The creation and performance of music has inspired AI researchers since the very early times of artificial intelligence [8, 13, 10], and there is today a rich literature of computational approaches to music [11], including AI systems for music composition [3] and improvisation [2]. As pointed out by Thom [15], however, these systems rarely focus on the spontanous interaction between the human and the artificial musicians. We claim that such interaction demands a combination of reactivity and anticipation, that is, the ability to act now based on a predictive model of the companion player [12]. This paper reports our initial steps in the generation of collaborative human-machine music performance, as a special case of the more general problem of anticipation and creative processes in mixed human-robot, or anthrobotic systems [4]. We consider a simple case study of a duo consisting of a human pianist accompained by an off-the-shelf virtual drummer, and we design an AI system to control the key perfomance parameters of the virtual drummer (patterns, intensity, complexity, fills, and so on) as a function of what the human pianist is playing. The AI system is knowledge-based: it relies on an internal model represented by means of fuzzy logic.

If there is anything every business leader in the world can agree on – let's face it, there's not a lot – it is that Artificial Intelligence (AI) is about to have an indescribable impact that will change the way business looks. Among the areas, it is set to revolutionize marketing entirely. In 2018, we saw the marketing landscape change as AI adoption was fueled by growing customer expectations. The demand for one-to-one personalized interactions with brands has influenced the way marketers communicate with their customers. Most notably, it has forced the marketers to turn to AI to not only supplement but also to enhance their marketing strategies and beat out the competition.

When you think "contact center," you probably think of static scripts. But all that is about to change. "One of the top things customers tell us is, 'Know me. Know who I am when you engage with me.'" What we're all after here is the ultimate customer experience.

Let's say that I find it curious how Spotify recommended a Justin Bieber song to me, a 40-something non-Belieber. That doesn't necessarily mean that Spotify's engineers must ensure that their algorithms are transparent and comprehensible to me; I might find the recommendation a tad off-target, but the consequences are decidedly minimal. This is a fundamental litmus test for explainable AI – that is, machine learning algorithms and other artificial intelligence systems that produce outcomes that humans can readily understand and track backwards to the origins. Conversely, relatively low-stakes AI systems might be just fine with the black box model, where we don't understand (and can't readily figure out) the results. "If algorithm results are low-impact enough, like the songs recommended by a music service, society probably doesn't need regulators plumbing the depths of how those recommendations are made," says Dave Costenaro, head of artificial intelligence R&D at Jane.ai. I can live with an app's misunderstanding of my musical tastes.

"AI art", or more precisely art created with neural networks, has recently started to receive broad media coverage in newspapers (New York Times), magazines (The Atlantic), and countless blogs. Combined with the ongoing general "AI hype" and multiple recent museum and gallery exhibitions, this coverage has produced the impression of a new star rising in the art world: that of machine-generated art. It has also led to the popularization of an ever-growing list of philosophical questions surrounding the use of computers for the creation of art. This brief article provides a pragmatic evaluation of the new genre of AI art from the perspective of art history. It attempts to show that most of the philosophical questions commonly cited as unique issues of AI art have been addressed before with respect to previous iterations of generative art starting in the late 1950s. In other words: while AI art has certainly produced novel and interesting works, from an art historical perspective it is not the revolution as which it is portrayed.

We investigate some aspects of the history of antisemitism in France, one of the cradles of modern antisemitism, using diachronic word embeddings. We constructed a large corpus of French books and periodicals issues that contain a keyword related to Jews and performed a diachronic word embedding over the 1789-1914 period. We studied the changes over time in the semantic spaces of 4 target words and performed embedding projections over 6 streams of antisemitic discourse. This allowed us to track the evolution of antisemitic bias in the religious, economic, socio-politic, racial, ethic and conspiratorial domains. Projections show a trend of growing antisemitism, especially in the years starting in the mid-80s and culminating in the Dreyfus affair. Our analysis also allows us to highlight the peculiar adverse bias towards Judaism in the broader context of other religions.

We study methods for simultaneous analysis of many noisy experiments in the presence of rich covariate information. The goal of the analyst is to optimally estimate the true effect underlying each experiment. Both the noisy experimental results and the auxiliary covariates are useful for this purpose, but neither data source on its own captures all the information available to the analyst. In this paper, we propose a flexible plug-in empirical Bayes estimator that synthesizes both sources of information and may leverage any black-box predictive model. We show that our approach is within a constant factor of minimax for a simple data-generating model. Furthermore, we establish robust convergence guarantees for our method that hold under considerable generality, and exhibit promising empirical performance on both real and simulated data.

Capturing high-level structure in audio waveforms is challenging because a single second of audio spans tens of thousands of timesteps. While long-range dependencies are difficult to model directly in the time domain, we show that they can be more tractably modelled in two-dimensional time-frequency representations such as spectrograms. By leveraging this representational advantage, in conjunction with a highly expressive probabilistic model and a multiscale generation procedure, we design a model capable of generating high-fidelity audio samples which capture structure at timescales that time-domain models have yet to achieve. We apply our model to a variety of audio generation tasks, including unconditional speech generation, music generation, and text-to-speech synthesis---showing improvements over previous approaches in both density estimates and human judgments.

Automatic article commenting is helpful in encouraging user engagement and interaction on online news platforms. However, the news documents are usually too long for traditional encoder-decoder based models, which often results in general and irrelevant comments. In this paper, we propose to generate comments with a graph-to-sequence model that models the input news as a topic interaction graph. By organizing the article into graph structure, our model can better understand the internal structure of the article and the connection between topics, which makes it better able to understand the story. We collect and release a large scale news-comment corpus from a popular Chinese online news platform Tencent Kuaibao. Extensive experiment results show that our model can generate much more coherent and informative comments compared with several strong baseline models.

What if this is the wrong question? When it comes to automating customer conversations with chatbots and AI-driven virtual agents, the real value of that automation may well be in generating revenue and growth, not in cutting headcount. Already, there are a few notable examples of chatbots generating significant revenue. For example, the casual dining chain TGI Fridays decided to reach out to millennials with an irreverent, brand-appropriate chatbot available through Facebook Messenger and Twitter . As Fridays' Chief Experience Officer Sherif Mityas explained, "This is an opportunity to think differently about how we engage with guests who talk to us." It has worked spectacularly well.