ABSTRACT The recent surge in State Space Models (SSMs) [8, 9], particularly the emergence of Mamba, has established them as strong alternatives or complementary modules to Transformers across diverse domains. In this work, we aim to explore the potential of Mamba-based architectures for text-to-music generation. We adopt discrete tokens of Residual V ector Quantization (RVQ) as the modeling representation and empirically find that a single-layer code-book can capture semantic information in music. Motivated by this observation, we focus on modeling a single-codebook representation and adapt SiMBA, originally designed as a Mamba-based encoder, to function as a decoder for sequence modeling. We compare its performance against a standard Transformer-based decoder. Our results suggest that, under limited-resource settings, SiMBA achieves much faster convergence and generates outputs closer to the ground truth. This demonstrates the promise of SSMs for efficient and expressive text-to-music generation. We put audio examples on Github.

Diffusion models have emerged as a powerful class of generative models, achieving state-of-the-art results in continuous data domains such as image and video generation. Their core mechanism involves a forward diffusion process that gradually transforms structured data into a Gaussian-like distribution, followed by a learned reverse process to reconstruct the data. While successful in continuous modalities, applying this framework to discrete data-particularly natural language-remains challenging due to token dependency complexities and the lack of a defined generation order.This thesis investigates the feasibility and performance of discrete diffusion models for natural language generation. Specifically, we evaluate the Discrete Denoising Diffusion Probabilistic Model (D3PM) and compare it with traditional autoregressive (AR) language models. To assess generative performance, we use Bits Per Token (BPT), Negative Log-Likelihood (NLL), Perplexity (PPL), and Batch Processing Speed. Results show the best-performing D3PM model achieves a BPT of 5.72, with a mean of 8.05. The AR model outperforms in compression with a lower mean BPT of 4.59, but D3PM achieves higher processing speed, reaching up to 3.97 batches per sec., indicating potential for parallel generation.All evaluations were conducted under consistent conditions-generating 100,000 tokens per model with a fixed batch size of four-for fair comparison. This research presents a detailed analysis of diffusion-based vs. autoregressive models, highlighting trade-offs in generative quality and efficiency. Findings emphasize both the promise and limitations of diffusion models for discrete data, supporting future work in non-autoregressive language generation.

"Kawaii" is the Japanese concept of cute, which carries sociocultural connotations related to social identities and emotional responses. Yet, virtually all work to date has focused on the visual side of kawaii, including in studies of computer agents and social robots. In pursuit of formalizing the new science of kawaii vocalics, we explored what elements of voice relate to kawaii and how they might be manipulated, manually and automatically. We conducted a four-phase study (grand N = 512) with two varieties of computer voices: text-to-speech (TTS) and game character voices. We found kawaii "sweet spots" through manipulation of fundamental and formant frequencies, but only for certain voices and to a certain extent. Findings also suggest a ceiling effect for the kawaii vocalics of certain voices. We offer empirical validation of the preliminary kawaii vocalics model and an elementary method for manipulating kawaii perceptions of computer voice.

Online comment sections, such as those on news sites or social media, have the potential to foster informal public deliberation, However, this potential is often undermined by the frequency of toxic or low-quality exchanges that occur in these settings. To combat this, platforms increasingly leverage algorithmic ranking to facilitate higher-quality discussions, e.g., by using civility classifiers or forms of prosocial ranking. Yet, these interventions may also inadvertently reduce the visibility of legitimate viewpoints, undermining another key aspect of deliberation: representation of diverse views. We seek to remedy this problem by introducing guarantees of representation into these methods. In particular, we adopt the notion of justified representation (JR) from the social choice literature and incorporate a JR constraint into the comment ranking setting. We find that enforcing JR leads to greater inclusion of diverse viewpoints while still being compatible with optimizing for user engagement or other measures of conversational quality.

We present FRaN-X, a Framing and Narratives Explorer that automatically detects entity mentions and classifies their narrative roles directly from raw text. FRaN-X comprises a two-stage system that combines sequence labeling with fine-grained role classification to reveal how entities are portrayed as protagonists, antagonists, or innocents, using a unique taxonomy of 22 fine-grained roles nested under these three main categories. The system supports five languages (Bulgarian, English, Hindi, Russian, and Portuguese) and two domains (the Russia-Ukraine Conflict and Climate Change). It provides an interactive web interface for media analysts to explore and compare framing across different sources, tackling the challenge of automatically detecting and labeling how entities are framed. Our system allows end users to focus on a single article as well as analyze up to four articles simultaneously. We provide aggregate level analysis including an intuitive graph visualization that highlights the narrative a group of articles are pushing. Our system includes a search feature for users to look up entities of interest, along with a timeline view that allows analysts to track an entity's role transitions across different contexts within the article. The FRaN-X system and the trained models are licensed under an MIT License. FRaN-X is publicly accessible at https://fran-x.streamlit.app/ and a video demonstration is available at https://youtu.be/VZVi-1B6yYk.

Public product launches in Artificial Intelligence can serve as focusing events for collective attention, surfacing how societies react to technological change. Social media provide a window into the sensemaking around these events, surfacing hopes and fears and showing who chooses to engage in the discourse and when. We demonstrate that public sensemaking about AI is shaped by economic interests and cultural values of those involved. We analyze 3.8 million tweets posted by 1.6 million users across 117 countries in response to the public launch of ChatGPT in 2022. Our analysis shows how economic self-interest, proxied by occupational skill types in writing, programming, and mathematics, and national cultural orientations, as measured by Hofstede's individualism, uncertainty avoidance, and power distance dimensions, shape who speaks, when they speak, and their stance towards ChatGPT. Roles requiring more technical skills, such as programming and mathematics, tend to engage earlier and express more positive stances, whereas writing-centric occupations join later with greater skepticism. At the cultural level, individualism predicts both earlier engagement and a more negative stance, and uncertainty avoidance reduces the prevalence of positive stances but does not delay when users first engage with ChatGPT. Aggregate sentiment trends mask the dynamics observed in our study. The shift toward a more critical stance towards ChatGPT over time stems primarily from the entry of more skeptical voices rather than a change of heart among early adopters. Our findings underscore the importance of both the occupational background and cultural context in understanding public reactions to AI.

While AI presents significant potential for enhancing music mixing and mastering workflows, current research predominantly emphasizes end-to-end automation or generation, often overlooking the collaborative and instructional dimensions vital for co-creative processes. This gap leaves artists, particularly amateurs seeking to develop expertise, underserved. To bridge this, we introduce MixAssist, a novel audio-language dataset capturing the situated, multi-turn dialogue between expert and amateur music producers during collaborative mixing sessions. Comprising 431 audio-grounded conversational turns derived from 7 in-depth sessions involving 12 producers, MixAssist provides a unique resource for training and evaluating audio-language models that can comprehend and respond to the complexities of real-world music production dialogues. Our evaluations, including automated LLM-as-a-judge assessments and human expert comparisons, demonstrate that fine-tuning models such as Qwen-Audio on MixAssist can yield promising results, with Qwen significantly outperforming other tested models in generating helpful, contextually relevant mixing advice. By focusing on co-creative instruction grounded in audio context, MixAssist enables the development of intelligent AI assistants designed to support and augment the creative process in music mixing.

Sign up for the Slatest to get the most insightful analysis, criticism, and advice out there, delivered to your inbox daily. On Wednesday morning, X's chief embarrassment officer Linda Yaccarino announced she'd be leaving the social network after just two years on the job. While Yaccarino didn't name any particular reason, she did conspicuously align her departure with the immediate fallout from X's artificial intelligence bot, Grok, going full Nazi--and, in a series of now-deleted tweets, throwing repugnant sexual remarks her way. When people say "Grok is now a Nazi AI" they are simply stating a fact. From the muted manner in which X owner Elon Musk responded to the news ("Thank you for your contributions"), one might not have been able to grok that this was just the latest bit of bad news for the billionaire in what, by all accounts, has been a rather bad week for him.

Mel Brooks and Carl Reiner used to spend every evening watching movies. Their favourites were cheesy – the type of film where someone says, "Secure the perimeter!" Why do I mention this in the context of Foundation? Because this adaptation of Isaac Asimov's novels started out as a thought-provoking series, but is now a "Secure the perimeter!" It has been two years since Foundation last aired, so if you have forgotten where we left off, that is understandable.

Elon Musk-owned X's CEO Linda Yaccarino announced her resignation in a surprise move, just months after the social media platform was acquired by the billionaire's AI startup, xAI. In a statement posted on the platform Wednesday, the former NBCUniversal advertising executive said she had "decided to step down as CEO of X" following what she described as "two incredible years" leading the company through a major transformation. After two incredible years, I've decided to step down as CEO of . When @elonmusk and I first spoke of his vision for X, I knew it would be the opportunity of a lifetime to carry out the extraordinary mission of this company. Yaccarino's departure from the social media company adds to the turbulence in Musk's sprawling business empire, including falling sales at his electric vehicle maker Tesla and artificial intelligence-related controversies.