Living Images: A Recursive Approach to Computing the Structural Beauty of Images or the Livingness of Space

Any image is perceived subconsciously as a coherent structure (or whole) with two contrast substructures: figure and ground. The figure consists of numerous auto-generated substructures with an inherent hierarchy of far more smalls than larges. Through these substructures, the structural beauty of an image (L) can be computed by the multiplication of the number of substructures (S) and their inherent hierarchy (H). This definition implies that the more substructures, the more living or more structurally beautiful, and the higher hierarchy of the substructures, the more living or more structurally beautiful. This is the non-recursive approach to the structural beauty of images or the livingness of space. In this paper we develop a recursive approach, which derives all substructures of an image (instead of its figure) and continues the deriving process for those decomposable substructures until none of them are decomposable. All of the substructures derived at different iterations (or recursive levels) together constitute a living structure; hence the notion of living images. We applied the recursive approach to a set of images and found that (1) the number of substructures of an image is far lower (3 percent on average) than the number of pixels and the centroids of the substructures can effectively capture the skeleton or saliency of the image; (2) all the images have the recursive levels more than three, indicating that they are indeed living images; (3) no more than 2 percent of the substructures are decomposable; (4) structural beauty can be measured by the recursively defined substructures, as well as their decomposable subsets. The recursive approach is proved to be more robust than the non-recursive approach. The recursive approach and the non-recursive approach both provide a powerful means to study the livingness or vitality of space in cities and communities.

Structural Beauty: A Structure-based Approach to Quantifying the Beauty of an Image

To say that beauty is in the eye of the beholder means that beauty is largely subjective so varies from person to person. While the subjectivity view is commonly held, there is also an objectivity view that seeks to measure beauty or aesthetics in some quantitative manners. Christopher Alexander has long discovered that beauty or coherence highly correlates to the number of subsymmetries or substructures and demonstrated that there is a shared notion of beauty - structural beauty - among people and even different peoples, regardless of their faiths, cultures, and ethnicities. This notion of structural beauty arises directly out of living structure or wholeness, a physical and mathematical structure that underlies all space and matter. Based on the concept of living structure, this paper develops an approach for computing the structural beauty or life of an image (L) based on the number of automatically derived substructures (S) and their inherent hierarchy (H). To verify this approach, we conducted a series of case studies applied to eight pairs of images including Leonardo da Vinci's Mona Lisa and Jackson Pollock's Blue Poles. We discovered among others that Blue Poles is more structurally beautiful than the Mona Lisa, and traditional buildings are in general more structurally beautiful than their modernist counterparts. This finding implies that goodness of things or images is largely a matter of fact rather than an opinion or personal preference as conventionally conceived. The research on structural beauty has deep implications on many disciplines, where beauty or aesthetics is a major concern such as image understanding and computer vision, architecture and urban design, humanities and arts, neurophysiology, and psychology. Keywords: Life; wholeness; figural goodness; head/tail breaks; computer vision