Ensemble methods, such as stacking, are designed to boost predictive accuracy by blending the predictions of multiple machine learning models. Recent work has shown that the use of meta-features, additional inputs describing each example in a dataset, can boost the performance of ensemble methods, but the greatest reported gains have come from nonlinear procedures requiring significant tuning and training time. Here, we present a linear technique, Feature-Weighted Linear Stacking (FWLS), that incorporates meta-features for improved accuracy while retaining the well-known virtues of linear regression regarding speed, stability, and interpretability. FWLS combines model predictions linearly using coefficients that are themselves linear functions of meta-features. This technique was a key facet of the solution of the second place team in the recently concluded Netflix Prize competition. Significant increases in accuracy over standard linear stacking are demonstrated on the Netflix Prize collaborative filtering dataset.

Creativity isn’t magical. It’s an aspect of normal human intelligence, not a special faculty granted to a tiny elite. There are three forms: combinational, exploratory, and transformational. All three can be modeled by AI—in some cases, with impressive results. AI techniques underlie various types of computer art. Whether computers could “really” be creative isn’t a scientific question but a philosophical one, to which there’s no clear answer. But we do have the beginnings of a scientific understanding of creativity.

It was written not by a human being, but by my computer program EWI (an acronym for "experiments in writing intelligence"). EWI was fed the texts of two of Hofstadter's books--namely, Gödel, Escher, Bach (winner of the Pulitzer Prize for General Nonfiction in 1980) and Metamagical Themas--and then, following its code, EWI carefully analyzed these two books for their uniquely Hofstadterian stylistic elements and features, after which it recombined these stylistic elements in new fashions. EWI thereby came up with some 25 new and highly diverse "Hofstadter articles," one of which is given below, and the article is followed by a brief commentary about EWI and its output by Hofstadter himself. Actually, I should state up front that the wonderful sparkling dialogues of GEB, which are a substantial part of that book, were not used by EWI in generating any of the articles, because EWI is unfortunately not yet able to work with inputs that belong to different genres, such as chapters and dialogues. To combine stylistic aspects of two or more different genres of writing represents a very thorny challenge indeed. Endowing EWI with that extra level of flexibility is one of my next major goals.

This paper deals with computational approaches to storytelling, or the production of stories by computers, with a particular attention on the way human creativity is modelled or emulated, also in computational terms. Features relevant to creativity and to stories are analysed, and existing systems are reviewed under the light of that analysis.The extent to which they implement the key features proposed in recent models of computational creativity is discussed. Limitations, avenues of future research and expected trends are outlined.

Such creative software can be used for autonomous creative tasks, such as inventing mathematical theories, writing poems, painting pictures, and composing music. However, computational creativity studies also enable us to understand human creativity and to produce programs for creative people to use, where the software acts as a creative collaborator rather than a mere tool. Historically, it's been difficult for society to come to terms with machines that purport to be intelligent and even more difficult to admit that they might be creative. For instance, in 1934, some professors at the University of Manchester in the United Kingdom built meccano models that were able to solve some mathematical equations. Groundbreaking for its time, this project was written up in a piece in Meccano Magazine. The article was titled "Are Thinking Machines Possible" and was very upbeat, but surprisingly ends by stating that "Truly creative thinking of course will always remain beyond the power of any machine." Surely, though, this attitude has changed in light of the amazing advances in hardware and software technology that followed those meccano models?

The article is about AI research in the context of a complex artistic behavior: expressive music performance. A computer program is presented that learns to play piano with 'expression' and that even won an international computer piano performance contest. A superficial analysis of an expressive performance generated by the system seems to suggest creative musical abilities. After a critical discussion of the processes underlying this behavior, we abandon the question of whether the system is really creative, and turn to the true motivation that drives this research: to use AI methods to investigate and better understand music performance as a human creative behavior. A number of recent and current results from our research are briefly presented that indicate that machines can give us interesting insights into such a complex creative behavior, even if they may not be creative themselves.

The difference between comedians and their audience is a matter not of kind, but of degree, a difference that is reflected in the vocational emphasis they place on humor. Researchers in the field of computational creativity find themselves in a similar situation. As a subdiscipline of artificial intelligence, computational creativity explores theories and practices that give rise to a phenomenon, creativity, that all intelligent systems, human or machine, can legitimately lay claim to. Who is to say that a given AI system is not creative, insofar as it solves nontrivial problems or generates useful outputs that are not hard wired into its programming? As with comedians' being funny, the difference between studying computational creativity and studying artificial intelligence is one of emphasis rather than one of kind: the field of computational creativity, as typified by a long-running series of workshops at AIrelated conferences, places a vocational emphasis on creativity and attempts to draw together the commonalities of what

Collaborative recommendation is an information-filtering technique that attempts to present information items (movies, music, books, news, images, Web pages, etc.) that are likely of interest to the Internet user. Traditionally, collaborative systems deal with situations with two types of variables, users and items. In its most common form, the problem is framed as trying to estimate ratings for items that have not yet been consumed by a user. Despite wide-ranging literature, little is known about the statistical properties of recommendation systems. In fact, no clear probabilistic model even exists allowing us to precisely describe the mathematical forces driving collaborative filtering. To provide an initial contribution to this, we propose to set out a general sequential stochastic model for collaborative recommendation and analyze its asymptotic performance as the number of users grows. We offer an in-depth analysis of the so-called cosine-type nearest neighbor collaborative method, which is one of the most widely used algorithms in collaborative filtering. We establish consistency of the procedure under mild assumptions on the model. Rates of convergence and examples are also provided.

This paper presents a multilayered architecture that enhances the capabilities of current QA systems and allows different types of complex questions or queries to be processed. The answers to these questions need to be gathered from factual information scattered throughout different documents. Specifically, we designed a specialized layer to process the different types of temporal questions. Complex temporal questions are first decomposed into simple questions, according to the temporal relations expressed in the original question. In the same way, the answers to the resulting simple questions are recomposed, fulfilling the temporal restrictions of the original complex question. A novel aspect of this approach resides in the decomposition which uses a minimal quantity of resources, with the final aim of obtaining a portable platform that is easily extensible to other languages. In this paper we also present a methodology for evaluation of the decomposition of the questions as well as the ability of the implemented temporal layer to perform at a multilingual level. The temporal layer was first performed for English, then evaluated and compared with: a) a general purpose QA system (F-measure 65.47% for QA plus English temporal layer vs. 38.01% for the general QA system), and b) a well-known QA system. Much better results were obtained for temporal questions with the multilayered system. This system was therefore extended to Spanish and very good results were again obtained in the evaluation (F-measure 40.36% for QA plus Spanish temporal layer vs. 22.94% for the general QA system).

We propose a number of techniques for obtaining a global ranking from data that may be incomplete and imbalanced -- characteristics almost universal to modern datasets coming from e-commerce and internet applications. We are primarily interested in score or rating-based cardinal data. From raw ranking data, we construct pairwise rankings, represented as edge flows on an appropriate graph. Our statistical ranking method uses the graph Helmholtzian, the graph theoretic analogue of the Helmholtz operator or vector Laplacian, in much the same way the graph Laplacian is an analogue of the Laplace operator or scalar Laplacian. We study the graph Helmholtzian using combinatorial Hodge theory: we show that every edge flow representing pairwise ranking can be resolved into two orthogonal components, a gradient flow that represents the L2-optimal global ranking and a divergence-free flow (cyclic) that measures the validity of the global ranking obtained -- if this is large, then the data does not have a meaningful global ranking. This divergence-free flow can be further decomposed orthogonally into a curl flow (locally cyclic) and a harmonic flow (locally acyclic but globally cyclic); these provides information on whether inconsistency arises locally or globally. An obvious advantage over the NP-hard Kemeny optimization is that discrete Hodge decomposition may be computed via a linear least squares regression. We also investigated the L1-projection of edge flows, showing that this is dual to correlation maximization over bounded divergence-free flows, and the L1-approximate sparse cyclic ranking, showing that this is dual to correlation maximization over bounded curl-free flows. We discuss relations with Kemeny optimization, Borda count, and Kendall-Smith consistency index from social choice theory and statistics.