We propose StyleBank, which is composed of multiple convolution filter banks and each filter bank explicitly represents one style, for neural image style transfer. To transfer an image to a specific style, the corresponding filter bank is operated on top of the intermediate feature embedding produced by a single auto-encoder. The StyleBank and the auto-encoder are jointly learnt, where the learning is conducted in such a way that the auto-encoder does not encode any style information thanks to the flexibility introduced by the explicit filter bank representation. It also enables us to conduct incremental learning to add a new image style by learning a new filter bank while holding the auto-encoder fixed. The explicit style representation along with the flexible network design enables us to fuse styles at not only the image level, but also the region level. Our method is the first style transfer network that links back to traditional texton mapping methods, and hence provides new understanding on neural style transfer. Our method is easy to train, runs in real-time, and produces results that qualitatively better or at least comparable to existing methods.
 In this paper, we describe a novel technique, called motion texture, for synthesizing complex human-figure motion (e.g., dancing) that is statistically similar to the original motion captured data. We define motion texture as a set of motion textons and their distribution, which characterize the stochastic and dynamic nature of the captured motion. Specifically, a motion texton is modeled by a linear dynamic system (LDS) while the texton distribution is represented by a transition matrix indicating how likely each texton is switched to another. We have designed a maximum likelihood algorithm to learn the motion textons and their relationship from the captured dance motion. The learnt motion texture can then be used to generate new animations automatically and or edit animation sequences interactively. Most interestingly, motion texture can be manipulated at different levels, either by changing the fine details of a specific motion at the texton level or by designing a new choreography at the distribution level. Our approach is demonstrated by many synthesized sequences of visually compelling dance motion. We present a universal statistical model for texture images in the context of an overcomplete complex wavelet transform. The model is parameterized by a set of statistics computed on pairs of coefficients corresponding to basis functions at adjacent spatial locations, orientations, and scales. We develop an efficient algorithm for synthesizing random images subject to these constraints, by iteratively projecting onto the set of images satisfying each constraint, and we use this to test the perceptual validity of the model. In particular, we demonstrate the necessity of subgroups of the parameter set by showing examples of texture synthesis that fail when those parameters are removed from the set. We also demonstrate the power of our model by successfully synthesizing examples drawn from a diverse collection of artificial and natural textures. The convolutional neural network (ConvNet or CNN) has proven to be very successful in many tasks such as those in computer vision. In this conceptual paper, we study the generative perspective of the discriminative CNN. In particular, we propose to learn the generative FRAME (Filters, Random field, And Maximum Entropy) model using the highly expressive filters pre-learned by the CNN at the convolutional layers. We show that the learning algorithm can generate realistic and rich object and texture patterns in natural scenes. We explain that each learned model corresponds to a new CNN unit at a layer above the layer of filters employed by the model. We further show that it is possible to learn a new layer of CNN units using a generative CNN model, which is a product of experts model, and the learning algorithm admits an EM interpretation with binary latent variables.  A goal of statistical language modeling is to learn the joint probability function of sequences of words in a language. This is intrinsically difficult because of the curse of dimensionality: a word sequence on which the model will be tested is likely to be different from all the word sequences seen during training. Traditional but very successful approaches based on n-grams obtain generalization by concatenating very short overlapping sequences seen in the training set. We propose to fight the curse of dimensionality by learning a distributed representation for words which allows each training sentence to inform the model about an exponential number of semantically neighboring sentences. The model learns simultaneously (1) a distributed representation for each word along with (2) the probability function for word sequences, expressed in terms of these representations. Generalization is obtained because a sequence of words that has never been seen before gets high probability if it is made of words that are similar (in the sense of having a nearby representation) to words forming an already seen sentence. Training such large models (with millions of parameters) within a reasonable time is itself a significant challenge. We report on experiments using neural networks for the probability function, showing on two text corpora that the proposed approach significantly improves on state-of-the-art n-gram models, and that the proposed approach allows to take advantage of longer contexts.  We study the problem of synthesizing a number of likely future frames from a single input image. In contrast to traditional methods, which have tackled this problem in a deterministic or non-parametric way, we propose a novel approach that models future frames in a probabilistic manner. Our probabilistic model makes it possible for us to sample and synthesize many possible future frames from a single input image. Future frame synthesis is challenging, as it involves low- and high-level image and motion understanding. We propose a novel network structure, namely a Cross Convolutional Network to aid in synthesizing future frames; this network structure encodes image and motion information as feature maps and convolutional kernels, respectively. In experiments, our model performs well on synthetic data, such as 2D shapes and animated game sprites, as well as on real-wold videos. We also show that our model can be applied to tasks such as visual analogy-making, and present an analysis of the learned network representations. The paper makes two contributions: it provides (1) an operational definition of textons, the putative elementary units of texture perception, and (2) an algorithm for partitioning the image into disjoint regions of coherent brightness and texture, where boundaries of regions are defined by peaks in contour orientation energy and differences in texton densities across the contour. B. Julesz (1981) introduced the term texton, analogous to a phoneme in speech recognition, but did not provide an operational definition for gray-level images. We re-invent textons as frequently co-occurring combinations of oriented linear filter outputs. These can be learned using a K-means approach. By mapping each pixel to its nearest texton, the image can be analyzed into texton channels, each of which is a point set where discrete techniques such as Voronoi diagrams become applicable. Local histograms of texton frequencies can be used with a spl chi sup 2 test for significant differences to find texture boundaries. Natural images contain both textured and untextured regions, so we combine this cue with that of the presence of peaks of contour energy derived from outputs of odd- and even-symmetric oriented Gaussian derivative filters. Each of these cues has a domain of applicability, so to facilitate cue combination we introduce a gating operator based on a statistical test for isotropy of Delaunay neighbors. Having obtained a local measure of how likely two nearby pixels are to belong to the same region, we use the spectral graph theoretic framework of normalized cuts to find partitions of the image into regions of coherent texture and brightness. Experimental results on a wide range of images are shown. High-dimensional data can be converted to low-dimensional codes by training a multilayer neural network with a small central layer to reconstruct high-dimensional input vectors. Gradient descent can be used for fine-tuning the weights in such “autoencoder” networks, but this works well only if the initial weights are close to a good solution. We describe an effective way of initializing the weights that allows deep autoencoder networks to learn low-dimensional codes that work much better than principal components analysis as a tool to reduce the dimensionality of data. Textons refer to fundamental micro-structures in natural images (and videos) and are considered as the atoms of pre-attentive human visual perception (Julesz, 1981). Unfortunately, the word "texton" remains a vague concept in the literature for lack of a good mathematical model. In this article, we first present a three-level generative image model for learning textons from texture images. In this model, an image is a superposition of a number of image bases selected from an over-complete dictionary including various Gabor and Laplacian of Gaussian functions at various locations, scales, and orientations. These image bases are, in turn, generated by a smaller number of texton elements, selected from a dictionary of textons. By analogy to the waveform-phoneme-word hierarchy in speech, the pixel-base-texton hierarchy presents an increasingly abstract visual description and leads to dimension reduction and variable decoupling. By fitting the generative model to observed images, we can learn the texton dictionary as parameters of the generative model. Then the paper proceeds to study the geometric, dynamic, and photometric structures of the texton representation by further extending the generative model to account for motion and illumination variations. (1) For the geometric structures, a texton consists of a number of image bases with deformable spatial configurations. The geometric structures are learned from static texture images. (2) For the dynamic structures, the motion of a texton is characterized by a Markov chain model in time which sometimes can switch geometric configurations during the movement. We call the moving textons as "motons". The dynamic models are learned using the trajectories of the textons inferred from video sequence. (3) For photometric structures, a texton represents the set of images of a 3D surface element under varying illuminations and is called a "lighton" in this paper. We adopt an illumination-cone representation where a lighton is a texton triplet. For a given light source, a lighton image is generated as a linear sum of the three texton bases. We present a sequence of experiments for learning the geometric, dynamic, and photometric structures from images and videos, and we also present some comparison studies with K-mean clustering, sparse coding, independent component analysis, and transformed component analysis. We shall discuss how general textons can be learned from generic natural images.