Daily Papers

Recent research on Vision-and-Language Navigation (VLN) indicates that agents suffer from poor generalization in unseen environments due to the lack of realistic training environments and high-quality path-instruction pairs. Most existing methods for constructing realistic navigation scenes have high costs, and the extension of instructions mainly relies on predefined templates or rules, lacking adaptability. To alleviate the issue, we propose InstruGen, a VLN path-instruction pairs generation paradigm. Specifically, we use YouTube house tour videos as realistic navigation scenes and leverage the powerful visual understanding and generation abilities of large multimodal models (LMMs) to automatically generate diverse and high-quality VLN path-instruction pairs. Our method generates navigation instructions with different granularities and achieves fine-grained alignment between instructions and visual observations, which was difficult to achieve with previous methods. Additionally, we design a multi-stage verification mechanism to reduce hallucinations and inconsistency of LMMs. Experimental results demonstrate that agents trained with path-instruction pairs generated by InstruGen achieves state-of-the-art performance on the R2R and RxR benchmarks, particularly in unseen environments. Code is available at https://github.com/yanyu0526/InstruGen.

We introduce the text-to-instrument task, which aims at generating sample-based musical instruments based on textual prompts. Accordingly, we propose InstrumentGen, a model that extends a text-prompted generative audio framework to condition on instrument family, source type, pitch (across an 88-key spectrum), velocity, and a joint text/audio embedding. Furthermore, we present a differentiable loss function to evaluate the intra-instrument timbral consistency of sample-based instruments. Our results establish a foundational text-to-instrument baseline, extending research in the domain of automatic sample-based instrument generation.

Instrument playing techniques (IPTs) constitute a pivotal component of musical expression. However, the development of automatic IPT detection methods suffers from limited labeled data and inherent class imbalance issues. In this paper, we propose to apply a self-supervised learning model pre-trained on large-scale unlabeled music data and finetune it on IPT detection tasks. This approach addresses data scarcity and class imbalance challenges. Recognizing the significance of pitch in capturing the nuances of IPTs and the importance of onset in locating IPT events, we investigate multi-task finetuning with pitch and onset detection as auxiliary tasks. Additionally, we apply a post-processing approach for event-level prediction, where an IPT activation initiates an event only if the onset output confirms an onset in that frame. Our method outperforms prior approaches in both frame-level and event-level metrics across multiple IPT benchmark datasets. Further experiments demonstrate the efficacy of multi-task finetuning on each IPT class.

Instrumental variable (IV) methods are used to estimate causal effects in settings with unobserved confounding, where we cannot directly experiment on the treatment variable. Instruments are variables which only affect the outcome indirectly via the treatment variable(s). Most IV applications focus on low-dimensional treatments and crucially require at least as many instruments as treatments. This assumption is restrictive: in the natural sciences we often seek to infer causal effects of high-dimensional treatments (e.g., the effect of gene expressions or microbiota on health and disease), but can only run few experiments with a limited number of instruments (e.g., drugs or antibiotics). In such underspecified problems, the full treatment effect is not identifiable in a single experiment even in the linear case. We show that one can still reliably recover the projection of the treatment effect onto the instrumented subspace and develop techniques to consistently combine such partial estimates from different sets of instruments. We then leverage our combined estimators in an algorithm that iteratively proposes the most informative instruments at each round of experimentation to maximize the overall information about the full causal effect.

Automatic Music Transcription (AMT) has been recognized as a key enabling technology with a wide range of applications. Given the task's complexity, best results have typically been reported for systems focusing on specific settings, e.g. instrument-specific systems tend to yield improved results over instrument-agnostic methods. Similarly, higher accuracy can be obtained when only estimating frame-wise f_0 values and neglecting the harder note event detection. Despite their high accuracy, such specialized systems often cannot be deployed in the real-world. Storage and network constraints prohibit the use of multiple specialized models, while memory and run-time constraints limit their complexity. In this paper, we propose a lightweight neural network for musical instrument transcription, which supports polyphonic outputs and generalizes to a wide variety of instruments (including vocals). Our model is trained to jointly predict frame-wise onsets, multipitch and note activations, and we experimentally show that this multi-output structure improves the resulting frame-level note accuracy. Despite its simplicity, benchmark results show our system's note estimation to be substantially better than a comparable baseline, and its frame-level accuracy to be only marginally below those of specialized state-of-the-art AMT systems. With this work we hope to encourage the community to further investigate low-resource, instrument-agnostic AMT systems.

Instrumental variable methods have been widely used to identify causal effects in the presence of unmeasured confounding. A key identification condition known as the exclusion restriction states that the instrument cannot have a direct effect on the outcome which is not mediated by the exposure in view. In the health and social sciences, such an assumption is often not credible. To address this concern, we consider identification conditions of the population average treatment effect with an invalid instrumental variable which does not satisfy the exclusion restriction, and derive the efficient influence function targeting the identifying functional under a nonparametric observed data model. We propose a novel multiply robust locally efficient estimator of the average treatment effect that is consistent in the union of multiple parametric nuisance models, as well as a multiply debiased machine learning estimator for which the nuisance parameters are estimated using generic machine learning methods, that effectively exploit various forms of linear or nonlinear structured sparsity in the nuisance parameter space. When one cannot be confident that any of these machine learners is consistent at sufficiently fast rates to ensure n-consistency for the average treatment effect, we introduce a new criteria for selective machine learning which leverages the multiple robustness property in order to ensure small bias. The proposed methods are illustrated through extensive simulations and a data analysis evaluating the causal effect of 401(k) participation on savings.

Multi-instrument music transcription aims to convert polyphonic music recordings into musical scores assigned to each instrument. This task is challenging for modeling as it requires simultaneously identifying multiple instruments and transcribing their pitch and precise timing, and the lack of fully annotated data adds to the training difficulties. This paper introduces YourMT3+, a suite of models for enhanced multi-instrument music transcription based on the recent language token decoding approach of MT3. We enhance its encoder by adopting a hierarchical attention transformer in the time-frequency domain and integrating a mixture of experts. To address data limitations, we introduce a new multi-channel decoding method for training with incomplete annotations and propose intra- and cross-stem augmentation for dataset mixing. Our experiments demonstrate direct vocal transcription capabilities, eliminating the need for voice separation pre-processors. Benchmarks across ten public datasets show our models' competitiveness with, or superiority to, existing transcription models. Further testing on pop music recordings highlights the limitations of current models. Fully reproducible code and datasets are available with demos at https://github.com/mimbres/YourMT3.

Indirect experiments provide a valuable framework for estimating treatment effects in situations where conducting randomized control trials (RCTs) is impractical or unethical. Unlike RCTs, indirect experiments estimate treatment effects by leveraging (conditional) instrumental variables, enabling estimation through encouragement and recommendation rather than strict treatment assignment. However, the sample efficiency of such estimators depends not only on the inherent variability in outcomes but also on the varying compliance levels of users with the instrumental variables and the choice of estimator being used, especially when dealing with numerous instrumental variables. While adaptive experiment design has a rich literature for direct experiments, in this paper we take the initial steps towards enhancing sample efficiency for indirect experiments by adaptively designing a data collection policy over instrumental variables. Our main contribution is a practical computational procedure that utilizes influence functions to search for an optimal data collection policy, minimizing the mean-squared error of the desired (non-linear) estimator. Through experiments conducted in various domains inspired by real-world applications, we showcase how our method can significantly improve the sample efficiency of indirect experiments.

This paper studies the challenging problem of estimating causal effects from observational data, in the presence of unobserved confounders. The two-stage least square (TSLS) method and its variants with a standard instrumental variable (IV) are commonly used to eliminate confounding bias, including the bias caused by unobserved confounders, but they rely on the linearity assumption. Besides, the strict condition of unconfounded instruments posed on a standard IV is too strong to be practical. To address these challenging and practical problems of the standard IV method (linearity assumption and the strict condition), in this paper, we use a conditional IV (CIV) to relax the unconfounded instrument condition of standard IV and propose a non-linear CIV regression with Confounding Balancing Representation Learning, CBRL.CIV, for jointly eliminating the confounding bias from unobserved confounders and balancing the observed confounders, without the linearity assumption. We theoretically demonstrate the soundness of CBRL.CIV. Extensive experiments on synthetic and two real-world datasets show the competitive performance of CBRL.CIV against state-of-the-art IV-based estimators and superiority in dealing with the non-linear situation.

Off-policy evaluation (OPE) is a method for estimating the return of a target policy using some pre-collected observational data generated by a potentially different behavior policy. In some cases, there may be unmeasured variables that can confound the action-reward or action-next-state relationships, rendering many existing OPE approaches ineffective. This paper develops an instrumental variable (IV)-based method for consistent OPE in confounded Markov decision processes (MDPs). Similar to single-stage decision making, we show that IV enables us to correctly identify the target policy's value in infinite horizon settings as well. Furthermore, we propose an efficient and robust value estimator and illustrate its effectiveness through extensive simulations and analysis of real data from a world-leading short-video platform.

In this paper, we introduce Jointist, an instrument-aware multi-instrument framework that is capable of transcribing, recognizing, and separating multiple musical instruments from an audio clip. Jointist consists of the instrument recognition module that conditions the other modules: the transcription module that outputs instrument-specific piano rolls, and the source separation module that utilizes instrument information and transcription results. The instrument conditioning is designed for an explicit multi-instrument functionality while the connection between the transcription and source separation modules is for better transcription performance. Our challenging problem formulation makes the model highly useful in the real world given that modern popular music typically consists of multiple instruments. However, its novelty necessitates a new perspective on how to evaluate such a model. During the experiment, we assess the model from various aspects, providing a new evaluation perspective for multi-instrument transcription. We also argue that transcription models can be utilized as a preprocessing module for other music analysis tasks. In the experiment on several downstream tasks, the symbolic representation provided by our transcription model turned out to be helpful to spectrograms in solving downbeat detection, chord recognition, and key estimation.

An ideal music synthesizer should be both interactive and expressive, generating high-fidelity audio in realtime for arbitrary combinations of instruments and notes. Recent neural synthesizers have exhibited a tradeoff between domain-specific models that offer detailed control of only specific instruments, or raw waveform models that can train on any music but with minimal control and slow generation. In this work, we focus on a middle ground of neural synthesizers that can generate audio from MIDI sequences with arbitrary combinations of instruments in realtime. This enables training on a wide range of transcription datasets with a single model, which in turn offers note-level control of composition and instrumentation across a wide range of instruments. We use a simple two-stage process: MIDI to spectrograms with an encoder-decoder Transformer, then spectrograms to audio with a generative adversarial network (GAN) spectrogram inverter. We compare training the decoder as an autoregressive model and as a Denoising Diffusion Probabilistic Model (DDPM) and find that the DDPM approach is superior both qualitatively and as measured by audio reconstruction and Fr\'echet distance metrics. Given the interactivity and generality of this approach, we find this to be a promising first step towards interactive and expressive neural synthesis for arbitrary combinations of instruments and notes.

Automated surgical instrument localization is an important technology to understand the surgical process and in order to analyze them to provide meaningful guidance during surgery or surgical index after surgery to the surgeon. We introduce a new dataset that reflects the kinematic characteristics of surgical instruments for automated surgical instrument localization of surgical videos. The hSDB(hutom Surgery DataBase)-instrument dataset consists of instrument localization information from 24 cases of laparoscopic cholecystecomy and 24 cases of robotic gastrectomy. Localization information for all instruments is provided in the form of a bounding box for object detection. To handle class imbalance problem between instruments, synthesized instruments modeled in Unity for 3D models are included as training data. Besides, for 3D instrument data, a polygon annotation is provided to enable instance segmentation of the tool. To reflect the kinematic characteristics of all instruments, they are annotated with head and body parts for laparoscopic instruments, and with head, wrist, and body parts for robotic instruments separately. Annotation data of assistive tools (specimen bag, needle, etc.) that are frequently used for surgery are also included. Moreover, we provide statistical information on the hSDB-instrument dataset and the baseline localization performances of the object detection networks trained by the MMDetection library and resulting analyses.

The task of efficient automatic music classification is of vital importance and forms the basis for various advanced applications of AI in the musical domain. Musical instrument recognition is the task of instrument identification by virtue of its audio. This audio, also termed as the sound vibrations are leveraged by the model to match with the instrument classes. In this paper, we use an artificial neural network (ANN) model that was trained to perform classification on twenty different classes of musical instruments. Here we use use only the mel-frequency cepstral coefficients (MFCCs) of the audio data. Our proposed model trains on the full London philharmonic orchestra dataset which contains twenty classes of instruments belonging to the four families viz. woodwinds, brass, percussion, and strings. Based on experimental results our model achieves state-of-the-art accuracy on the same.

Unlike melody extraction and other aspects of music transcription, research on playing technique detection is still in its early stages. Compared to existing work mostly focused on playing technique detection for individual single notes, we propose a general end-to-end method based on Sound Event Detection by FCN for musical instrument playing technique detection. In our case, we choose Erhu, a well-known Chinese bowed-stringed instrument, to experiment with our method. Because of the limitation of FCN, we present an algorithm to detect on variable length audio. The effectiveness of the proposed framework is tested on a new dataset, its categorization of techniques is similar to our training dataset. The highest accuracy of our 3 experiments on the new test set is 87.31%. Furthermore, we also evaluate the performance of the proposed framework on 10 real-world studio music (produced by midi) and 7 real-world recording samples to address the ability of generalization on our model.

In this paper, we propose a novel text promptable surgical instrument segmentation approach to overcome challenges associated with diversity and differentiation of surgical instruments in minimally invasive surgeries. We redefine the task as text promptable, thereby enabling a more nuanced comprehension of surgical instruments and adaptability to new instrument types. Inspired by recent advancements in vision-language models, we leverage pretrained image and text encoders as our model backbone and design a text promptable mask decoder consisting of attention- and convolution-based prompting schemes for surgical instrument segmentation prediction. Our model leverages multiple text prompts for each surgical instrument through a new mixture of prompts mechanism, resulting in enhanced segmentation performance. Additionally, we introduce a hard instrument area reinforcement module to improve image feature comprehension and segmentation precision. Extensive experiments on EndoVis2017 and EndoVis2018 datasets demonstrate our model's superior performance and promising generalization capability. To our knowledge, this is the first implementation of a promptable approach to surgical instrument segmentation, offering significant potential for practical application in the field of robotic-assisted surgery.

The aim of this work is to define a model based on deep learning that is able to identify different instrument timbres with as few parameters as possible. For this purpose, we have worked with classical orchestral instruments played with different dynamics, which are part of a few instrument families and which play notes in the same pitch range. It has been possible to assess the ability to classify instruments by timbre even if the instruments are playing the same note with the same intensity. The network employed uses a multi-head attention mechanism, with 8 heads and a dense network at the output taking as input the log-mel magnitude spectrograms of the sound samples. This network allows the identification of 20 instrument classes of the classical orchestra, achieving an overall F_1 value of 0.62. An analysis of the weights of the attention layer has been performed and the confusion matrix of the model is presented, allowing us to assess the ability of the proposed architecture to distinguish timbre and to establish the aspects on which future work should focus.

The development of machine learning (ML) techniques has led to ample opportunities for developers to develop and deploy their own models. Hugging Face serves as an open source platform where developers can share and download other models in an effort to make ML development more collaborative. In order for models to be shared, they first need to be serialized. Certain Python serialization methods are considered unsafe, as they are vulnerable to object injection. This paper investigates the pervasiveness of these unsafe serialization methods across Hugging Face, and demonstrates through an exploitation approach, that models using unsafe serialization methods can be exploited and shared, creating an unsafe environment for ML developers. We investigate to what extent Hugging Face is able to flag repositories and files using unsafe serialization methods, and develop a technique to detect malicious models. Our results show that Hugging Face is home to a wide range of potentially vulnerable models.

Segmentation of surgical instruments is crucial for enhancing surgeon performance and ensuring patient safety. Conventional techniques such as binary, semantic, and instance segmentation share a common drawback: they do not accommodate the parts of instruments obscured by tissues or other instruments. Precisely predicting the full extent of these occluded instruments can significantly improve laparoscopic surgeries by providing critical guidance during operations and assisting in the analysis of potential surgical errors, as well as serving educational purposes. In this paper, we introduce Amodal Segmentation to the realm of surgical instruments in the medical field. This technique identifies both the visible and occluded parts of an object. To achieve this, we introduce a new Amoal Instruments Segmentation (AIS) dataset, which was developed by reannotating each instrument with its complete mask, utilizing the 2017 MICCAI EndoVis Robotic Instrument Segmentation Challenge dataset. Additionally, we evaluate several leading amodal segmentation methods to establish a benchmark for this new dataset.

In this paper, we propose and investigate the use of neural audio codec language models for the automatic generation of sample-based musical instruments based on text or reference audio prompts. Our approach extends a generative audio framework to condition on pitch across an 88-key spectrum, velocity, and a combined text/audio embedding. We identify maintaining timbral consistency within the generated instruments as a major challenge. To tackle this issue, we introduce three distinct conditioning schemes. We analyze our methods through objective metrics and human listening tests, demonstrating that our approach can produce compelling musical instruments. Specifically, we introduce a new objective metric to evaluate the timbral consistency of the generated instruments and adapt the average Contrastive Language-Audio Pretraining (CLAP) score for the text-to-instrument case, noting that its naive application is unsuitable for assessing this task. Our findings reveal a complex interplay between timbral consistency, the quality of generated samples, and their correspondence to the input prompt.

A key strength of managed runtimes over hardware is the ability to gain detailed insight into the dynamic execution of programs with instrumentation. Analyses such as code coverage, execution frequency, tracing, and debugging, are all made easier in a virtual setting. As a portable, low-level bytecode, WebAssembly offers inexpensive in-process sandboxing with high performance. Yet to date, Wasm engines have not offered much insight into executing programs, supporting at best bytecode-level stepping and basic source maps, but no instrumentation capabilities. In this paper, we show the first non-intrusive dynamic instrumentation system for WebAssembly in the open-source Wizard Research Engine. Our innovative design offers a flexible, complete hierarchy of instrumentation primitives that support building high-level, complex analyses in terms of low-level, programmable probes. In contrast to emulation or machine code instrumentation, injecting probes at the bytecode level increases expressiveness and vastly simplifies the implementation by reusing the engine's JIT compiler, interpreter, and deoptimization mechanism rather than building new ones. Wizard supports both dynamic instrumentation insertion and removal while providing consistency guarantees, which is key to composing multiple analyses without interference. We detail a fully-featured implementation in a high-performance multi-tier Wasm engine, show novel optimizations specifically designed to minimize instrumentation overhead, and evaluate performance characteristics under load from various analyses. This design is well-suited for production engine adoption as probes can be implemented to have no impact on production performance when not in use.

Plankton recognition provides novel possibilities to study various environmental aspects and an interesting real-world context to develop domain adaptation (DA) methods. Different imaging instruments cause domain shift between datasets hampering the development of general plankton recognition methods. A promising remedy for this is DA allowing to adapt a model trained on one instrument to other instruments. In this paper, we present a new DA dataset called DAPlankton which consists of phytoplankton images obtained with different instruments. Phytoplankton provides a challenging DA problem due to the fine-grained nature of the task and high class imbalance in real-world datasets. DAPlankton consists of two subsets. DAPlankton_LAB contains images of cultured phytoplankton providing a balanced dataset with minimal label uncertainty. DAPlankton_SEA consists of images collected from the Baltic Sea providing challenging real-world data with large intra-class variance and class imbalance. We further present a benchmark comparison of three widely used DA methods.

As digital music production has become mainstream, the selection of appropriate virtual instruments plays a crucial role in determining the quality of music. To search the musical instrument samples or virtual instruments that make one's desired sound, music producers use their ears to listen and compare each instrument sample in their collection, which is time-consuming and inefficient. In this paper, we call this task as Musical Instrument Retrieval and propose a method for retrieving desired musical instruments using reference music mixture as a query. The proposed model consists of the Single-Instrument Encoder and the Multi-Instrument Encoder, both based on convolutional neural networks. The Single-Instrument Encoder is trained to classify the instruments used in single-track audio, and we take its penultimate layer's activation as the instrument embedding. The Multi-Instrument Encoder is trained to estimate multiple instrument embeddings using the instrument embeddings computed by the Single-Instrument Encoder as a set of target embeddings. For more generalized training and realistic evaluation, we also propose a new dataset called Nlakh. Experimental results showed that the Single-Instrument Encoder was able to learn the mapping from the audio signal of unseen instruments to the instrument embedding space and the Multi-Instrument Encoder was able to extract multiple embeddings from the mixture of music and retrieve the desired instruments successfully. The code used for the experiment and audio samples are available at: https://github.com/minju0821/musical_instrument_retrieval

Data diversity and volume are crucial to the success of training deep learning models, while in the medical imaging field, the difficulty and cost of data collection and annotation are especially huge. Specifically in robotic surgery, data scarcity and imbalance have heavily affected the model accuracy and limited the design and deployment of deep learning-based surgical applications such as surgical instrument segmentation. Considering this, we rethink the surgical instrument segmentation task and propose a one-to-many data generation solution that gets rid of the complicated and expensive process of data collection and annotation from robotic surgery. In our method, we only utilize a single surgical background tissue image and a few open-source instrument images as the seed images and apply multiple augmentations and blending techniques to synthesize amounts of image variations. In addition, we also introduce the chained augmentation mixing during training to further enhance the data diversities. The proposed approach is evaluated on the real datasets of the EndoVis-2018 and EndoVis-2017 surgical scene segmentation. Our empirical analysis suggests that without the high cost of data collection and annotation, we can achieve decent surgical instrument segmentation performance. Moreover, we also observe that our method can deal with novel instrument prediction in the deployment domain. We hope our inspiring results will encourage researchers to emphasize data-centric methods to overcome demanding deep learning limitations besides data shortage, such as class imbalance, domain adaptation, and incremental learning. Our code is available at https://github.com/lofrienger/Single_SurgicalScene_For_Segmentation.

In mainstream computer vision and machine learning, public datasets such as ImageNet, COCO and KITTI have helped drive enormous improvements by enabling researchers to understand the strengths and limitations of different algorithms via performance comparison. However, this type of approach has had limited translation to problems in robotic assisted surgery as this field has never established the same level of common datasets and benchmarking methods. In 2015 a sub-challenge was introduced at the EndoVis workshop where a set of robotic images were provided with automatically generated annotations from robot forward kinematics. However, there were issues with this dataset due to the limited background variation, lack of complex motion and inaccuracies in the annotation. In this work we present the results of the 2017 challenge on robotic instrument segmentation which involved 10 teams participating in binary, parts and type based segmentation of articulated da Vinci robotic instruments.

Even though they differ in the physical domain, digital video and audio share many characteristics. Both are temporal data streams often stored in buffers with 8-bit values. This paper investigates a method for creating harmonic sounds with a video signal as input. A musical instrument is proposed, that utilizes video in both a sound synthesis method, and in a controller interface for selecting musical notes at specific velocities. The resulting instrument was informally determined by the author to sound both pleasant and interesting, but hard to control, and therefore suited for synth pad sounds.

The origin of adversarial examples is still inexplicable in research fields, and it arouses arguments from various viewpoints, albeit comprehensive investigations. In this paper, we propose a way of delving into the unexpected vulnerability in adversarially trained networks from a causal perspective, namely adversarial instrumental variable (IV) regression. By deploying it, we estimate the causal relation of adversarial prediction under an unbiased environment dissociated from unknown confounders. Our approach aims to demystify inherent causal features on adversarial examples by leveraging a zero-sum optimization game between a casual feature estimator (i.e., hypothesis model) and worst-case counterfactuals (i.e., test function) disturbing to find causal features. Through extensive analyses, we demonstrate that the estimated causal features are highly related to the correct prediction for adversarial robustness, and the counterfactuals exhibit extreme features significantly deviating from the correct prediction. In addition, we present how to effectively inoculate CAusal FEatures (CAFE) into defense networks for improving adversarial robustness.

The applications of large language models (LLMs) have expanded well beyond the confines of text processing, signaling a new era where LLMs are envisioned as generalist language agents capable of operating within complex real-world environments. These environments are often highly expansive, making it impossible for the LLM to process them within its short-term memory. Motivated by recent research on extending the capabilities of LLMs with tools, this paper investigates the intriguing potential of tools to augment LLMs in handling such complexity. To this end, we design customized tools to aid in the proactive exploration within these massive environments. Such tools can serve as a middleware layer shielding the LLM from environmental complexity. In two representative complex environments -- knowledge bases (KBs) and databases -- we demonstrate the significant potential of augmenting language agents with tools in complex environments. Notably, equipped with these tools, GPT-4 achieves 2.8X the performance of the best baseline in tasks requiring access to database content and 2.2X in KB tasks. Our findings illuminate the path for advancing language agents in complex real-world applications.

This paper presents the specification, design, and development of the Visible Camera (VIS) on the ESA Euclid mission. VIS is a large optical-band imager with a field of view of 0.54 deg^2 sampled at 0.1" with an array of 609 Megapixels and spatial resolution of 0.18". It will be used to survey approximately 14,000 deg^2 of extragalactic sky to measure the distortion of galaxies in the redshift range z=0.1-1.5 resulting from weak gravitational lensing, one of the two principal cosmology probes of Euclid. With photometric redshifts, the distribution of dark matter can be mapped in three dimensions, and, from how this has changed with look-back time, the nature of dark energy and theories of gravity can be constrained. The entire VIS focal plane will be transmitted to provide the largest images of the Universe from space to date, reaching m_AB>24.5 with S/N >10 in a single broad I_E~(r+i+z) band over a six year survey. The particularly challenging aspects of the instrument are the control and calibration of observational biases, which lead to stringent performance requirements and calibration regimes. With its combination of spatial resolution, calibration knowledge, depth, and area covering most of the extra-Galactic sky, VIS will also provide a legacy data set for many other fields. This paper discusses the rationale behind the VIS concept and describes the instrument design and development before reporting the pre-launch performance derived from ground calibrations and brief results from the in-orbit commissioning. VIS should reach fainter than m_AB=25 with S/N>10 for galaxies of full-width half-maximum of 0.3" in a 1.3" diameter aperture over the Wide Survey, and m_AB>26.4 for a Deep Survey that will cover more than 50 deg^2. The paper also describes how VIS works with the other Euclid components of survey, telescope, and science data processing to extract the cosmological information.

Synthesizing performing guitar sound is a highly challenging task due to the polyphony and high variability in expression. Recently, deep generative models have shown promising results in synthesizing expressive polyphonic instrument sounds from music scores, often using a generic MIDI input. In this work, we propose an expressive acoustic guitar sound synthesis model with a customized input representation to the instrument, which we call guitarroll. We implement the proposed approach using diffusion-based outpainting which can generate audio with long-term consistency. To overcome the lack of MIDI/audio-paired datasets, we used not only an existing guitar dataset but also collected data from a high quality sample-based guitar synthesizer. Through quantitative and qualitative evaluations, we show that our proposed model has higher audio quality than the baseline model and generates more realistic timbre sounds than the previous leading work.

The ''pretraining-and-finetuning'' paradigm has become a norm for training domain-specific models in natural language processing and computer vision. In this work, we aim to examine this paradigm for symbolic music generation through leveraging the largest ever symbolic music dataset sourced from the MuseScore forum. We first pretrain a large unconditional transformer model using 1.5 million songs. We then propose a simple technique to equip this pretrained unconditional music transformer model with instrument and genre controls by finetuning the model with additional control tokens. Our proposed representation offers improved high-level controllability and expressiveness against two existing representations. The experimental results show that the proposed model can successfully generate music with user-specified instruments and genre. In a subjective listening test, the proposed model outperforms the pretrained baseline model in terms of coherence, harmony, arrangement and overall quality.

Convolutional Neural Networks have demonstrated dermatologist-level performance in the classification of melanoma from skin lesion images, but prediction irregularities due to biases seen within the training data are an issue that should be addressed before widespread deployment is possible. In this work, we robustly remove bias and spurious variation from an automated melanoma classification pipeline using two leading bias unlearning techniques. We show that the biases introduced by surgical markings and rulers presented in previous studies can be reasonably mitigated using these bias removal methods. We also demonstrate the generalisation benefits of unlearning spurious variation relating to the imaging instrument used to capture lesion images. Our experimental results provide evidence that the effects of each of the aforementioned biases are notably reduced, with different debiasing techniques excelling at different tasks.

Digitization of scanned Piping and Instrumentation diagrams(P&ID), widely used in manufacturing or mechanical industries such as oil and gas over several decades, has become a critical bottleneck in dynamic inventory management and creation of smart P&IDs that are compatible with the latest CAD tools. Historically, P&ID sheets have been manually generated at the design stage, before being scanned and stored as PDFs. Current digitization initiatives involve manual processing and are consequently very time consuming, labour intensive and error-prone.Thanks to advances in image processing, machine and deep learning techniques there are emerging works on P&ID digitization. However, existing solutions face several challenges owing to the variation in the scale, size and noise in the P&IDs, sheer complexity and crowdedness within drawings, domain knowledge required to interpret the drawings. This motivates our current solution called Digitize-PID which comprises of an end-to-end pipeline for detection of core components from P&IDs like pipes, symbols and textual information, followed by their association with each other and eventually, the validation and correction of output data based on inherent domain knowledge. A novel and efficient kernel-based line detection and a two-step method for detection of complex symbols based on a fine-grained deep recognition technique is presented in the paper. In addition, we have created an annotated synthetic dataset, Dataset-P&ID, of 500 P&IDs by incorporating different types of noise and complex symbols which is made available for public use (currently there exists no public P&ID dataset). We evaluate our proposed method on this synthetic dataset and a real-world anonymized private dataset of 12 P&ID sheets. Results show that Digitize-PID outperforms the existing state-of-the-art for P&ID digitization.

Music source separation in the time-frequency domain is commonly achieved by applying a soft or binary mask to the magnitude component of (complex) spectrograms. The phase component is usually not estimated, but instead copied from the mixture and applied to the magnitudes of the estimated isolated sources. While this method has several practical advantages, it imposes an upper bound on the performance of the system, where the estimated isolated sources inherently exhibit audible "phase artifacts". In this paper we address these shortcomings by directly estimating masks in the complex domain, extending recent work from the speech enhancement literature. The method is particularly well suited for multi-instrument musical source separation since residual phase artifacts are more pronounced for spectrally overlapping instrument sources, a common scenario in music. We show that complex masks result in better separation than masks that operate solely on the magnitude component.

Music Emotion Recognition involves the automatic identification of emotional elements within music tracks, and it has garnered significant attention due to its broad applicability in the field of Music Information Retrieval. It can also be used as the upstream task of many other human-related tasks such as emotional music generation and music recommendation. Due to existing psychology research, music emotion is determined by multiple factors such as the Timbre, Velocity, and Structure of the music. Incorporating multiple factors in MER helps achieve more interpretable and finer-grained methods. However, most prior works were uni-domain and showed weak consistency between arousal modeling performance and valence modeling performance. Based on this background, we designed a multi-domain emotion modeling method for instrumental music that combines symbolic analysis and acoustic analysis. At the same time, because of the rarity of music data and the difficulty of labeling, our multi-domain approach can make full use of limited data. Our approach was implemented and assessed using the publicly available piano dataset EMOPIA, resulting in a notable improvement over our baseline model with a 2.4% increase in overall accuracy, establishing its state-of-the-art performance.

Hand tracking is a critical component of natural user interactions in extended reality (XR) environments, including extended reality musical instruments (XRMIs). However, self-occlusion remains a significant challenge for vision-based hand tracking systems, leading to inaccurate results and degraded user experiences. In this paper, we propose a multimodal hand tracking system that combines vision-based hand tracking with surface electromyography (sEMG) data for finger joint angle estimation. We validate the effectiveness of our system through a series of hand pose tasks designed to cover a wide range of gestures, including those prone to self-occlusion. By comparing the performance of our multimodal system to a baseline vision-based tracking method, we demonstrate that our multimodal approach significantly improves tracking accuracy for several finger joints prone to self-occlusion. These findings suggest that our system has the potential to enhance XR experiences by providing more accurate and robust hand tracking, even in the presence of self-occlusion.

In this paper, we learn disentangled representations of timbre and pitch for musical instrument sounds. We adapt a framework based on variational autoencoders with Gaussian mixture latent distributions. Specifically, we use two separate encoders to learn distinct latent spaces for timbre and pitch, which form Gaussian mixture components representing instrument identity and pitch, respectively. For reconstruction, latent variables of timbre and pitch are sampled from corresponding mixture components, and are concatenated as the input to a decoder. We show the model efficacy by latent space visualization, and a quantitative analysis indicates the discriminability of these spaces, even with a limited number of instrument labels for training. The model allows for controllable synthesis of selected instrument sounds by sampling from the latent spaces. To evaluate this, we trained instrument and pitch classifiers using original labeled data. These classifiers achieve high accuracy when tested on our synthesized sounds, which verifies the model performance of controllable realistic timbre and pitch synthesis. Our model also enables timbre transfer between multiple instruments, with a single autoencoder architecture, which is evaluated by measuring the shift in posterior of instrument classification. Our in depth evaluation confirms the model ability to successfully disentangle timbre and pitch.

Fluorescence Lifetime Imaging (FLI) is a critical molecular imaging modality that provides unique information about the tissue microenvironment, which is invaluable for biomedical applications. FLI operates by acquiring and analyzing photon time-of-arrival histograms to extract quantitative parameters associated with temporal fluorescence decay. These histograms are influenced by the intrinsic properties of the fluorophore, instrument parameters, time-of-flight distributions associated with pixel-wise variations in the topographic and optical characteristics of the sample. Recent advancements in Deep Learning (DL) have enabled improved fluorescence lifetime parameter estimation. However, existing models are primarily designed for planar surface samples, limiting their applicability in translational scenarios involving complex surface profiles, such as in-vivo whole-animal or imaged guided surgical applications. To address this limitation, we present MFliNet (Macroscopic FLI Network), a novel DL architecture that integrates the Instrument Response Function (IRF) as an additional input alongside experimental photon time-of-arrival histograms. Leveraging the capabilities of a Differential Transformer encoder-decoder architecture, MFliNet effectively focuses on critical input features, such as variations in photon time-of-arrival distributions. We evaluate MFliNet using rigorously designed tissue-mimicking phantoms and preclinical in-vivo cancer xenograft models. Our results demonstrate the model's robustness and suitability for complex macroscopic FLI applications, offering new opportunities for advanced biomedical imaging in diverse and challenging settings.