ArchiveSpark: Efficient Web Archive Access, Extraction and Derivation

Web archives are a valuable resource for researchers of various disciplines. However, to use them as a scholarly source, researchers require a tool that provides efficient access to Web archive data for extraction and derivation of smaller datasets. Besides efficient access we identify five other objectives based on practical researcher needs such as ease of use, extensibility and reusability. Towards these objectives we propose ArchiveSpark, a framework for efficient, distributed Web archive processing that builds a research corpus by working on existing and standardized data formats commonly held by Web archiving institutions. Performance optimizations in ArchiveSpark, facilitated by the use of a widely available metadata index, result in significant speed-ups of data processing. Our benchmarks show that ArchiveSpark is faster than alternative approaches without depending on any additional data stores while improving usability by seamlessly integrating queries and derivations with external tools.Comment: JCDL 2016, Newark, NJ, US

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

DMRN+18: Digital Music Research Network One-day Workshop 2023

DMRN+18: Digital Music Research Network One-day Workshop 2023 Queen Mary University of London Tuesday 19th December 2023 • Keynote speaker: Stefan Bilbao The Digital Music Research Network (DMRN) aims to promote research in the area of digital music, by bringing together researchers from UK and overseas universities, as well as industry, for its annual workshop. The workshop will include invited and contributed talks and posters. The workshop will be an ideal opportunity for networking with other people working in the area. Keynote speakers: Stefan Bilbao Tittle: Physics-based Audio: Sound Synthesis and Virtual Acoustics. Abstract: Any acoustically-produced sound produced must be the result of physical laws that describe the dynamics of a given system---always at least partly mechanical, and sometimes with an electronic element as well. One approach to the synthesis of natural acoustic timbres, thus, is through simulation, often referred to in this context as physical modelling, or physics-based audio. In this talk, the principles of physics-based audio, and the various different approaches to simulation are described, followed by a set of examples covering: various musical instrument types; the important related problem of the emulation of room acoustics or “virtual acoustics”; the embedding of instruments in a 3D virtual space; electromechanical effects; and also new modular instrument designs based on physical laws, but without a counterpart in the real world. Some more technical details follow, including the strengths, weaknesses and limitations of such methods, and pointers to some links to data-centred black-box approaches to sound generation and effects processing. The talk concludes with some musical examples and recent work on moving such algorithms to a real-time setting.. Bio: Stefan is a Professor (full) at Reid School of Music, University of Edinburgh, he is the Personal Chair of Acoustics and Audio Signal Processing, Music. He currently works on computational acoustics, for applications in sound synthesis and virtual acoustics. Special topics of interest include: Finite difference time domain methods, distributed nonlinear systems such as strings and plates, architectural acoustics, spatial audio in simulation, multichannel sound synthesis, and hardware and software realizations. More information on: https://www.acoustics.ed.ac.uk/group-members/dr-stefan-bilbao/ DMRN+18 is sponsored by The UKRI Centre for Doctoral Training in Artificial Intelligence and Music (AIM); a leading PhD research programme aimed at the Music/Audio Technology and Creative Industries, based at Queen Mary University of London

A Comparison Between STRAIGHT, Glottal, an Sinusoidal Vocoding in Statistical Parametric Speech Synthesis

Speech is a fundamental method of human communication that allows conveying information between people. Even though the linguistic content is commonly regarded as the main information in speech, the signal contains a richness of other information, such as prosodic cues that shape the intended meaning of a sentence. This information is largely generated by quasi-periodic glottal excitation, which is the acoustic speech excitation airflow originating from the lungs that makes the vocal folds oscillate in the production of voiced speech. By regulating the sub-glottal pressure and the tension of the vocal folds, humans learn to affect the characteristics of the glottal excitation in order to signal the emotional state of the speaker for example. Glottal inverse filtering (GIF) is an estimation method for the glottal excitation of a recorded speech signal. Various cues about the speech signal, such as the mode of phonation, can be detected and analyzed from an estimate of the glottal flow, both instantaneously and as a function of time. Aside from its use in fundamental speech research, such as phonetics, the recent advances in GIF and machine learning enable a wider variety of GIF applications, such as emotional speech synthesis and the detection of paralinguistic information. However, GIF is a difficult inverse problem where the target algorithm output is generally unattainable with direct measurements. Thus the algorithms and their evaluation need to rely on some prior assumptions about the properties of the speech signal. A common thread utilized in most of the studies in this thesis is the estimation of the vocal tract transfer function (the key problem in GIF) by temporally weighting the optimization criterion in GIF so that the effect of the main excitation peak is attenuated. This thesis studies GIF from various perspectives---including the development of two new GIF methods that improve GIF performance over the state-of-the-art methods---and furthers basic research in the automated estimation of glottal excitation. The estimation of the GIF-based vocal tract transfer function for formant tracking and perceptually weighted speech envelope estimation is also studied. The central speech technology application of GIF addressed in the thesis is the use of GIF-based spectral envelope models and glottal excitation waveforms as target training data for the generative neural network models used in statistical parametric speech synthesis. The obtained results show that even though the presented studies provide improvements to the previous methodology for all voice types, GIF-based speech processing continues to mainly benefit male voices in speech synthesis applications.Puhe on olennainen osa ihmistenvälistä informaation siirtoa. Vaikka kielellistä sisältöä pidetään yleisesti puheen tärkeimpänä ominaisuutena, puhesignaali sisältää myös runsaasti muuta informaatiota kuten prosodisia vihjeitä, jotka muokkaavat siirrettävän informaation merkitystä. Tämä informaatio tuotetaan suurilta osin näennäisjaksollisella glottisherätteellä, joka on puheen herätteenä toimiva akustinen virtaussignaali. Säätämällä äänihuulten alapuolista painetta ja äänihuulten kireyttä ihmiset muuttavat glottisherätteen ominaisuuksia viestittääkseen esimerkiksi tunnetilaa. Glottaalinen käänteissuodatus (GKS) on laskennallinen menetelmä glottisherätteen estimointiin nauhoitetusta puhesignaalista. Glottisherätteen perusteella puheen laadusta voidaan tunnistaa useita piirteitä kuten ääntötapa, sekä hetkellisesti että ajan funktiona. Puheen perustutkimuksen, kuten fonetiikan, lisäksi viimeaikaiset edistykset GKS:ssä ja koneoppimisessa ovat avaamassa mahdollisuuksia laajempaan GKS:n soveltamiseen puheteknologiassa, kuten puhesynteesissä ja puheen biopiirteistämisessä paralingvistisiä sovelluksia varten. Haasteena on kuitenkin se, että GKS on vaikea käänteisongelma, jossa todellista puhetta vastaavan glottisherätteen suora mittaus on mahdotonta. Tästä johtuen GKS:ssä käytettävien algoritmien kehitystyö ja arviointi perustuu etukäteisoletuksiin puhesignaalin ominaisuuksista. Tässä väitöskirjassa esitetyissä menetelmissä on yhteisenä oletuksena se, että ääntöväylän siirtofunktio voidaan arvioida (joka on GKS:n pääongelma) aikapainottamalla GKS:n optimointikriteeriä niin, että glottisherätteen pääeksitaatiopiikkin vaikutus vaimenee. Tässä väitöskirjassa GKS:ta tutkitaan useasta eri näkökulmasta, jotka sisältävät kaksi uutta GKS-menetelmää, jotka parantavat arviointituloksia aikaisempiin menetelmiin verrattuna, sekä perustutkimusta käänteissuodatusprosessin automatisointiin liittyen. Lisäksi GKS-pohjaista ääntöväylän siirtofunktiota käytetään formanttiestimoinnissa sekä kuulohavaintopainotettuna versiona puheen spektrin verhokäyrän arvioinnissa. Tämän väitöskirjan keskeisin puheteknologiasovellus on GKS-pohjaisten puheen spektrin verhokäyrämallien sekä glottisheräteaaltomuotojen käyttö kohdedatana neuroverkkomalleille tilastollisessa parametrisessa puhesynteesissä. Saatujen tulosten perusteella kehitetyt menetelmät parantavat GKS-pohjaisten menetelmien laatua kaikilla äänityypeillä, mutta puhesynteesisovelluksissa GKS-pohjaiset ratkaisut hyödyttävät edelleen lähinnä matalia miesääniä

Approaches for Incorporating a Variety of Metadata in Transformer Operation

A plain transformer model typically leverages only one piece of metadata - position encoding - directly in the transformer model. The use of transformers typically involves expensive and complex external scaffolding before or after output generation to avoid issues such as hallucination, irrelevance, etc. This disclosure describes techniques to incorporate a variety of metadata types into the native architecture of transformer models. The additional signals can help avoid hallucinations, improve relevance, and minimize the need of expensive external scaffolding. Generalizing transformer operation to incorporate a diversity of metadata can be achieved in various ways such as adding a metadata embedding layer, conditioning self-attention on the metadata, conditioning with gated self-attention, employing a different encoder-decoder architecture, etc. Different types of metadata can help in different ways to improve the quality of the output generated by the transformer and reduce hallucinations. The techniques described in this disclosure can also support multimodal data, such as images, audio, video, or text, etc., with the metadata used representing the specific mode

Procedural Noise Adversarial Examples for Black-Box Attacks on Deep Convolutional Networks

Deep Convolutional Networks (DCNs) have been shown to be vulnerable to adversarial examples---perturbed inputs specifically designed to produce intentional errors in the learning algorithms at test time. Existing input-agnostic adversarial perturbations exhibit interesting visual patterns that are currently unexplained. In this paper, we introduce a structured approach for generating Universal Adversarial Perturbations (UAPs) with procedural noise functions. Our approach unveils the systemic vulnerability of popular DCN models like Inception v3 and YOLO v3, with single noise patterns able to fool a model on up to 90% of the dataset. Procedural noise allows us to generate a distribution of UAPs with high universal evasion rates using only a few parameters. Additionally, we propose Bayesian optimization to efficiently learn procedural noise parameters to construct inexpensive untargeted black-box attacks. We demonstrate that it can achieve an average of less than 10 queries per successful attack, a 100-fold improvement on existing methods. We further motivate the use of input-agnostic defences to increase the stability of models to adversarial perturbations. The universality of our attacks suggests that DCN models may be sensitive to aggregations of low-level class-agnostic features. These findings give insight on the nature of some universal adversarial perturbations and how they could be generated in other applications.Comment: 16 pages, 10 figures. In Proceedings of the 2019 ACM SIGSAC Conference on Computer and Communications Security (CCS '19

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 based Recommender System: A Survey and New Perspectives

With the ever-growing volume of online information, recommender systems have been an effective strategy to overcome such information overload. The utility of recommender systems cannot be overstated, given its widespread adoption in many web applications, along with its potential impact to ameliorate many problems related to over-choice. In recent years, deep learning has garnered considerable interest in many research fields such as computer vision and natural language processing, owing not only to stellar performance but also the attractive property of learning feature representations from scratch. The influence of deep learning is also pervasive, recently demonstrating its effectiveness when applied to information retrieval and recommender systems research. Evidently, the field of deep learning in recommender system is flourishing. This article aims to provide a comprehensive review of recent research efforts on deep learning based recommender systems. More concretely, we provide and devise a taxonomy of deep learning based recommendation models, along with providing a comprehensive summary of the state-of-the-art. Finally, we expand on current trends and provide new perspectives pertaining to this new exciting development of the field.Comment: The paper has been accepted by ACM Computing Surveys. https://doi.acm.org/10.1145/328502