Remote sensing image scene classification is an important task of remote sensing image interpretation, which has recently been well addressed by the convolutional neural network owing to its powerful learning ability. However, due to the multiple types of geographical information and redundant background information of the remote sensing images, most of the CNN-based methods, especially those based on a single CNN model and those ignoring the combination of global and local features, exhibit limited performance on accurate classification. To compensate for such insufficiency, we propose a new dual-model deep feature fusion method based on an attention cascade global–local network (ACGLNet). Specifically, we use two popular CNNs as the feature extractors to extract complementary multiscale features from the input image. Considering the characteristics of the global and local features, the proposed ACGLNet filters the redundant background information from the low-level features through the spatial attention mechanism, followed by which the locally attended features are fused with the high-level features. Then, bilinear fusion is employed to produce the fused representation of the dual model, which is finally fed to the classifier. Through extensive experiments on four public remote sensing scene datasets, including UCM, AID, PatternNet, and OPTIMAL-31, we demonstrate the feasibility of the proposed method and its superiority over the state-of-the-art scene classification methods.

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Remote sensing image scene classification acts as an important task in remote sensing image applications, which benefits from the pleasing performance brought by deep convolution neural networks (CNNs). When applying deep models in this task, the challenges are, on one hand, that the targets with highly different scales may exist in the image simultaneously and the small targets could be lost in the deep feature maps of CNNs; and on the other hand, the remote sensing image data exhibits the properties of high inter-class similarity and high intra-class variance. Both factors could limit the performance of the deep models, which motivates us to develop an adaptive decision-level information fusion framework that can incorporate with any CNN backbones. Specifically, given a CNN backbone that predicts multiple classification scores based on the feature maps of different layers, we develop a pluginable importance factor generator that aims at predicting a factor for each score. The factors measure how confident the scores in different layers are with respect to the final output. Formally, the final score is obtained by a class-wise and weighted summation based on the scores and the corresponding factors. To reduce the co-adaptation effect among the scores of different layers, we propose a stochastic decision-level fusion training strategy that enables each classification score to randomly participate in the decision-level fusion. Experiments on four popular datasets including the UC Merced Land-Use dataset, the RSSCN 7 dataset, the AID dataset, and the NWPU-RESISC 45 dataset demonstrate the superiority of the proposed method over other state-of-the-art methods.

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Existing stroke‐based painting synthesis methods usually fail to achieve good results with limited strokes because these methods use semantically irrelevant metrics to calculate the similarity between the painting and photo domains. Hence, it is hard to see meaningful semantical information from the painting. This paper proposes a painting synthesis method that uses a CLIP (Contrastive‐Language‐Image‐Pretraining) model to build a semantically‐aware metric so that the cross‐domain semantic similarity is explicitly involved. To ensure the convergence of the objective function, we design a new strategy called decremental optimization. Specifically, we define painting as a set of strokes and use a neural renderer to obtain a rasterized painting by optimizing the stroke control parameters through a CLIP‐based loss. The optimization process is initialized with an excessive number of brush strokes, and the number of strokes is then gradually reduced to generate paintings of varying levels of abstraction. Experiments show that our method can obtain vivid paintings, and the results are better than the comparison stroke‐based painting synthesis methods when the number of strokes is limited.