We introduce rLLM (relationLLM), a PyTorch library designed for Relational Table Learning (RTL) with Large Language Models (LLMs). The core idea is to decompose state-of-the-art Graph Neural Networks, LLMs, and Table Neural Networks into standardized modules, to enable the fast construction of novel RTL-type models in a simple "combine, align, and co-train" manner. To illustrate the usage of rLLM, we introduce a simple RTL method named \textbf{BRIDGE}. Additionally, we present three novel relational tabular datasets (TML1M, TLF2K, and TACM12K) by enhancing classic datasets. We hope rLLM can serve as a useful and easy-to-use development framework for RTL-related tasks. Our code is available at: https://github.com/rllm-project/rllm.

Automatic drum transcription is a critical tool in Music Information Retrieval for extracting and analyzing the rhythm of a music track, but it is limited by the size of the datasets available for training. A popular method used to increase the amount of data is by generating them synthetically from music scores rendered with virtual instruments. This method can produce a virtually infinite quantity of tracks, but empirical evidence shows that models trained on previously created synthetic datasets do not transfer well to real tracks. In this work, besides increasing the amount of data, we identify and evaluate three more strategies that practitioners can use to improve the realism of the generated data and, thus, narrow the synthetic-to-real transfer gap. To explore their efficacy, we used them to build a new synthetic dataset and then we measured how the performance of a model scales and, specifically, at what value it will stagnate when increasing the number of training tracks for different datasets. By doing this, we were able to prove that the aforementioned strategies contribute to make our dataset the one with the most realistic data distribution and the lowest synthetic-to-real transfer gap among the synthetic datasets we evaluated. We conclude by highlighting the limits of training with infinite data in drum transcription and we show how they can be overcome.

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The burgeoning short video industry has accelerated the advancement of video-music retrieval technology, assisting content creators in selecting appropriate music for their videos. In self-supervised training for video-to-music retrieval, the video and music samples in the dataset are separated from the same video work, so they are all one-to-one matches. This does not match the real situation. In reality, a video can use different music as background music, and a music can be used as background music for different videos. Many videos and music that are not in a pair may be compatible, leading to false negative noise in the dataset. A novel inter-intra modal (II) loss is proposed as a solution. By reducing the variation of feature distribution within the two modalities before and after the encoder, II loss can reduce the model's overfitting to such noise without removing it in a costly and laborious way. The video-music retrieval framework, II-CLVM (Contrastive Learning for Video-Music Retrieval), incorporating the II Loss, achieves state-of-the-art performance on the YouTube8M dataset. The framework II-CLVTM shows better performance when retrieving music using multi-modal video information (such as text in videos). Experiments are designed to show that II loss can effectively alleviate the problem of false negative noise in retrieval tasks. Experiments also show that II loss improves various self-supervised and supervised uni-modal and cross-modal retrieval tasks, and can obtain good retrieval models with a small amount of training samples.

This paper presents a natural language processing (NLP) approach to the problem of thoroughly comprehending song lyrics, with particular attention on genre classification, view-based success prediction, and approximate release year. Our tests provide promising results with 65\% accuracy in genre classification and 79\% accuracy in success prediction, leveraging a DistilBERT model for genre classification and BERT embeddings for release year prediction. Support Vector Machines outperformed other models in predicting the release year, achieving the lowest root mean squared error (RMSE) of 14.18. Our study offers insights that have the potential to revolutionize our relationship with music by addressing the shortcomings of current approaches in properly understanding the emotional intricacies of song lyrics.

Sentiment analysis is the process of identifying and categorizing people's emotions or opinions regarding various topics. Analyzing political sentiment is critical for understanding the complexities of public opinion processes, especially during election seasons. It gives significant information on voter preferences, attitudes, and current trends. In this study, we investigate political sentiment analysis during Bangladeshi elections, specifically examining how effectively Pre-trained Language Models (PLMs) and Large Language Models (LLMs) capture complex sentiment characteristics. Our study centers on the creation of the "Motamot" dataset, comprising 7,058 instances annotated with positive and negative sentiments, sourced from diverse online newspaper portals, forming a comprehensive resource for political sentiment analysis. We meticulously evaluate the performance of various PLMs including BanglaBERT, Bangla BERT Base, XLM-RoBERTa, mBERT, and sahajBERT, alongside LLMs such as Gemini 1.5 Pro and GPT 3.5 Turbo. Moreover, we explore zero-shot and few-shot learning strategies to enhance our understanding of political sentiment analysis methodologies. Our findings underscore BanglaBERT's commendable accuracy of 88.10% among PLMs. However, the exploration into LLMs reveals even more promising results. Through the adept application of Few-Shot learning techniques, Gemini 1.5 Pro achieves an impressive accuracy of 96.33%, surpassing the remarkable performance of GPT 3.5 Turbo, which stands at 94%. This underscores Gemini 1.5 Pro's status as the superior performer in this comparison.

With the phenomenal rise of generative AI models (e.g., large language models such as GPT or large image models such as Diffusion), there are increasing concerns about human creatives' futures. Specifically, as generative models' power further increases, will they eventually replace all human creatives' jobs? We argue that the answer is "no," even if existing generative AI models' capabilities reach their theoretical limit. Our theory has a close analogy to a familiar insight in financial economics on the impossibility of an informationally efficient market [Grossman and Stiglitz (1980)]: If generative AI models can provide all the content humans need at low variable costs, then there is no incentive for humans to spend costly resources on content creation as they cannot profit from it. But if no human creates new content, then generative AI can only learn from stale information and be unable to generate up-to-date content that reflects new happenings in the physical world. This creates a paradox.

Human image animation involves generating videos from a character photo, allowing user control and unlocking potential for video and movie production. While recent approaches yield impressive results using high-quality training data, the inaccessibility of these datasets hampers fair and transparent benchmarking. Moreover, these approaches prioritize 2D human motion and overlook the significance of camera motions in videos, leading to limited control and unstable video generation. To demystify the training data, we present HumanVid, the first large-scale high-quality dataset tailored for human image animation, which combines crafted real-world and synthetic data. For the real-world data, we compile a vast collection of copyright-free real-world videos from the internet. Through a carefully designed rule-based filtering strategy, we ensure the inclusion of high-quality videos, resulting in a collection of 20K human-centric videos in 1080P resolution. Human and camera motion annotation is accomplished using a 2D pose estimator and a SLAM-based method. For the synthetic data, we gather 2,300 copyright-free 3D avatar assets to augment existing available 3D assets. Notably, we introduce a rule-based camera trajectory generation method, enabling the synthetic pipeline to incorporate diverse and precise camera motion annotation, which can rarely be found in real-world data. To verify the effectiveness of HumanVid, we establish a baseline model named CamAnimate, short for Camera-controllable Human Animation, that considers both human and camera motions as conditions. Through extensive experimentation, we demonstrate that such simple baseline training on our HumanVid achieves state-of-the-art performance in controlling both human pose and camera motions, setting a new benchmark. Code and data will be publicly available at https://github.com/zhenzhiwang/HumanVid/.

Last year, Rachel Antell, an archival producer for documentary films, started noticing AI-generated images mixed in with authentic photos. There are always holes or limitations in an archive; in one case, film-makers got around a shortage of images for a barely photographed 19th-century woman by using AI to generate what looked like old photos. Which brought up the question: should they? And if they did, what sort of transparency is required? The capability and availability of generative AI – the type that can produce text, images and video – have changed so rapidly, and the conversations around it have been so fraught, that film-makers' ability to use it far outpaces any consensus on how.

Nowadays, misinformation is widely spreading over various social media platforms and causes extremely negative impacts on society. To combat this issue, automatically identifying misinformation, especially those containing multimodal content, has attracted growing attention from the academic and industrial communities, and induced an active research topic named Multimodal Misinformation Detection (MMD). Typically, existing MMD methods capture the semantic correlation and inconsistency between multiple modalities, but neglect some potential clues in multimodal content. Recent studies suggest that manipulated traces of the images in articles are non-trivial clues for detecting misinformation. Meanwhile, we find that the underlying intentions behind the manipulation, e.g., harmful and harmless, also matter in MMD. Accordingly, in this work, we propose to detect misinformation by learning manipulation features that indicate whether the image has been manipulated, as well as intention features regarding the harmful and harmless intentions of the manipulation. Unfortunately, the manipulation and intention labels that make these features discriminative are unknown. To overcome the problem, we propose two weakly supervised signals as alternatives by introducing additional datasets on image manipulation detection and formulating two classification tasks as positive and unlabeled learning problems. Based on these ideas, we propose a novel MMD method, namely Harmfully Manipulated Images Matter in MMD (HAMI-M3D). Extensive experiments across three benchmark datasets can demonstrate that HAMI-M3D can consistently improve the performance of any MMD baselines.