3D reassembly is a fundamental geometric problem, and in recent years it has increasingly been challenged by deep learning methods rather than classical optimization. While learning approaches have shown promising results, most still rely primarily on geometric features to assemble a whole from its parts. As a result, methods struggle when geometry alone is insufficient or ambiguous, for example, for small, eroded, or symmetric fragments. Additionally, solutions do not impose physical constraints that explicitly prevent overlapping assemblies. To address these limitations, we introduce E-M3RF, an equivariant multimodal 3D reassembly framework that takes as input the point clouds, containing both point positions and colors of fractured fragments, and predicts the transformations required to reassemble them using SE(3) flow matching. Each fragment is represented by both geometric and color features: i) 3D point positions are encoded as rotationconsistent geometric features using a rotation-equivariant encoder, ii) the colors at each 3D point are encoded with a transformer. The two feature sets are then combined to form a multimodal representation. We experimented on four datasets: two synthetic datasets, Breaking Bad and Fantastic Breaks, and two real-world cultural heritage datasets, RePAIR and Presious, demonstrating that E-M3RF on the RePAIR dataset reduces rotation error by 23.1% and translation error by 13.2%, while Chamfer Distance decreases by 18.4% compared to competing methods.

We present PaintBranch, a novel VR prototype for asynchronous collaborative art creation that incorporates version control to encourage ideation and minimise creative conflicts during the collaborative process. Our first user study (N = 8) allowed us to iterate over PaintBranch’s branching UI. Our second user study involved four pairs of participants collaborating asynchronously over several days: 32 painting sessions in total (four pairs of participants two painting sessions per day four days). Our first user study suggested higher perceived collaboration and closeness in PaintBranch than in the pen-and-paper baseline, but these patterns should be interpreted cautiously given our fixed-order, cross-medium study design. The second illustrated different uses and collaboration profiles that emerged from our sessions. This includes how experienced artists painted for shorter periods over larger areas, how participants reported high satisfaction with their collaborator’s work, how participants’ satisfaction with their own work increased towards the last painting session, and how the majority of pairs of participants engaged with PaintBranch’s branching features. Our results highlight how artists could leverage PaintBranch to fulfil collaborative and personal needs. We conclude by discussing how PaintBranch can be further explored through collaborations involving larger participant numbers to synchronous, collocated experiences, and how those experiences can affect co-presence, UX, and ownership of the artwork.

Many Art History articles discuss artworks in general as well as specific parts of works, such as layout, iconography, or material culture. However, when viewing an artwork, it is not trivial to identify what different articles have said about the piece. Therefore, we propose ArtContext, a pipeline for taking a corpus of Open-Access Art History articles and Wikidata Knowledge and annotating Artworks with this information. We do this using a novel corpus collection pipeline, then learn a bespoke CLIP model adapted using Low-Rank Adaptation (LoRA) to make it domain-specific. We show that the new model, PaintingCLIP, which is weakly supervised by the collected corpus, outperforms CLIP and provides context for a given artwork. The proposed pipeline is generalisable and can be readily applied to numerous humanities areas.

The task of reassembly is a significant challenge across multiple domains, including archaeology, genomics, and molecular docking, requiring the precise placement and orientation of elements to reconstruct an original structure. In this work, we address key limitations in state-of-the-art Deep Learning methods for reassembly, namely i) scalability; ii) multimodality; and iii) real-world applicability: beyond square or simple geometric shapes, realistic and complex erosion, or other real-world problems. We propose ReassembleNet, a method that reduces complexity by representing each input piece as a set of contour keypoints and learning to select the most informative ones by Graph Neural Networks pooling inspired techniques. ReassembleNet effectively lowers computational complexity while enabling the integration of features from multiple modalities, including both geometric and texture data. Further enhanced through pretraining on a semi-synthetic dataset. We then apply diffusion-based pose estimation to recover the original structure. We improve on prior methods by 55% and 86% for RMSE Rotation and Translation, respectively.

World-wide detailed 2D maps require enormous collective efforts. OpenStreetMap is the result of 11 million registered users manually annotating the GPS location of over 1.75 billion entries, including distinctive landmarks and common urban objects. At the same time, manual annotations can include errors and are slow to update, limiting the map's accuracy. Maps from Motion (MfM) is a step forward to automatize such time-consuming map making procedure by computing 2D maps of semantic objects directly from a collection of uncalibrated multi-view images. From each image, we extract a set of object detections, and estimate their spatial arrangement in a top-down local map centered in the reference frame of the camera that captured the image. Aligning these local maps is not a trivial problem, since they provide incomplete, noisy fragments of the scene, and matching detections across them is unreliable because of the presence of repeated pattern and the limited appearance variability of urban objects. We address this with a novel graph-based framework, that encodes the spatial and semantic distribution of the objects detected in each image, and learns how to combine them to predict the objects' poses in a global reference system, while taking into account all possible detection matches and preserving the topology observed in each image. Despite the complexity of the problem, our best model achieves global 2D registration with an average accuracy within 4 metres (i.e., below GPS accuracy) even on sparse sequences with strong viewpoint change, on which COLMAP has an 80% failure rate.

We describe the development of PaintBranch, a virtual reality prototype designed to support asynchronous collaborative art. By incorporating version control (VC), PaintBranch aims to promote creative idea generation and reduce conflicts during collaboration. In a user study, eight participants were organized into four pairs and worked asynchronously for a week, with each participant having four painting sessions. We analyzed the emerging collaboration patterns and uses. Results indicated that experienced artists used these features effectively to meet collaborative and personal goals.