Pre-trained language models (PLMs) serve as backbones for various real-world systems. For high-stake applications, it's equally essential to have reasonable confidence estimations in predictions. While the vanilla confidence scores of PLMs can already be effectively utilized, PLMs consistently become overconfident in their wrong predictions, which is not desirable in practice. Previous work shows that introducing an extra calibration task can mitigate this issue. The basic idea involves acquiring additional data to train models in predicting the confidence of their initial predictions. However, it only demonstrates the feasibility of this kind of method, assuming that there are abundant extra available samples for the introduced calibration task. In this work, we consider the practical scenario that we need to effectively utilize training samples to make PLMs both task-solvers and self-calibrators. Three challenges are presented, including limited training samples, data imbalance, and distribution shifts. We first conduct pilot experiments to quantify various decisive factors in the calibration task. Based on the empirical analysis results, we propose a training algorithm LM-TOAST to tackle the challenges. Experimental results show that LM-TOAST can effectively utilize the training data to make PLMs have reasonable confidence estimations while maintaining the original task performance. Further, we consider three downstream applications, namely selective classification, adversarial defense, and model cascading, to show the practical usefulness of LM-TOAST. The code will be made public at \url{https://github.com/Yangyi-Chen/LM-TOAST}.

Existing image editing tools, while powerful, typically disregard the underlying 3D geometry from which the image is projected. As a result, edits made using these tools may become detached from the geometry and lighting conditions that are at the foundation of the image formation process. In this work, we formulate the newt ask of language-guided 3D-aware editing, where objects in an image should be edited according to a language instruction in context of the underlying 3D scene. To promote progress towards this goal, we release OBJECT: a dataset consisting of 400K editing examples created from procedurally generated 3D scenes. Each example consists of an input image, editing instruction in language, and the edited image. We also introduce 3DIT : single and multi-task models for four editing tasks. Our models show impressive abilities to understand the 3D composition of entire scenes, factoring in surrounding objects, surfaces, lighting conditions, shadows, and physically-plausible object configurations. Surprisingly, training on only synthetic scenes from OBJECT, editing capabilities of 3DIT generalize to real-world images.

This paper aims to apply a new deep learning approach to the task of generating raw audio files. It is based on diffusion models, a recent type of deep generative model. This new type of method has recently shown outstanding results with image generation. A lot of focus has been given to those models by the computer vision community. On the other hand, really few have been given for other types of applications such as music generation in waveform domain. In this paper the model for unconditional generating applied to music is implemented: Progressive distillation diffusion with 1D U-Net. Then, a comparison of different parameters of diffusion and their value in a full result is presented. One big advantage of the methods implemented through this work is the fact that the model is able to deal with progressing audio processing and generating , using transformation from 1-channel 128 x 384 to 3-channel 128 x 128 mel-spectrograms and looped generation. The empirical comparisons are realized across different self-collected datasets.

Music recommendation systems have emerged as a vital component to enhance user experience and satisfaction for the music streaming services, which dominates music consumption. The key challenge in improving these recommender systems lies in comprehending the complexity of music data, specifically for the underpinning music genre classification. The limitations of manual genre classification have highlighted the need for a more advanced system, namely the Automatic Music Genre Classification (AMGC) system. While traditional machine learning techniques have shown potential in genre classification, they heavily rely on manually engineered features and feature selection, failing to capture the full complexity of music data. On the other hand, deep learning classification architectures like the traditional Convolutional Neural Networks (CNN) are effective in capturing the spatial hierarchies but struggle to capture the temporal dynamics inherent in music data. To address these challenges, this study proposes a novel approach using visual spectrograms as input, and propose a hybrid model that combines the strength of the Residual neural Network (ResNet) and the Gated Recurrent Unit (GRU). This model is designed to provide a more comprehensive analysis of music data, offering the potential to improve the music recommender systems through achieving a more comprehensive analysis of music data and hence potentially more accurate genre classification.

Artificial Intelligence (AI), and in particular generative models, are transformative tools for knowledge work. They problematise notions of creativity, originality, plagiarism, the attribution of credit, and copyright ownership. Critics of generative models emphasise the reliance on large amounts of training data, and view the output of these models as no more than randomised plagiarism, remix, or collage of the source data. On these grounds, many have argued for stronger regulations on the deployment, use, and attribution of the output of these models. However, these issues are not new or unique to artificial intelligence. In this position paper, using examples from literary criticism, the history of art, and copyright law, I show how creativity and originality resist definition as a notatable or information-theoretic property of an object, and instead can be seen as the property of a process, an author, or a viewer. Further alternative views hold that all creative work is essentially reuse (mostly without attribution), or that randomness itself can be creative. I suggest that creativity is ultimately defined by communities of creators and receivers, and the deemed sources of creativity in a workflow often depend on which parts of the workflow can be automated. Using examples from recent studies of AI in creative knowledge work, I suggest that AI shifts knowledge work from material production to critical integration. This position paper aims to begin a conversation around a more nuanced approach to the problems of creativity and credit assignment for generative models, one which more fully recognises the importance of the creative and curatorial voice of the users of these models and moves away from simpler notational or information-theoretic views.

We present a new framework called KorraAI for conceiving and building embodied conversational agents (ECAs). Our framework models ECAs' behavior considering contextual information, for example, about environment and interaction time, and uncertain information provided by the human interaction partner. Moreover, agents built with KorraAI can show proactive behavior, as they can initiate interactions with human partners. For these purposes, KorraAI exploits probabilistic programming. Probabilistic models in KorraAI are used to model its behavior and interactions with the user. They enable adaptation to the user's preferences and a certain degree of indeterminism in the ECAs to achieve more natural behavior. Human-like internal states, such as moods, preferences, and emotions (e.g., surprise), can be modeled in KorraAI with distributions and Bayesian networks. These models can evolve over time, even without interaction with the user. ECA models are implemented as plugins and share a common interface. This enables ECA designers to focus more on the character they are modeling and less on the technical details, as well as to store and exchange ECA models. Several applications of KorraAI ECAs are possible, such as virtual sales agents, customer service agents, virtual companions, entertainers, or tutors.

Pre-trained models for Czech Natural Language Processing are often evaluated on purely linguistic tasks (POS tagging, parsing, NER) and relatively simple classification tasks such as sentiment classification or article classification from a single news source. As an alternative, we present CZEch~NEws~Classification~dataset (CZE-NEC), one of the largest Czech classification datasets, composed of news articles from various sources spanning over twenty years, which allows a more rigorous evaluation of such models. We define four classification tasks: news source, news category, inferred author's gender, and day of the week. To verify the task difficulty, we conducted a human evaluation, which revealed that human performance lags behind strong machine-learning baselines built upon pre-trained transformer models. Furthermore, we show that language-specific pre-trained encoder analysis outperforms selected commercially available large-scale generative language models.

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It is every parent's worst nightmare - an image or video of your child you posted to social media ends up on a sexually explicit website. Some had their children preyed on by pedophiles - who are becoming increasingly sophisticated with tech like AI - turned into cruel memes by trolls or had their identities stolen by hackers. These scenarios have been highlighted in a new advert aimed at warning parents about the dangers of oversharing on social media. Recent studies show the average child has their picture shared online 1,300 times before the age of 13, and the advertisement suggests that it takes just one photo and AI to recreate innocent children in ways most parents could never imagine. The ad revealed it takes just one photo and AI to ruin a child's future.

For the first time in 63 years, writers and actors are on strike, grinding Hollywood to a halt with a historic double strike. You've probably recognized some of the celebrities at the picket line. These actors, similar to writers on strike, are demanding increased pay and protections from artificial intelligence. But the vast majority of striking members are far from household names, actors who are all but certain to survive the major economic consequences of both strikes as they drag on for weeks or even months. Instead, they're working-class individuals forced to live "paycheck to paycheck," according to SAG LA's Vice President Michelle Hurd--and they want the world to know a few facts.