3,065 research outputs found

    Conversational Agents, Humorous Act Construction, and Social Intelligence

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    Humans use humour to ease communication problems in human-human interaction and \ud in a similar way humour can be used to solve communication problems that arise\ud with human-computer interaction. We discuss the role of embodied conversational\ud agents in human-computer interaction and we have observations on the generation\ud of humorous acts and on the appropriateness of displaying them by embodied\ud conversational agents in order to smoothen, when necessary, their interactions\ud with a human partner. The humorous acts we consider are generated spontaneously.\ud They are the product of an appraisal of the conversational situation and the\ud possibility to generate a humorous act from the elements that make up this\ud conversational situation, in particular the interaction history of the\ud conversational partners

    Ethical Challenges in Data-Driven Dialogue Systems

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    The use of dialogue systems as a medium for human-machine interaction is an increasingly prevalent paradigm. A growing number of dialogue systems use conversation strategies that are learned from large datasets. There are well documented instances where interactions with these system have resulted in biased or even offensive conversations due to the data-driven training process. Here, we highlight potential ethical issues that arise in dialogue systems research, including: implicit biases in data-driven systems, the rise of adversarial examples, potential sources of privacy violations, safety concerns, special considerations for reinforcement learning systems, and reproducibility concerns. We also suggest areas stemming from these issues that deserve further investigation. Through this initial survey, we hope to spur research leading to robust, safe, and ethically sound dialogue systems.Comment: In Submission to the AAAI/ACM conference on Artificial Intelligence, Ethics, and Societ

    Supporting Stylized Language Models Using Multi-Modality Features

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    As AI and machine learning systems become more common in our everyday lives, there is an increased desire to construct systems that are able to seamlessly interact and communicate with humans. This typically means creating systems that are able to communicate with humans via natural language. Given the variance of natural language, this can be a very challenging task. In this thesis, I explored the topic of humanlike language generation in the context of stylized language generation. Stylized language generation involves producing some text that exhibits a specific, desired style. In this dissertation, I specifically explored the use of multi-modality features as a means to provide sufficient information to produce high-quality stylized text output. I also explored how these multi-modality features can be used to identify and explain errors in the generated output. Finally, I constructed an automated language evaluation metric that can evaluate stylized language models

    Automatic Discovery of Heterogeneous Machine Learning Pipelines: An Application to Natural Language Processing

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    This paper presents AutoGOAL, a system for automatic machine learning (AutoML) that uses heterogeneous techniques. In contrast with existing AutoML approaches, our contribution can automatically build machine learning pipelines that combine techniques and algorithms from different frameworks, including shallow classifiers, natural language processing tools, and neural networks. We define the heterogeneous AutoML optimization problem as the search for the best sequence of algorithms that transforms specific input data into the desired output. This provides a novel theoretical and practical approach to AutoML. Our proposal is experimentally evaluated in diverse machine learning problems and compared with alternative approaches, showing that it is competitive with other AutoML alternatives in standard benchmarks. Furthermore, it can be applied to novel scenarios, such as several NLP tasks, where existing alternatives cannot be directly deployed. The system is freely available and includes in-built compatibility with a large number of popular machine learning frameworks, which makes our approach useful for solving practical problems with relative ease and effort.This research has been supported by a Carolina Foundation grant in agreement with University of Alicante and University of Havana. Moreover, it has also been partially funded by both aforementioned universities, the Generalitat Valenciana (Conselleria d’Educació, Investigació, Cultura i Esport) and the Spanish Government through the projects LIVING-LANG (RTI2018-094653-B-C22) and SIIA (PROMETEO/2018/089, PROMETEU/2018/089)

    Media masters and grassroot art 2.0 on Youtube

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    Communication in the Web 2.0 context mainly works through images. The online video platform YouTube uses this form of visual communication and makes art forms of Western societies visible through their online videos. YouTube, as cultural reservoir and visual archive of moving images, accommodates the whole range of visualising creative processes – from artistic finger exercises to fine arts. A general characteristic of YouTube is the publishing of small everyday gestures of the ‘big ones’ (politicians, stars), like small incidents and their clumsiness in everyday actions, e.g. Beyonce´s fall from the stage or Tom Cruise’s demonic pro-scientology interview. Through their viral distribution on different platforms, these incidents will never be covered up or disappear from the public view. At the same time big gestures and star images are replicated and sometimes reinterpreted by the ‘small people’ who present themselves in the poses and attitudes of the stars. Generally, a coexistence of different perspectives is possible. YouTube allows polysemic and polyvalent views on the everyday and media phenomena. This article relies on YouTube research 2 that started in 2006 at the New Media Department of the Goethe University of Frankfurt. The results of the research have already presented representative forms and basic patterns, that is to say, categories for the clips appearing here. These kinds of clips, recurring in the observation period, have an impact on the basic representation of art or artistic expression within moving images on this platform. Methodologically the focus leads to the investigation (which has to be adequate to the specifics of the medium, or ‘media adequate’) of new visual structures and forms which can create – consciously or unconsciously – an art form. After focusing on the media structures, it will be discussed whether any and, if so, which ‘authentic’ new forms were developed solely on YouTube and whether these forms are innovative and can be characterised as avant-garde. This article first takes a small step in evaluating how to get from a general communication through means of visuality in web 2.0, an often endless chatty cheesy visual noise 3 – to the special quality of a consciously created aesthetic. From where do innovative aesthetic forms emerge, related to their media structures? 4 Are they the products of ‘media amateurs’ 5 or do we have to find new specifications and descriptions for the producers? The definition of a ‘media amateur’ describes technically interested private individuals who acquire and develop technology before commercial use of the technology is even recognisable. Just as artists are developing their own techniques, according to Dieter Daniels, media amateurs are autodidacts who invent techniques, rather than just acquire knowledge about them (see for example the demo scene, the machinima, brickfilm producers as well as many areas of computer gaming in general 6). The media amateur directly intervenes in the production processes of the medium and does not just simply use the medium. What is fascinating is the media amateur’s process of self education – not the result – and the direct impact on the internal structure and the control of the medium. 7 Media amateurs open a previously culturally unformed space of experience. This only partially applies to most of the YouTube clips in the realms of the visual arts; it is here most important to look at the visual content. This article discusses all these concepts and introduces new descriptions for the different forms of production: the technically oriented media master, the do-it-yourselfer, the tinkerer, the amateur handicraftsman and the inventor. It outlines a basic research project on ‘visual media culture’ (a triangulation of research on media structure and iconography) of the presented online video platform. It is a product of the analysis of clips focusing on the media structure, analyzing the creative handling of images and the deviations and differences of pre-set media formats and stereotypes

    Survey of the State of the Art in Natural Language Generation: Core tasks, applications and evaluation

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    This paper surveys the current state of the art in Natural Language Generation (NLG), defined as the task of generating text or speech from non-linguistic input. A survey of NLG is timely in view of the changes that the field has undergone over the past decade or so, especially in relation to new (usually data-driven) methods, as well as new applications of NLG technology. This survey therefore aims to (a) give an up-to-date synthesis of research on the core tasks in NLG and the architectures adopted in which such tasks are organised; (b) highlight a number of relatively recent research topics that have arisen partly as a result of growing synergies between NLG and other areas of artificial intelligence; (c) draw attention to the challenges in NLG evaluation, relating them to similar challenges faced in other areas of Natural Language Processing, with an emphasis on different evaluation methods and the relationships between them.Comment: Published in Journal of AI Research (JAIR), volume 61, pp 75-170. 118 pages, 8 figures, 1 tabl

    Exploring the intellectual capital and financial capital interface: an artefact-based criteria approach to the recognition of ‘organisational’ assets

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    This article was submitted to and presented at the 32nd European Accounting Association Annual Conference.Design: Normative, conceptually based. Purpose: The paper presents asset recognition criteria based on the idea that an asset should be functional, separable and measurable and that financial recognition should be triggered by the recognition of an artefact. We apply these criteria to four organisational assets, that is, those intangible assets that are unlikely to be reported in the accounting domain. Findings: We do so in order to show how one may expand the basis on which assets can be reported financially to elements of intellectual capital as well as financial capital. Originality: The criteria have never been applied to organisational asset
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