We present a method for automatically producing human-like vocal imitations of sounds: the equivalent of "sketching," but for auditory rather than visual representation. Starting with a simulated model of the human vocal tract, we first try generating vocal imitations by tuning the model's control parameters to make the synthesized vocalization match the target sound in terms of perceptually-salient auditory features. Then, to better match human intuitions, we apply a cognitive theory of communication to take into account how human speakers reason strategically about their listeners. Finally, we show through several experiments and user studies that when we add this type of communicative reasoning to our method, it aligns with human intuitions better than matching auditory features alone does. This observation has broad implications for the study of depiction in computer graphics.

Often, a good explanation for a program's unexpected behavior is a bug in the programmer's code. But sometimes, an even better explanation is a bug in the programmer's mental model of the language they are using. Instead of merely debugging our current code ("giving the programmer a fish"), what if our tools could directly debug our mental models ("teaching the programmer to fish")? In this paper, we apply ideas from computational cognitive science to do exactly that. Given a perplexing program, we use program synthesis techniques to automatically infer potential misconceptions that might cause the user to be surprised by the program's behavior. By analyzing these misconceptions, we provide succinct, useful explanations of the program's behavior. Our methods can even be inverted to synthesize pedagogical example programs for diagnosing and correcting misconceptions in students.

How much can you say about the gradient of a neural network without computing a loss or knowing the label? This may sound like a strange question: surely the answer is "very little." However, in this paper, we show that gradients are more structured than previously thought. Gradients lie in a predictable low-dimensional subspace which depends on the network architecture and incoming features. Exploiting this structure can significantly improve gradient-free optimization schemes based on directional derivatives, which have struggled to scale beyond small networks trained on toy datasets. We study how to narrow the gap in optimization performance between methods that calculate exact gradients and those that use directional derivatives. Furthermore, we highlight new challenges in overcoming the large gap between optimizing with exact gradients and guessing the gradients.

A single panel of a comic book can say a lot: it can depict not only where the characters currently are, but also their motions, their motivations, their emotions, and what they might do next. More generally, humans routinely infer complex sequences of past and future events from a *static snapshot* of a *dynamic scene*, even in situations they have never seen before. In this paper, we model how humans make such rapid and flexible inferences. Building on a long line of work in cognitive science, we offer a Monte Carlo algorithm whose inferences correlate well with human intuitions in a wide variety of domains, while only using a small, cognitively-plausible number of samples. Our key technical insight is a surprising connection between our inference problem and Monte Carlo path tracing, which allows us to apply decades of ideas from the computer graphics community to this seemingly-unrelated theory of mind task.

We develop an algorithm for automatic differentiation of Metropolis-Hastings samplers, allowing us to differentiate through probabilistic inference, even if the model has discrete components within it. Our approach fuses recent advances in stochastic automatic differentiation with traditional Markov chain coupling schemes, providing an unbiased and low-variance gradient estimator. This allows us to apply gradient-based optimization to objectives expressed as expectations over intractable target densities. We demonstrate our approach by finding an ambiguous observation in a Gaussian mixture model and by maximizing the specific heat in an Ising model.

Great storytellers know how to take us on a journey. They direct characters to act -- not necessarily in the most rational way -- but rather in a way that leads to interesting situations, and ultimately creates an impactful experience for audience members looking on. If audience experience is what matters most, then can we help artists and animators *directly* craft such experiences, independent of the concrete character actions needed to evoke those experiences? In this paper, we offer a novel computational framework for such tools. Our key idea is to optimize animations with respect to *simulated* audience members' experiences. To simulate the audience, we borrow an established principle from cognitive science: that human social intuition can be modeled as "inverse planning," the task of inferring an agent's (hidden) goals from its (observed) actions. Building on this model, we treat storytelling as "*inverse* inverse planning," the task of choosing actions to manipulate an inverse planner's inferences. Our framework is grounded in literary theory, naturally capturing many storytelling elements from first principles. We give a series of examples to demonstrate this, with supporting evidence from human subject studies.

Working with any gradient-based machine learning algorithm involves the tedious task of tuning the optimizer's hyperparameters, such as the learning rate. There exist many techniques for automated hyperparameter optimization, but they typically introduce even more hyperparameters to control the hyperparameter optimization process. We propose to instead learn the hyperparameters themselves by gradient descent, and furthermore to learn the hyper-hyperparameters by gradient descent as well, and so on ad infinitum. As these towers of gradient-based optimizers grow, they become significantly less sensitive to the choice of top-level hyperparameters, hence decreasing the burden on the user to search for optimal values.

We consider the task of mapping pseudocode to long programs that are functionally correct. Given test cases as a mechanism to validate programs, we search over the space of possible translations of the pseudocode to find a program that passes the validation. However, without proper credit assignment to localize the sources of program failures, it is difficult to guide search toward more promising programs. We propose to perform credit assignment based on signals from compilation errors, which constitute 88.7% of program failures. Concretely, we treat the translation of each pseudocode line as a discrete portion of the program, and whenever a synthesized program fails to compile, an error localization method tries to identify the portion of the program responsible for the failure. We then focus search over alternative translations of the pseudocode for those portions. For evaluation, we collected the SPoC dataset (Search-based Pseudocode to Code) containing 18,356 programs with human-authored pseudocode and test cases. Under a budget of 100 program compilations, performing search improves the synthesis success rate over using the top-one translation of the pseudocode from 25.6% to 44.7%.