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You don’t have to dig too deeply into the archive of dystopian science fiction to uncover the horror that intelligent machines might unleash. The Matrix and The Terminator are probably the most well-known examples of self-replicating, intelligent machines attempting to enslave or destroy humanity in the process of building a brave new digital world.
The prospect of artificially intelligent machines creating other artificially intelligent machines took a big step forward in 2017. However, we’re far from the runaway technological singularity futurists are predicting by mid-century or earlier, let alone murderous cyborgs or AI avatar assassins.
The first big boost this year came from Google. The tech giant announced it was developing automated machine learning (AutoML), writing algorithms that can do some of the heavy lifting by identifying the right neural networks for a specific job. Now researchers at the Department of Energy’s Oak Ridge National Laboratory (ORNL), using the most powerful supercomputer in the US, have developed an AI system that can generate neural networks as good if not better than any developed by a human in less than a day.
It can take months for the brainiest, best-paid data scientists to develop deep learning software, which sends data through a complex web of mathematical algorithms. The system is modeled after the human brain and known as an artificial neural network. Even Google’s AutoML took weeks to design a superior image recognition system, one of the more standard operations for AI systems today.
Of course, Google Brain project engineers only had access to 800 graphic processing units (GPUs), a type of computer hardware that works especially well for deep learning. Nvidia, which pioneered the development of GPUs, is considered the gold standard in today’s AI hardware architecture. Titan, the supercomputer at ORNL, boasts more than 18,000 GPUs.
The ORNL research team’s algorithm, called MENNDL for Multinode Evolutionary Neural Networks for Deep Learning, isn’t designed to create AI systems that cull cute cat photos from the internet. Instead, MENNDL is a tool for testing and training thousands of potential neural networks to work on unique science problems.
That requires a different approach from the Google and Facebook AI platforms of the world, notes Steven Young, a postdoctoral research associate at ORNL who is on the team that designed MENNDL.
“We’ve discovered that those [neural networks] are very often not the optimal network for a lot of our problems, because our data, while it can be thought of as images, is different,” he explains to Singularity Hub. “These images, and the problems, have very different characteristics from object detection.”
AI for Science
One application of the technology involved a particle physics experiment at the Fermi National Accelerator Laboratory. Fermilab researchers are interested in understanding neutrinos, high-energy subatomic particles that rarely interact with normal matter but could be a key to understanding the early formation of the universe. One Fermilab experiment involves taking a sort of “snapshot” of neutrino interactions.
The team wanted the help of an AI system that could analyze and classify Fermilab’s detector data. MENNDL evaluated 500,000 neural networks in 24 hours. Its final solution proved superior to custom models developed by human scientists.
In another case involving a collaboration with St. Jude Children’s Research Hospital in Memphis, MENNDL improved the error rate of a human-designed algorithm for identifying mitochondria inside 3D electron microscopy images of brain tissue by 30 percent.
“We are able to do better than humans in a fraction of the time at designing networks for these sort of very different datasets that we’re interested in,” Young says.
What makes MENNDL particularly adept is its ability to define the best or most optimal hyperparameters—the key variables—to tackle a particular dataset.
“You don’t always need a big, huge deep network. Sometimes you just need a small network with the right hyperparameters,” Young says.
A Virtual Data Scientist
That’s not dissimilar to the approach of a company called H20.ai, a startup out of Silicon Valley that uses open source machine learning platforms to “democratize” AI. It applies machine learning to create business solutions for Fortune 500 companies, including some of the world’s biggest banks and healthcare companies.
“Our software is more [about] pattern detection, let’s say anti-money laundering or fraud detection or which customer is most likely to churn,” Dr. Arno Candel, chief technology officer at H2O.ai, tells Singularity Hub. “And that kind of insight-generating software is what we call AI here.”
The company’s latest product, Driverless AI, promises to deliver the data scientist equivalent of a chessmaster to its customers (the company claims several such grandmasters in its employ and advisory board). In other words, the system can analyze a raw dataset and, like MENNDL, automatically identify what features should be included in the computer model to make the most of the data based on the best “chess moves” of its grandmasters.
“So we’re using those algorithms, but we’re giving them the human insights from those data scientists, and we automate their thinking,” he explains. “So we created a virtual data scientist that is relentless at trying these ideas.”
Inside the Black Box
Not unlike how the human brain reaches a conclusion, it’s not always possible to understand how a machine, despite being designed by humans, reaches its own solutions. The lack of transparency is often referred to as the AI “black box.” Experts like Young say we can learn something about the evolutionary process of machine learning by generating millions of neural networks and seeing what works well and what doesn’t.
“You’re never going to be able to completely explain what happened, but maybe we can better explain it than we currently can today,” Young says.
Transparency is built into the “thought process” of each particular model generated by Driverless AI, according to Candel.
The computer even explains itself to the user in plain English at each decision point. There is also real-time feedback that allows users to prioritize features, or parameters, to see how the changes improve the accuracy of the model. For example, the system may include data from people in the same zip code as it creates a model to describe customer turnover.
“That’s one of the advantages of our automatic feature engineering: it’s basically mimicking human thinking,” Candel says. “It’s not just neural nets that magically come up with some kind of number, but we’re trying to make it statistically significant.”
Much digital ink has been spilled over the dearth of skilled data scientists, so automating certain design aspects for developing artificial neural networks makes sense. Experts agree that automation alone won’t solve that particular problem. However, it will free computer scientists to tackle more difficult issues, such as parsing the inherent biases that exist within the data used by machine learning today.
“I think the world has an opportunity to focus more on the meaning of things and not on the laborious tasks of just fitting a model and finding the best features to make that model,” Candel notes. “By automating, we are pushing the burden back for the data scientists to actually do something more meaningful, which is think about the problem and see how you can address it differently to make an even bigger impact.”
The team at ORNL expects it can also make bigger impacts beginning next year when the lab’s next supercomputer, Summit, comes online. While Summit will boast only 4,600 nodes, it will sport the latest and greatest GPU technology from Nvidia and CPUs from IBM. That means it will deliver more than five times the computational performance of Titan, the world’s fifth-most powerful supercomputer today.
“We’ll be able to look at much larger problems on Summit than we were able to with Titan and hopefully get to a solution much faster,” Young says.
It’s all in a day’s work.
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The best storytellers react to their audience. They look for smiles, signs of awe, or boredom; they simultaneously and skillfully read both the story and their sitters. Kevin Brooks, a seasoned storyteller working for Motorola’s Human Interface Labs, explains, “As the storyteller begins, they must tune in to… the audience’s energy. Based on this energy, the storyteller will adjust their timing, their posture, their characterizations, and sometimes even the events of the story. There is a dialog between audience and storyteller.”
Shortly after I read the script to Melita, the latest virtual reality experience from Madrid-based immersive storytelling company Future Lighthouse, CEO Nicolas Alcalá explained to me that the piece is an example of “reactive content,” a concept he’s been working on since his days at Singularity University.
For the first time in history, we have access to technology that can merge the reactive and affective elements of oral storytelling with the affordances of digital media, weaving stunning visuals, rich soundtracks, and complex meta-narratives in a story arena that has the capability to know you more intimately than any conventional storyteller could.
It’s no understatement to say that the storytelling potential here is phenomenal.
In short, we can refer to content as reactive if it reads and reacts to users based on their body rhythms, emotions, preferences, and data points. Artificial intelligence is used to analyze users’ behavior or preferences to sculpt unique storylines and narratives, essentially allowing for a story that changes in real time based on who you are and how you feel.
The development of reactive content will allow those working in the industry to go one step further than simply translating the essence of oral storytelling into VR. Rather than having a narrative experience with a digital storyteller who can read you, reactive content has the potential to create an experience with a storyteller who knows you.
This means being able to subtly insert minor personal details that have a specific meaning to the viewer. When we talk to our friends we often use experiences we’ve shared in the past or knowledge of our audience to give our story as much resonance as possible. Targeting personal memories and aspects of our lives is a highly effective way to elicit emotions and aid in visualizing narratives. When you can do this with the addition of visuals, music, and characters—all lifted from someone’s past—you have the potential for overwhelmingly engaging and emotionally-charged content.
Future Lighthouse inform me that for now, reactive content will rely primarily on biometric feedback technology such as breathing, heartbeat, and eye tracking sensors. A simple example would be a story in which parts of the environment or soundscape change in sync with the user’s heartbeat and breathing, or characters who call you out for not paying attention.
The next step would be characters and situations that react to the user’s emotions, wherein algorithms analyze biometric information to make inferences about states of emotional arousal (“why are you so nervous?” etc.). Another example would be implementing the use of “arousal parameters,” where the audience can choose what level of “fear” they want from a VR horror story before algorithms modulate the experience using information from biometric feedback devices.
The company’s long-term goal is to gather research on storytelling conventions and produce a catalogue of story “wireframes.” This entails distilling the basic formula to different genres so they can then be fleshed out with visuals, character traits, and soundtracks that are tailored for individual users based on their deep data, preferences, and biometric information.
The development of reactive content will go hand in hand with a renewed exploration of diverging, dynamic storylines, and multi-narratives, a concept that hasn’t had much impact in the movie world thus far. In theory, the idea of having a story that changes and mutates is captivating largely because of our love affair with serendipity and unpredictability, a cultural condition theorist Arthur Kroker refers to as the “hypertextual imagination.” This feeling of stepping into the unknown with the possibility of deviation from the habitual translates as a comforting reminder that our own lives can take exciting and unexpected turns at any moment.
The inception of the concept into mainstream culture dates to the classic Choose Your Own Adventure book series that launched in the late 70s, which in its literary form had great success. However, filmic takes on the theme have made somewhat less of an impression. DVDs like I’m Your Man (1998) and Switching (2003) both use scene selection tools to determine the direction of the storyline.
A more recent example comes from Kino Industries, who claim to have developed the technology to allow filmmakers to produce interactive films in which viewers can use smartphones to quickly vote on which direction the narrative takes at numerous decision points throughout the film.
The main problem with diverging narrative films has been the stop-start nature of the interactive element: when I’m immersed in a story I don’t want to have to pick up a controller or remote to select what’s going to happen next. Every time the audience is given the option to take a new path (“press this button”, “vote on X, Y, Z”) the narrative— and immersion within that narrative—is temporarily halted, and it takes the mind a while to get back into this state of immersion.
Reactive content has the potential to resolve these issues by enabling passive interactivity—that is, input and output without having to pause and actively make decisions or engage with the hardware. This will result in diverging, dynamic narratives that will unfold seamlessly while being dependent on and unique to the specific user and their emotions. Passive interactivity will also remove the game feel that can often be a symptom of interactive experiences and put a viewer somewhere in the middle: still firmly ensconced in an interactive dynamic narrative, but in a much subtler way.
While reading the Melita script I was particularly struck by a scene in which the characters start to engage with the user and there’s a synchronicity between the user’s heartbeat and objects in the virtual world. As the narrative unwinds and the words of Melita’s character get more profound, parts of the landscape, which seemed to be flashing and pulsating at random, come together and start to mimic the user’s heartbeat.
In 2013, Jane Aspell of Anglia Ruskin University (UK) and Lukas Heydrich of the Swiss Federal Institute of Technology proved that a user’s sense of presence and identification with a virtual avatar could be dramatically increased by syncing the on-screen character with the heartbeat of the user. The relationship between bio-digital synchronicity, immersion, and emotional engagement is something that will surely have revolutionary narrative and storytelling potential.
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For Dr. Hiroshi Ishiguro, one of the most interesting things about androids is the changing questions they pose us, their creators, as they evolve. Does it, for example, do something to the concept of being human if a human-made creation starts telling you about what kind of boys ‘she’ likes?
If you want to know the answer to the boys question, you need to ask ERICA, one of Dr. Ishiguro’s advanced androids. Beneath her plastic skull and silicone skin, wires connect to AI software systems that bring her to life. Her ability to respond goes far beyond standard inquiries. Spend a little time with her, and the feeling of a distinct personality starts to emerge. From time to time, she works as a receptionist at Dr. Ishiguro and his team’s Osaka University labs. One of her android sisters is an actor who has starred in plays and a film.
ERICA’s ‘brother’ is an android version of Dr. Ishiguro himself, which has represented its creator at various events while the biological Ishiguro can remain in his offices in Japan. Microphones and cameras capture Ishiguro’s voice and face movements, which are relayed to the android. Apart from mimicking its creator, the Geminoid™ android is also capable of lifelike blinking, fidgeting, and breathing movements.
Say hello to relaxation
As technological development continues to accelerate, so do the possibilities for androids. From a position as receptionist, ERICA may well branch out into many other professions in the coming years. Companion for the elderly, comic book storyteller (an ancient profession in Japan), pop star, conversational foreign language partner, and newscaster are some of the roles and responsibilities Dr. Ishiguro sees androids taking on in the near future.
“Androids are not uncanny anymore. Most people adapt to interacting with Erica very quickly. Actually, I think that in interacting with androids, which are still different from us, we get a better appreciation of interacting with other cultures. In both cases, we are talking with someone who is different from us and learn to overcome those differences,” he says.
A lot has been written about how robots will take our jobs. Dr. Ishiguro believes these fears are blown somewhat out of proportion.
“Robots and androids will take over many simple jobs. Initially there might be some job-related issues, but new schemes, like for example a robot tax similar to the one described by Bill Gates, should help,” he says.
“Androids will make it possible for humans to relax and keep evolving. If we compare the time we spend studying now compared to 100 years ago, it has grown a lot. I think it needs to keep growing if we are to keep expanding our scientific and technological knowledge. In the future, we might end up spending 20 percent of our lifetime on work and 80 percent of the time on education and growing our skills.”
Android asks who you are
For Dr. Ishiguro, another aspect of robotics in general, and androids in particular, is how they question what it means to be human.
“Identity is a very difficult concept for humans sometimes. For example, I think clothes are part of our identity, in a way that is similar to our faces and bodies. We don’t change those from one day to the next, and that is why I have ten matching black outfits,” he says.
This link between physical appearance and perceived identity is one of the aspects Dr. Ishiguro is exploring. Another closely linked concept is the connection between body and feeling of self. The Ishiguro avatar was once giving a presentation in Austria. Its creator recalls how he felt distinctly like he was in Austria, even capable of feeling sensation of touch on his own body when people laid their hands on the android. If he was distracted, he felt almost ‘sucked’ back into his body in Japan.
“I am constantly thinking about my life in this way, and I believe that androids are a unique mirror that helps us formulate questions about why we are here and why we have been so successful. I do not necessarily think I have found the answers to these questions, so if you have, please share,” he says with a laugh.
His work and these questions, while extremely interesting on their own, become extra poignant when considering the predicted melding of mind and machine in the near future.
The ability to be present in several locations through avatars—virtual or robotic—raises many questions of both philosophical and practical nature. Then add the hypotheticals, like why send a human out onto the hostile surface of Mars if you could send a remote-controlled android, capable of relaying everything it sees, hears and feels?
The two ways of robotics will meet
Dr. Ishiguro sees the world of AI-human interaction as currently roughly split into two. One is the chat-bot approach that companies like Amazon, Microsoft, Google, and recently Apple, employ using stationary objects like speakers. Androids like ERICA represent another approach.
“It is about more than the form factor. I think that the android approach is generally more story-based. We are integrating new conversation features based on assumptions about the situation and running different scenarios that expand the android’s vocabulary and interactions. Another aspect we are working on is giving androids desire and intention. Like with people, androids should have desires and intentions in order for you to want to interact with them over time,” Dr. Ishiguro explains.
This could be said to be part of a wider trend for Japan, where many companies are developing human-like robots that often have some Internet of Things capabilities, making them able to handle some of the same tasks as an Amazon Echo. The difference in approach could be summed up in the words ‘assistant’ (Apple, Amazon, etc.) and ‘companion’ (Japan).
Dr. Ishiguro sees this as partly linked to how Japanese as a language—and market—is somewhat limited. This has a direct impact on viability and practicality of ‘pure’ voice recognition systems. At the same time, Japanese people have had greater exposure to positive images of robots, and have a different cultural / religious view of objects having a ‘soul’. However, it may also mean Japanese companies and android scientists are both stealing a lap on their western counterparts.
“If you speak to an Amazon Echo, that is not a natural way to interact for humans. This is part of why we are making human-like robot systems. The human brain is set up to recognize and interact with humans. So, it makes sense to focus on developing the body for the AI mind, as well as the AI. I believe that the final goal for both Japanese and other companies and scientists is to create human-like interaction. Technology has to adapt to us, because we cannot adapt fast enough to it, as it develops so quickly,” he says.
Banner image courtesy of Hiroshi Ishiguro Laboratories, ATR all rights reserved.
Dr. Ishiguro’s team has collaborated with partners and developed a number of android systems:
Geminoid™ HI-2 has been developed by Hiroshi Ishiguro Laboratories and Advanced Telecommunications Research Institute International (ATR).
Geminoid™ F has been developed by Osaka University and Hiroshi Ishiguro Laboratories, Advanced Telecommunications Research Institute International (ATR).
ERICA has been developed by ERATO ISHIGURO Symbiotic Human-Robot Interaction Project Continue reading