Humans can imagine a scene from a sound. We want machines to do so by using conditional generative adversarial networks (GANs). By applying the techniques including spectral norm, projection discriminator and auxiliary classifier, compared with naive conditional GAN, the model can generate images with better quality in terms of both subjective and objective evaluations. Almost three-fourth of people agree that our model have the ability to generate images related to sounds. By inputting different volumes of the same sound, our model output different scales of changes based on the volumes, showing that our model truly knows the relationship between sounds and images to some extent.
Current methods for video description are based on encoder-decoder sentence generation using recurrent neural networks (RNNs). Recent work has demonstrated the advantages of integrating temporal attention mechanisms into these models, in which the decoder network predicts each word in the description by selectively giving more weight to encoded features from specific time frames. Such methods typically use two different types of features: image features (from an object classification model), and motion features (from an action recognition model), combined by naive concatenation in the model input. Because different feature modalities may carry task-relevant information at different times, fusing them by naive concatenation may limit the model's ability to dynamically determine the relevance of each type of feature to different parts of the description. In this paper, we incorporate audio features in addition to the image and motion features. To fuse these three modalities, we introduce a multimodal attention model that can selectively utilize features from different modalities for each word in the output description. Combining our new multimodal attention model with standard temporal attention outperforms state-of-the-art methods on two standard datasets: YouTube2Text and MSR-VTT.  We learn rich natural sound representations by capitalizing on large amounts of unlabeled sound data collected in the wild. We leverage the natural synchronization between vision and sound to learn an acoustic representation using two-million unlabeled videos. Unlabeled video has the advantage that it can be economically acquired at massive scales, yet contains useful signals about natural sound. We propose a student-teacher training procedure which transfers discriminative visual knowledge from well established visual recognition models into the sound modality using unlabeled video as a bridge. Our sound representation yields significant performance improvements over the state-of-the-art results on standard benchmarks for acoustic scene object classification. Visualizations suggest some high-level semantics automatically emerge in the sound network, even though it is trained without ground truth labels. Video captioning has been widely researched. Most related work takes into account only visual content in generating descriptions. However, auditory content such as human speech or environmental sounds contains rich information for describing scenes, but has yet to be widely explored for video captions. Here, we experiment with different ways to use this auditory content in videos, and demonstrate improved caption generation in terms of popular evaluation methods such as BLEU, CIDEr, and METEOR. We also measure the semantic similarities between generated captions and human-provided ground truth using sentence embeddings, and find that good use of multi-modal contents helps the machine to generate captions that are more semantically related to the ground truth. When analyzing the generated sentences, we find some ambiguous situations for which visual-only models yield incorrect results but that are resolved by approaches that take into account auditory cues.