Joseph M. Antognini

Joseph M. Antognini

There has been a recent surge of interest in modeling neural networks (NNs) as Gaussian processes. In the limit of a NN of infinite width the NN becomes equivalent to a Gaussian process. Here we demonstrate that for an ensemble of large, finite, fully connected networks with a single hidden layer the distribution of outputs at initialization is well described by a Gaussian perturbed by the fourth Hermite polynomial for weights drawn from a symmetric distribution. We show that the scale of the perturbation is inversely proportional to the number of units in the NN and that higher order terms decay more rapidly, thereby recovering the Edgeworth expansion. We conclude by observing that understanding how this perturbation changes under training would reveal the regimes in which the Gaussian process framework is valid to model NN behavior.

Christopher J. Shallue, Jaehoon Lee, Joseph Antognini et al.

Recent hardware developments have dramatically increased the scale of data parallelism available for neural network training. Among the simplest ways to harness next-generation hardware is to increase the batch size in standard mini-batch neural network training algorithms. In this work, we aim to experimentally characterize the effects of increasing the batch size on training time, as measured by the number of steps necessary to reach a goal out-of-sample error. We study how this relationship varies with the training algorithm, model, and data set, and find extremely large variation between workloads. Along the way, we show that disagreements in the literature on how batch size affects model quality can largely be explained by differences in metaparameter tuning and compute budgets at different batch sizes. We find no evidence that larger batch sizes degrade out-of-sample performance. Finally, we discuss the implications of our results on efforts to train neural networks much faster in the future. Our experimental data is publicly available as a database of 71,638,836 loss measurements taken over the course of training for 168,160 individual models across 35 workloads.

Joseph M. Antognini, Jascha Sohl-Dickstein

One technique to visualize the training of neural networks is to perform PCA on the parameters over the course of training and to project to the subspace spanned by the first few PCA components. In this paper we compare this technique to the PCA of a high dimensional random walk. We compute the eigenvalues and eigenvectors of the covariance of the trajectory and prove that in the long trajectory and high dimensional limit most of the variance is in the first few PCA components, and that the projection of the trajectory onto any subspace spanned by PCA components is a Lissajous curve. We generalize these results to a random walk with momentum and to an Ornstein-Uhlenbeck processes (i.e., a random walk in a quadratic potential) and show that in high dimensions the walk is not mean reverting, but will instead be trapped at a fixed distance from the minimum. We finally compare the distribution of PCA variances and the PCA projected training trajectories of a linear model trained on CIFAR-10 and ResNet-50-v2 trained on Imagenet and find that the distribution of PCA variances resembles a random walk with drift.

Joseph Antognini, Matt Hoffman, Ron J. Weiss

Texture synthesis techniques based on matching the Gram matrix of feature activations in neural networks have achieved spectacular success in the image domain. In this paper we extend these techniques to the audio domain. We demonstrate that synthesizing diverse audio textures is challenging, and argue that this is because audio data is relatively low-dimensional. We therefore introduce two new terms to the original Grammian loss: an autocorrelation term that preserves rhythm, and a diversity term that encourages the optimization procedure to synthesize unique textures. We quantitatively study the impact of our design choices on the quality of the synthesized audio by introducing an audio analogue to the Inception loss which we term the VGGish loss. We show that there is a trade-off between the diversity and quality of the synthesized audio using this technique. We additionally perform a number of experiments to qualitatively study how these design choices impact the quality of the synthesized audio. Finally we describe the implications of these results for the problem of audio style transfer.