We attempt to make two arguments in this essay. First, through a case study of a mobile phone based voice-media service we have been running in rural central India for more than six years, we describe several implementation complexities we had to navigate towards realizing our intended vision of bringing social development through technology. Most of these complexities arose in the interface of our technology with society, and we argue that even other technology providers can create similar processes to manage this socio-technological interface and ensure intended outcomes from their technology use. We then build our second argument about how to ensure that the organizations behind both market driven technologies and those technologies that are adopted by the state, pay due attention towards responsibly managing the socio-technological interface of their innovations. We advocate for the technology engineers and researchers who work within these organizations, to take up the responsibility and ensure that their labour leads to making the world a better place especially for the poor and marginalized. We outline possible governance structures that can give more voice to the technology developers to push their organizations towards ensuring that responsible outcomes emerge from their technology. We note that the examples we use to build our arguments are limited to contemporary information and communication technology (ICT) platforms used directly by end-users to share content with one another, and hence our argument may not generalize to other ICTs in a straightforward manner.

Research on style transfer and domain translation has clearly demonstrated the ability of deep learning-based algorithms to manipulate images in terms of artistic style. More recently, several attempts have been made to extend such approaches to music (both symbolic and audio) in order to enable transforming musical style in a similar manner. In this study, we focus on symbolic music with the goal of altering the 'style' of a piece while keeping its original 'content'. As opposed to the current methods, which are inherently restricted to be unsupervised due to the lack of 'aligned' data (i.e. the same musical piece played in multiple styles), we develop the first fully supervised algorithm for this task. At the core of our approach lies a synthetic data generation scheme which allows us to produce virtually unlimited amounts of aligned data, and hence avoid the above issue. In view of this data generation scheme, we propose an encoder-decoder model for translating symbolic music accompaniments between a number of different styles. Our experiments show that our models, although trained entirely on synthetic data, are capable of producing musically meaningful accompaniments even for real (non-synthetic) MIDI recordings.

The increasing rate of information pollution on the Web requires novel solutions to tackle that. Question Answering (QA) interfaces are simplified and user-friendly interfaces to access information on the Web. However, similar to other AI applications, they are black boxes which do not manifest the details of the learning or reasoning steps for augmenting an answer. The Explainable Question Answering (XQA) system can alleviate the pain of information pollution where it provides transparency to the underlying computational model and exposes an interface enabling the end-user to access and validate provenance, validity, context, circulation, interpretation, and feedbacks of information. This position paper sheds light on the core concepts, expectations, and challenges in favor of the following questions (i) What is an XQA system?, (ii) Why do we need XQA?, (iii) When do we need XQA? (iv) How to represent the explanations? (iv) How to evaluate XQA systems?

Unsupervised near-duplicate detection has many practical applications ranging from social media analysis and web-scale retrieval, to digital image forensics. It entails running a threshold-limited query on a set of descriptors extracted from the images, with the goal of identifying all possible near-duplicates, while limiting the false positives due to visually similar images. Since the rate of false alarms grows with the dataset size, a very high specificity is thus required, up to $1 - 10^{-9}$ for realistic use cases; this important requirement, however, is often overlooked in literature. In recent years, descriptors based on deep convolutional neural networks have matched or surpassed traditional feature extraction methods in content-based image retrieval tasks. To the best of our knowledge, ours is the first attempt to establish the performance range of deep learning-based descriptors for unsupervised near-duplicate detection on a range of datasets, encompassing a broad spectrum of near-duplicate definitions. We leverage both established and new benchmarks, such as the Mir-Flick Near-Duplicate (MFND) dataset, in which a known ground truth is provided for all possible pairs over a general, large scale image collection. To compare the specificity of different descriptors, we reduce the problem of unsupervised detection to that of binary classification of near-duplicate vs. not-near-duplicate images. The latter can be conveniently characterized using Receiver Operating Curve (ROC). Our findings in general favor the choice of fine-tuning deep convolutional networks, as opposed to using off-the-shelf features, but differences at high specificity settings depend on the dataset and are often small. The best performance was observed on the MFND benchmark, achieving 96\% sensitivity at a false positive rate of $1.43 \times 10^{-6}$.

Automatic cover detection -- the task of finding in an audio database all the covers of one or several query tracks -- has long been seen as a challenging theoretical problem in the MIR community and as an acute practical problem for authors and composers societies. Original algorithms proposed for this task have proven their accuracy on small datasets, but are unable to scale up to modern real-life audio corpora. On the other hand, faster approaches designed to process thousands of pairwise comparisons resulted in lower accuracy, making them unsuitable for practical use. In this work, we propose a neural network architecture that is trained to represent each track as a single embedding vector. The computation burden is therefore left to the embedding extraction -- that can be conducted offline and stored, while the pairwise comparison task reduces to a simple Euclidean distance computation. We further propose to extract each track's embedding out of its dominant melody representation, obtained by another neural network trained for this task. We then show that this architecture improves state-of-the-art accuracy both on small and large datasets, and is able to scale to query databases of thousands of tracks in a few seconds.

Music Inpainting is the task of filling in missing or lost information in a piece of music. We investigate this task from an interactive music creation perspective. To this end, a novel deep learning-based approach for musical score inpainting is proposed. The designed model takes both past and future musical context into account and is capable of suggesting ways to connect them in a musically meaningful manner. To achieve this, we leverage the representational power of the latent space of a Variational Auto-Encoder and train a Recurrent Neural Network which learns to traverse this latent space conditioned on the past and future musical contexts. Consequently, the designed model is capable of generating several measures of music to connect two musical excerpts. The capabilities and performance of the model are showcased by comparison with competitive baselines using several objective and subjective evaluation methods. The results show that the model generates meaningful inpaintings and can be used in interactive music creation applications. Overall, the method demonstrates the merit of learning complex trajectories in the latent spaces of deep generative models.

The generation of music that adapts dynamically to content and actions has an important role in building more immersive, memorable and emotive game experiences. To date, the development of adaptive music systems for video games is limited by both the nature of algorithms used for real-time music generation and the limited modelling of player action, game world context and emotion in current games. We propose that these issues must be addressed in tandem for the quality and flexibility of adaptive game music to significantly improve. Cognitive models of knowledge organisation and emotional affect are integrated with multi-modal, multi-agent composition techniques to produce a novel Adaptive Music System (AMS). The system is integrated into two stylistically distinct games. Gamers reported an overall higher immersion and correlation of music with game-world concepts with the AMS than with the original game soundtracks in both games.

ProPublica is a nonprofit newsroom that investigates abuses of power. Sign up for ProPublica's Big Story newsletter to receive stories like this one in your inbox as soon as they are published. Ariella Russcol specializes in drama at the Frank Sinatra School of the Arts in Queens, New York, and the senior's performance on this April afternoon didn't disappoint. While the library is normally the quietest room in the school, her ear-piercing screams sounded more like a horror movie than study hall. But they weren't enough to set off a small microphone in the ceiling that was supposed to detect aggression.

The Allen Institute for Artificial Intelligence has an interesting new tactic in the war on fake news: make more of it. A team of researchers at the institute recently developed Grover, a neural network capable of generating fake news articles in the style of actual human journalists. In essence, the group is fighting fire with fire because the better Grover gets at generating fakes, the better it'll be at detecting them. Our study presents a surprising result: the best way to detect neural fake news is to use a model that is also a generator. The generator is most familiar with its own habits, quirks, and traits, as well as those from similar AI models, especially those trained on similar data, i.e. publicly available news.

Before this year's E3, the annual video games event where publishers descend on Los Angeles to unveil and promote their wares for the next year and beyond, anticipation was high for Square Enix's new Avengers game – an action-adventure for one to four players, in which you can fight as Hulk, Black Widow, Thor and plenty of others. In the year that Endgame grossed more than $2.7bn at the box office worldwide, surely not much could go wrong for a game proffering a personalised Marvel superhero fantasy. As it turned out, however, the Avengers game's big reveal fell rather flat (and was rather eclipsed by Keanu Reeves, who made a surprise appearance to reveal his top-secret cameo in the forthcoming Cyberpunk 2077 the day before). That is Iron Man, right? Why does he look nothing like Robert Downey Jr? The Avengers characters in this online action-adventure game share absolutely no likeness with the ones we know from the Marvel Cinematic Universe.