Feature extraction using MPEG-CDVS and Deep Learning with application to robotic navigation and image classification

The main contributions of this thesis are the evaluation of MPEG Compact Descriptor for Visual Search in the context of indoor robotic navigation and the introduction of a new method for training Convolutional Neural Networks with applications to object classification. The choice for image descriptor in a visual navigation system is not straightforward. Visual descriptors must be distinctive enough to allow for correct localisation while still offering low matching complexity and short descriptor size for real-time applications. MPEG Compact Descriptor for Visual Search is a low complexity image descriptor that offers several levels of compromises between descriptor distinctiveness and size. In this work, we describe how these trade-offs can be used for efficient loop-detection in a typical indoor environment. We first describe a probabilistic approach to loop detection based on the standard’s suggested similarity metric. We then evaluate the performance of CDVS compression modes in terms of matching speed, feature extraction, and storage requirements and compare them with the state of the art SIFT descriptor for five different types of indoor floors. During the second part of this thesis we focus on the new paradigm to machine learning and computer vision called Deep Learning. Under this paradigm visual features are no longer extracted using fine-grained, highly engineered feature extractor, but rather using a Convolutional Neural Networks (CNN) that extracts hierarchical features learned directly from data at the cost of long training periods. In this context, we propose a method for speeding up the training of Convolutional Neural Networks (CNN) by exploiting the spatial scaling property of convolutions. This is done by first training a pre-train CNN of smaller kernel resolutions for a few epochs, followed by properly rescaling its kernels to the target’s original dimensions and continuing training at full resolution. We show that the overall training time of a target CNN architecture can be reduced by exploiting the spatial scaling property of convolutions during early stages of learning. Moreover, by rescaling the kernels at different epochs, we identify a trade-off between total training time and maximum obtainable accuracy. Finally, we propose a method for choosing when to rescale kernels and evaluate our approach on recent architectures showing savings in training times of nearly 20% while test set accuracy is preserved

SLIC: Self-Conditioned Adaptive Transform with Large-Scale Receptive Fields for Learned Image Compression

Learned image compression has achieved remarkable performance. Transform, plays an important role in boosting the RD performance. Analysis transform converts the input image to a compact latent representation. The more compact the latent representation is, the fewer bits we need to compress it. When designing better transform, some previous works adopt Swin-Transformer. The success of the Swin-Transformer in image compression can be attributed to the dynamic weights and large receptive field.However,the LayerNorm adopted in transformers is not suitable for image compression.We find CNN-based modules can also be dynamic and have large receptive-fields. The CNN-based modules can also work with GDN/IGDN. To make the CNN-based modules dynamic, we generate the weights of kernels conditioned on the input feature. We scale up the size of each kernel for larger receptive fields. To reduce complexity, we make the CNN-module channel-wise connected. We call this module Dynamic Depth-wise convolution. We replace the self-attention module with the proposed Dynamic Depth-wise convolution, replace the embedding layer with a depth-wise residual bottleneck for non-linearity and replace the FFN layer with an inverted residual bottleneck for more interactions in the spatial domain. The interactions among channels of dynamic depth-wise convolution are limited. We design the other block, which replaces the dynamic depth-wise convolution with channel attention. We equip the proposed modules in the analysis and synthesis transform and receive a more compact latent representation and propose the learned image compression model SLIC, meaning Self-Conditioned Adaptive Transform with Large-Scale Receptive Fields for Learned Image Compression Learned Image Compression. Thanks to the proposed transform modules, our proposed SLIC achieves 6.35% BD-rate reduction over VVC when measured in PSNR on Kodak dataset.Comment: Submitted to TCSV

MANIFOLD REPRESENTATIONS OF MUSICAL SIGNALS AND GENERATIVE SPACES

Tra i diversi campi di ricerca nell\u2019ambito dell\u2019informatica musicale, la sintesi e la generazione di segnali audio incarna la pluridisciplinalita\u300 di questo settore, nutrendo insieme le pratiche scientifiche e musicale dalla sua creazione. Inerente all\u2019informatica dalla sua creazione, la generazione audio ha ispirato numerosi approcci, evolvendo colle pratiche musicale e gli progressi tecnologici e scientifici. Inoltre, alcuni processi di sintesi permettono anche il processo inverso, denominato analisi, in modo che i parametri di sintesi possono anche essere parzialmente o totalmente estratti dai suoni, dando una rappresentazione alternativa ai segnali analizzati. Per di piu\u300, la recente ascesa dei algoritmi di l\u2019apprendimento automatico ha vivamente interrogato il settore della ricerca scientifica, fornendo potenti data-centered metodi che sollevavano diversi epistemologici interrogativi, nonostante i sui efficacia. Particolarmente, un tipo di metodi di apprendimento automatico, denominati modelli generativi, si concentrano sulla generazione di contenuto originale usando le caratteristiche che hanno estratti dei dati analizzati. In tal caso, questi modelli non hanno soltanto interrogato i precedenti metodi di generazione, ma anche sul modo di integrare questi algoritmi nelle pratiche artistiche. Mentre questi metodi sono progressivamente introdotti nel settore del trattamento delle immagini, la loro applicazione per la sintesi di segnali audio e ancora molto marginale. In questo lavoro, il nostro obiettivo e di proporre un nuovo metodo di audio sintesi basato su questi nuovi tipi di generativi modelli, rafforazti dalle nuove avanzati dell\u2019apprendimento automatico. Al primo posto, facciamo una revisione dei approcci esistenti nei settori dei sistemi generativi e di sintesi sonore, focalizzando sul posto di nostro lavoro rispetto a questi disciplini e che cosa possiamo aspettare di questa collazione. In seguito, studiamo in maniera piu\u300 precisa i modelli generativi, e come possiamo utilizzare questi recenti avanzati per l\u2019apprendimento di complesse distribuzione di suoni, in un modo che sia flessibile e nel flusso creativo del utente. Quindi proponiamo un processo di inferenza / generazione, il quale rifletta i processi di analisi/sintesi che sono molto usati nel settore del trattamento del segnale audio, usando modelli latenti, che sono basati sull\u2019utilizzazione di un spazio continuato di alto livello, che usiamo per controllare la generazione. Studiamo dapprima i risultati preliminari ottenuti con informazione spettrale estratte da diversi tipi di dati, che valutiamo qualitativamente e quantitativamente. Successiva- mente, studiamo come fare per rendere questi metodi piu\u300 adattati ai segnali audio, fronteggiando tre diversi aspetti. Primo, proponiamo due diversi metodi di regolarizzazione di questo generativo spazio che sono specificamente sviluppati per l\u2019audio : una strategia basata sulla traduzione segnali / simboli, e una basata su vincoli percettivi. Poi, proponiamo diversi metodi per fronteggiare il aspetto temporale dei segnali audio, basati sull\u2019estrazione di rappresentazioni multiscala e sulla predizione, che permettono ai generativi spazi ottenuti di anche modellare l\u2019aspetto dinamico di questi segnali. Per finire, cambiamo il nostro approccio scientifico per un punto di visto piu\u301 ispirato dall\u2019idea di ricerca e creazione. Primo, descriviamo l\u2019architettura e il design della nostra libreria open-source, vsacids, sviluppata per permettere a esperti o non-esperti musicisti di provare questi nuovi metodi di sintesi. Poi, proponiamo una prima utilizzazione del nostro modello con la creazione di una performance in real- time, chiamata \ue6go, basata insieme sulla nostra libreria vsacids e sull\u2019uso di une agente di esplorazione, imparando con rinforzo nel corso della composizione. Finalmente, tramo dal lavoro presentato alcuni conclusioni sui diversi modi di migliorare e rinforzare il metodo di sintesi proposto, nonche\u301 eventuale applicazione artistiche.Among the diverse research fields within computer music, synthesis and generation of audio signals epitomize the cross-disciplinarity of this domain, jointly nourishing both scientific and artistic practices since its creation. Inherent in computer music since its genesis, audio generation has inspired numerous approaches, evolving both with musical practices and scientific/technical advances. Moreover, some syn- thesis processes also naturally handle the reverse process, named analysis, such that synthesis parameters can also be partially or totally extracted from actual sounds, and providing an alternative representation of the analyzed audio signals. On top of that, the recent rise of machine learning algorithms earnestly questioned the field of scientific research, bringing powerful data-centred methods that raised several epistemological questions amongst researchers, in spite of their efficiency. Especially, a family of machine learning methods, called generative models, are focused on the generation of original content using features extracted from an existing dataset. In that case, such methods not only questioned previous approaches in generation, but also the way of integrating this methods into existing creative processes. While these new generative frameworks are progressively introduced in the domain of image generation, the application of such generative techniques in audio synthesis is still marginal. In this work, we aim to propose a new audio analysis-synthesis framework based on these modern generative models, enhanced by recent advances in machine learning. We first review existing approaches, both in sound synthesis and in generative machine learning, and focus on how our work inserts itself in both practices and what can be expected from their collation. Subsequently, we focus a little more on generative models, and how modern advances in the domain can be exploited to allow us learning complex sound distributions, while being sufficiently flexible to be integrated in the creative flow of the user. We then propose an inference / generation process, mirroring analysis/synthesis paradigms that are natural in the audio processing domain, using latent models that are based on a continuous higher-level space, that we use to control the generation. We first provide preliminary results of our method applied on spectral information, extracted from several datasets, and evaluate both qualitatively and quantitatively the obtained results. Subsequently, we study how to make these methods more suitable for learning audio data, tackling successively three different aspects. First, we propose two different latent regularization strategies specifically designed for audio, based on and signal / symbol translation and perceptual constraints. Then, we propose different methods to address the inner temporality of musical signals, based on the extraction of multi-scale representations and on prediction, that allow the obtained generative spaces that also model the dynamics of the signal. As a last chapter, we swap our scientific approach to a more research & creation-oriented point of view: first, we describe the architecture and the design of our open-source library, vsacids, aiming to be used by expert and non-expert music makers as an integrated creation tool. Then, we propose an first musical use of our system by the creation of a real-time performance, called aego, based jointly on our framework vsacids and an explorative agent using reinforcement learning to be trained during the performance. Finally, we draw some conclusions on the different manners to improve and reinforce the proposed generation method, as well as possible further creative applications.A\u300 travers les diffe\u301rents domaines de recherche de la musique computationnelle, l\u2019analysie et la ge\u301ne\u301ration de signaux audio sont l\u2019exemple parfait de la trans-disciplinarite\u301 de ce domaine, nourrissant simultane\u301ment les pratiques scientifiques et artistiques depuis leur cre\u301ation. Inte\u301gre\u301e a\u300 la musique computationnelle depuis sa cre\u301ation, la synthe\u300se sonore a inspire\u301 de nombreuses approches musicales et scientifiques, e\u301voluant de pair avec les pratiques musicales et les avance\u301es technologiques et scientifiques de son temps. De plus, certaines me\u301thodes de synthe\u300se sonore permettent aussi le processus inverse, appele\u301 analyse, de sorte que les parame\u300tres de synthe\u300se d\u2019un certain ge\u301ne\u301rateur peuvent e\u302tre en partie ou entie\u300rement obtenus a\u300 partir de sons donne\u301s, pouvant ainsi e\u302tre conside\u301re\u301s comme une repre\u301sentation alternative des signaux analyse\u301s. Paralle\u300lement, l\u2019inte\u301re\u302t croissant souleve\u301 par les algorithmes d\u2019apprentissage automatique a vivement questionne\u301 le monde scientifique, apportant de puissantes me\u301thodes d\u2019analyse de donne\u301es suscitant de nombreux questionnements e\u301piste\u301mologiques chez les chercheurs, en de\u301pit de leur effectivite\u301 pratique. En particulier, une famille de me\u301thodes d\u2019apprentissage automatique, nomme\u301e mode\u300les ge\u301ne\u301ratifs, s\u2019inte\u301ressent a\u300 la ge\u301ne\u301ration de contenus originaux a\u300 partir de caracte\u301ristiques extraites directement des donne\u301es analyse\u301es. Ces me\u301thodes n\u2019interrogent pas seulement les approches pre\u301ce\u301dentes, mais aussi sur l\u2019inte\u301gration de ces nouvelles me\u301thodes dans les processus cre\u301atifs existants. Pourtant, alors que ces nouveaux processus ge\u301ne\u301ratifs sont progressivement inte\u301gre\u301s dans le domaine la ge\u301ne\u301ration d\u2019image, l\u2019application de ces techniques en synthe\u300se audio reste marginale. Dans cette the\u300se, nous proposons une nouvelle me\u301thode d\u2019analyse-synthe\u300se base\u301s sur ces derniers mode\u300les ge\u301ne\u301ratifs, depuis renforce\u301s par les avance\u301es modernes dans le domaine de l\u2019apprentissage automatique. Dans un premier temps, nous examinerons les approches existantes dans le domaine des syste\u300mes ge\u301ne\u301ratifs, sur comment notre travail peut s\u2019inse\u301rer dans les pratiques de synthe\u300se sonore existantes, et que peut-on espe\u301rer de l\u2019hybridation de ces deux approches. Ensuite, nous nous focaliserons plus pre\u301cise\u301ment sur comment les re\u301centes avance\u301es accomplies dans ce domaine dans ce domaine peuvent e\u302tre exploite\u301es pour l\u2019apprentissage de distributions sonores complexes, tout en e\u301tant suffisamment flexibles pour e\u302tre inte\u301gre\u301es dans le processus cre\u301atif de l\u2019utilisateur. Nous proposons donc un processus d\u2019infe\u301rence / g\ue9n\ue9ration, refle\u301tant les paradigmes d\u2019analyse-synthe\u300se existant dans le domaine de ge\u301ne\u301ration audio, base\u301 sur l\u2019usage de mode\u300les latents continus que l\u2019on peut utiliser pour contro\u302ler la ge\u301ne\u301ration. Pour ce faire, nous e\u301tudierons de\u301ja\u300 les re\u301sultats pre\u301liminaires obtenus par cette me\u301thode sur l\u2019apprentissage de distributions spectrales, prises d\u2019ensembles de donne\u301es diversifie\u301s, en adoptant une approche a\u300 la fois quantitative et qualitative. Ensuite, nous proposerons d\u2019ame\u301liorer ces me\u301thodes de manie\u300re spe\u301cifique a\u300 l\u2019audio sur trois aspects distincts. D\u2019abord, nous proposons deux strate\u301gies de re\u301gularisation diffe\u301rentes pour l\u2019analyse de signaux audio : une base\u301e sur la traduction signal/ symbole, ainsi qu\u2019une autre base\u301e sur des contraintes perceptives. Nous passerons par la suite a\u300 la dimension temporelle de ces signaux audio, proposant de nouvelles me\u301thodes base\u301es sur l\u2019extraction de repre\u301sentations temporelles multi-e\u301chelle et sur une ta\u302che supple\u301mentaire de pre\u301diction, permettant la mode\u301lisation de caracte\u301ristiques dynamiques par les espaces ge\u301ne\u301ratifs obtenus. En dernier lieu, nous passerons d\u2019une approche scientifique a\u300 une approche plus oriente\u301e vers un point de vue recherche & cre\u301ation. Premie\u300rement, nous pre\u301senterons notre librairie open-source, vsacids, visant a\u300 e\u302tre employe\u301e par des cre\u301ateurs experts et non-experts comme un outil inte\u301gre\u301. Ensuite, nous proposons une premie\u300re utilisation musicale de notre syste\u300me par la cre\u301ation d\u2019une performance temps re\u301el, nomme\u301e \ue6go, base\u301e a\u300 la fois sur notre librarie et sur un agent d\u2019exploration appris dynamiquement par renforcement au cours de la performance. Enfin, nous tirons les conclusions du travail accompli jusqu\u2019a\u300 maintenant, concernant les possibles ame\u301liorations et de\u301veloppements de la me\u301thode de synthe\u300se propose\u301e, ainsi que sur de possibles applications cre\u301atives

Deep Learning Techniques for Music Generation -- A Survey

This paper is a survey and an analysis of different ways of using deep learning (deep artificial neural networks) to generate musical content. We propose a methodology based on five dimensions for our analysis: Objective - What musical content is to be generated? Examples are: melody, polyphony, accompaniment or counterpoint. - For what destination and for what use? To be performed by a human(s) (in the case of a musical score), or by a machine (in the case of an audio file). Representation - What are the concepts to be manipulated? Examples are: waveform, spectrogram, note, chord, meter and beat. - What format is to be used? Examples are: MIDI, piano roll or text. - How will the representation be encoded? Examples are: scalar, one-hot or many-hot. Architecture - What type(s) of deep neural network is (are) to be used? Examples are: feedforward network, recurrent network, autoencoder or generative adversarial networks. Challenge - What are the limitations and open challenges? Examples are: variability, interactivity and creativity. Strategy - How do we model and control the process of generation? Examples are: single-step feedforward, iterative feedforward, sampling or input manipulation. For each dimension, we conduct a comparative analysis of various models and techniques and we propose some tentative multidimensional typology. This typology is bottom-up, based on the analysis of many existing deep-learning based systems for music generation selected from the relevant literature. These systems are described and are used to exemplify the various choices of objective, representation, architecture, challenge and strategy. The last section includes some discussion and some prospects.Comment: 209 pages. This paper is a simplified version of the book: J.-P. Briot, G. Hadjeres and F.-D. Pachet, Deep Learning Techniques for Music Generation, Computational Synthesis and Creative Systems, Springer, 201

From Algorithmic to Neural Beamforming

Human interaction increasingly relies on telecommunication as an addition to or replacement for immediate contact. The direct interaction with smart devices, beyond the use of classical input devices such as the keyboard, has become common practice. Remote participation in conferences, sporting events, or concerts is more common than ever, and with current global restrictions on in-person contact, this has become an inevitable part of many people's reality. The work presented here aims at improving these encounters by enhancing the auditory experience. Augmenting fidelity and intelligibility can increase the perceived quality and enjoyability of such actions and potentially raise acceptance for modern forms of remote experiences. Two approaches to automatic source localization and multichannel signal enhancement are investigated for applications ranging from small conferences to large arenas. Three first-order microphones of fixed relative position and orientation are used to create a compact, reactive tracking and beamforming algorithm, capable of producing pristine audio signals in small and mid-sized acoustic environments. With inaudible beam steering and a highly linear frequency response, this system aims at providing an alternative to manually operated shotgun microphones or sets of individual spot microphones, applicable in broadcast, live events, and teleconferencing or for human-computer interaction. The array design and choice of capsules are discussed, as well as the challenges of preventing coloration for moving signals. The developed algorithm, based on Energy-Based Source Localization, is discussed and the performance is analyzed. Objective results on synthesized audio, as well as on real recordings, are presented. Results of multiple listening tests are presented and real-time considerations are highlighted. Multiple microphones with unknown spatial distribution are combined to create a large-aperture array using an end-to-end Deep-Learning approach. This method combines state-of-the-art single-channel signal separation networks with adaptive, domain-specific channel alignment. The Neural Beamformer is capable of learning to extract detailed spatial relations of channels with respect to a learned signal type, such as speech, and to apply appropriate corrections in order to align the signals. This creates an adaptive beamformer for microphones spaced on the order of up to 100m. The developed modules are analyzed in detail and multiple configurations are considered for different use cases. Signal processing inside the Neural Network is interpreted and objective results are presented on simulated and semi-simulated datasets

Escaping the complexity-bitrate-quality barriers of video encoders via deep perceptual optimization

We extend the concept of learnable video precoding (rate-aware neural-network processing prior to encoding) to deep perceptual optimization (DPO). Our framework comprises a pixel-to-pixel convolutional neural network that is trained based on the virtualization of core encoding blocks (block transform, quantization, block-based prediction) and multiple loss functions representing rate, distortion and visual quality of the virtual encoder. We evaluate our proposal with AVC/H.264 and AV1 under per-clip rate-quality optimization. The results show that DPO offers, on average, 14.2% bitrate reduction over AVC/H.264 and 12.5% bitrate reduction over AV1. Our framework is shown to improve both distortion- and perception-oriented metrics in a consistent manner, exhibiting only 3% outliers, which correspond to content with peculiar characteristics. Thus, DPO is shown to offer complexity-bitrate-quality tradeoffs that go beyond what conventional video encoders can offe

Knowledge-driven deep learning for fast MR imaging: undersampled MR image reconstruction from supervised to un-supervised learning

Deep learning (DL) has emerged as a leading approach in accelerating MR imaging. It employs deep neural networks to extract knowledge from available datasets and then applies the trained networks to reconstruct accurate images from limited measurements. Unlike natural image restoration problems, MR imaging involves physics-based imaging processes, unique data properties, and diverse imaging tasks. This domain knowledge needs to be integrated with data-driven approaches. Our review will introduce the significant challenges faced by such knowledge-driven DL approaches in the context of fast MR imaging along with several notable solutions, which include learning neural networks and addressing different imaging application scenarios. The traits and trends of these techniques have also been given which have shifted from supervised learning to semi-supervised learning, and finally, to unsupervised learning methods. In addition, MR vendors' choices of DL reconstruction have been provided along with some discussions on open questions and future directions, which are critical for the reliable imaging systems.Comment: 46 pages, 5figures, 1 tabl