading researchers in the fields of computer vision and the digital humanities with art and cultural historians and artists, to promote interdisciplinary collaborations, and to expose the hybrid community to cutting-edge techniques and open problems on both sides of this fascinating area of study.
This workshop in conjunction with ECCV 2022, calls for high-quality, previously unpublished, works related to Computer Vision and Cultural History. Submissions for both tracks should conform to the ECCV 2022 proceedings style and will be double-blind peer reviewed by at least three reviewers. However, extended abstracts will not appear in the conference proceedings. Papers must be submitted online through the CMT submission system at:
Multi-modal multimedia systems and human machine interaction
Surveillance and Behavior analysis in Galleries, Libraries, Archives and Museums
Béatrice Joyeux-Prunel is Full Professor at the University of Geneva in Switzerland (Faculté de Lettres – School of Humanities), chair of Digital Humanities. From 2007 to 2019 she was Associate Professor (maître de conférences) in modern and contemporary art at the École normale supérieure in Paris, France (ENS, PSL). She is a former student of ENS (Alumni 1996, Social Sciences and Humanities), and got an Agrégation in History and Geography in 1999. She defended her PhD in 2005 at the université Paris I Panthéon Sorbonne and her Habilitation at Sciences Po Paris in 2015. Joyeux-Prunel’s research encompasses the history of visual globalization, the global history of the avant-gardes, the digital technologies in contemporary art, and the digital turn in the Humanities. Since 2009 she has founded and managed the Artl@s project on modern and contemporary art globalization (https://artlas.huma-num.fr) and she coedits the open access journal Artlas Bulletin. In 2016 she founded Postdigital (www.postdigital.ens.fr), a research project on digital cultures and imagination. Since 2019 she has led the European Jean Monnet Excellence Center IMAGO, an international center for the study and teaching on visual globalization. At Geneva university she directs the SNF Project Visual Contagions (https://visualcontagions.unige.ch), a 4 years research project on images in globalization, which uses computer vision techniques to trace the global circulation of images in printed material over the 20th century.
John Collomosse is a Principal Scientist at Adobe Research where he leads the deep learning group. John’s research focuses on representation learning for creative visual search (e.g. sketch, style, pose based search) and for robust image fingerprinting and attribution. He is a part-time full professor at the Centre for Vision Speech and Signal Processing, University of Surrey (UK) where he founded and co-directs the DECaDE multi-disciplinary research centre exploring the intersection of AI and Distributed Ledger Technology. John is part of the Adobe-led content authenticity initiative (CAI) and contributor to the technical work group of the C2PA open standard for digital provenance. He is on the ICT and Digital Economy advisory boards for the UK Science Council EPSRC.
Ohad Ben-Shahar is a Professor of Computer Science at the Computer Science department, Ben Gurion University (BGU), Israel. He received his B.Sc. and M.Sc. in Computer Science from the Technicon (Israel Institute of Technology) in 1989 and 1996, respectively, and his M.Phill and PhD From Yale University, CT, USA in 1999 and 2003, respectively. He is a former chair of the Computer Science department and the present head of the School of Brain Sciences and Cognition at BGU.
Prof. Ben-Shahar’s research area focuses on computational vision, with interests that span all aspects of theoretical, experimental, and applied vision sciences and their relationship to cognitive science as a whole. He is the founding director of the interdisciplinary Computational Vision Laboratory (iCVL), where research involves theoretical computational vision, human perception and visual psychophysics, visual computational neuroscience, animal vision, applied computer vision, and (often biologically inspired) robot vision. He is a principle investigator in numerous research activities, from basic research animal vision projects through applied computer vision, data sciences, and robotics consortia, many of them funded by agencies such as the ISF, NSF, DFG, the National Institute for Psychobiology, The Israeli Innovation Authority, and European frameworks such as FP7 and Horizon 2020.