Unsupervised Segmentation by Diffusing, Walking and Cutting

We propose an unsupervised image segmentation method using features from pre-trained text-to-image diffusion models. Inspired by classic spectral clustering approaches, we construct adjacency matrices from self-attention layers between image patches and recursively partition using Normalised Cuts. A key insight is that self-attention probability distributions, which capture semantic relations between patches, can be interpreted as a transition matrix for random walks across the image. We leverage this by first using Random Walk Normalized Cuts directly on these self-attention activations to partition the image, minimizing transition probabilities between clusters while maximizing coherence within clusters. Applied recursively, this yields a hierarchical segmentation that reflects the rich semantics in the pre-trained attention layers, without any additional training. Next, we explore other ways to build the NCuts adjacency matrix from features, and how we can use the random walk interpretation of self-attention to capture long-range relationships. Finally, we propose an approach to automatically determine the NCut cost criterion, avoiding the need to tune this manually. We quantitatively analyse the effect incorporating different features, a constant versus dynamic NCut threshold, and incorporating multi-node paths when constructing the NCuts adjacency matrix. We show that our approach surpasses all existing methods for zero-shot unsupervised segmentation, achieving state-of-the-art results on COCO-Stuff-27 and Cityscapes.

ARTeFACT: Benchmarking Segmentation Models on Diverse Analogue Media Damage

Accurately detecting and classifying damage in analogue media such as paintings, photographs, textiles, mosaics, and frescoes is essential for cultural heritage preservation. While machine learning models excel in correcting degradation if the damage operator is known a priori, we show that they fail to robustly predict where the damage is even after supervised training; thus, reliable damage detection remains a challenge. Motivated by this, we introduce ARTeFACT, a dataset for damage detection in diverse types analogue media, with over 11,000 annotations covering 15 kinds of damage across various subjects, media, and historical provenance. Furthermore, we contribute human-verified text prompts describing the semantic contents of the images, and derive additional textual descriptions of the annotated damage. We evaluate CNN, Transformer, diffusion-based segmentation models, and foundation vision models in zero-shot, supervised, unsupervised and text-guided settings, revealing their limitations in generalising across media types. Our dataset is available at $\href{https://daniela997.github.io/ARTeFACT/}{https://daniela997.github.io/ARTeFACT/}$ as the first-of-its-kind benchmark for analogue media damage detection and restoration.

State-of-the-Art Fails in the Art of Damage Detection

Accurately detecting and classifying damage in analogue media such as paintings, photographs, textiles, mosaics, and frescoes is essential for cultural heritage preservation. While machine learning models excel in correcting global degradation if the damage operator is known a priori, we show that they fail to predict where the damage is even after supervised training; thus, reliable damage detection remains a challenge. We introduce DamBench, a dataset for damage detection in diverse analogue media, with over 11,000 annotations covering 15 damage types across various subjects and media. We evaluate CNN, Transformer, and text-guided diffusion segmentation models, revealing their limitations in generalising across media types.

Simulating analogue film damage to analyse and improve artefact restoration on high-resolution scans

Digital scans of analogue photographic film typically contain artefacts such as dust and scratches. Automated removal of these is an important part of preservation and dissemination of photographs of historical and cultural importance. While state-of-the-art deep learning models have shown impressive results in general image inpainting and denoising, film artefact removal is an understudied problem. It has particularly challenging requirements, due to the complex nature of analogue damage, the high resolution of film scans, and potential ambiguities in the restoration. There are no publicly available high-quality datasets of real-world analogue film damage for training and evaluation, making quantitative studies impossible. We address the lack of ground-truth data for evaluation by collecting a dataset of 4K damaged analogue film scans paired with manually-restored versions produced by a human expert, allowing quantitative evaluation of restoration performance. We construct a larger synthetic dataset of damaged images with paired clean versions using a statistical model of artefact shape and occurrence learnt from real, heavily-damaged images. We carefully validate the realism of the simulated damage via a human perceptual study, showing that even expert users find our synthetic damage indistinguishable from real. In addition, we demonstrate that training with our synthetically damaged dataset leads to improved artefact segmentation performance when compared to previously proposed synthetic analogue damage. Finally, we use these datasets to train and analyse the performance of eight state-of-the-art image restoration methods on high-resolution scans. We compare both methods which directly perform the restoration task on scans with artefacts, and methods which require a damage mask to be provided for the inpainting of artefacts.