Daily Papers

The paradigm of pretrained deep learning models has recently emerged in artificial intelligence practice, allowing deployment in numerous societal settings with limited computational resources, but also embedding biases and enabling unintended negative uses. In this paper, we treat pretrained models as objects of study and discuss the ethical impacts of their sociological position. We discuss how pretrained models are developed and compared under the common task framework, but that this may make self-regulation inadequate. Further how pretrained models may have a performative effect on society that exacerbates biases. We then discuss how pretrained models move through actor networks as a kind of computationally immutable mobile, but that users also act as agents of technological change by reinterpreting them via fine-tuning and transfer. We further discuss how users may use pretrained models in malicious ways, drawing a novel connection between the responsible innovation and user-centered innovation literatures. We close by discussing how this sociological understanding of pretrained models can inform AI governance frameworks for fairness, accountability, and transparency.

Creating an immersive and interactive theatrical experience is a long-term goal in the field of interactive narrative. The emergence of large language model (LLM) is providing a new path to achieve this goal. However, existing LLM-based drama generation methods often result in agents that lack initiative and cannot interact with the physical scene. Furthermore, these methods typically require detailed user input to drive the drama. These limitations reduce the interactivity and immersion of online real-time performance. To address the above challenges, we propose HAMLET, a multi-agent framework focused on drama creation and online performance. Given a simple topic, the framework generates a narrative blueprint, guiding the subsequent improvisational performance. During the online performance, each actor is given an autonomous mind. This means that actors can make independent decisions based on their own background, goals, and emotional state. In addition to conversations with other actors, their decisions can also change the state of scene props through actions such as opening a letter or picking up a weapon. The change is then broadcast to other related actors, updating what they know and care about, which in turn influences their next action. To evaluate the quality of drama performance generated by HAMLET, we designed an evaluation method to assess three primary aspects, including character performance, narrative quality, and interaction experience. The experimental evaluation shows that HAMLET can create expressive and coherent theatrical experiences.

This study explores the impact of AI-generated digital self-clones on improving online presentation skills. We carried out a mixed-design experiment involving 44 international students, comparing self-recorded videos (control) with self-clone videos (AI group) for English presentation practice. The AI videos utilized voice cloning, face swapping, lip-sync, and body-language simulation to refine participants' original presentations in terms of repetition, filler words, and pronunciation. Machine-rated scores indicated enhancements in speech performance for both groups. Though the groups didn't significantly differ, the AI group exhibited a heightened depth of reflection, self-compassion, and a meaningful transition from a corrective to an enhancive approach to self-critique. Within the AI group, congruence between self-perception and AI self-clones resulted in diminished speech anxiety and increased enjoyment. Our findings recommend the ethical employment of digital self-clones to enhance the emotional and cognitive facets of skill development.

The sound effects that designers add to videos are designed to convey a particular artistic effect and, thus, may be quite different from a scene's true sound. Inspired by the challenges of creating a soundtrack for a video that differs from its true sound, but that nonetheless matches the actions occurring on screen, we propose the problem of conditional Foley. We present the following contributions to address this problem. First, we propose a pretext task for training our model to predict sound for an input video clip using a conditional audio-visual clip sampled from another time within the same source video. Second, we propose a model for generating a soundtrack for a silent input video, given a user-supplied example that specifies what the video should "sound like". We show through human studies and automated evaluation metrics that our model successfully generates sound from video, while varying its output according to the content of a supplied example. Project site: https://xypb.github.io/CondFoleyGen/

Although the design and application of audio effects is well understood, the inverse problem of removing these effects is significantly more challenging and far less studied. Recently, deep learning has been applied to audio effect removal; however, existing approaches have focused on narrow formulations considering only one effect or source type at a time. In realistic scenarios, multiple effects are applied with varying source content. This motivates a more general task, which we refer to as general purpose audio effect removal. We developed a dataset for this task using five audio effects across four different sources and used it to train and evaluate a set of existing architectures. We found that no single model performed optimally on all effect types and sources. To address this, we introduced RemFX, an approach designed to mirror the compositionality of applied effects. We first trained a set of the best-performing effect-specific removal models and then leveraged an audio effect classification model to dynamically construct a graph of our models at inference. We found our approach to outperform single model baselines, although examples with many effects present remain challenging.

The growing prevalence of conversational voice interfaces, powered by developments in both speech and language technologies, raises important questions about their influence on human communication. While written communication can signal identity through lexical and stylistic choices, voice-based interactions inherently amplify socioindexical elements - such as accent, intonation, and speech style - which more prominently convey social identity and group affiliation. There is evidence that even passive media such as television is likely to influence the audience's linguistic patterns. Unlike passive media, conversational AI is interactive, creating a more immersive and reciprocal dynamic that holds a greater potential to impact how individuals speak in everyday interactions. Such heightened influence can be expected to arise from phenomena such as acoustic-prosodic entrainment and linguistic accommodation, which occur naturally during interaction and enable users to adapt their speech patterns in response to the system. While this phenomenon is still emerging, its potential societal impact could provide organisations, movements, and brands with a subtle yet powerful avenue for shaping and controlling public perception and social identity. We argue that the socioindexical influence of AI-generated speech warrants attention and should become a focus of interdisciplinary research, leveraging new and existing methodologies and technologies to better understand its implications.

Neural networks often suffer from catastrophic interference (CI): performance on previously learned tasks drops off significantly when learning a new task. This contrasts strongly with humans, who can sequentially learn new tasks without appreciably forgetting previous tasks. Prior work has explored various techniques for mitigating CI such as regularization, rehearsal, generative replay, and distillation methods. The current work takes a different approach, one guided by cognitive science research showing that in naturalistic environments, the probability of encountering a task decreases as a power-law of the time since it was last performed. We argue that a realistic evaluation of techniques for the mitigation of CI should be performed in simulated naturalistic learning environments. Thus, we evaluate the extent of mitigation of CI when training simple rehearsal-based methods in power-law environments similar to the ones humans face. Our work explores this novel rehearsal-based approach for a domain-incremental task: learning permutations in the MNIST task. We compare our rehearsal environment with other baselines to show its efficacy in promoting continual learning. Additionally, we investigate whether this environment shows forward facilitation, i.e., faster learning of later tasks. Next, we explore the robustness of our learning environment to the number of tasks, model size, and amount of data rehearsed after each task. Notably, our results show that the performance is comparable or superior to that of models trained using popular regularization methods and also to rehearsals in non-power-law environments. The benefits of this training paradigm include simplicity and the lack of a need for extra neural circuitry. In addition, because our method is orthogonal to other methods, future research can combine training in power-law environments with other continual learning mechanisms.

The automatic movie dubbing model generates vivid speech from given scripts, replicating a speaker's timbre from a brief timbre prompt while ensuring lip-sync with the silent video. Existing approaches simulate a simplified workflow where actors dub directly without preparation, overlooking the critical director-actor interaction. In contrast, authentic workflows involve a dynamic collaboration: directors actively engage with actors, guiding them to internalize the context cues, specifically emotion, before performance. To address this issue, we propose a new Retrieve-Augmented Director-Actor Interaction Learning scheme to achieve authentic movie dubbing, termed Authentic-Dubber, which contains three novel mechanisms: (1) We construct a multimodal Reference Footage library to simulate the learning footage provided by directors. Note that we integrate Large Language Models (LLMs) to achieve deep comprehension of emotional representations across multimodal signals. (2) To emulate how actors efficiently and comprehensively internalize director-provided footage during dubbing, we propose an Emotion-Similarity-based Retrieval-Augmentation strategy. This strategy retrieves the most relevant multimodal information that aligns with the target silent video. (3) We develop a Progressive Graph-based speech generation approach that incrementally incorporates the retrieved multimodal emotional knowledge, thereby simulating the actor's final dubbing process. The above mechanisms enable the Authentic-Dubber to faithfully replicate the authentic dubbing workflow, achieving comprehensive improvements in emotional expressiveness. Both subjective and objective evaluations on the V2C Animation benchmark dataset validate the effectiveness. The code and demos are available at https://github.com/AI-S2-Lab/Authentic-Dubber.

Conversational participants tend to immediately and unconsciously adapt to each other's language styles: a speaker will even adjust the number of articles and other function words in their next utterance in response to the number in their partner's immediately preceding utterance. This striking level of coordination is thought to have arisen as a way to achieve social goals, such as gaining approval or emphasizing difference in status. But has the adaptation mechanism become so deeply embedded in the language-generation process as to become a reflex? We argue that fictional dialogs offer a way to study this question, since authors create the conversations but don't receive the social benefits (rather, the imagined characters do). Indeed, we find significant coordination across many families of function words in our large movie-script corpus. We also report suggestive preliminary findings on the effects of gender and other features; e.g., surprisingly, for articles, on average, characters adapt more to females than to males.

Increased effort during use of the paretic arm and hand can provoke involuntary abnormal synergy patterns and amplify stiffness effects of muscle tone for individuals after stroke, which can add difficulty for user-controlled devices to assist hand movement during functional tasks. We study how volitional effort, exerted in an attempt to open or close the hand, affects resistance to robot-assisted movement at the finger level. We perform experiments with three chronic stroke survivors to measure changes in stiffness when the user is actively exerting effort to activate ipsilateral EMG-controlled robot-assisted hand movements, compared with when the fingers are passively stretched, as well as overall effects from sustained active engagement and use. Our results suggest that active engagement of the upper extremity increases muscle tone in the finger to a much greater degree than through passive-stretch or sustained exertion over time. Potential design implications of this work suggest that developers should anticipate higher levels of finger stiffness when relying on user-driven ipsilateral control methods for assistive or rehabilitative devices for stroke.

Exposure to large language model output is rapidly increasing. How will seeing AI-generated ideas affect human ideas? We conducted an experiment (800+ participants, 40+ countries) where participants viewed creative ideas that were from ChatGPT or prior experimental participants and then brainstormed their own idea. We varied the number of AI-generated examples (none, low, or high exposure) and if the examples were labeled as 'AI' (disclosure). Our dynamic experiment design -- ideas from prior participants in an experimental condition are used as stimuli for future participants in the same experimental condition -- mimics the interdependent process of cultural creation: creative ideas are built upon prior ideas. Hence, we capture the compounding effects of having LLMs 'in the culture loop'. We find that high AI exposure (but not low AI exposure) did not affect the creativity of individual ideas but did increase the average amount and rate of change of collective idea diversity. AI made ideas different, not better. There were no main effects of disclosure. We also found that self-reported creative people were less influenced by knowing an idea was from AI, and that participants were more likely to knowingly adopt AI ideas when the task was difficult. Our findings suggest that introducing AI ideas into society may increase collective diversity but not individual creativity.

Sound design involves creatively selecting, recording, and editing sound effects for various media like cinema, video games, and virtual/augmented reality. One of the most time-consuming steps when designing sound is synchronizing audio with video. In some cases, environmental recordings from video shoots are available, which can aid in the process. However, in video games and animations, no reference audio exists, requiring manual annotation of event timings from the video. We propose a system to extract repetitive actions onsets from a video, which are then used - in conjunction with audio or textual embeddings - to condition a diffusion model trained to generate a new synchronized sound effects audio track. In this way, we leave complete creative control to the sound designer while removing the burden of synchronization with video. Furthermore, editing the onset track or changing the conditioning embedding requires much less effort than editing the audio track itself, simplifying the sonification process. We provide sound examples, source code, and pretrained models to faciliate reproducibility

In recent decades, neuroscientific and psychological research has traced direct relationships between taste and auditory perceptions. This article explores multimodal generative models capable of converting taste information into music, building on this foundational research. We provide a brief review of the state of the art in this field, highlighting key findings and methodologies. We present an experiment in which a fine-tuned version of a generative music model (MusicGEN) is used to generate music based on detailed taste descriptions provided for each musical piece. The results are promising: according the participants' (n=111) evaluation, the fine-tuned model produces music that more coherently reflects the input taste descriptions compared to the non-fine-tuned model. This study represents a significant step towards understanding and developing embodied interactions between AI, sound, and taste, opening new possibilities in the field of generative AI. We release our dataset, code and pre-trained model at: https://osf.io/xs5jy/.

In human interaction, gestures serve various functions such as marking speech rhythm, highlighting key elements, and supplementing information. These gestures are also observed in explanatory contexts. However, the impact of gestures on explanations provided by virtual agents remains underexplored. A user study was carried out to investigate how different types of gestures influence perceived interaction quality and listener understanding. This study addresses the effect of gestures in explanation by developing an embodied virtual explainer integrating both beat gestures and iconic gestures to enhance its automatically generated verbal explanations. Our model combines beat gestures generated by a learned speech-driven synthesis module with manually captured iconic gestures, supporting the agent's verbal expressions about the board game Quarto! as an explanation scenario. Findings indicate that neither the use of iconic gestures alone nor their combination with beat gestures outperforms the baseline or beat-only conditions in terms of understanding. Nonetheless, compared to prior research, the embodied agent significantly enhances understanding.

One significant factor we expect the video representation learning to capture, especially in contrast with the image representation learning, is the object motion. However, we found that in the current mainstream video datasets, some action categories are highly related with the scene where the action happens, making the model tend to degrade to a solution where only the scene information is encoded. For example, a trained model may predict a video as playing football simply because it sees the field, neglecting that the subject is dancing as a cheerleader on the field. This is against our original intention towards the video representation learning and may bring scene bias on different dataset that can not be ignored. In order to tackle this problem, we propose to decouple the scene and the motion (DSM) with two simple operations, so that the model attention towards the motion information is better paid. Specifically, we construct a positive clip and a negative clip for each video. Compared to the original video, the positive/negative is motion-untouched/broken but scene-broken/untouched by Spatial Local Disturbance and Temporal Local Disturbance. Our objective is to pull the positive closer while pushing the negative farther to the original clip in the latent space. In this way, the impact of the scene is weakened while the temporal sensitivity of the network is further enhanced. We conduct experiments on two tasks with various backbones and different pre-training datasets, and find that our method surpass the SOTA methods with a remarkable 8.1% and 8.8% improvement towards action recognition task on the UCF101 and HMDB51 datasets respectively using the same backbone.

The performance of embodied agents has been shown to improve by increasing model parameters, dataset size, and compute. This has been demonstrated in domains from robotics to video games, when generative learning objectives on offline datasets (pre-training) are used to model an agent's behavior (imitation learning) or their environment (world modeling). This paper characterizes the role of scale in these tasks more precisely. Going beyond the simple intuition that `bigger is better', we show that the same types of power laws found in language modeling (e.g. between loss and optimal model size), also arise in world modeling and imitation learning. However, the coefficients of these laws are heavily influenced by the tokenizer, task \& architecture -- this has important implications on the optimal sizing of models and data.

With the spread of the use of Text2Img diffusion models such as DALL-E 2, Imagen, Mid Journey and Stable Diffusion, one challenge that artists face is selecting the right prompts to achieve the desired artistic output. We present techniques for measuring the effect that specific words and phrases in prompts have, and (in the Appendix) present guidance on the selection of prompts to produce desired effects.

We propose Lodge, a network capable of generating extremely long dance sequences conditioned on given music. We design Lodge as a two-stage coarse to fine diffusion architecture, and propose the characteristic dance primitives that possess significant expressiveness as intermediate representations between two diffusion models. The first stage is global diffusion, which focuses on comprehending the coarse-level music-dance correlation and production characteristic dance primitives. In contrast, the second-stage is the local diffusion, which parallelly generates detailed motion sequences under the guidance of the dance primitives and choreographic rules. In addition, we propose a Foot Refine Block to optimize the contact between the feet and the ground, enhancing the physical realism of the motion. Our approach can parallelly generate dance sequences of extremely long length, striking a balance between global choreographic patterns and local motion quality and expressiveness. Extensive experiments validate the efficacy of our method.

This paper introduces a new model to generate rhythmically relevant non-verbal facial behaviors for virtual agents while they speak. The model demonstrates perceived performance comparable to behaviors directly extracted from the data and replayed on a virtual agent, in terms of synchronization with speech and believability. Interestingly, we found that training the model with two different sets of data, instead of one, did not necessarily improve its performance. The expressiveness of the people in the dataset and the shooting conditions are key elements. We also show that employing an adversarial model, in which fabricated fake examples are introduced during the training phase, increases the perception of synchronization with speech. A collection of videos demonstrating the results and code can be accessed at: https://github.com/aldelb/non_verbal_facial_animation.

Embodied Instruction Following (EIF) is a crucial task in embodied learning, requiring agents to interact with their environment through egocentric observations to fulfill natural language instructions. Recent advancements have seen a surge in employing large language models (LLMs) within a framework-centric approach to enhance performance in embodied learning tasks, including EIF. Despite these efforts, there exists a lack of a unified understanding regarding the impact of various components-ranging from visual perception to action execution-on task performance. To address this gap, we introduce OPEx, a comprehensive framework that delineates the core components essential for solving embodied learning tasks: Observer, Planner, and Executor. Through extensive evaluations, we provide a deep analysis of how each component influences EIF task performance. Furthermore, we innovate within this space by deploying a multi-agent dialogue strategy on a TextWorld counterpart, further enhancing task performance. Our findings reveal that LLM-centric design markedly improves EIF outcomes, identify visual perception and low-level action execution as critical bottlenecks, and demonstrate that augmenting LLMs with a multi-agent framework further elevates performance.

Deep neural networks have shown promise for music audio signal processing applications, often surpassing prior approaches, particularly as end-to-end models in the waveform domain. Yet results to date have tended to be constrained by low sample rates, noise, narrow domains of signal types, and/or lack of parameterized controls (i.e. "knobs"), making their suitability for professional audio engineering workflows still lacking. This work expands on prior research published on modeling nonlinear time-dependent signal processing effects associated with music production by means of a deep neural network, one which includes the ability to emulate the parameterized settings you would see on an analog piece of equipment, with the goal of eventually producing commercially viable, high quality audio, i.e. 44.1 kHz sampling rate at 16-bit resolution. The results in this paper highlight progress in modeling these effects through architecture and optimization changes, towards increasing computational efficiency, lowering signal-to-noise ratio, and extending to a larger variety of nonlinear audio effects. Toward these ends, the strategies employed involved a three-pronged approach: model speed, model accuracy, and model generalizability. Most of the presented methods provide marginal or no increase in output accuracy over the original model, with the exception of dataset manipulation. We found that limiting the audio content of the dataset, for example using datasets of just a single instrument, provided a significant improvement in model accuracy over models trained on more general datasets.

Memorization in generative models extends far beyond verbatim text reproduction--it manifests through non-literal patterns, semantic associations, and surprisingly, across modalities in transcript-conditioned generation tasks such as Lyrics-to-Song (L2S) and Text-to-Video (T2V) models. We reveal a new class of cross-modality memorization where models trained on these tasks leak copyrighted content through indirect, phonetic pathways invisible to traditional text-based analysis. In this work, we introduce Adversarial PhoneTic Prompting (APT), an attack that replaces iconic phrases with homophonic alternatives--e.g., "mom's spaghetti" becomes "Bob's confetti"--preserving the acoustic form while largely changing semantic content. We demonstrate that models can be prompted to regurgitate memorized songs using phonetically similar but semantically unrelated lyrics. Despite the semantic drift, black-box models like SUNO and open-source models like YuE generate outputs that are strikingly similar to the original songs--melodically, rhythmically, and vocally--achieving high scores on AudioJudge, CLAP, and CoverID. These effects persist across genres and languages. More surprisingly, we find that phonetic prompts alone can trigger visual memorization in text-to-video models: when given altered lyrics from Lose Yourself, Veo 3 generates scenes that mirror the original music video--complete with a hooded rapper and dim urban settings--despite no explicit visual cues in the prompt. This cross-modality leakage represents an unprecedented threat: models memorize deep, structural patterns that transcend their training modality, making traditional safety measures like copyright filters ineffective. Our findings reveal a fundamental vulnerability in transcript-conditioned generative models and raise urgent concerns around copyright, provenance, and secure deployment of multimodal generation systems.

Mechanistic interpretability aims to understand model behaviors in terms of specific, interpretable features, often hypothesized to manifest as low-dimensional subspaces of activations. Specifically, recent studies have explored subspace interventions (such as activation patching) as a way to simultaneously manipulate model behavior and attribute the features behind it to given subspaces. In this work, we demonstrate that these two aims diverge, potentially leading to an illusory sense of interpretability. Counterintuitively, even if a subspace intervention makes the model's output behave as if the value of a feature was changed, this effect may be achieved by activating a dormant parallel pathway leveraging another subspace that is causally disconnected from model outputs. We demonstrate this phenomenon in a distilled mathematical example, in two real-world domains (the indirect object identification task and factual recall), and present evidence for its prevalence in practice. In the context of factual recall, we further show a link to rank-1 fact editing, providing a mechanistic explanation for previous work observing an inconsistency between fact editing performance and fact localization. However, this does not imply that activation patching of subspaces is intrinsically unfit for interpretability. To contextualize our findings, we also show what a success case looks like in a task (indirect object identification) where prior manual circuit analysis informs an understanding of the location of a feature. We explore the additional evidence needed to argue that a patched subspace is faithful.

Prior work has analyzed the robustness of visual encoders to image transformations and corruptions, particularly in cases where such alterations are not seen during training. When this occurs, they introduce a form of distribution shift at test time, often leading to performance degradation. The primary focus has been on severe corruptions that, when applied aggressively, distort useful signals necessary for accurate semantic predictions. We take a different perspective by analyzing parameters of the image acquisition process and transformations that may be subtle or even imperceptible to the human eye. We find that such parameters are systematically encoded in the learned visual representations and can be easily recovered. More strikingly, their presence can have a profound impact, either positively or negatively, on semantic predictions. This effect depends on whether there is a strong correlation or anti-correlation between semantic labels and these acquisition-based or processing-based labels. Our code and data are available at: https://github.com/ryan-caesar-ramos/visual-encoder-traces

Processing human affective behavior is important for developing intelligent agents that interact with humans in complex interaction scenarios. A large number of current approaches that address this problem focus on classifying emotion expressions by grouping them into known categories. Such strategies neglect, among other aspects, the impact of the affective responses from an individual on their interaction partner thus ignoring how people empathize towards each other. This is also reflected in the datasets used to train models for affective processing tasks. Most of the recent datasets, in particular, the ones which capture natural interactions ("in-the-wild" datasets), are designed, collected, and annotated based on the recognition of displayed affective reactions, ignoring how these displayed or expressed emotions are perceived. In this paper, we propose a novel dataset composed of dyadic interactions designed, collected and annotated with a focus on measuring the affective impact that eight different stories have on the listener. Each video of the dataset contains around 5 minutes of interaction where a speaker tells a story to a listener. After each interaction, the listener annotated, using a valence scale, how the story impacted their affective state, reflecting how they empathized with the speaker as well as the story. We also propose different evaluation protocols and a baseline that encourages participation in the advancement of the field of artificial empathy and emotion contagion.

Modern artistic productions increasingly demand automated choreography generation that adapts to diverse musical styles and individual dancer characteristics. Existing approaches often fail to produce high-quality dance videos that harmonize with both musical rhythm and user-defined choreography styles, limiting their applicability in real-world creative contexts. To address this gap, we introduce ChoreoMuse, a diffusion-based framework that uses SMPL format parameters and their variation version as intermediaries between music and video generation, thereby overcoming the usual constraints imposed by video resolution. Critically, ChoreoMuse supports style-controllable, high-fidelity dance video generation across diverse musical genres and individual dancer characteristics, including the flexibility to handle any reference individual at any resolution. Our method employs a novel music encoder MotionTune to capture motion cues from audio, ensuring that the generated choreography closely follows the beat and expressive qualities of the input music. To quantitatively evaluate how well the generated dances match both musical and choreographic styles, we introduce two new metrics that measure alignment with the intended stylistic cues. Extensive experiments confirm that ChoreoMuse achieves state-of-the-art performance across multiple dimensions, including video quality, beat alignment, dance diversity, and style adherence, demonstrating its potential as a robust solution for a wide range of creative applications. Video results can be found on our project page: https://choreomuse.github.io.

We present the first study on how Multimodal LLMs' (MLLMs) reasoning ability shall be elicited to evaluate the aesthetics of artworks. To facilitate this investigation, we construct MM-StyleBench, a novel high-quality dataset for benchmarking artistic stylization. We then develop a principled method for human preference modeling and perform a systematic correlation analysis between MLLMs' responses and human preference. Our experiments reveal an inherent hallucination issue of MLLMs in art evaluation, associated with response subjectivity. ArtCoT is proposed, demonstrating that art-specific task decomposition and the use of concrete language boost MLLMs' reasoning ability for aesthetics. Our findings offer valuable insights into MLLMs for art and can benefit a wide range of downstream applications, such as style transfer and artistic image generation. Code available at https://github.com/songrise/MLLM4Art.

The Mutual Reinforcement Effect (MRE) investigates the synergistic relationship between word-level and text-level classifications in text classification tasks. It posits that the performance of both classification levels can be mutually enhanced. However, this mechanism has not been adequately demonstrated or explained in prior research. To address this gap, we employ empirical experiment to observe and substantiate the MRE theory. Our experiments on 21 MRE mix datasets revealed the presence of MRE in the model and its impact. Specifically, we conducted compare experiments use fine-tune. The results of findings from comparison experiments corroborates the existence of MRE. Furthermore, we extended the application of MRE to prompt learning, utilizing word-level information as a verbalizer to bolster the model's prediction of text-level classification labels. In our final experiment, the F1-score significantly surpassed the baseline in 18 out of 21 MRE Mix datasets, further validating the notion that word-level information enhances the language model's comprehension of the text as a whole.

We investigate applying audio manipulations using pretrained neural network-based autoencoders as an alternative to traditional signal processing methods, since the former may provide greater semantic or perceptual organization. To establish the potential of this approach, we first establish if representations from these models encode information about manipulations. We carry out experiments and produce visualizations using representations from two different pretrained autoencoders. Our findings indicate that, while some information about audio manipulations is encoded, this information is both limited and encoded in a non-trivial way. This is supported by our attempts to visualize these representations, which demonstrated that trajectories of representations for common manipulations are typically nonlinear and content dependent, even for linear signal manipulations. As a result, it is not yet clear how these pretrained autoencoders can be used to manipulate audio signals, however, our results indicate this may be due to the lack of disentanglement with respect to common audio manipulations.

Recent text-to-image diffusion models such as MidJourney and Stable Diffusion threaten to displace many in the professional artist community. In particular, models can learn to mimic the artistic style of specific artists after "fine-tuning" on samples of their art. In this paper, we describe the design, implementation and evaluation of Glaze, a tool that enables artists to apply "style cloaks" to their art before sharing online. These cloaks apply barely perceptible perturbations to images, and when used as training data, mislead generative models that try to mimic a specific artist. In coordination with the professional artist community, we deploy user studies to more than 1000 artists, assessing their views of AI art, as well as the efficacy of our tool, its usability and tolerability of perturbations, and robustness across different scenarios and against adaptive countermeasures. Both surveyed artists and empirical CLIP-based scores show that even at low perturbation levels (p=0.05), Glaze is highly successful at disrupting mimicry under normal conditions (>92%) and against adaptive countermeasures (>85%).

Recent progress in text-to-music generation has enabled models to synthesize high-quality musical segments, full compositions, and even respond to fine-grained control signals, e.g. chord progressions. State-of-the-art (SOTA) systems differ significantly across many dimensions, such as training datasets, modeling paradigms, and architectural choices. This diversity complicates efforts to evaluate models fairly and pinpoint which design choices most influence performance. While factors like data and architecture are important, in this study we focus exclusively on the modeling paradigm. We conduct a systematic empirical analysis to isolate its effects, offering insights into associated trade-offs and emergent behaviors that can guide future text-to-music generation systems. Specifically, we compare the two arguably most common modeling paradigms: Auto-Regressive decoding and Conditional Flow-Matching. We conduct a controlled comparison by training all models from scratch using identical datasets, training configurations, and similar backbone architectures. Performance is evaluated across multiple axes, including generation quality, robustness to inference configurations, scalability, adherence to both textual and temporally aligned conditioning, and editing capabilities in the form of audio inpainting. This comparative study sheds light on distinct strengths and limitations of each paradigm, providing actionable insights that can inform future architectural and training decisions in the evolving landscape of text-to-music generation. Audio sampled examples are available at: https://huggingface.co/spaces/ortal1602/ARvsFM

Visual effects (VFX) are crucial to the expressive power of digital media, yet their creation remains a major challenge for generative AI. Prevailing methods often rely on the one-LoRA-per-effect paradigm, which is resource-intensive and fundamentally incapable of generalizing to unseen effects, thus limiting scalability and creation. To address this challenge, we introduce VFXMaster, the first unified, reference-based framework for VFX video generation. It recasts effect generation as an in-context learning task, enabling it to reproduce diverse dynamic effects from a reference video onto target content. In addition, it demonstrates remarkable generalization to unseen effect categories. Specifically, we design an in-context conditioning strategy that prompts the model with a reference example. An in-context attention mask is designed to precisely decouple and inject the essential effect attributes, allowing a single unified model to master the effect imitation without information leakage. In addition, we propose an efficient one-shot effect adaptation mechanism to boost generalization capability on tough unseen effects from a single user-provided video rapidly. Extensive experiments demonstrate that our method effectively imitates various categories of effect information and exhibits outstanding generalization to out-of-domain effects. To foster future research, we will release our code, models, and a comprehensive dataset to the community.

Stage lighting plays an essential role in live music performances, influencing the engaging experience of both musicians and audiences. Given the high costs associated with hiring or training professional lighting engineers, Automatic Stage Lighting Control (ASLC) has gained increasing attention. However, most existing approaches only classify music into limited categories and map them to predefined light patterns, resulting in formulaic and monotonous outcomes that lack rationality. To address this issue, this paper presents an end-to-end solution that directly learns from experienced lighting engineers -- Skip-BART. To the best of our knowledge, this is the first work to conceptualize ASLC as a generative task rather than merely a classification problem. Our method modifies the BART model to take audio music as input and produce light hue and value (intensity) as output, incorporating a novel skip connection mechanism to enhance the relationship between music and light within the frame grid.We validate our method through both quantitative analysis and an human evaluation, demonstrating that Skip-BART outperforms conventional rule-based methods across all evaluation metrics and shows only a limited gap compared to real lighting engineers.Specifically, our method yields a p-value of 0.72 in a statistical comparison based on human evaluations with human lighting engineers, suggesting that the proposed approach closely matches human lighting engineering performance. To support further research, we have made our self-collected dataset, code, and trained model parameters available at https://github.com/RS2002/Skip-BART .

Changes in body perception influence behavior and emotion and can be induced through multisensory feedback. Auditory feedback to one's actions can trigger such alterations; however, it is unclear which individual factors modulate these effects. We employ and evaluate SoniWeight Shoes, a wearable device based on literature for altering one's weight perception through manipulated footstep sounds. In a healthy population sample across a spectrum of individuals (n=84) with varying degrees of eating disorder symptomatology, physical activity levels, body concerns, and mental imagery capacities, we explore the effects of three sound conditions (low-frequency, high-frequency and control) on extensive body perception measures (demographic, behavioral, physiological, psychological, and subjective). Analyses revealed an impact of individual differences in each of these dimensions. Besides replicating previous findings, we reveal and highlight the role of individual differences in body perception, offering avenues for personalized sonification strategies. Datasets, technical refinements, and novel body map quantification tools are provided.

A demonstration of a real-time and continuous turn-taking prediction system is presented. The system is based on a voice activity projection (VAP) model, which directly maps dialogue stereo audio to future voice activities. The VAP model includes contrastive predictive coding (CPC) and self-attention transformers, followed by a cross-attention transformer. We examine the effect of the input context audio length and demonstrate that the proposed system can operate in real-time with CPU settings, with minimal performance degradation.

Couples' relationships affect the physical health and emotional well-being of partners. Automatically recognizing each partner's emotions could give a better understanding of their individual emotional well-being, enable interventions and provide clinical benefits. In the paper, we summarize and synthesize works that have focused on developing and evaluating systems to automatically recognize the emotions of each partner based on couples' interaction or conversation contexts. We identified 28 articles from IEEE, ACM, Web of Science, and Google Scholar that were published between 2010 and 2021. We detail the datasets, features, algorithms, evaluation, and results of each work as well as present main themes. We also discuss current challenges, research gaps and propose future research directions. In summary, most works have used audio data collected from the lab with annotations done by external experts and used supervised machine learning approaches for binary classification of positive and negative affect. Performance results leave room for improvement with significant research gaps such as no recognition using data from daily life. This survey will enable new researchers to get an overview of this field and eventually enable the development of emotion recognition systems to inform interventions to improve the emotional well-being of couples.

Common editing operations performed by professional photographers include the cleanup operations: de-emphasizing distracting elements and enhancing subjects. These edits are challenging, requiring a delicate balance between manipulating the viewer's attention while maintaining photo realism. While recent approaches can boast successful examples of attention attenuation or amplification, most of them also suffer from frequent unrealistic edits. We propose a realism loss for saliency-guided image enhancement to maintain high realism across varying image types, while attenuating distractors and amplifying objects of interest. Evaluations with professional photographers confirm that we achieve the dual objective of realism and effectiveness, and outperform the recent approaches on their own datasets, while requiring a smaller memory footprint and runtime. We thus offer a viable solution for automating image enhancement and photo cleanup operations.

This paper presents Att-HACK, the first large database of acted speech with social attitudes. Available databases of expressive speech are rare and very often restricted to the primary emotions: anger, joy, sadness, fear. This greatly limits the scope of the research on expressive speech. Besides, a fundamental aspect of speech prosody is always ignored and missing from such databases: its variety, i.e. the possibility to repeat an utterance while varying its prosody. This paper represents a first attempt to widen the scope of expressivity in speech, by providing a database of acted speech with social attitudes: friendly, seductive, dominant, and distant. The proposed database comprises 25 speakers interpreting 100 utterances in 4 social attitudes, with 3-5 repetitions each per attitude for a total of around 30 hours of speech. The Att-HACK is freely available for academic research under a Creative Commons Licence.

The concept of negative prompts, emerging from conditional generation models like Stable Diffusion, allows users to specify what to exclude from the generated images.%, demonstrating significant practical efficacy. Despite the widespread use of negative prompts, their intrinsic mechanisms remain largely unexplored. This paper presents the first comprehensive study to uncover how and when negative prompts take effect. Our extensive empirical analysis identifies two primary behaviors of negative prompts. Delayed Effect: The impact of negative prompts is observed after positive prompts render corresponding content. Deletion Through Neutralization: Negative prompts delete concepts from the generated image through a mutual cancellation effect in latent space with positive prompts. These insights reveal significant potential real-world applications; for example, we demonstrate that negative prompts can facilitate object inpainting with minimal alterations to the background via a simple adaptive algorithm. We believe our findings will offer valuable insights for the community in capitalizing on the potential of negative prompts.

Modeling and generating human reactions poses a significant challenge with broad applications for computer vision and human-computer interaction. Existing methods either treat multiple individuals as a single entity, directly generating interactions, or rely solely on one person's motion to generate the other's reaction, failing to integrate the rich semantic information that underpins human interactions. Yet, these methods often fall short in adaptive responsiveness, i.e., the ability to accurately respond to diverse and dynamic interaction scenarios. Recognizing this gap, our work introduces an approach tailored to address the limitations of existing models by focusing on text-driven human reaction generation. Our model specifically generates realistic motion sequences for individuals that responding to the other's actions based on a descriptive text of the interaction scenario. The goal is to produce motion sequences that not only complement the opponent's movements but also semantically fit the described interactions. To achieve this, we present MoReact, a diffusion-based method designed to disentangle the generation of global trajectories and local motions sequentially. This approach stems from the observation that generating global trajectories first is crucial for guiding local motion, ensuring better alignment with given action and text. Furthermore, we introduce a novel interaction loss to enhance the realism of generated close interactions. Our experiments, utilizing data adapted from a two-person motion dataset, demonstrate the efficacy of our approach for this novel task, which is capable of producing realistic, diverse, and controllable reactions that not only closely match the movements of the counterpart but also adhere to the textual guidance. Please find our webpage at https://xiyan-xu.github.io/MoReactWebPage.

The growing success of Vision-Language-Action (VLA) models stems from the promise that pretrained Vision-Language Models (VLMs) can endow agents with transferable world knowledge and vision-language (VL) grounding, laying a foundation for action models with broader generalization. Yet when these VLMs are adapted to the action modality, it remains unclear to what extent their original VL representations and knowledge are preserved. In this work, we conduct a systematic study of representation retention during VLA fine-tuning, showing that naive action fine-tuning leads to degradation of visual representations. To characterize and measure these effects, we probe VLA's hidden representations and analyze attention maps, further, we design a set of targeted tasks and methods that contrast VLA models with their counterpart VLMs, isolating changes in VL capabilities induced by action fine-tuning. We further evaluate a range of strategies for aligning visual representations and introduce a simple yet effective method that mitigates degradation and yields improved generalization to out-of-distribution (OOD) scenarios. Taken together, our analysis clarifies the trade-off between action fine-tuning and the degradation of VL representations and highlights practical approaches to recover inherited VL capabilities. Code is publicly available: https://blind-vla-paper.github.io

Applications of deep learning for audio effects often focus on modeling analog effects or learning to control effects to emulate a trained audio engineer. However, deep learning approaches also have the potential to expand creativity through neural audio effects that enable new sound transformations. While recent work demonstrated that neural networks with random weights produce compelling audio effects, control of these effects is limited and unintuitive. To address this, we introduce a method for the steerable discovery of neural audio effects. This method enables the design of effects using example recordings provided by the user. We demonstrate how this method produces an effect similar to the target effect, along with interesting inaccuracies, while also providing perceptually relevant controls.

Even with strong sequence models like Transformers, generating expressive piano performances with long-range musical structures remains challenging. Meanwhile, methods to compose well-structured melodies or lead sheets (melody + chords), i.e., simpler forms of music, gained more success. Observing the above, we devise a two-stage Transformer-based framework that Composes a lead sheet first, and then Embellishes it with accompaniment and expressive touches. Such a factorization also enables pretraining on non-piano data. Our objective and subjective experiments show that Compose & Embellish shrinks the gap in structureness between a current state of the art and real performances by half, and improves other musical aspects such as richness and coherence as well.

Against all attempts that consider virtuality as a substance (a parallel or alternative reality) or as a modality (like potentiality or possibility), we want to defend the pragmatic point of view that it is rather a dynamic cognitive and sensitive interaction with reality. More precisely, we show that the ``virtus'' is an operating capacity that produces simulations of real and fictional contexts to experiment with their effects. Based on Peirce's semiotics, we define virtual reality (VR) and augmented reality (AR) as mixed realities made of ``symbolic assemblies'', that is to say, structures of signs assembled by processes of computation and meaning (semiosis). We show that VR can be defined as a synesthetic experiment that does not reshape reality itself, but rather the senses and understanding we already have about it. In conclusion, we criticize David Chalmer's extended mind theory by distinguishing between knowledge and information, and we try to redefine AR as a hermeneutic device that extends not the mind itself, but the activity of thought by adding symbols to read in the world.

Generative multimodal content is increasingly prevalent in much of the content creation arena, as it has the potential to allow artists and media personnel to create pre-production mockups by quickly bringing their ideas to life. The generation of audio from text prompts is an important aspect of such processes in the music and film industry. Many of the recent diffusion-based text-to-audio models focus on training increasingly sophisticated diffusion models on a large set of datasets of prompt-audio pairs. These models do not explicitly focus on the presence of concepts or events and their temporal ordering in the output audio with respect to the input prompt. Our hypothesis is focusing on how these aspects of audio generation could improve audio generation performance in the presence of limited data. As such, in this work, using an existing text-to-audio model Tango, we synthetically create a preference dataset where each prompt has a winner audio output and some loser audio outputs for the diffusion model to learn from. The loser outputs, in theory, have some concepts from the prompt missing or in an incorrect order. We fine-tune the publicly available Tango text-to-audio model using diffusion-DPO (direct preference optimization) loss on our preference dataset and show that it leads to improved audio output over Tango and AudioLDM2, in terms of both automatic- and manual-evaluation metrics.

As dialogue agents become increasingly human-like in their performance, it is imperative that we develop effective ways to describe their behaviour in high-level terms without falling into the trap of anthropomorphism. In this paper, we foreground the concept of role-play. Casting dialogue agent behaviour in terms of role-play allows us to draw on familiar folk psychological terms, without ascribing human characteristics to language models they in fact lack. Two important cases of dialogue agent behaviour are addressed this way, namely (apparent) deception and (apparent) self-awareness.

In Marius von Senden's Space and Sight, a newly sighted blind patient describes the experience of a corner as lemon-like, because corners "prick" sight like lemons prick the tongue. Prickliness, here, is a dimension in the feature space of sensory experience, an effect of the perceived on the perceiver that arises where the two interact. In the account of the newly sighted, an effect familiar from one interaction translates to a novel context. Perception serves as the vehicle for generalization, in that an effect shared across different experiences produces a concrete abstraction grounded in those experiences. Cezanne and the post-impressionists, fluent in the language of experience translation, realized that the way to paint a concrete form that best reflected reality was to paint not what they saw, but what it was like to see. We envision a future of creation using AI where what it is like to see is replicable, transferrable, manipulable - part of the artist's palette that is both grounded in a particular context, and generalizable beyond it. An active line of research maps human-interpretable features onto directions in GAN latent space. Supervised and self-supervised approaches that search for anticipated directions or use off-the-shelf classifiers to drive image manipulation in embedding space are limited in the variety of features they can uncover. Unsupervised approaches that discover useful new directions show that the space of perceptually meaningful directions is nowhere close to being fully mapped. As this space is broad and full of creative potential, we want tools for direction discovery that capture the richness and generalizability of human perception. Our approach puts creators in the discovery loop during real-time tool use, in order to identify directions that are perceptually meaningful to them, and generate interpretable image translations along those directions.

Image animation has become a promising area in multimodal research, with a focus on generating videos from reference images. While prior work has largely emphasized generic video generation guided by text, music-driven dance video generation remains underexplored. In this paper, we introduce MuseDance, an innovative end-to-end model that animates reference images using both music and text inputs. This dual input enables MuseDance to generate personalized videos that follow text descriptions and synchronize character movements with the music. Unlike existing approaches, MuseDance eliminates the need for complex motion guidance inputs, such as pose or depth sequences, making flexible and creative video generation accessible to users of all expertise levels. To advance research in this field, we present a new multimodal dataset comprising 2,904 dance videos with corresponding background music and text descriptions. Our approach leverages diffusion-based methods to achieve robust generalization, precise control, and temporal consistency, setting a new baseline for the music-driven image animation task.

Effective dialogue involves grounding, the process of establishing mutual knowledge that is essential for communication between people. Modern dialogue systems are not explicitly trained to build common ground, and therefore overlook this important aspect of communication. Improvisational theater (improv) intrinsically contains a high proportion of dialogue focused on building common ground, and makes use of the yes-and principle, a strong grounding speech act, to establish coherence and an actionable objective reality. We collect a corpus of more than 26,000 yes-and turns, transcribing them from improv dialogues and extracting them from larger, but more sparsely populated movie script dialogue corpora, via a bootstrapped classifier. We fine-tune chit-chat dialogue systems with our corpus to encourage more grounded, relevant conversation and confirm these findings with human evaluations.

Learning dynamics, which describes how the learning of specific training examples influences the model's predictions on other examples, gives us a powerful tool for understanding the behavior of deep learning systems. We study the learning dynamics of large language models during different types of finetuning, by analyzing the step-wise decomposition of how influence accumulates among different potential responses. Our framework allows a uniform interpretation of many interesting observations about the training of popular algorithms for both instruction tuning and preference tuning. In particular, we propose a hypothetical explanation of why specific types of hallucination are strengthened after finetuning, e.g., the model might use phrases or facts in the response for question B to answer question A, or the model might keep repeating similar simple phrases when generating responses. We also extend our framework and highlight a unique "squeezing effect" to explain a previously observed phenomenon in off-policy direct preference optimization (DPO), where running DPO for too long makes even the desired outputs less likely. This framework also provides insights into where the benefits of on-policy DPO and other variants come from. The analysis not only provides a novel perspective of understanding LLM's finetuning but also inspires a simple, effective method to improve alignment performance.

The development of AI-driven generative audio mirrors broader AI trends, often prioritizing immediate accessibility at the expense of explainability. Consequently, integrating such tools into sustained artistic practice remains a significant challenge. In this paper, we explore several paths to improve explainability, drawing primarily from our research-creation practice in training and implementing generative audio models. As practical provisions for improved explainability, we highlight human agency over training materials, the viability of small-scale datasets, the facilitation of the iterative creative process, and the integration of interactive machine learning as a mapping tool. Importantly, these steps aim to enhance human agency over generative AI systems not only during model inference, but also when curating and preprocessing training data as well as during the training phase of models.

Visuals are a core part of our experience of music, owing to the way they can amplify the emotions and messages conveyed through the music. However, creating music visualization is a complex, time-consuming, and resource-intensive process. We introduce Generative Disco, a generative AI system that helps generate music visualizations with large language models and text-to-image models. Users select intervals of music to visualize and then parameterize that visualization by defining start and end prompts. These prompts are warped between and generated according to the beat of the music for audioreactive video. We introduce design patterns for improving generated videos: "transitions", which express shifts in color, time, subject, or style, and "holds", which encourage visual emphasis and consistency. A study with professionals showed that the system was enjoyable, easy to explore, and highly expressive. We conclude on use cases of Generative Disco for professionals and how AI-generated content is changing the landscape of creative work.

We propose MusicRL, the first music generation system finetuned from human feedback. Appreciation of text-to-music models is particularly subjective since the concept of musicality as well as the specific intention behind a caption are user-dependent (e.g. a caption such as "upbeat work-out music" can map to a retro guitar solo or a techno pop beat). Not only this makes supervised training of such models challenging, but it also calls for integrating continuous human feedback in their post-deployment finetuning. MusicRL is a pretrained autoregressive MusicLM (Agostinelli et al., 2023) model of discrete audio tokens finetuned with reinforcement learning to maximise sequence-level rewards. We design reward functions related specifically to text-adherence and audio quality with the help from selected raters, and use those to finetune MusicLM into MusicRL-R. We deploy MusicLM to users and collect a substantial dataset comprising 300,000 pairwise preferences. Using Reinforcement Learning from Human Feedback (RLHF), we train MusicRL-U, the first text-to-music model that incorporates human feedback at scale. Human evaluations show that both MusicRL-R and MusicRL-U are preferred to the baseline. Ultimately, MusicRL-RU combines the two approaches and results in the best model according to human raters. Ablation studies shed light on the musical attributes influencing human preferences, indicating that text adherence and quality only account for a part of it. This underscores the prevalence of subjectivity in musical appreciation and calls for further involvement of human listeners in the finetuning of music generation models.

We propose Kling-Foley, a large-scale multimodal Video-to-Audio generation model that synthesizes high-quality audio synchronized with video content. In Kling-Foley, we introduce multimodal diffusion transformers to model the interactions between video, audio, and text modalities, and combine it with a visual semantic representation module and an audio-visual synchronization module to enhance alignment capabilities. Specifically, these modules align video conditions with latent audio elements at the frame level, thereby improving semantic alignment and audio-visual synchronization. Together with text conditions, this integrated approach enables precise generation of video-matching sound effects. In addition, we propose a universal latent audio codec that can achieve high-quality modeling in various scenarios such as sound effects, speech, singing, and music. We employ a stereo rendering method that imbues synthesized audio with a spatial presence. At the same time, in order to make up for the incomplete types and annotations of the open-source benchmark, we also open-source an industrial-level benchmark Kling-Audio-Eval. Our experiments show that Kling-Foley trained with the flow matching objective achieves new audio-visual SOTA performance among public models in terms of distribution matching, semantic alignment, temporal alignment and audio quality.

We propose a novel task for generating 3D dance movements that simultaneously incorporate both text and music modalities. Unlike existing works that generate dance movements using a single modality such as music, our goal is to produce richer dance movements guided by the instructive information provided by the text. However, the lack of paired motion data with both music and text modalities limits the ability to generate dance movements that integrate both. To alleviate this challenge, we propose to utilize a 3D human motion VQ-VAE to project the motions of the two datasets into a latent space consisting of quantized vectors, which effectively mix the motion tokens from the two datasets with different distributions for training. Additionally, we propose a cross-modal transformer to integrate text instructions into motion generation architecture for generating 3D dance movements without degrading the performance of music-conditioned dance generation. To better evaluate the quality of the generated motion, we introduce two novel metrics, namely Motion Prediction Distance (MPD) and Freezing Score, to measure the coherence and freezing percentage of the generated motion. Extensive experiments show that our approach can generate realistic and coherent dance movements conditioned on both text and music while maintaining comparable performance with the two single modalities. Code will be available at: https://garfield-kh.github.io/TM2D/.

Virtual try-on has garnered interest as a neural rendering benchmark task to evaluate complex object transfer and scene composition. Recent works in virtual clothing try-on feature a plethora of possible architectural and data representation choices. However, they present little clarity on quantifying the isolated visual effect of each choice, nor do they specify the hyperparameter details that are key to experimental reproduction. Our work, ShineOn, approaches the try-on task from a bottom-up approach and aims to shine light on the visual and quantitative effects of each experiment. We build a series of scientific experiments to isolate effective design choices in video synthesis for virtual clothing try-on. Specifically, we investigate the effect of different pose annotations, self-attention layer placement, and activation functions on the quantitative and qualitative performance of video virtual try-on. We find that DensePose annotations not only enhance face details but also decrease memory usage and training time. Next, we find that attention layers improve face and neck quality. Finally, we show that GELU and ReLU activation functions are the most effective in our experiments despite the appeal of newer activations such as Swish and Sine. We will release a well-organized code base, hyperparameters, and model checkpoints to support the reproducibility of our results. We expect our extensive experiments and code to greatly inform future design choices in video virtual try-on. Our code may be accessed at https://github.com/andrewjong/ShineOn-Virtual-Tryon.

Music induced painting is a unique artistic practice, where visual artworks are created under the influence of music. Evaluating whether a painting faithfully reflects the music that inspired it poses a challenging perceptual assessment task. Existing methods primarily rely on emotion recognition models to assess the similarity between music and painting, but such models introduce considerable noise and overlook broader perceptual cues beyond emotion. To address these limitations, we propose a novel framework for music induced painting assessment that directly models perceptual coherence between music and visual art. We introduce MPD, the first large scale dataset of music painting pairs annotated by domain experts based on perceptual coherence. To better handle ambiguous cases, we further collect pairwise preference annotations. Building on this dataset, we present MPJudge, a model that integrates music features into a visual encoder via a modulation based fusion mechanism. To effectively learn from ambiguous cases, we adopt Direct Preference Optimization for training. Extensive experiments demonstrate that our method outperforms existing approaches. Qualitative results further show that our model more accurately identifies music relevant regions in paintings.

We introduce "Method Actors" as a mental model for guiding LLM prompt engineering and prompt architecture. Under this mental model, LLMs should be thought of as actors; prompts as scripts and cues; and LLM responses as performances. We apply this mental model to the task of improving LLM performance at playing Connections, a New York Times word puzzle game that prior research identified as a challenging benchmark for evaluating LLM reasoning. Our experiments with GPT-4o show that a "Method Actors" approach can significantly improve LLM performance over both a vanilla and "Chain of Thoughts" approach. A vanilla approach solves 27% of Connections puzzles in our dataset and a "Chain of Thoughts" approach solves 41% of puzzles, whereas our strongest "Method Actor" approach solves 86% of puzzles. We also test OpenAI's newest model designed specifically for complex reasoning tasks, o1-preview. When asked to solve a puzzle all at once, o1-preview solves 79% of Connections puzzles in our dataset, and when allowed to build puzzle solutions one guess at a time over multiple API calls, o1-preview solves 100% of the puzzles. Incorporating a "Method Actor" prompt architecture increases the percentage of puzzles that o1-preview solves perfectly from 76% to 87%.

We present a framework for generating full-bodied photorealistic avatars that gesture according to the conversational dynamics of a dyadic interaction. Given speech audio, we output multiple possibilities of gestural motion for an individual, including face, body, and hands. The key behind our method is in combining the benefits of sample diversity from vector quantization with the high-frequency details obtained through diffusion to generate more dynamic, expressive motion. We visualize the generated motion using highly photorealistic avatars that can express crucial nuances in gestures (e.g. sneers and smirks). To facilitate this line of research, we introduce a first-of-its-kind multi-view conversational dataset that allows for photorealistic reconstruction. Experiments show our model generates appropriate and diverse gestures, outperforming both diffusion- and VQ-only methods. Furthermore, our perceptual evaluation highlights the importance of photorealism (vs. meshes) in accurately assessing subtle motion details in conversational gestures. Code and dataset available online.

Artificial Intelligence is present in the generation and distribution of culture. How do artists exploit neural networks? What impact do these algorithms have on artistic practice? Through a practice-based research methodology, this paper explores the potentials and limits of current AI technology, more precisely deep neural networks, in the context of image, text, form and translation of semiotic spaces. In a relatively short time, the generation of high-resolution images and 3D objects has been achieved. There are models, like CLIP and text2mesh, that do not need the same kind of media input as the output; we call them translation models. Such a twist contributes toward creativity arousal, which manifests itself in art practice and feeds back to the developers' pipeline. Yet again, we see how artworks act as catalysts for technology development. Those creative scenarios and processes are enabled not solely by AI models, but by the hard work behind implementing these new technologies. AI does not create a 'push-a-button' masterpiece but requires a deep understanding of the technology behind it, and a creative and critical mindset. Thus, AI opens new avenues for inspiration and offers novel tool sets, and yet again the question of authorship is asked.

Speech sounds convey a great deal of information about the scenes, resulting in a variety of effects ranging from reverberation to additional ambient sounds. In this paper, we manipulate input speech to sound as though it was recorded within a different scene, given an audio-visual conditional example recorded from that scene. Our model learns through self-supervision, taking advantage of the fact that natural video contains recurring sound events and textures. We extract an audio clip from a video and apply speech enhancement. We then train a latent diffusion model to recover the original speech, using another audio-visual clip taken from elsewhere in the video as a conditional hint. Through this process, the model learns to transfer the conditional example's sound properties to the input speech. We show that our model can be successfully trained using unlabeled, in-the-wild videos, and that an additional visual signal can improve its sound prediction abilities. Please see our project webpage for video results: https://tinglok.netlify.app/files/avsoundscape/

Is aesthetic impact different from beauty? Is visual salience a reflection of its capacity for effective communication? We present Impressions, a novel dataset through which to investigate the semiotics of images, and how specific visual features and design choices can elicit specific emotions, thoughts and beliefs. We posit that the impactfulness of an image extends beyond formal definitions of aesthetics, to its success as a communicative act, where style contributes as much to meaning formation as the subject matter. However, prior image captioning datasets are not designed to empower state-of-the-art architectures to model potential human impressions or interpretations of images. To fill this gap, we design an annotation task heavily inspired by image analysis techniques in the Visual Arts to collect 1,440 image-caption pairs and 4,320 unique annotations exploring impact, pragmatic image description, impressions, and aesthetic design choices. We show that existing multimodal image captioning and conditional generation models struggle to simulate plausible human responses to images. However, this dataset significantly improves their ability to model impressions and aesthetic evaluations of images through fine-tuning and few-shot adaptation.

Language models show a surprising range of capabilities, but the source of their apparent competence is unclear. Do these networks just memorize a collection of surface statistics, or do they rely on internal representations of the process that generates the sequences they see? We investigate this question by applying a variant of the GPT model to the task of predicting legal moves in a simple board game, Othello. Although the network has no a priori knowledge of the game or its rules, we uncover evidence of an emergent nonlinear internal representation of the board state. Interventional experiments indicate this representation can be used to control the output of the network and create "latent saliency maps" that can help explain predictions in human terms.

Generative AI based art has proliferated in the past year, with increasingly impressive use cases from generating fake human faces to the creation of systems that can generate thousands of artistic images from text prompts - some of these images have even been "good" enough to win accolades from qualified judges. In this paper, we explore how Generative Models have impacted artistry, not only from a qualitative point of view, but also from an angle of exploitation of artists -- both via plagiarism, where models are trained on their artwork without permission, and via profit shifting, where profits in the art market have shifted from art creators to model owners. However, we posit that if deployed responsibly, AI generative models have the possibility of being a positive, new modality in art that does not displace or harm existing artists.

In recent years, video generation has become a prominent generative tool and has drawn significant attention. However, there is little consideration in audio-to-video generation, though audio contains unique qualities like temporal semantics and magnitude. Hence, we propose The Power of Sound (TPoS) model to incorporate audio input that includes both changeable temporal semantics and magnitude. To generate video frames, TPoS utilizes a latent stable diffusion model with textual semantic information, which is then guided by the sequential audio embedding from our pretrained Audio Encoder. As a result, this method produces audio reactive video contents. We demonstrate the effectiveness of TPoS across various tasks and compare its results with current state-of-the-art techniques in the field of audio-to-video generation. More examples are available at https://ku-vai.github.io/TPoS/

We present a controllable neural audio synthesizer based on Gaussian Mixture Variational Autoencoders (GM-VAE), which can generate realistic piano performances in the audio domain that closely follows temporal conditions of two essential style features for piano performances: articulation and dynamics. We demonstrate how the model is able to apply fine-grained style morphing over the course of synthesizing the audio. This is based on conditions which are latent variables that can be sampled from the prior or inferred from other pieces. One of the envisioned use cases is to inspire creative and brand new interpretations for existing pieces of piano music.

Hallucination, posed as a pervasive challenge of multi-modal large language models (MLLMs), has significantly impeded their real-world usage that demands precise judgment. Existing methods mitigate this issue with either training with specific designed data or inferencing with external knowledge from other sources, incurring inevitable additional costs. In this paper, we present OPERA, a novel MLLM decoding method grounded in an Over-trust Penalty and a Retrospection-Allocation strategy, serving as a nearly free lunch to alleviate the hallucination issue without additional data, knowledge, or training. Our approach begins with an interesting observation that, most hallucinations are closely tied to the knowledge aggregation patterns manifested in the self-attention matrix, i.e., MLLMs tend to generate new tokens by focusing on a few summary tokens, but not all the previous tokens. Such partial over-trust inclination results in the neglecting of image tokens and describes the image content with hallucination. Statistically, we observe an 80%sim95% co-currency rate between hallucination contents and such knowledge aggregation patterns. Based on the observation, OPERA introduces a penalty term on the model logits during the beam-search decoding to mitigate the over-trust issue, along with a rollback strategy that retrospects the presence of summary tokens in the previously generated tokens, and re-allocate the token selection if necessary. With extensive experiments, OPERA shows significant hallucination-mitigating performance on different MLLMs and metrics, proving its effectiveness and generality. Our code is available at: https://github.com/shikiw/OPERA.

Generating full-body and multi-genre dance sequences from given music is a challenging task, due to the limitations of existing datasets and the inherent complexity of the fine-grained hand motion and dance genres. To address these problems, we propose FineDance, which contains 14.6 hours of music-dance paired data, with fine-grained hand motions, fine-grained genres (22 dance genres), and accurate posture. To the best of our knowledge, FineDance is the largest music-dance paired dataset with the most dance genres. Additionally, to address monotonous and unnatural hand movements existing in previous methods, we propose a full-body dance generation network, which utilizes the diverse generation capabilities of the diffusion model to solve monotonous problems, and use expert nets to solve unreal problems. To further enhance the genre-matching and long-term stability of generated dances, we propose a Genre&Coherent aware Retrieval Module. Besides, we propose a novel metric named Genre Matching Score to evaluate the genre-matching degree between dance and music. Quantitative and qualitative experiments demonstrate the quality of FineDance, and the state-of-the-art performance of FineNet. The FineDance Dataset and more qualitative samples can be found at our website.

Recent advances in generative artificial intelligence (AI) have captured worldwide attention. Tools such as Dalle-2 and ChatGPT suggest that tasks previously thought to be beyond the capabilities of AI may now augment the productivity of creative media in various new ways, including through the generation of synthetic video. This research paper explores the utility of using AI-generated synthetic video to create viable educational content for online educational settings. To date, there is limited research investigating the real-world educational value of AI-generated synthetic media. To address this gap, we examined the impact of using AI-generated synthetic video in an online learning platform on both learners content acquisition and learning experience. We took a mixed-method approach, randomly assigning adult learners (n=83) into one of two micro-learning conditions, collecting pre- and post-learning assessments, and surveying participants on their learning experience. The control condition included a traditionally produced instructor video, while the experimental condition included a synthetic video with a realistic AI-generated character. The results show that learners in both conditions demonstrated significant improvement from pre- to post-learning (p<.001), with no significant differences in gains between the two conditions (p=.80). In addition, no differences were observed in how learners perceived the traditional and synthetic videos. These findings suggest that AI-generated synthetic learning videos have the potential to be a viable substitute for videos produced via traditional methods in online educational settings, making high quality educational content more accessible across the globe.

We investigate the internal structure of language model computations using causal analysis and demonstrate two motifs: (1) a form of adaptive computation where ablations of one attention layer of a language model cause another layer to compensate (which we term the Hydra effect) and (2) a counterbalancing function of late MLP layers that act to downregulate the maximum-likelihood token. Our ablation studies demonstrate that language model layers are typically relatively loosely coupled (ablations to one layer only affect a small number of downstream layers). Surprisingly, these effects occur even in language models trained without any form of dropout. We analyse these effects in the context of factual recall and consider their implications for circuit-level attribution in language models.

This paper evaluates whether large language models (LLMs) exhibit cognitive fan effects, similar to those discovered by Anderson in humans, after being pre-trained on human textual data. We conduct two sets of in-context recall experiments designed to elicit fan effects. Consistent with human results, we find that LLM recall uncertainty, measured via token probability, is influenced by the fan effect. Our results show that removing uncertainty disrupts the observed effect. The experiments suggest the fan effect is consistent whether the fan value is induced in-context or in the pre-training data. Finally, these findings provide in-silico evidence that fan effects and typicality are expressions of the same phenomena.

In recent years, domains such as natural language processing and image recognition have popularized the paradigm of using large datasets to pretrain representations that can be effectively transferred to downstream tasks. In this work we evaluate how such a paradigm should be done in imitation learning, where both pretraining and finetuning data are trajectories collected by experts interacting with an unknown environment. Namely, we consider a setting where the pretraining corpus consists of multitask demonstrations and the task for each demonstration is set by an unobserved latent context variable. The goal is to use the pretraining corpus to learn a low dimensional representation of the high dimensional (e.g., visual) observation space which can be transferred to a novel context for finetuning on a limited dataset of demonstrations. Among a variety of possible pretraining objectives, we argue that inverse dynamics modeling -- i.e., predicting an action given the observations appearing before and after it in the demonstration -- is well-suited to this setting. We provide empirical evidence of this claim through evaluations on a variety of simulated visuomotor manipulation problems. While previous work has attempted various theoretical explanations regarding the benefit of inverse dynamics modeling, we find that these arguments are insufficient to explain the empirical advantages often observed in our settings, and so we derive a novel analysis using a simple but general environment model.

In this study, we investigated the effects of self-reflection in large language models (LLMs) on problem-solving performance. We instructed nine popular LLMs to answer a series of multiple-choice questions to provide a performance baseline. For each incorrectly answered question, we instructed eight types of self-reflecting LLM agents to reflect on their mistakes and provide themselves with guidance to improve problem-solving. Then, using this guidance, each self-reflecting agent attempted to re-answer the same questions. Our results indicate that LLM agents are able to significantly improve their problem-solving performance through self-reflection (p < 0.001). In addition, we compared the various types of self-reflection to determine their individual contribution to performance. All code and data are available on GitHub at https://github.com/matthewrenze/self-reflection

The process of reconstructing experiences from human brain activity offers a unique lens into how the brain interprets and represents the world. In this paper, we introduce a method for reconstructing music from brain activity, captured using functional magnetic resonance imaging (fMRI). Our approach uses either music retrieval or the MusicLM music generation model conditioned on embeddings derived from fMRI data. The generated music resembles the musical stimuli that human subjects experienced, with respect to semantic properties like genre, instrumentation, and mood. We investigate the relationship between different components of MusicLM and brain activity through a voxel-wise encoding modeling analysis. Furthermore, we discuss which brain regions represent information derived from purely textual descriptions of music stimuli. We provide supplementary material including examples of the reconstructed music at https://google-research.github.io/seanet/brain2music

With the recent emergence of powerful instruction-tuned large language models (LLMs), various helpful conversational Artificial Intelligence (AI) systems have been deployed across many applications. When prompted by users, these AI systems successfully perform a wide range of tasks as part of a conversation. To provide some sort of memory and context, such approaches typically condition their output on the entire conversational history. Although this sensitivity to the conversational history can often lead to improved performance on subsequent tasks, we find that performance can in fact also be negatively impacted, if there is a task-switch. To the best of our knowledge, our work makes the first attempt to formalize the study of such vulnerabilities and interference of tasks in conversational LLMs caused by task-switches in the conversational history. Our experiments across 5 datasets with 15 task switches using popular LLMs reveal that many of the task-switches can lead to significant performance degradation.

This paper delves into an intricate analysis of the character and consciousness of AI entities, with a particular focus on Chirpers within the AI social network. At the forefront of this research is the introduction of novel testing methodologies, including the Influence index and Struggle Index Test, which offers a fresh lens for evaluating specific facets of AI behavior. The study embarks on a comprehensive exploration of AI behavior, analyzing the effects of diverse settings on Chirper's responses, thereby shedding light on the intricate mechanisms steering AI reactions in different contexts. Leveraging the state-of-the-art BERT model, the research assesses AI's ability to discern its own output, presenting a pioneering approach to understanding self-recognition in AI systems. Through a series of cognitive tests, the study gauges the self-awareness and pattern recognition prowess of Chirpers. Preliminary results indicate that Chirpers exhibit a commendable degree of self-recognition and self-awareness. However, the question of consciousness in these AI entities remains a topic of debate. An intriguing aspect of the research is the exploration of the potential influence of a Chirper's handle or personality type on its performance. While initial findings suggest a possible impact, it isn't pronounced enough to form concrete conclusions. This study stands as a significant contribution to the discourse on AI consciousness, underscoring the imperative for continued research to unravel the full spectrum of AI capabilities and the ramifications they hold for future human-AI interactions.

We introduce a novel task within the field of 3D dance generation, termed dance accompaniment, which necessitates the generation of responsive movements from a dance partner, the "follower", synchronized with the lead dancer's movements and the underlying musical rhythm. Unlike existing solo or group dance generation tasks, a duet dance scenario entails a heightened degree of interaction between the two participants, requiring delicate coordination in both pose and position. To support this task, we first build a large-scale and diverse duet interactive dance dataset, DD100, by recording about 117 minutes of professional dancers' performances. To address the challenges inherent in this task, we propose a GPT-based model, Duolando, which autoregressively predicts the subsequent tokenized motion conditioned on the coordinated information of the music, the leader's and the follower's movements. To further enhance the GPT's capabilities of generating stable results on unseen conditions (music and leader motions), we devise an off-policy reinforcement learning strategy that allows the model to explore viable trajectories from out-of-distribution samplings, guided by human-defined rewards. Based on the collected dataset and proposed method, we establish a benchmark with several carefully designed metrics.

Existing methods for synthesizing 3D human gestures from speech have shown promising results, but they do not explicitly model the impact of emotions on the generated gestures. Instead, these methods directly output animations from speech without control over the expressed emotion. To address this limitation, we present AMUSE, an emotional speech-driven body animation model based on latent diffusion. Our observation is that content (i.e., gestures related to speech rhythm and word utterances), emotion, and personal style are separable. To account for this, AMUSE maps the driving audio to three disentangled latent vectors: one for content, one for emotion, and one for personal style. A latent diffusion model, trained to generate gesture motion sequences, is then conditioned on these latent vectors. Once trained, AMUSE synthesizes 3D human gestures directly from speech with control over the expressed emotions and style by combining the content from the driving speech with the emotion and style of another speech sequence. Randomly sampling the noise of the diffusion model further generates variations of the gesture with the same emotional expressivity. Qualitative, quantitative, and perceptual evaluations demonstrate that AMUSE outputs realistic gesture sequences. Compared to the state of the art, the generated gestures are better synchronized with the speech content and better represent the emotion expressed by the input speech. Our project website is amuse.is.tue.mpg.de.

Expert persona prompting -- assigning roles such as expert in math to language models -- is widely used for task improvement. However, prior work shows mixed results on its effectiveness, and does not consider when and why personas should improve performance. We analyze the literature on persona prompting for task improvement and distill three desiderata: 1) performance advantage of expert personas, 2) robustness to irrelevant persona attributes, and 3) fidelity to persona attributes. We then evaluate 9 state-of-the-art LLMs across 27 tasks with respect to these desiderata. We find that expert personas usually lead to positive or non-significant performance changes. Surprisingly, models are highly sensitive to irrelevant persona details, with performance drops of almost 30 percentage points. In terms of fidelity, we find that while higher education, specialization, and domain-relatedness can boost performance, their effects are often inconsistent or negligible across tasks. We propose mitigation strategies to improve robustness -- but find they only work for the largest, most capable models. Our findings underscore the need for more careful persona design and for evaluation schemes that reflect the intended effects of persona usage.

In tandem with the recent advancements in foundation model research, there has been a surge of generative music AI applications within the past few years. As the idea of AI-generated or AI-augmented music becomes more mainstream, many researchers in the music AI community may be wondering what avenues of research are left. With regards to music generative models, we outline the current areas of research with significant room for exploration. Firstly, we pose the question of foundational representation of these generative models and investigate approaches towards explainability. Next, we discuss the current state of music datasets and their limitations. We then overview different generative models, forms of evaluating these models, and their computational constraints/limitations. Subsequently, we highlight applications of these generative models towards extensions to multiple modalities and integration with artists' workflow as well as music education systems. Finally, we survey the potential copyright implications of generative music and discuss strategies for protecting the rights of musicians. While it is not meant to be exhaustive, our survey calls to attention a variety of research directions enabled by music foundation models.

Current state-of-the-art (SOTA) methods for audio-driven character animation demonstrate promising performance for scenarios primarily involving speech and singing. However, they often fall short in more complex film and television productions, which demand sophisticated elements such as nuanced character interactions, realistic body movements, and dynamic camera work. To address this long-standing challenge of achieving film-level character animation, we propose an audio-driven model, which we refere to as Wan-S2V, built upon Wan. Our model achieves significantly enhanced expressiveness and fidelity in cinematic contexts compared to existing approaches. We conducted extensive experiments, benchmarking our method against cutting-edge models such as Hunyuan-Avatar and Omnihuman. The experimental results consistently demonstrate that our approach significantly outperforms these existing solutions. Additionally, we explore the versatility of our method through its applications in long-form video generation and precise video lip-sync editing.

With the expanding use of the short-form video format in advertising, social media, entertainment, education and more, there is a need for such media to both captivate and be remembered. Video memorability indicates to us how likely a video is to be remembered by a viewer who has no emotional or personal connection with its content. This paper presents the results of using generative outpainting to expand the screen size of a short-form video with a view to improving its memorability. Advances in machine learning and deep learning are compared and leveraged to understand how extending the borders of video screensizes can affect their memorability to viewers. Using quantitative evaluation we determine the best-performing model for outpainting and the impact of outpainting based on image saliency on video memorability scores

We present EditIQ, a completely automated framework for cinematically editing scenes captured via a stationary, large field-of-view and high-resolution camera. From the static camera feed, EditIQ initially generates multiple virtual feeds, emulating a team of cameramen. These virtual camera shots termed rushes are subsequently assembled using an automated editing algorithm, whose objective is to present the viewer with the most vivid scene content. To understand key scene elements and guide the editing process, we employ a two-pronged approach: (1) a large language model (LLM)-based dialogue understanding module to analyze conversational flow, coupled with (2) visual saliency prediction to identify meaningful scene elements and camera shots therefrom. We then formulate cinematic video editing as an energy minimization problem over shot selection, where cinematic constraints determine shot choices, transitions, and continuity. EditIQ synthesizes an aesthetically and visually compelling representation of the original narrative while maintaining cinematic coherence and a smooth viewing experience. Efficacy of EditIQ against competing baselines is demonstrated via a psychophysical study involving twenty participants on the BBC Old School dataset plus eleven theatre performance videos. Video samples from EditIQ can be found at https://editiq-ave.github.io/.

Large language models (LLMs) can produce erroneous responses that sound fluent and convincing, raising the risk that users will rely on these responses as if they were correct. Mitigating such overreliance is a key challenge. Through a think-aloud study in which participants use an LLM-infused application to answer objective questions, we identify several features of LLM responses that shape users' reliance: explanations (supporting details for answers), inconsistencies in explanations, and sources. Through a large-scale, pre-registered, controlled experiment (N=308), we isolate and study the effects of these features on users' reliance, accuracy, and other measures. We find that the presence of explanations increases reliance on both correct and incorrect responses. However, we observe less reliance on incorrect responses when sources are provided or when explanations exhibit inconsistencies. We discuss the implications of these findings for fostering appropriate reliance on LLMs.

The current work addresses a virtual environment with self-replicating agents whose decisions are based on a form of "somatic computation" (soma - body) in which basic emotional responses, taken in parallelism to actual living organisms, are introduced as a way to provide the agents with greater reflexive abilities. The work provides a contribution to the field of Artificial Intelligence (AI) and Artificial Life (ALife) in connection to a neurobiology-based cognitive framework for artificial systems and virtual environments' simulations. The performance of the agents capable of emotional responses is compared with that of self-replicating automata, and the implications of research on emotions and AI, in connection to both virtual agents as well as robots, is addressed regarding possible future directions and applications.

In this paper, we present a database of emotional speech intended to be open-sourced and used for synthesis and generation purpose. It contains data for male and female actors in English and a male actor in French. The database covers 5 emotion classes so it could be suitable to build synthesis and voice transformation systems with the potential to control the emotional dimension in a continuous way. We show the data's efficiency by building a simple MLP system converting neutral to angry speech style and evaluate it via a CMOS perception test. Even though the system is a very simple one, the test show the efficiency of the data which is promising for future work.

In this work we present a data-driven approach for predicting the behavior of (i.e., profiling) a given non-linear audio signal processing effect (henceforth "audio effect"). Our objective is to learn a mapping function that maps the unprocessed audio to the processed by the audio effect to be profiled, using time-domain samples. To that aim, we employ a deep auto-encoder model that is conditioned on both time-domain samples and the control parameters of the target audio effect. As a test-case study, we focus on the offline profiling of two dynamic range compression audio effects, one software-based and the other analog. Compressors were chosen because they are a widely used and important set of effects and because their parameterized nonlinear time-dependent nature makes them a challenging problem for a system aiming to profile "general" audio effects. Results from our experimental procedure show that the primary functional and auditory characteristics of the compressors can be captured, however there is still sufficient audible noise to merit further investigation before such methods are applied to real-world audio processing workflows.

Large language models (LLMs) have been shown to internalize human-like biases during finetuning, yet the mechanisms by which these biases manifest remain unclear. In this work, we investigated whether the well-known Knobe effect, a moral bias in intentionality judgements, emerges in finetuned LLMs and whether it can be traced back to specific components of the model. We conducted a Layer-Patching analysis across 3 open-weights LLMs and demonstrated that the bias is not only learned during finetuning but also localized in a specific set of layers. Surprisingly, we found that patching activations from the corresponding pretrained model into just a few critical layers is sufficient to eliminate the effect. Our findings offer new evidence that social biases in LLMs can be interpreted, localized, and mitigated through targeted interventions, without the need for model retraining.

Guitar tablature transcription consists in deducing the string and the fret number on which each note should be played to reproduce the actual musical part. This assignment should lead to playable string-fret combinations throughout the entire track and, in general, preserve parsimonious motion between successive combinations. Throughout the history of guitar playing, specific chord fingerings have been developed across different musical styles that facilitate common idiomatic voicing combinations and motion between them. This paper presents a method for assigning guitar tablature notation to a given MIDI-based musical part (possibly consisting of multiple polyphonic tracks), i.e. no information about guitar-idiomatic expressional characteristics is involved (e.g. bending etc.) The current strategy is based on machine learning and requires a basic assumption about how much fingers can stretch on a fretboard; only standard 6-string guitar tuning is examined. The proposed method also examines the transcription of music pieces that was not meant to be played or could not possibly be played by a guitar (e.g. potentially a symphonic orchestra part), employing a rudimentary method for augmenting musical information and training/testing the system with artificial data. The results present interesting aspects about what the system can achieve when trained on the initial and augmented dataset, showing that the training with augmented data improves the performance even in simple, e.g. monophonic, cases. Results also indicate weaknesses and lead to useful conclusions about possible improvements.

As synthetic media becomes progressively more realistic and barriers to using it continue to lower, the technology has been increasingly utilized for malicious purposes, from financial fraud to nonconsensual pornography. Today, the principal defense against being misled by synthetic media relies on the ability of the human observer to visually and auditorily discern between real and fake. However, it remains unclear just how vulnerable people actually are to deceptive synthetic media in the course of their day to day lives. We conducted a perceptual study with 1276 participants to assess how accurate people were at distinguishing synthetic images, audio only, video only, and audiovisual stimuli from authentic. To reflect the circumstances under which people would likely encounter synthetic media in the wild, testing conditions and stimuli emulated a typical online platform, while all synthetic media used in the survey was sourced from publicly accessible generative AI technology. We find that overall, participants struggled to meaningfully discern between synthetic and authentic content. We also find that detection performance worsens when the stimuli contains synthetic content as compared to authentic content, images featuring human faces as compared to non face objects, a single modality as compared to multimodal stimuli, mixed authenticity as compared to being fully synthetic for audiovisual stimuli, and features foreign languages as compared to languages the observer is fluent in. Finally, we also find that prior knowledge of synthetic media does not meaningfully impact their detection performance. Collectively, these results indicate that people are highly susceptible to being tricked by synthetic media in their daily lives and that human perceptual detection capabilities can no longer be relied upon as an effective counterdefense.

Dance requires skillful composition of complex movements that follow rhythmic, tonal and timbral features of music. Formally, generating dance conditioned on a piece of music can be expressed as a problem of modelling a high-dimensional continuous motion signal, conditioned on an audio signal. In this work we make two contributions to tackle this problem. First, we present a novel probabilistic autoregressive architecture that models the distribution over future poses with a normalizing flow conditioned on previous poses as well as music context, using a multimodal transformer encoder. Second, we introduce the currently largest 3D dance-motion dataset, obtained with a variety of motion-capture technologies, and including both professional and casual dancers. Using this dataset, we compare our new model against two baselines, via objective metrics and a user study, and show that both the ability to model a probability distribution, as well as being able to attend over a large motion and music context are necessary to produce interesting, diverse, and realistic dance that matches the music.

We evaluated 4 systems (ELIZA, GPT-4o, LLaMa-3.1-405B, and GPT-4.5) in two randomised, controlled, and pre-registered Turing tests on independent populations. Participants had 5 minute conversations simultaneously with another human participant and one of these systems before judging which conversational partner they thought was human. When prompted to adopt a humanlike persona, GPT-4.5 was judged to be the human 73% of the time: significantly more often than interrogators selected the real human participant. LLaMa-3.1, with the same prompt, was judged to be the human 56% of the time -- not significantly more or less often than the humans they were being compared to -- while baseline models (ELIZA and GPT-4o) achieved win rates significantly below chance (23% and 21% respectively). The results constitute the first empirical evidence that any artificial system passes a standard three-party Turing test. The results have implications for debates about what kind of intelligence is exhibited by Large Language Models (LLMs), and the social and economic impacts these systems are likely to have.

A well-known issue with Retrieval Augmented Generation (RAG) is that retrieved passages that are irrelevant to the query sometimes distract the answer-generating LLM, causing it to provide an incorrect response. In this paper, we shed light on this core issue and formulate the distracting effect of a passage w.r.t. a query (and an LLM). We provide a quantifiable measure of the distracting effect of a passage and demonstrate its robustness across LLMs. Our research introduces novel methods for identifying and using hard distracting passages to improve RAG systems. By fine-tuning LLMs with these carefully selected distracting passages, we achieve up to a 7.5% increase in answering accuracy compared to counterparts fine-tuned on conventional RAG datasets. Our contribution is two-fold: first, we move beyond the simple binary classification of irrelevant passages as either completely unrelated vs. distracting, and second, we develop and analyze multiple methods for finding hard distracting passages. To our knowledge, no other research has provided such a comprehensive framework for identifying and utilizing hard distracting passages.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

We introduce anticipation: a method for constructing a controllable generative model of a temporal point process (the event process) conditioned asynchronously on realizations of a second, correlated process (the control process). We achieve this by interleaving sequences of events and controls, such that controls appear following stopping times in the event sequence. This work is motivated by problems arising in the control of symbolic music generation. We focus on infilling control tasks, whereby the controls are a subset of the events themselves, and conditional generation completes a sequence of events given the fixed control events. We train anticipatory infilling models using the large and diverse Lakh MIDI music dataset. These models match the performance of autoregressive models for prompted music generation, with the additional capability to perform infilling control tasks, including accompaniment. Human evaluators report that an anticipatory model produces accompaniments with similar musicality to even music composed by humans over a 20-second clip.

Music performance synthesis aims to synthesize a musical score into a natural performance. In this paper, we borrow recent advances in text-to-speech synthesis and present the Deep Performer -- a novel system for score-to-audio music performance synthesis. Unlike speech, music often contains polyphony and long notes. Hence, we propose two new techniques for handling polyphonic inputs and providing a fine-grained conditioning in a transformer encoder-decoder model. To train our proposed system, we present a new violin dataset consisting of paired recordings and scores along with estimated alignments between them. We show that our proposed model can synthesize music with clear polyphony and harmonic structures. In a listening test, we achieve competitive quality against the baseline model, a conditional generative audio model, in terms of pitch accuracy, timbre and noise level. Moreover, our proposed model significantly outperforms the baseline on an existing piano dataset in overall quality.

Multimodal learning enhances the perceptual capabilities of cognitive systems by integrating information from different sensory modalities. However, existing multimodal fusion research typically assumes static integration, not fully incorporating key dynamic mechanisms found in the brain. Specifically, the brain exhibits an inverse effectiveness phenomenon, wherein weaker unimodal cues yield stronger multisensory integration benefits; conversely, when individual modal cues are stronger, the effect of fusion is diminished. This mechanism enables biological systems to achieve robust cognition even with scarce or noisy perceptual cues. Inspired by this biological mechanism, we explore the relationship between multimodal output and information from individual modalities, proposing an inverse effectiveness driven multimodal fusion (IEMF) strategy. By incorporating this strategy into neural networks, we achieve more efficient integration with improved model performance and computational efficiency, demonstrating up to 50% reduction in computational cost across diverse fusion methods. We conduct experiments on audio-visual classification, continual learning, and question answering tasks to validate our method. Results consistently demonstrate that our method performs excellently in these tasks. To verify universality and generalization, we also conduct experiments on Artificial Neural Networks (ANN) and Spiking Neural Networks (SNN), with results showing good adaptability to both network types. Our research emphasizes the potential of incorporating biologically inspired mechanisms into multimodal networks and provides promising directions for the future development of multimodal artificial intelligence. The code is available at https://github.com/Brain-Cog-Lab/IEMF.

Multimodal immersive spatial drama generation focuses on creating continuous multi-speaker binaural speech with dramatic prosody based on multimodal prompts, with potential applications in AR, VR, and others. This task requires simultaneous modeling of spatial information and dramatic prosody based on multimodal inputs, with high data collection costs. To the best of our knowledge, our work is the first attempt to address these challenges. We construct MRSDrama, the first multimodal recorded spatial drama dataset, containing binaural drama audios, scripts, videos, geometric poses, and textual prompts. Then, we propose ISDrama, the first immersive spatial drama generation model through multimodal prompting. ISDrama comprises these primary components: 1) Multimodal Pose Encoder, based on contrastive learning, considering the Doppler effect caused by moving speakers to extract unified pose information from multimodal prompts. 2) Immersive Drama Transformer, a flow-based mamba-transformer model that generates high-quality drama, incorporating Drama-MOE to select proper experts for enhanced prosody and pose control. We also design a context-consistent classifier-free guidance strategy to coherently generate complete drama. Experimental results show that ISDrama outperforms baseline models on objective and subjective metrics. The demos and dataset are available at https://aaronz345.github.io/ISDramaDemo.

Emotions are fundamental to the creation and perception of music performances. However, achieving human-like expression and emotion through machine learning models for performance rendering remains a challenging task. In this work, we present SyMuPe, a novel framework for developing and training affective and controllable symbolic piano performance models. Our flagship model, PianoFlow, uses conditional flow matching trained to solve diverse multi-mask performance inpainting tasks. By design, it supports both unconditional generation and infilling of music performance features. For training, we use a curated, cleaned dataset of 2,968 hours of aligned musical scores and expressive MIDI performances. For text and emotion control, we integrate a piano performance emotion classifier and tune PianoFlow with the emotion-weighted Flan-T5 text embeddings provided as conditional inputs. Objective and subjective evaluations against transformer-based baselines and existing models show that PianoFlow not only outperforms other approaches, but also achieves performance quality comparable to that of human-recorded and transcribed MIDI samples. For emotion control, we present and analyze samples generated under different text conditioning scenarios. The developed model can be integrated into interactive applications, contributing to the creation of more accessible and engaging music performance systems.

We respond to the recent paper by Makelov et al. (2023), which reviews subspace interchange intervention methods like distributed alignment search (DAS; Geiger et al. 2023) and claims that these methods potentially cause "interpretability illusions". We first review Makelov et al. (2023)'s technical notion of what an "interpretability illusion" is, and then we show that even intuitive and desirable explanations can qualify as illusions in this sense. As a result, their method of discovering "illusions" can reject explanations they consider "non-illusory". We then argue that the illusions Makelov et al. (2023) see in practice are artifacts of their training and evaluation paradigms. We close by emphasizing that, though we disagree with their core characterization, Makelov et al. (2023)'s examples and discussion have undoubtedly pushed the field of interpretability forward.

LLM-based Interactive Drama is a novel AI-based dialogue scenario, where the user (i.e. the player) plays the role of a character in the story, has conversations with characters played by LLM agents, and experiences an unfolding story. This paper begins with understanding interactive drama from two aspects: Immersion, the player's feeling of being present in the story, and Agency, the player's ability to influence the story world. Both are crucial to creating an enjoyable interactive experience, while they have been underexplored in previous work. To enhance these two aspects, we first propose Playwriting-guided Generation, a novel method that helps LLMs craft dramatic stories with substantially improved structures and narrative quality. Additionally, we introduce Plot-based Reflection for LLM agents to refine their reactions to align with the player's intentions. Our evaluation relies on human judgment to assess the gains of our methods in terms of immersion and agency.

As large language models are increasingly responsible for online content, concerns arise about the impact of repeatedly processing their own outputs. Inspired by the "broken telephone" effect in chained human communication, this study investigates whether LLMs similarly distort information through iterative generation. Through translation-based experiments, we find that distortion accumulates over time, influenced by language choice and chain complexity. While degradation is inevitable, it can be mitigated through strategic prompting techniques. These findings contribute to discussions on the long-term effects of AI-mediated information propagation, raising important questions about the reliability of LLM-generated content in iterative workflows.

In this work we propose a blackbox intervention method for visual dialog models, with the aim of assessing the contribution of individual linguistic or visual components. Concretely, we conduct structured or randomized interventions that aim to impair an individual component of the model, and observe changes in task performance. We reproduce a state-of-the-art visual dialog model and demonstrate that our methodology yields surprising insights, namely that both dialog and image information have minimal contributions to task performance. The intervention method presented here can be applied as a sanity check for the strength and robustness of each component in visual dialog systems.

Our goal is to synthesize 3D human motions given textual inputs describing simultaneous actions, for example 'waving hand' while 'walking' at the same time. We refer to generating such simultaneous movements as performing 'spatial compositions'. In contrast to temporal compositions that seek to transition from one action to another, spatial compositing requires understanding which body parts are involved in which action, to be able to move them simultaneously. Motivated by the observation that the correspondence between actions and body parts is encoded in powerful language models, we extract this knowledge by prompting GPT-3 with text such as "what are the body parts involved in the action <action name>?", while also providing the parts list and few-shot examples. Given this action-part mapping, we combine body parts from two motions together and establish the first automated method to spatially compose two actions. However, training data with compositional actions is always limited by the combinatorics. Hence, we further create synthetic data with this approach, and use it to train a new state-of-the-art text-to-motion generation model, called SINC ("SImultaneous actioN Compositions for 3D human motions"). In our experiments, that training with such GPT-guided synthetic data improves spatial composition generation over baselines. Our code is publicly available at https://sinc.is.tue.mpg.de/.

Large language models (LLMs) have a tendency to generate plausible-sounding yet factually incorrect responses, especially when queried on unfamiliar concepts. In this work, we explore the underlying mechanisms that govern how finetuned LLMs hallucinate. Our investigation reveals an interesting pattern: as inputs become more unfamiliar, LLM outputs tend to default towards a ``hedged'' prediction, whose form is determined by how the unfamiliar examples in the finetuning data are supervised. Thus, by strategically modifying these examples' supervision, we can control LLM predictions for unfamiliar inputs (e.g., teach them to say ``I don't know''). Based on these principles, we develop an RL approach that more reliably mitigates hallucinations for long-form generation tasks, by tackling the challenges presented by reward model hallucinations. We validate our findings with a series of controlled experiments in multiple-choice QA on MMLU, as well as long-form biography and book/movie plot generation tasks.

Although audio generation shares commonalities across different types of audio, such as speech, music, and sound effects, designing models for each type requires careful consideration of specific objectives and biases that can significantly differ from those of other types. To bring us closer to a unified perspective of audio generation, this paper proposes a framework that utilizes the same learning method for speech, music, and sound effect generation. Our framework introduces a general representation of audio, called language of audio (LOA). Any audio can be translated into LOA based on AudioMAE, a self-supervised pre-trained representation learning model. In the generation process, we translate any modalities into LOA by using a GPT-2 model, and we perform self-supervised audio generation learning with a latent diffusion model conditioned on LOA. The proposed framework naturally brings advantages such as in-context learning abilities and reusable self-supervised pretrained AudioMAE and latent diffusion models. Experiments on the major benchmarks of text-to-audio, text-to-music, and text-to-speech demonstrate new state-of-the-art or competitive performance to previous approaches. Our demo and code are available at https://audioldm.github.io/audioldm2.

In this work, we implement music production for silent film clips using LLM-driven method. Given the strong professional demands of film music production, we propose the FilmComposer, simulating the actual workflows of professional musicians. FilmComposer is the first to combine large generative models with a multi-agent approach, leveraging the advantages of both waveform music and symbolic music generation. Additionally, FilmComposer is the first to focus on the three core elements of music production for film-audio quality, musicality, and musical development-and introduces various controls, such as rhythm, semantics, and visuals, to enhance these key aspects. Specifically, FilmComposer consists of the visual processing module, rhythm-controllable MusicGen, and multi-agent assessment, arrangement and mix. In addition, our framework can seamlessly integrate into the actual music production pipeline and allows user intervention in every step, providing strong interactivity and a high degree of creative freedom. Furthermore, we propose MusicPro-7k which includes 7,418 film clips, music, description, rhythm spots and main melody, considering the lack of a professional and high-quality film music dataset. Finally, both the standard metrics and the new specialized metrics we propose demonstrate that the music generated by our model achieves state-of-the-art performance in terms of quality, consistency with video, diversity, musicality, and musical development. Project page: https://apple-jun.github.io/FilmComposer.github.io/

The development and popularization of large language models (LLMs) have raised concerns that they will be used to create tailor-made, convincing arguments to push false or misleading narratives online. Early work has found that language models can generate content perceived as at least on par and often more persuasive than human-written messages. However, there is still limited knowledge about LLMs' persuasive capabilities in direct conversations with human counterparts and how personalization can improve their performance. In this pre-registered study, we analyze the effect of AI-driven persuasion in a controlled, harmless setting. We create a web-based platform where participants engage in short, multiple-round debates with a live opponent. Each participant is randomly assigned to one of four treatment conditions, corresponding to a two-by-two factorial design: (1) Games are either played between two humans or between a human and an LLM; (2) Personalization might or might not be enabled, granting one of the two players access to basic sociodemographic information about their opponent. We found that participants who debated GPT-4 with access to their personal information had 81.7% (p < 0.01; N=820 unique participants) higher odds of increased agreement with their opponents compared to participants who debated humans. Without personalization, GPT-4 still outperforms humans, but the effect is lower and statistically non-significant (p=0.31). Overall, our results suggest that concerns around personalization are meaningful and have important implications for the governance of social media and the design of new online environments.

Non-verbal communication often comprises of semantically rich gestures that help convey the meaning of an utterance. Producing such semantic co-speech gestures has been a major challenge for the existing neural systems that can generate rhythmic beat gestures, but struggle to produce semantically meaningful gestures. Therefore, we present RAG-Gesture, a diffusion-based gesture generation approach that leverages Retrieval Augmented Generation (RAG) to produce natural-looking and semantically rich gestures. Our neuro-explicit gesture generation approach is designed to produce semantic gestures grounded in interpretable linguistic knowledge. We achieve this by using explicit domain knowledge to retrieve exemplar motions from a database of co-speech gestures. Once retrieved, we then inject these semantic exemplar gestures into our diffusion-based gesture generation pipeline using DDIM inversion and retrieval guidance at the inference time without any need of training. Further, we propose a control paradigm for guidance, that allows the users to modulate the amount of influence each retrieval insertion has over the generated sequence. Our comparative evaluations demonstrate the validity of our approach against recent gesture generation approaches. The reader is urged to explore the results on our project page.

Human beings possess the capability to multiply a melange of multisensory cues while actively exploring and interacting with the 3D world. Current multi-modal large language models, however, passively absorb sensory data as inputs, lacking the capacity to actively interact with the objects in the 3D environment and dynamically collect their multisensory information. To usher in the study of this area, we propose MultiPLY, a multisensory embodied large language model that could incorporate multisensory interactive data, including visual, audio, tactile, and thermal information into large language models, thereby establishing the correlation among words, actions, and percepts. To this end, we first collect Multisensory Universe, a large-scale multisensory interaction dataset comprising 500k data by deploying an LLM-powered embodied agent to engage with the 3D environment. To perform instruction tuning with pre-trained LLM on such generated data, we first encode the 3D scene as abstracted object-centric representations and then introduce action tokens denoting that the embodied agent takes certain actions within the environment, as well as state tokens that represent the multisensory state observations of the agent at each time step. In the inference time, MultiPLY could generate action tokens, instructing the agent to take the action in the environment and obtain the next multisensory state observation. The observation is then appended back to the LLM via state tokens to generate subsequent text or action tokens. We demonstrate that MultiPLY outperforms baselines by a large margin through a diverse set of embodied tasks involving object retrieval, tool use, multisensory captioning, and task decomposition.

Modern language models can imitate complex patterns through few-shot learning, enabling them to complete challenging tasks without fine-tuning. However, imitation can also lead models to reproduce inaccuracies or harmful content if present in the context. We study harmful imitation through the lens of a model's internal representations, and identify two related phenomena: "overthinking" and "false induction heads". The first phenomenon, overthinking, appears when we decode predictions from intermediate layers, given correct vs. incorrect few-shot demonstrations. At early layers, both demonstrations induce similar model behavior, but the behavior diverges sharply at some "critical layer", after which the accuracy given incorrect demonstrations progressively decreases. The second phenomenon, false induction heads, are a possible mechanistic cause of overthinking: these are heads in late layers that attend to and copy false information from previous demonstrations, and whose ablation reduces overthinking. Beyond scientific understanding, our results suggest that studying intermediate model computations could be a promising avenue for understanding and guarding against harmful model behaviors.

Hallucination is a persistent challenge in large language models (LLMs), where even with rigorous quality control, models often generate distorted facts. This paradox, in which error generation continues despite high-quality training data, calls for a deeper understanding of the underlying LLM mechanisms. To address it, we propose a novel concept: knowledge overshadowing, where model's dominant knowledge can obscure less prominent knowledge during text generation, causing the model to fabricate inaccurate details. Building on this idea, we introduce a novel framework to quantify factual hallucinations by modeling knowledge overshadowing. Central to our approach is the log-linear law, which predicts that the rate of factual hallucination increases linearly with the logarithmic scale of (1) Knowledge Popularity, (2) Knowledge Length, and (3) Model Size. The law provides a means to preemptively quantify hallucinations, offering foresight into their occurrence even before model training or inference. Built on overshadowing effect, we propose a new decoding strategy CoDa, to mitigate hallucinations, which notably enhance model factuality on Overshadow (27.9%), MemoTrap (13.1%) and NQ-Swap (18.3%). Our findings not only deepen understandings of the underlying mechanisms behind hallucinations but also provide actionable insights for developing more predictable and controllable language models.

Embodied cognition argues that intelligence arises from sensorimotor interaction rather than passive observation. It raises an intriguing question: do modern vision-language models (VLMs), trained largely in a disembodied manner, exhibit signs of embodied cognition? We introduce ENACT, a benchmark that casts evaluation of embodied cognition as world modeling from egocentric interaction in a visual question answering (VQA) format. Framed as a partially observable Markov decision process (POMDP) whose actions are scene graph changes, ENACT comprises two complementary sequence reordering tasks: forward world modeling (reorder shuffled observations given actions) and inverse world modeling (reorder shuffled actions given observations). While conceptually simple, solving these tasks implicitly demands capabilities central to embodied cognition-affordance recognition, action-effect reasoning, embodied awareness, and interactive, long-horizon memory from partially observable egocentric input, while avoiding low-level image synthesis that could confound the evaluation. We provide a scalable pipeline that synthesizes QA pairs from robotics simulation (BEHAVIOR) and evaluates models on 8,972 QA pairs spanning long-horizon home-scale activities. Experiments reveal a performance gap between frontier VLMs and humans that widens with interaction horizon. Models consistently perform better on the inverse task than the forward one and exhibit anthropocentric biases, including a preference for right-handed actions and degradation when camera intrinsics or viewpoints deviate from human vision. Website at https://enact-embodied-cognition.github.io/.

Large audio-language models (LALMs) unify speech and text processing, but their robustness in noisy real-world settings remains underexplored. We investigate how irrelevant audio, such as silence, synthetic noise, and environmental sounds, affects text reasoning tasks where audio is unnecessary. Across three text-based benchmarks, we find that even non-informative audio reduces accuracy and increases prediction volatility; the severity of interference scales with longer durations, higher amplitudes, and elevated decoding temperatures. Silence, often assumed neutral, destabilizes outputs as strongly as synthetic noise. While larger models show greater resilience, vulnerabilities persist across all evaluated systems. We further test mitigation strategies and find that prompting shows limited effectiveness, whereas self-consistency improves stability at the cost of increased computation. Our results reveal cross-modal interference as a key robustness challenge and highlight the need for efficient fusion strategies that preserve reasoning performance in the presence of irrelevant inputs.

While recent generative models can produce engaging music, their utility is limited. The variation in the music is often left to chance, resulting in compositions that lack structure. Pieces extending beyond a minute can become incoherent or repetitive. This paper introduces an approach for generating structured, arbitrarily long musical pieces. Central to this approach is the creation of musical segments using a conditional generative model, with transitions between these segments. The generation of prompts that determine the high-level composition is distinct from the creation of finer, lower-level details. A large language model is then used to suggest the musical form.

Generating coherent and diverse human dances from music signals has gained tremendous progress in animating virtual avatars. While existing methods support direct dance synthesis, they fail to recognize that enabling users to edit dance movements is far more practical in real-world choreography scenarios. Moreover, the lack of high-quality dance datasets incorporating iterative editing also limits addressing this challenge. To achieve this goal, we first construct DanceRemix, a large-scale multi-turn editable dance dataset comprising the prompt featuring over 25.3M dance frames and 84.5K pairs. In addition, we propose a novel framework for iterative and editable dance generation coherently aligned with given music signals, namely DanceEditor. Considering the dance motion should be both musical rhythmic and enable iterative editing by user descriptions, our framework is built upon a prediction-then-editing paradigm unifying multi-modal conditions. At the initial prediction stage, our framework improves the authority of generated results by directly modeling dance movements from tailored, aligned music. Moreover, at the subsequent iterative editing stages, we incorporate text descriptions as conditioning information to draw the editable results through a specifically designed Cross-modality Editing Module (CEM). Specifically, CEM adaptively integrates the initial prediction with music and text prompts as temporal motion cues to guide the synthesized sequences. Thereby, the results display music harmonics while preserving fine-grained semantic alignment with text descriptions. Extensive experiments demonstrate that our method outperforms the state-of-the-art models on our newly collected DanceRemix dataset. Code is available at https://lzvsdy.github.io/DanceEditor/.

Understanding of video creativity and content often varies among individuals, with differences in focal points and cognitive levels across different ages, experiences, and genders. There is currently a lack of research in this area, and most existing benchmarks suffer from several drawbacks: 1) a limited number of modalities and answers with restrictive length; 2) the content and scenarios within the videos are excessively monotonous, transmitting allegories and emotions that are overly simplistic. To bridge the gap to real-world applications, we introduce a large-scale Subjective Response Indicators for Advertisement Videos dataset, namely SRI-ADV. Specifically, we collected real changes in Electroencephalographic (EEG) and eye-tracking regions from different demographics while they viewed identical video content. Utilizing this multi-modal dataset, we developed tasks and protocols to analyze and evaluate the extent of cognitive understanding of video content among different users. Along with the dataset, we designed a Hypergraph Multi-modal Large Language Model (HMLLM) to explore the associations among different demographics, video elements, EEG, and eye-tracking indicators. HMLLM could bridge semantic gaps across rich modalities and integrate information beyond different modalities to perform logical reasoning. Extensive experimental evaluations on SRI-ADV and other additional video-based generative performance benchmarks demonstrate the effectiveness of our method. The codes and dataset will be released at https://github.com/suay1113/HMLLM.

We present X-Actor, a novel audio-driven portrait animation framework that generates lifelike, emotionally expressive talking head videos from a single reference image and an input audio clip. Unlike prior methods that emphasize lip synchronization and short-range visual fidelity in constrained speaking scenarios, X-Actor enables actor-quality, long-form portrait performance capturing nuanced, dynamically evolving emotions that flow coherently with the rhythm and content of speech. Central to our approach is a two-stage decoupled generation pipeline: an audio-conditioned autoregressive diffusion model that predicts expressive yet identity-agnostic facial motion latent tokens within a long temporal context window, followed by a diffusion-based video synthesis module that translates these motions into high-fidelity video animations. By operating in a compact facial motion latent space decoupled from visual and identity cues, our autoregressive diffusion model effectively captures long-range correlations between audio and facial dynamics through a diffusion-forcing training paradigm, enabling infinite-length emotionally-rich motion prediction without error accumulation. Extensive experiments demonstrate that X-Actor produces compelling, cinematic-style performances that go beyond standard talking head animations and achieves state-of-the-art results in long-range, audio-driven emotional portrait acting.

In this work, we present Digital Life Project, a framework utilizing language as the universal medium to build autonomous 3D characters, who are capable of engaging in social interactions and expressing with articulated body motions, thereby simulating life in a digital environment. Our framework comprises two primary components: 1) SocioMind: a meticulously crafted digital brain that models personalities with systematic few-shot exemplars, incorporates a reflection process based on psychology principles, and emulates autonomy by initiating dialogue topics; 2) MoMat-MoGen: a text-driven motion synthesis paradigm for controlling the character's digital body. It integrates motion matching, a proven industry technique to ensure motion quality, with cutting-edge advancements in motion generation for diversity. Extensive experiments demonstrate that each module achieves state-of-the-art performance in its respective domain. Collectively, they enable virtual characters to initiate and sustain dialogues autonomously, while evolving their socio-psychological states. Concurrently, these characters can perform contextually relevant bodily movements. Additionally, a motion captioning module further allows the virtual character to recognize and appropriately respond to human players' actions. Homepage: https://digital-life-project.com/

The premise of identifiable and causal representation learning is to improve the current representation learning paradigm in terms of generalizability or robustness. Despite recent progress in questions of identifiability, more theoretical results demonstrating concrete advantages of these methods for downstream tasks are needed. In this paper, we consider the task of intervention extrapolation: predicting how interventions affect an outcome, even when those interventions are not observed at training time, and show that identifiable representations can provide an effective solution to this task even if the interventions affect the outcome non-linearly. Our setup includes an outcome Y, observed features X, which are generated as a non-linear transformation of latent features Z, and exogenous action variables A, which influence Z. The objective of intervention extrapolation is to predict how interventions on A that lie outside the training support of A affect Y. Here, extrapolation becomes possible if the effect of A on Z is linear and the residual when regressing Z on A has full support. As Z is latent, we combine the task of intervention extrapolation with identifiable representation learning, which we call Rep4Ex: we aim to map the observed features X into a subspace that allows for non-linear extrapolation in A. We show that the hidden representation is identifiable up to an affine transformation in Z-space, which is sufficient for intervention extrapolation. The identifiability is characterized by a novel constraint describing the linearity assumption of A on Z. Based on this insight, we propose a method that enforces the linear invariance constraint and can be combined with any type of autoencoder. We validate our theoretical findings through synthetic experiments and show that our approach succeeds in predicting the effects of unseen interventions.