Time-Contrastive Networks: Self-Supervised Learning from Video

We propose a self-supervised approach for learning representations and robotic behaviors entirely from unlabeled videos recorded from multiple viewpoints, and study how this representation can be used in two robotic imitation settings: imitating object interactions from videos of humans, and imitating human poses. Imitation of human behavior requires a viewpoint-invariant representation that captures the relationships between end-effectors (hands or robot grippers) and the environment, object attributes, and body pose. We train our representations using a metric learning loss, where multiple simultaneous viewpoints of the same observation are attracted in the embedding space, while being repelled from temporal neighbors which are often visually similar but functionally different. In other words, the model simultaneously learns to recognize what is common between different-looking images, and what is different between similar-looking images. This signal causes our model to discover attributes that do not change across viewpoint, but do change across time, while ignoring nuisance variables such as occlusions, motion blur, lighting and background. We demonstrate that this representation can be used by a robot to directly mimic human poses without an explicit correspondence, and that it can be used as a reward function within a reinforcement learning algorithm. While representations are learned from an unlabeled collection of task-related videos, robot behaviors such as pouring are learned by watching a single 3rd-person demonstration by a human. Reward functions obtained by following the human demonstrations under the learned representation enable efficient reinforcement learning that is practical for real-world robotic systems. Video results, open-source code and dataset are available at https://sermanet.github.io/imitat

Do Multi-Sense Embeddings Improve Natural Language Understanding?

Learning a distinct representation for each sense of an ambiguous word could lead to more powerful and fine-grained models of vector-space representations. Yet while `multi-sense' methods have been proposed and tested on artificial word-similarity tasks, we don't know if they improve real natural language understanding tasks. In this paper we introduce a multi-sense embedding model based on Chinese Restaurant Processes that achieves state of the art performance on matching human word similarity judgments, and propose a pipelined architecture for incorporating multi-sense embeddings into language understanding. We then test the performance of our model on part-of-speech tagging, named entity recognition, sentiment analysis, semantic relation identification and semantic relatedness, controlling for embedding dimensionality. We find that multi-sense embeddings do improve performance on some tasks (part-of-speech tagging, semantic relation identification, semantic relatedness) but not on others (named entity recognition, various forms of sentiment analysis). We discuss how these differences may be caused by the different role of word sense information in each of the tasks. The results highlight the importance of testing embedding models in real applications

A Dataset for Movie Description

Descriptive video service (DVS) provides linguistic descriptions of movies and allows visually impaired people to follow a movie along with their peers. Such descriptions are by design mainly visual and thus naturally form an interesting data source for computer vision and computational linguistics. In this work we propose a novel dataset which contains transcribed DVS, which is temporally aligned to full length HD movies. In addition we also collected the aligned movie scripts which have been used in prior work and compare the two different sources of descriptions. In total the Movie Description dataset contains a parallel corpus of over 54,000 sentences and video snippets from 72 HD movies. We characterize the dataset by benchmarking different approaches for generating video descriptions. Comparing DVS to scripts, we find that DVS is far more visual and describes precisely what is shown rather than what should happen according to the scripts created prior to movie production