"CHiPs" star Erik Estrada shared a warning about how artificial intelligence can "destroy lives." During an interview with Fox News Digital, the 75-year-old actor and "Divine Renovation" host acknowledged the benefits of AI but cautioned that the new technology is also frequently being used for nefarious purposes. "I think just like the Internet, just like the cell phones, just like everything -- they need to just use the positive side of it," Estrada said. "The side which can help or employ and create goodwill, good things, good jobs, good fortune for people that want to go in that direction and not, of course, use the negative stuff." "CHiPs" star Erik Estrada warned about the dangers posed by AI. (Brian To/FilmMagic) Estrada pointed to how AI can be used to create deepfakes -- deceptive pictures, videos and audio that misrepresent people or events.

Many of the recent breakthroughs in language modeling have resulted from scaling effectively the same model architecture to larger datasets. In this vein, recent work has highlighted performance gains from increasing training dataset size and quality, suggesting a need for novel sources of large-scale datasets. In this work, we introduce BeanCounter, a public dataset consisting of more than 159B tokens extracted from businesses' disclosures. We show that this data is indeed novel: less than 0.1% of BeanCounter appears in Common Crawl-based datasets and it is an order of magnitude larger than datasets relying on similar sources. Given the data's provenance, we hypothesize that BeanCounter is comparatively more factual and less toxic than web-based datasets. Exploring this hypothesis, we find that many demographic identities occur with similar prevalence in BeanCounter but with significantly less toxic context relative to other datasets. To demonstrate the utility of BeanCounter, we evaluate and compare two LLMs continually pre-trained on BeanCounter with their base models. We find an 18-33% reduction in toxic generation and improved performance within the finance domain for the continually pretrained models. Collectively, our work suggests that BeanCounter is a novel source of low-toxicity and high-quality domain-specific data with sufficient scale to train multi-billion parameter LLMs.

Video encompasses both visual and auditory data, creating a perceptually rich experience where these two modalities complement each other. As such, videos are a valuable type of media for the investigation of the interplay between audio and visual elements. Previous studies of audio-visual modalities primarily focused on either audio-visual representation learning or generative modeling of a modality conditioned on the other, creating a disconnect between these two branches. A unified framework that learns representation and generates modalities has not been developed yet. In this work, we introduce a novel framework called Vision to Audio and Beyond (VAB) to bridge the gap between audio-visual representation learning and vision-to-audio generation. The key approach of VAB is that rather than working with raw video frames and audio data, VAB performs representation learning and generative modeling within latent spaces. In particular, VAB uses a pre-trained audio tokenizer and an image encoder to obtain audio tokens and visual features, respectively. It then performs the pre-training task of visual-conditioned masked audio token prediction. This training strategy enables the model to engage in contextual learning and simultaneous video-to-audio generation. After the pre-training phase, VAB employs the iterative-decoding approach to rapidly generate audio tokens conditioned on visual features. Since VAB is a unified model, its backbone can be fine-tuned for various audio-visual downstream tasks. Our experiments showcase the efficiency of VAB in producing high-quality audio from video, and its capability to acquire semantic audio-visual features, leading to competitive results in audio-visual retrieval and classification.

We study how differences in persuasive language across Wikipedia articles, written in either English and Russian, can uncover each culture's distinct perspective on different subjects. We develop a large language model (LLM) powered system to identify instances of persuasive language in multilingual texts. Instead of directly prompting LLMs to detect persuasion, which is subjective and difficult, we propose to reframe the task to instead ask high-level questions (HLQs) which capture different persuasive aspects. Importantly, these HLQs are authored by LLMs themselves. LLMs over-generate a large set of HLQs, which are subsequently filtered to a small set aligned with human labels for the original task. We then apply our approach to a large-scale, bilingual dataset of Wikipedia articles (88K total), using a two-stage identify-then-extract prompting strategy to find instances of persuasion. We quantify the amount of persuasion per article, and explore the differences in persuasion through several experiments on the paired articles. Notably, we generate rankings of articles by persuasion in both languages. These rankings match our intuitions on the culturally-salient subjects; Russian Wikipedia highlights subjects on Ukraine, while English Wikipedia highlights the Middle East. Grouping subjects into larger topics, we find politically-related events contain more persuasion than others. We further demonstrate that HLQs obtain similar performance when posed in either English or Russian. Our methodology enables cross-lingual, cross-cultural understanding at scale, and we release our code, prompts, and data.

Domain dependence and annotation subjectivity pose challenges for supervised keyword extraction. Based on the premises that second-order keyness patterns are existent at the community level and learnable from annotated keyword extraction datasets, this paper proposes a supervised ranking approach to keyword extraction that ranks keywords with keyness patterns consisting of independent features (such as sublanguage domain and term length) and three categories of dependent features -- heuristic features, specificity features, and representavity features. The approach uses two convolutional-neural-network based models to learn keyness patterns from keyword datasets and overcomes annotation subjectivity by training the two models with bootstrap sampling strategy. Experiments demonstrate that the approach not only achieves state-of-the-art performance on ten keyword datasets in general supervised keyword extraction with an average top-10-F-measure of 0.316 , but also robust cross-domain performance with an average top-10-F-measure of 0.346 on four datasets that are excluded in the training process. Such cross-domain robustness is attributed to the fact that community-level keyness patterns are limited in number and temperately independent of language domains, the distinction between independent features and dependent features, and the sampling training strategy that balances excess risk and lack of negative training data.

Dashboard cameras (dashcams) record millions of driving videos daily, offering a valuable potential data source for various applications, including driving map production and updates. A necessary step for utilizing these dashcam data involves the estimation of camera poses. However, the low-quality images captured by dashcams, characterized by motion blurs and dynamic objects, pose challenges for existing image-matching methods in accurately estimating camera poses. In this study, we propose a precise pose estimation method for dashcam images, leveraging the inherent camera motion prior. Typically, image sequences captured by dash cameras exhibit pronounced motion prior, such as forward movement or lateral turns, which serve as essential cues for correspondence estimation. Building upon this observation, we devise a pose regression module aimed at learning camera motion prior, subsequently integrating these prior into both correspondences and pose estimation processes. The experiment shows that, in real dashcams dataset, our method is 22% better than the baseline for pose estimation in AUC5\textdegree, and it can estimate poses for 19% more images with less reprojection error in Structure from Motion (SfM).

The rapid increase in unstructured data across various fields has made multi-document comprehension and summarization a critical task. Traditional approaches often fail to capture relevant context, maintain logical consistency, and extract essential information from lengthy documents. This paper explores the use of Long-context Large Language Models (LLMs) for multi-document summarization, demonstrating their exceptional capacity to grasp extensive connections, provide cohesive summaries, and adapt to various industry domains and integration with enterprise applications/systems. The paper discusses the workflow of multi-document summarization for effectively deploying long-context LLMs, supported by case studies in legal applications, enterprise functions such as HR, finance, and sourcing, as well as in the medical and news domains. These case studies show notable enhancements in both efficiency and accuracy. Technical obstacles, such as dataset diversity, model scalability, and ethical considerations like bias mitigation and factual accuracy, are carefully analyzed. Prospective research avenues are suggested to augment the functionalities and applications of long-context LLMs, establishing them as pivotal tools for transforming information processing across diverse sectors and enterprise applications.

The subjective nature of music emotion introduces inherent bias in both recognition and generation, especially when relying on a single audio encoder, emotion classifier, or evaluation metric. In this work, we conduct a study on Music Emotion Recognition (MER) and Emotional Music Generation (EMG), employing diverse audio encoders alongside the Frechet Audio Distance (FAD), a reference-free evaluation metric. Our study begins with a benchmark evaluation of MER, highlighting the limitations associated with using a single audio encoder and the disparities observed across different measurements. We then propose assessing MER performance using FAD from multiple encoders to provide a more objective measure of music emotion. Furthermore, we introduce an enhanced EMG approach designed to improve both the variation and prominence of generated music emotion, thus enhancing realism. Additionally, we investigate the realism disparities between the emotions conveyed in real and synthetic music, comparing our EMG model against two baseline models. Experimental results underscore the emotion bias problem in both MER and EMG and demonstrate the potential of using FAD and diverse audio encoders to evaluate music emotion objectively.

From the very first scene of The Wild Robot, the new animated movie from director Chris Sanders (How to Train Your Dragon), adapted from the first in a trilogy of children's novels by Peter Brown, the viewer is plunged along with the protagonist into a new and alien world. A robot washes up on the shore of a lushly forested island, surrounded by the flotsam of some sort of wrecked vehicle--a plane? a spacecraft?--and immediately begins scanning the area for someone she can help. Rozzum Unit 7134, voiced by Lupita Nyong'o and soon to be known as "Roz," has been designed to, as she puts it, offer "integrated, multifaceted task accomplishment" to whatever human requests it of her. The problem is, the island where she's washed up has no human inhabitants, and the animals witnessing the arrival of this hulking metal biped regard Roz as nothing but a menacing predator to be either fought or fled. A witty time-lapse montage shows the robot powering down for a bit so her software can learn to decode the animal sounds around her, enabling her to communicate with all the island's denizens.

Last month, nothing short of an earthquake-level upheaval struck the professional music industry. On Aug. 26, the president of the Colorado-based tech company MakeMusic announced that the firm would be making "no further updates" to Finale, the pioneering and popular music-notation app that the firm had been selling and updating for 35 years. "Technology stacks change, Mac and Windows operating systems evolve, and Finale's millions of lines of code add up," MakeMusic's Greg Dell'Era wrote in his first (and likely last) contribution to the company's Finale-centric blog. "Instead of releasing new versions of Finale that would offer only marginal value to our users, we've made the decision to end its development." In other words: A key computer program for digitizing and expediting the arduous process of writing and formatting the types of sheet music used by musicians and ensembles everywhere--orchestras, schoolkids, the theater world, session instrumentalists, pop producers--would be phased out by the following year, with no hopes for revival.