In this paper we investigate problematic practices and consequences of large scale vision datasets. We examine broad issues such as the question of consent and justice as well as specific concerns such as the inclusion of verifiably pornographic images in datasets. Taking the ImageNet-ILSVRC-2012 dataset as an example, we perform a cross-sectional model-based quantitative census covering factors such as age, gender, NSFW content scoring, class-wise accuracy, human-cardinality-analysis, and the semanticity of the image class information in order to statistically investigate the extent and subtleties of ethical transgressions. We then use the census to help hand-curate a look-up-table of images in the ImageNet-ILSVRC-2012 dataset that fall into the categories of verifiably pornographic: shot in a non-consensual setting (up-skirt), beach voyeuristic, and exposed private parts. We survey the landscape of harm and threats both society broadly and individuals face due to uncritical and ill-considered dataset curation practices. We then propose possible courses of correction and critique the pros and cons of these. We have duly open-sourced all of the code and the census meta-datasets generated in this endeavor for the computer vision community to build on. By unveiling the severity of the threats, our hope is to motivate the constitution of mandatory Institutional Review Boards (IRB) for large scale dataset curation processes.

Large image datasets: A pyrrhic win for computer vision?.

This thesis identifies a growing trend in the use of the shojo girl motif in contemporary Japanese art and positions it as an emerging new feminist expression inspired by locally determined gender-transgression. Japan’s current output of artists, exhibitions and art publications show that the Japanese girl—the shojo— is a ubiquitous presence. Shojo is an increasingly common point of figurative reference for contemporary Japanese artists, a complex cultural construct, and a wide-spread motif in present-day Japanese culture. The shojo is conveying a strong female youth culture that fosters anti-hegemonic gender subjectivities amid a context of social and moral panic. This thesis departs from Japanese feminine stereotypes to pay particular interest to an emerging wave of figurative contemporary art practices in which the figure of the shojo is utilised for a new generation of feminist critique. Aoshima Chiho, Kunikata Mahomi, Miyashita Maki, Takano Aya, Sawada Tomoko and Yanagi Miwa are contemporary artists whose works feature representations of Japanese girls to negate stereotypes and alternately foreground the female subjectivities found in shojo culture. Through this gesture, the artists propose ways in which the shojo has, and can, transgress the boundaries of gender hegemony within contemporary Japanese society. The theoretical framework for this thesis explores an overlap in the transgressive modes of local Japanese with global culture where it concerns new feminist expression in contemporary art. This expanding theoretical framework for contemporary feminist art finds its context in art practice in the 2007 "Global feminisms" exhibition which included Japanese art. Contemporary art is defined in this thesis as a cultural and conceptual break with Modernism’s Western centric values. While feminist art and its scholarship has been in many respects at the fore of this break from Modernist values, it was not until the past two decades that feminist art found synergy with other identity politics. As a result, newer feminist art has produced new ways of understanding gender politics. In Japan, the figure of the shojo is a vehicle for these new ideas. In working at the intersection of the three themes of shojo, contemporary Japanese art and contemporary feminism, this thesis will argue the importance of this figure to feminist expression in contemporary Japanese art, and global feminism more generally.

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"Girls are dancin": shōjo culture and feminism in contemporary Japanese art

The history and evolution of one of the most highly regarded Japanese artists of the times, Nobuyoshi Araki's photo journey is discussed. Araki is one of the most celebrated and condemned artists in Japanese history as his pictures are mostly scopophilic and narcissistic.

Manamai Ozaki

Papers

Shashinjinsei: Nobuyoshi Araki's Photo Journey Art and Not or Pornography