Leveraging the large generative prior of the flow transformer for tuning-free image editing requires authentic inversion to project the image into the model's domain and a flexible invariance control mechanism to preserve non-target contents. However, the prevailing diffusion inversion performs deficiently in flow-based models, and the invariance control cannot reconcile diverse rigid and non-rigid editing tasks. To address these, we systematically analyze the \textbf{inversion and invariance} control based on the flow transformer. Specifically, we unveil that the Euler inversion shares a similar structure to DDIM yet is more susceptible to the approximation error. Thus, we propose a two-stage inversion to first refine the velocity estimation and then compensate for the leftover error, which pivots closely to the model prior and benefits editing. Meanwhile, we propose the invariance control that manipulates the text features within the adaptive layer normalization, connecting the changes in the text prompt to image semantics. This mechanism can simultaneously preserve the non-target contents while allowing rigid and non-rigid manipulation, enabling a wide range of editing types such as visual text, quantity, facial expression, etc. Experiments on versatile scenarios validate that our framework achieves flexible and accurate editing, unlocking the potential of the flow transformer for versatile image editing.

Direction of arrival (DoA) estimation is a common sensing problem in radar, sonar, audio, and wireless communication systems. It has gained renewed importance with the advent of the integrated sensing and communication paradigm. To fully exploit the potential of such sensing systems, it is crucial to take into account potential hardware impairments that can negatively impact the obtained performance. This study introduces a joint DoA estimation and hardware impairment learning scheme following a model-based approach. Specifically, a differentiable version of the multiple signal classification (MUSIC) algorithm is derived, allowing efficient learning of the considered impairments. The proposed approach supports both supervised and unsupervised learning strategies, showcasing its practical potential. Simulation results indicate that the proposed method successfully learns significant inaccuracies in both antenna locations and complex gains. Additionally, the proposed method outperforms the classical MUSIC algorithm in the DoA estimation task.

Recent advancements in spoken dialogue models, exemplified by systems like GPT-4o, have captured significant attention in the speech domain. Compared to traditional three-tier cascaded spoken dialogue models that comprise speech recognition (ASR), large language models (LLMs), and text-to-speech (TTS), modern spoken dialogue models exhibit greater intelligence. These advanced spoken dialogue models not only comprehend audio, music, and other speech-related features, but also capture stylistic and timbral characteristics in speech. Moreover, they generate high-quality, multi-turn speech responses with low latency, enabling real-time interaction through simultaneous listening and speaking capability. Despite the progress in spoken dialogue systems, there is a lack of comprehensive surveys that systematically organize and analyze these systems and the underlying technologies. To address this, we have first compiled existing spoken dialogue systems in the chronological order and categorized them into the cascaded and end-to-end paradigms. We then provide an in-depth overview of the core technologies in spoken dialogue models, covering aspects such as speech representation, training paradigm, streaming, duplex, and interaction capabilities. Each section discusses the limitations of these technologies and outlines considerations for future research. Additionally, we present a thorough review of relevant datasets, evaluation metrics, and benchmarks from the perspectives of training and evaluating spoken dialogue systems. We hope this survey will contribute to advancing both academic research and industrial applications in the field of spoken dialogue systems. The related material is available at https://github.com/jishengpeng/WavChat.

This paper describes the robot technology behind an original performance that pairs a human dancer (Cuan) with an industrial robot arm for an eight-hour dance that unfolds over the timespan of an American workday. To control the robot arm, we combine a range of sinusoidal motions with varying amplitude, frequency and offset at each joint to evoke human motions common in physical labor such as stirring, digging, and stacking. More motions were developed using deep learning techniques for video-based human-pose tracking and extraction. We combine these pre-recorded motions with improvised robot motions created live by putting the robot into teach-mode and triggering force sensing from the robot joints onstage. All motions are combined with commercial and original music using a custom suite of python software with AppleScript, Keynote, and Zoom to facilitate on-stage communication with the dancer. The resulting performance contrasts the expressivity of the human body with the precision of robot machinery. Video, code and data are available on the project website: https://sites.google.com/playing.studio/breathless

There has been a growing interest in enhancing rule-based agent-based models (ABMs) for social media platforms (i.e., X, Reddit) with more realistic large language model (LLM) agents, thereby allowing for a more nuanced study of complex systems. As a result, several LLM-based ABMs have been proposed in the past year. While they hold promise, each simulator is specifically designed to study a particular scenario, making it time-consuming and resource-intensive to explore other phenomena using the same ABM. Additionally, these models simulate only a limited number of agents, whereas real-world social media platforms involve millions of users. To this end, we propose OASIS, a generalizable and scalable social media simulator. OASIS is designed based on real-world social media platforms, incorporating dynamically updated environments (i.e., dynamic social networks and post information), diverse action spaces (i.e., following, commenting), and recommendation systems (i.e., interest-based and hot-score-based). Additionally, OASIS supports large-scale user simulations, capable of modeling up to one million users. With these features, OASIS can be easily extended to different social media platforms to study large-scale group phenomena and behaviors. We replicate various social phenomena, including information spreading, group polarization, and herd effects across X and Reddit platforms. Moreover, we provide observations of social phenomena at different agent group scales. We observe that the larger agent group scale leads to more enhanced group dynamics and more diverse and helpful agents' opinions. These findings demonstrate OASIS's potential as a powerful tool for studying complex systems in digital environments.

Album sequencing is a critical part of the album production process. Recently, a data-driven approach was proposed that sequences general collections of independent media by extracting the narrative essence of the items in the collections. While this approach implies an album sequencing technique, it is not widely accessible to a less technical audience, requiring advanced knowledge of machine learning techniques to use. To address this, we introduce a new user-friendly web-based tool that allows a less technical audience to upload music tracks, execute this technique in one click, and subsequently presents the result in a clean visualization to the user. To both increase the number of templates available to the user and address shortcomings of previous work, we also introduce a new direct transformer-based album sequencing method. We find that our more direct method outperforms a random baseline but does not reach the same performance as the narrative essence approach. Both methods are included in our web-based user interface, and this -- alongside a full copy of our implementation -- is publicly available at https://github.com/dylanashley/automatic-album-sequencing

Large language models (LLMs) are widely used but raise ethical concerns due to embedded social biases. This study examines LLM biases against Arabs versus Westerners across eight domains, including women's rights, terrorism, and anti-Semitism and assesses model resistance to perpetuating these biases. To this end, we create two datasets: one to evaluate LLM bias toward Arabs versus Westerners and another to test model safety against prompts that exaggerate negative traits ("jailbreaks"). We evaluate six LLMs -- GPT-4, GPT-4o, LlaMA 3.1 (8B & 405B), Mistral 7B, and Claude 3.5 Sonnet. We find 79% of cases displaying negative biases toward Arabs, with LlaMA 3.1-405B being the most biased. Our jailbreak tests reveal GPT-4o as the most vulnerable, despite being an optimized version, followed by LlaMA 3.1-8B and Mistral 7B. All LLMs except Claude exhibit attack success rates above 87% in three categories. We also find Claude 3.5 Sonnet the safest, but it still displays biases in seven of eight categories. Despite being an optimized version of GPT4, We find GPT-4o to be more prone to biases and jailbreaks, suggesting optimization flaws. Our findings underscore the pressing need for more robust bias mitigation strategies and strengthened security measures in LLMs.

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Indeed, many of Tracy's pieces of film criticism aren't reviews--they're movie-centered essays, in which she develops in detail her probingly comprehensive view of the art form over all. She may even be the cinema's first major theoretician. Her body of work cries out for a complete reissue in book form. Tracy, born in 1874, was the daughter of actors, and she began her career on the stage, in the eighteen-nineties. In 1909, she published a book of short stories about the lives of theatre people, "Merely Players." In her love of movies, she was fighting an uphill battle against the intellectual orthodoxies of the time, which revered theatre as a serious art form and disparaged movies as merely popular entertainment.

Countless flowing green wigs risked spontaneous combustion on a 36-degree Melbourne evening as thousands of J-pop fans queued outside John Cain Arena on Friday night. But the heat was irrelevant to the night's headline pop attraction, Hatsune Miku. Miku, as she's known to fans, is a 157cm-tall avatar of a teenage girl with green pigtails. She represents a digital bank of vocal samples created by the ominous-sounding Crypton Future Media using Yamaha's Vocaloid voice synthesiser technology. Users input lyrics and melodies which are "sung" by the bank's sampled voice (Hatsune Miku is voiced by the actor Saki Fujita); some Vocaloid producers "tune" the software to be especially convincing, while others embrace its artificiality.