This paper presents a new database, CID2013, to address the issue of using no-reference (NR) image quality assessment algorithms on images with multiple distortions. Current NR algorithms struggle to handle images with many concurrent distortion types, such as real photographic images captured by different digital cameras. The database consists of six image sets; on average, 30 subjects have evaluated 12–14 devices depicting eight different scenes for a total of 79 different cameras, 480 images, and 188 subjects (67% female). The subjective evaluation method was a hybrid absolute category rating-pair comparison developed for the study and presented in this paper. This method utilizes a slideshow of all images within a scene to allow the test images to work as references to each other. In addition to mean opinion score value, the images are also rated using sharpness, graininess, lightness, and color saturation scales. The CID2013 database contains images used in the experiments with the full subjective data plus extensive background information from the subjects. The database is made freely available for the research community.

CID2013: A Database for Evaluating No-Reference Image Quality Assessment Algorithms

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positive and negative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories.

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Marlies Strasser

Papers

Image Quality and the Aesthetic Judgment of Photographs: Contrast, Sharpness, and Grain Teased Apart and Put Together