Style space: How to compare image sets and follow their evolution (part 3)

This is part 3 of a four-part article.

(Here are Part 1 and Part 2.)

text: Lev Manovich.


Many images sets have a time dimension. For instance, we know a year and a month for most of van Gogh's paintings; for manga titles, we know the position of each page in the title sequence.

How can we see study temporal patterns across a sequences which may contain thousands of images? We can map images positions in a sequence mapped into X-axis, and one of their visual features into Y-axis. If we use points and/or lines to represent each image, the result is a familiar line graph.

Here is an example: We place 776 images of Vincent van Gogh paintings (1881-1890) horizontally according to their dates (a year and a month a painting was created). Brightness median values of the images determined their vertical positions.

We can also place original images on top of the points, like this:


Lets use this technique to compare temporal changes in saturation in sets of Mondrian and Rothko paintings.

data: 128 images of Piet Mondrian's paintings (1905-1917).
X-axis = a year and month a particular painting was created.
Y-axis = saturation median.


data: 205 images Mark Rothko paintings (1934 - 1970).
X-axis = a year a particular painting was created.
Y-axis = saturation median.


These visualizations also illustrates two ways to deal with a typical problem in historical data: we don't always know exact dates. Van Gogh visualization shows one solution: since we do have year and month for most of the paintings, we use this for X-axis - which means that images of paintings done in a particular month and share the same X coordinare. Mondrian and Rothko visualiations show a different solution: here we only know a year, so to avoid having all images from one year being rendered in a single column and thus covering each other, we randomize images X coordinates within each year. The result is easier to read, and it does not effect the larger patterns we may observe.)

When we are dealing with sequential art such as comics and manga, we don't have this problem: we can place images on X-axis according to their exact position in a narrative, like in the following example.

data: all pages of a webcomic Freakangeles published on the web over a year and an a half period (Feb 15, 2008 - June 6, 2009). Each week, one episode consisting from siz pages was released (57 episodes; 342 pages).
X-axis: pages are placed according to their publication sequence, left to right.
Y-axis = brightness mean.

Freakangels timeline (grey background)

Like print comics and manga, web comics may run for years with new episodes added daily, weekly, or monthly. How does their visual style change over the duration of publication? Are the temporal patterns gradual or abrupt? How do these patterns relate to development of a narrative?

Despite the weekly intervals that separate the episodes of Freakangels, our visualization shows that its visual form is remarkably consistent. For the larger part of the publication period, the changes in brightness (the same applies to hue and saturation) follow a smooth curve. Visualization reveals this unexpected pattern and allows us to see the exact shape of the curve.


The visualization examples in the previous section shows changes in values of a single visual feature (for example, average brigtness or average saturation) over time. Can we visualize evolution of an image sequence along two dimensions (i.e., two features)?

Lets look again at our earlier "style space" visualizations. They are 2D scatter plot with (optionally) images rendered on top of the points. The visual features of images analyzed automatically with digital image processing software become X and Y coordinates of the points.

127 paintings by Piet Mondrian created between 1905 and 1917.
Left plot: each image is visualized as a point.
Rigt plot: the images are rendered on top of the points.
X-axis = brightness median.
Y-axis = saturation median.


If we stick with points, we can vary aspects of their apperance - brightness, hue, transparency, size or shape of points - to carry additional information. So if we want to see how feature values change over time, we can vary one of these visual variables in accordance to dates (or image position in a sequence). This simple trick allows us to add a third dimension of time to a 2D style space visualization. We can now trace evolution of image sets regardless of their size in a 2D style space. (If we want to follow the evolution in a space of multiple features, we can simply make multiple 2D plots.)

For example, to see how Mondrian and Rothko moved through brightness/saturation space during the periods we are comparing, we can visualize each painting as a color circle and vary hue in accordance to dates. Our Mondrian set covers cover the period from 1905 to 1917. We will use pure blue (R=0, G=0, B=255) for 1905 paintings and pure red (R=255, G-0, B-0) for 1917 paintings; all others will take on in-between color values. (The art historical sources only give a range for some of the paintings: for example, the dates for Still Life with Gingerpot II given by Guggenheim Museum NYC which owenes this painting are 1911–12. In these cases, we used an intermediate values, i.e. 1911.5 to set points hue in the graphs).

Our Rothko subset which we used before for comparison with Mondrian runs from 1938 to 1953. Here, pure blue points will represent 1938 images, and pure red will represent 1953 images. To make patterns even easier to see, we will also vary the size of the points. Smallest circle represents the first year, and largest circle represents the last year.

First visualization shows images, the second uses color points.

X-axis = brightness mean.
Y-axis = saturation mean.
X-axis min = 0; X-axis max = 250.
Y-axis min = 0; Y-axis max = 250.

Mondrian 1905-1917. Rothko 1938-1953. X=brightness mean. Y=saturation mean.

Mondrian 1905-1917. Rothko 1938-1953. blue to red

Using color to represent time reveals that Rothko starts his explorations in late 1930-1940s in the same same part of brightness/saturation space where Mondrian arrives by 1917 - high brightness/low saturation area (the
right bottom corner of the plot). But as he develops, he is able to move beyond the areas already “marked” by his European predecessor (i.e., Mondrian). (Keep in mind that these visualizations are only meant to illustrate the idea of a style space and the different techniques to visualize it. If we want to reach more definite conclusions, we will need to extend our Mondrian and Rothko image sets to ideally include all paintings from their complete careers.)

We can also apply this technique to sequential art scuh as comics and manga. For instance, lets visualize "Tetsuwan Girl" manga title by Takahashi Tsutomu (1094 pages). First, we will plot all pages as images. We will use the same features as in our earlier visualization of the complete set of one million manga pages: standard deviation (X-axis) and entropy (Y-axis). These features allow us to capture an important stylistic dimension. The pages that are more graphic, have high contrast, little detail, and no texture end up in the upper right of the visualization; the pages which are visually opposite (significant amounts of texture and detail, more gray tones) end up in the lower part; all intermediate pages position between these two extremes.

"Tetsuwan Girl" manga by Takahashi Tsutomu (1094 pages).
X-axis = standard deviation
Y-axis = entropy.
Both features are calculated over grayscale values of all pixels in each page.


Now, lets visualize the same data as points and vary their hue. As we did with Mondrian and Rothko, we will use blue-red gradient to represent time - specifically, the position of a page within the title sequence.


The cluster of blue dots corresponding to earlier pages is below the cluster of red dots corresponding to latter pages, and the change appears to be gradual. This tells us that the pages in the first part of the manga use
less texture and detail than the pages in the second. We can also see many violet points which are vertically in between the blue and the red clusters. This indicates that the transition between the two types is gradual.


Since we have 883 manga titles in our data set, can we use "style space" visualizations with colored points to
compare the patterns of graphical change in all the titles?

Borrowing from the standard visualization technique called "scatter plot matrix" and also Edward Tufte's concept of small multiples, we can visualize each title using the same features for X-axis and Y-axis, and organize all visualizations in a grid. (It is important to use the same ranges for range for X-aixs and Y-axis in each graph, so they all have the same scale.) To use the analogy with a "scatter plot matrix," we will call such a visualization a "style space matrix."

The following example shows a part of such style space matrix for our manga data set of 883 titles. In each plot, the pages are mapped in the same way as in the previous examples (X-axis = standard deviation,
Y-axis = entropy; pure blue = first page; pure red = last page). The name of a title and the number of pages appear in the upper right corner of its plot.

Manga Style Matrix

The mapping of pages positions into color values creates distinct and easy to read visual patterns. They indicate whether a style in a given title changes over the period of its publication. You can quickly scan the style space matrix to see which titles have unusual patters and should be investigated more closely. You can also divide titles into different groups depending on their graphical development in time: no or very little development, gradual change over time, significant and fast changes, and so on.

(Of course, remember that we are only using two visual features which capture some but not all stylistic dimensions.)

(End of part 3.)

Follow to part 4.

Research on Remix and Cultural Analytics, Part 3

Image: detail of video montage grid of "Hitler's angry reaction to the iPad." One of several remixes on Hitler's Downfall. Larger images of this montage and others with proper explanation are included below.

Post-doctoral Research by Eduardo Navas

Key terms: Remix, Cultural Analytics, Memes, YouTube, Hitler Parodies, Film

As part of my post doctoral research for The Department of Information Science and Media Studies at the University of Bergen, Norway, I am using cultural analytics techniques to analyze YouTube video remixes. My research is done in collaboration with the Software Studies Lab at the University of California, San Diego. A big thank you to CRCA at Calit2 for providing a space for daily work during my stays in San Diego.

This is part 3 of a series of posts in which I introduce three case studies of YouTube video remixes. My first case study is the Charleston Style remixes. The second case study is Radiohead's Lotus Flower remixes.

In the above video, Hitler rants about the iPad's lack of features.

I learned about the Downfall remixes while doing research for the Charleston Style remixes. For a good assessment of its development, read Know your Meme's blog post of August 1, 2011. These parodies consist of various excerpts from a not so well-known film titled Downfall, released in 2004, about the last days of Hitler and his inner circle before they all committed suicide. There are a few scenes that have been used for the remixes, but I chose the most popular, which is also the longest excerpt remixed, of about 3:59. The footage presents Hitler being told by key members of his inner circle that Berlin is surrounded and that it is only a matter of time before the enemy reaches them in the city. Hitler is upset about the fact that he was not told the truth sooner and rants for quite sometime to eventually come to terms with his certain defeat.

In the above video Hitler rants about not getting the role as the Joker in Batman.

The parodies consists of taking the original footage, and implementing subtitles in English that have nothing to do with what Hitler is actually saying in German. Instead, the subtitles present him ranting about the lack of features of the iPad, his realization that Pokemon does not exist, and his disbelief that Kanye West was extremely rude to Taylor Swift when West interrupted Swift’s acceptance speech at an MTV video awards to tell her that Beyonce was a much better music artist, among many other remixes. I made a definite decision to focus on the Downfall remixes after I ran into one that showed Hitler upset about the “fact” that the Lotus Flower remixes had surpassed the Downfall Parodies’ popularity on YouTube.

In the above video Hitler rants about the Lotus Flower remixes.

I consider this reference a way of coming full circle between the memes. With the Downfall parodies I was unable to find remixes before January 2007; and, therefore, I am not sure what the first parody may have been (check know your meme's entry for a parody of 2006 that is no longer available); many which have been featured on articles by newspapers are no longer available on YouTube. Nevertheless, new ones keep showing up, as reflections and commentaries of current events.

Montage grid of Downfall video, with proper English subtitles.
View 2200px wide version Note that the resolution of the grid montage I make available does not allow for the subtitles to be read.

With the Downfall remixes, the result is similar to the Charleston Remix. In the Charleston, it is only the music that is switched, and for Downfall, only the subtitles are changed; therefore, the only major shift takes place with the formal placement of translations on the screen: sometimes on the middle of the screen, but for the most part at the bottom. For this reason, I'm only showing one montage grid visualization (above).

Visualization of Downfall with original English subtitles (no longer available on YouTube). View 2000px image. The thin horizontal white bars near the bottom of the frame are the subtitles. To former link of this video is:

Visualization of “Hitler's Reaction to the new Kiss album,” a video remix in which Hitler rants about the album’s title “Sonic Boom.” View 2000px image. The subtitles (the thin horizontal white bars) in this case move all over the frame. To view this video visit:

Visualization of "Hitler Rejected For Joker In Batman 3."
View 2000px image

Another shift we can notice with the subtitles is that they may crossover from one shot to the next based on the emphasis of the content that the remixer wants to make. But none of the Charleston and Downfall videos are heavily edited as the Lotus Flower remixes. I will compare at length the three case studies in part four of this series.

Style space: How to compare image sets and follow their evolution (part 2)

This is part 2 of a four-part article. Part 1 is here.

text: Lev Manovich


if we visualize all van Gogh paintings according to their brightness
and saturation values, what is the shape of their distribution?
According to the estimates, van Gogh produced approximately 900 paintings.
The following visualization plots images of 776 paintings (%86 of
the total estimated number) which were created between 18881 and 1890.

X-axis = brightness median.
Y-axis = saturation median.


The distribution has two clusters: earlier dark paintings on the left,
and lighter later paintings in the center and on the right. The clusters
are not symmetrical: one side is dense, another is more spread out.

If we only plot the paintings done in Arles in 1887, we get a more symmetrical shape.


Many social and natural processes follow a familiar Bell curve (normal
distribution). What are the shapes of distributions of large cultural
data sets? Because humanists only recently started to work
with big data sets, it is too early to make any generalizations. However,
it would not be surprising if the distributions of features of
very large cultural sets do follow the Bell curve pattern:
a dense cluster containing most of the data, gradually falling off to the side,
and a large very sparse area.

However, if the data has this shape, this does not always mean
that it actually follow this distribution exactly. In the case of
one million manga pages data set we analyzed in our lab, many feature
distributions do look like a normal distribution, but normality tests show
that they are actually not. (See this graph
showing distributions of values of eight visual features for 1,074,625 manga pages.)

With smaller data sets we analyzed, we often see some asymmetry.
Consider this visualization of 587 Google logos (1998-2007). Each logo
version was analyzed to extract a number of visual features.
The visualization uses these features to situate all logos in 2D space
according to their difference from the original logo which would have appear
at X = 0. Horizontal distance from 0 on X-axis indicates the degree of
visual difference; vertical position indicates if modifications are
in the uppper part of the logo, or the bottom part.


At first it may appear that the distribution of the Google logos follows
the familiar Bell curve. However a closer look reveals that the
"cloud" of logos extends to the left more. As Google became one of the most
recognized brands in the world, the designers started taking more
chances with the logo, modifying it more dramatically. The function of
the Google logo changed: from identifying the company to surprising
Google users by how much designers can depart from the original logos.
These "anti-logos," so to speak, started to appear after 2007; in our
visualization they occupy the right most part, breaking the symmetry of the
previously established bell-shaped pattern of graphic variability.


If we want to visually compare two or more image sets to each other in
relation to two visual properties, we can project them into a 2D space
defined by these visual properties as we did with Piet Mondrian's and
Mark Rothko's paintings in part 1. Using min and max values of the measured
properties of all images in out sets combined as the boundaries of the
visualization will allow us to use the visualization area most

However, if we want to understand the footprint of each image set in
relation to the absolute mix and max - i.e. lowest and highest
possible values of visual features of all possible images - we need to
map our images differently. Mix and max of X and Y in the
visualization should be set to their lowest and highest absolute
possible values. For example, if we measure brightness on 0-255 scale,
mix should be set to 0, and max should be set to 255.

The following visualizations of Mondrian and Rothko paintings uses
this idea. To make visualizations easier to see, we have added small
white squares in the corners; black text inside each square indicates
X and Y coordinates of a point in the center of a square.

X-axis = brightness mean. Min = 0; Max = 255.
Y-axis = brightness standard deviation. Min = 0; Max = 126.7.




A related idea is to render parts of an image set over the background showing
the complete set. This allows us to see the footprint of the these parts
in relation to the larger footprint of all images.

In the next example we compare pages of two manga titles from our complete set
of 883 titles comprising 1,074,790 pages. (See Manga.viz for more details
about this project.) First, lets render a larger number of titles to get
the idea about the shape of manga distribution. We visualize pages of nine most
popular titles on (The visualization uses transparency, so the pages
rendered first remain visible; the drawback is that the contrast of every page is
diminished. Here is an example of manga pages visualization without transparency).

X-axis = brightness mean;
Y-aixs = brightness standard deviation:


Now lets look at just two titles. The pages of each title are rendered
as color points. All other pages are rendered as grey points. As can be seen,
a few pages of the titles overlap, but the rest form two distinct clusters.

Pink points:
title: Ga on-Bi
artist: Ju Deo
intended audience: Shounen (teenage boys)
genre tags (from action, supernatural.

Blue points:
title: Aozora Pop.
artist: Ouchi Natsumi.
intended audience: shoujo (teenage girls)


(This work is a part of the larger project to find if Japanese manga aimed at different
audiences has different footprints in the style space; to map this space more
comprehensively, we will use 400 features - as opposed to just two features used
in all visualization examples in this article.)

End of part 2.
Follow to part 3.

Style Space: How to compare image sets and follow their evolution

Draft text by Lev Manovich (August 4-6, 2011).

All projects and visualizations are created by members of Software Studies Initiative
(credits appear under the images on Flickr)

Batch image processing softwate: Sunsern Cheamanunkul and Jeremy Douglass.
ImagePlot visualization software: Lev Manovich, Jeremy Douglass, Nadia Xiangfei Zeng.
ImagePlot documentation: Tara Zepel.
Statistical analysis of manga images and data: Sunsern Cheamanunkul, Bertrand Grandgeorge, Lev Manovich.

Research described in this article was supported by Calit2 UCSD Division, Center for Research in Computing and the Arts (CRCA), NEH Office of Digital Humanities, and National University of Singapore.

style is a "...distinctive manner which permits the grouping of works into related categories."
Fernie, Eric. Art History and its Methods: A critical anthology. London: Phaidon, 1995, p. 361.



Lets start with an example. We want to compare van Gogh paintings
created when the artist lived in Paris (1886-1888) and in Arles
(1888). We have digital images of most of the paintings done by
the artist in these two places: 1999 for Paris, and 161 for Arles. (We
did not include the paintings done after the ear accident which took
place in the end of 1889 - although van Gogh continued to be in Arles
for a few months, he was in and out of the hospital and his
productivity was severely diminished).

The following visualizations project each of the image set into the
same coordinate space. X-axis represents the measurements of average
brightness (X-axis); Y-axis represents the measurements of average
saturation (Y-axis). (We use median rather than mean since it is less
affected by outlier values. The measurements are done with a free open
source digital image analysis application ImageJ.)

Here are Paris paintings:


And here are Arles paintings:


Projecting sets of paintings done in two places into the same
coordinate space allows us to better see the similarities and
differences between the two periods on brightness/saturation
dimensions. We see the parts of the space of visual possibilities
explored in each period. We also see the relative distributions of
their works - the more dense and the more sparse areas, the presence
or absence of clusters, the outliers, etc.

Arles paintings are much less spread out than Paris paintings. Their
cluster is higher and to the right of the cluster formed by Paris
paintings (higher saturation, higher brightness). But these are not
absolute differences. The two clusters overlap significantly. In other
words: while some Arles paintings are exploring a new visual
territory, others are not. Traces of van Gogh earlier pre-Paris styles
are also still visible: a significant number of Paris paintings and a
number of Arles paintings are quite dark (left quarter of each


A style space is a projection of quantified properties of a
set of cultural artifacts (or their parts) into a 2D place. X and Y
represent the properties (or their combinations). The position of
each artifact is determined by its values for these properties.

Since the rest of this discussion deals with images, we can rephrase
this definition as follows: A style space is a projection of
quantified visual properties of images into a 2D plane. In the
example above, X axis represents average brightness, and Y axis
represents average saturation. We can also use three visual
properties to map images in a three-dimensional space. Of course,
two or three properties can't capture all the aspect of a visual style.
Since images have many different visual properties, we can create
many 2D visualizations, each using a different combinations of
visual properties.

We are not claiming that such representations can capture all
aspects of a visual styke. A "style space" representation is
a tool for exploring image sets. (It is particularly effective for
large sets.) It allows us compare all images in a set (or sets)
according to their visual values. For instance, the two
visualizations above compare van Gogh's Paris and Arles paintings
according to their average brightness and average saturation.
Separating a "style" into distinct visual dimensions and
organizing images according to their values on these dimensions
allows us to see more clearly how differences between the images
in a set. Visual differences are translated into spatial distances.
Images which are visually similar will be close; images which
are different will be further away.

Here is another example of a style space concept application.
We compare 128 paintings by Piet Mondrian (1905-1917) and
151 paintings by Mark Rothko (1944-1957). The two image visualizations
are placed side by side, so they share the same X axis.

X-axis: brightness mean.
Y-axis: saturation mean.

Mondrian vs. Rothko

(For a discussion of this example, see Mondrian vs Rothko: footprints
and evolution in style space

Now, consider a style space where min and max of each axis are set to
smallest and biggest possible visual values. All images which were
already created, and all possible images which can be created in the
future will lie within the boundaries set by these mind and max

To illustrate this, we placed a set of specially created black and
white images in a simple style space (X-axis = brightness mean, Y-axis
= brightness standard deviation):


Because brightness mean and brightness standard deviation variables
are correlated, all possible images will lie within a half ellipse,
defined by these coordinates: 0,0 (left), 255,0 (right), 127.5, 126.6
(top). The images of a particular artist, a particular artistic
school, the pages of a comic, all ads created by a company, or any
other cultural image set will typically occupy only a part of this

The following example maps pages from nine manga titles according to
their brightness mean (X) and brightness standard deviation (Y). The
pages make visible the ellipse shape. Most pages fall within a
particular part of the ellipse. These pages form a pretty tight
cluster; outside of the cluster, the ellipse is only sparsely


(Note: A manga narrative can be referred to as both a "title" and a
"series," if it consists from many chapters. In this text we use the
world "title" but you may also find the word "series" in descriptions
of our visualizations on Flickr linked here.)

We can refer to a particular part of a style space occupied by a set
of images as a footprint of this set. Informally, we can
characterize a footprint using its center and shape.

Formal descriptions are available in statistics. If we consider
measurements of a single visual dimension (i.e a single visual
property such as brightness mean), we can characterize their
distribution, the central tendency and the dispersion

If we want to analyze multiple features together, we can apply the techniques of multivariate statistics.


The visualizations above use simple visual features - brightness and
saturation. Digital image processing allows us to measure images on
hundreds of other visual dimensions: colors, textures, lines, shapes,
etc. In computer science, such measurements are often called "image features."

We can map images into a space defined by any combination of these
features. For example, the following visualization of 128 Mondrian
paintings created between 1905 and 1917 uses measures of average
brightness as X, and average hue as Y (a median average of colors
of every pixel represented on 0-255 scale). Although an average value
of all pixel's colors may seem like a strange idea, this feature
measurement turns out to be quite meaningful: it reveals that almost
all of 128 Mondrian paintings created between 1905 and 1917 fall into
groups: whose dominated by brown and red (bottom) and whose dominated
by blue and violet (top).



To what extent basic properties of visual cultural artifacts (i.e.,
features) represent "dimensions" of style? In many cases, the basic
"low-level" properties correspond to "high-level" stylistic
attributes. For instance, in the case of many modern abstract artists
such as Mondrian and Rothko, measurements of color saturation and hues
are meaningful and can reveal interesting patterns in the evolution
of the artists.

Here is another example of how a low-level feature captures a
high-level style attribute. This feature is entropy
- a measure of unpredictability. If an image has lots of details
and/or textures, it will have high entropy (since it is hard to
predict the values of a pixel based on the values of its its
neighbours). If an image consists mostly from flat areas - i.e. a
singular gray tone or color without much variation or texture - it
will have low entropy.

This visualization maps one million manga page according to their
entropy (Y-axis) and standard deviation (X-axis). Both entropy and
standard deviation are measured using pixel's brightness values.)

Manga Style Space

The pages in the bottom part of the visualization are the most graphic
and have the least amount of detail. The pages in the upper right have
lots of detail and texture. The pages with the highest contrast are on
the right, while pages with the least contrast are on the left. In
between these four extremes, we find every possible stylistic

In other words: the footprint of our sample of one million pages
almost completely covers the complete space of possible values in
entropy/standard deviation space. In addition, the large part of this
footprint is very dense, i.e., the distances between neighbour pages
are very tiny. We can call this dense area a "core."

This suggests that our concept of “style” as it is commonly maybe not
appropriate then we consider large cultural data sets. The concept
assumes that we can partition a set of cultural artifacts works into a
small number of discrete categories. In the case of our one million
pages set, we find practically infinite graphical variations. If we
try to divide this space into discrete stylistic categories, any such
attempt will be arbitrary."

How does the statement that "our basic concept of 'style' maybe not
appropriate then we consider large cultural data sets" we just made
fits with the concept of a "style space"? A "style space" is simply a
space of all possible values of particular visual features (either
single features or their combinations) mapped into X and Y. Since we
can measure visual properties of any images, we can represent any
image set in such a space. Such a visualization reveals if it is
meaningful to speak about a "style" shared by this image set (or its
parts), or not. If an image set is spread out across the space, we
can't talk about their distinct style. If an image sets forms a
cluster which only occupies a small part of the space, we may be able

In the case of one million manga images, they completely fill the
whole range of possible values on entropy dimension (little
texture/detail - lots of texture/detail). But with Mondrian and Rothko
image sets, the paintings produced by each artist in a particular
period we are considering only cover a smaller area of
brightness/saturation space, so it is meaningful to talk about a
"style" of each period. (If we measure and visualize numbers and
characteristics of shapes in paintings of each artist produced in
their later years, the footprints will be even smaller.)

(For more details about our manga data set, see
Douglass, Jeremy, William Huber, Lev Manovich. 2011. Understanding scanlation:
how to read one million fan-translated manga pages


Mapping all images in a set into a space defined by some of their
visual features can be very revealing, but it has one limitation:
sometimes it makes it hard to see varying density of images footprint.
Therefore a visualization which shows images can be supplemented by a
visualization which represents images as points and uses transparency.

The following visualization shows same one million manga data sets
mapped in the same way using points. The initial plot was created in
free Mondrian software, and then colorized in Photoshop.


Another way to visualize density is by graphing values of images on
each single dimension separately. The following graphs show the
distributions of brightness mean and brightness standard deviation
averages calculated per each title in our manga set.


(In statistical terms, each feature is a "random variable."
The values of a single features of all images in a given set can be
descrbed using univarite statistics: measures of central tendency such as mean or median;
measures of dispersion such as range, variance, and standard deviation;
graphs of frequency distribution.

If we can fit a data to some well-known distribution such as normal
, we can characterize what we informally called
"density" more precisely using probability density function.)

(Note: when using statistics to describe measures of visual features,
we need to always be clear if we treat our image set as a
complete population or as a sample
from a larger population. For example, we can think of one million
manga pages as a sample of a larger population of all manga. In the
case of van Gogh paintings, a set of all his paintings can be taken as
a complete population.)

End of part 1.

Continue to Part 2.

Flickr reaches 6,000,000,000 images milestone

Flickr blog: we reached 6,000,000,000 images

Flickr groups is a great resources for researching contemporary visual culture and media. Currently we are analyzing 167,000 images from Art Now group and 177,000 images from Graphic Design group. Each image is processed by a computer which generates 400 separate descriptions of its various properties. Next, we use our custom visualization software to map all images according to their properties. We hope to post some visualizations next week.