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Creativity is a trait that makes humans unique from other species. We alone have the ability to make music and art that speak to our experiences or illuminate truths about our world. But suddenly, humans’ artistic abilities have some competition—and from a decidedly non-human source.
Over the last couple years there have been some remarkable examples of art produced by deep learning algorithms. They have challenged the notion of an elusive definition of creativity and put into perspective how professionals can use artificial intelligence to enhance their abilities and produce beyond the known boundaries.
But when creativity is the result of code written by a programmer, using a format given by a software engineer, featuring private and public datasets, how do we assign ownership of AI-generated content, and particularly that of artwork? McKinsey estimates AI will annually generate value of $3.5 to $5.8 trillion across various sectors.
In 2018, a portrait that was christened Edmond de Belamy was made in a French art collective called Obvious. It used a database with 15,000 portraits from the 1300s to the 1900s to train a deep learning algorithm to produce a unique portrait. The painting sold for $432,500 in a New York auction. Similarly, a program called Aiva, trained on thousands of classical compositions, has released albums whose pieces are being used by ad agencies and movies.
The datasets used by these algorithms were different, but behind both there was a programmer who changed the brush strokes or musical notes into lines of code and a data scientist or engineer who fitted and “curated” the datasets to use for the model. There could also have been user-based input, and the output may be biased towards certain styles or unintentionally infringe on similar pieces of art. This shows that there are many collaborators with distinct roles in producing AI-generated content, and it’s important to discuss how they can protect their proprietary interests.
A perspective article published in Nature Machine Intelligence by Jason K. Eshraghian in March looks into how AI artists and the collaborators involved should assess their ownership, laying out some guiding principles that are “only applicable for as long as AI does not have legal parenthood, the way humans and corporations are accorded.”
Before looking at how collaborators can protect their interests, it’s useful to understand the basic requirements of copyright law. The artwork in question must be an “original work of authorship fixed in a tangible medium.” Given this principle, the author asked whether it’s possible for AI to exercise creativity, skill, or any other indicator of originality. The answer is still straightforward—no—or at least not yet. Currently, AI’s range of creativity doesn’t exceed the standard used by the US Copyright Office, which states that copyright law protects the “fruits of intellectual labor founded in the creative powers of the mind.”
Due to the current limitations of narrow AI, it must have some form of initial input that helps develop its ability to create. At the moment AI is a tool that can be used to produce creative work in the same way that a video camera is a tool used to film creative content. Video producers don’t need to comprehend the inner workings of their cameras; as long as their content shows creativity and originality, they have a proprietary claim over their creations.
The same concept applies to programmers developing a neural network. As long as the dataset they use as input yields an original and creative result, it will be protected by copyright law; they don’t need to understand the high-level mathematics, which in this case are often black box algorithms whose output it’s impossible to analyze.
Will robots and algorithms eventually be treated as creative sources able to own copyrights? The author pointed to the recent patent case of Warner-Lambert Co Ltd versus Generics where Lord Briggs, Justice of the Supreme Court of the UK, determined that “the court is well versed in identifying the governing mind of a corporation and, when the need arises, will no doubt be able to do the same for robots.”
In the meantime, Dr. Eshraghian suggests four guiding principles to allow artists who collaborate with AI to protect themselves.
First, programmers need to document their process through online code repositories like GitHub or BitBucket.
Second, data engineers should also document and catalog their datasets and the process they used to curate their models, indicating selectivity in their criteria as much as possible to demonstrate their involvement and creativity.
Third, in cases where user data is utilized, the engineer should “catalog all runs of the program” to distinguish the data selection process. This could be interpreted as a way of determining whether user-based input has a right to claim the copyright too.
Finally, the output should avoid infringing on others’ content through methods like reverse image searches and version control, as mentioned above.
AI-generated artwork is still a very new concept, and the ambiguous copyright laws around it give a lot of flexibility to AI artists and programmers worldwide. The guiding principles Eshraghian lays out will hopefully shed some light on the legislation we’ll eventually need for this kind of art, and start an important conversation between all the stakeholders involved.
Image Credit: Wikimedia Commons Continue reading
There’s no particular reason why knowing how to juggle would be a useful skill for a robot. Despite this, robots are frequently taught how to juggle things. Blind robots can juggle, humanoid robots can juggle, and even drones can juggle. Why? Because juggling is hard, man! You have to think about a bunch of different things at once, and also do a bunch of different things at once, which this particular human at least finds to be overly stressful. While juggling may not stress robots out, it does require carefully coordinated sensing and computing and actuation, which means that it’s as good a task as any (and a more entertaining task than most) for testing the capabilities of your system.
UC Berkeley’s Cassie Cal robot, which consists of two legs and what could be called a torso if you were feeling charitable, has just learned to juggle by bouncing a ball on what would be her head if she had one of those. The idea is that if Cassie can juggle while balancing at the same time, she’ll be better able to do other things that require dynamic multitasking, too. And if that doesn’t work out, she’ll still be able to join the circus.
Cassie’s juggling is assisted by an external motion capture system that tracks the location of the ball, but otherwise everything is autonomous. Cassie is able to juggle the ball by leaning forwards and backwards, left and right, and moving up and down. She does this while maintaining her own balance, which is the whole point of this research—successfully executing two dynamic behaviors that may sometimes be at odds with one another. The end goal here is not to make a better juggling robot, but rather to explore dynamic multitasking, a skill that robots will need in order to be successful in human environments.
This work is from the Hybrid Robotics Lab at UC Berkeley, led by Koushil Sreenath, and is being done by Katherine Poggensee, Albert Li, Daniel Sotsaikich, Bike Zhang, and Prasanth Kotaru.
For a bit more detail, we spoke with Albert Li via email.
Image: UC Berkeley
UC Berkeley’s Cassie Cal getting ready to juggle.
IEEE Spectrum: What would be involved in getting Cassie to juggle without relying on motion capture?
Albert Li: Our motivation for starting off with motion capture was to first address the control challenge of juggling on a biped without worrying about implementing the perception. We actually do have a ball detector working on a camera, which would mean we wouldn’t have to rely on the motion capture system. However, we need to mount the camera in a way that it would provide the best upwards field of view, and we also have develop a reliable estimator. The estimator is particularly important because when the ball gets close enough to the camera, we actually can’t track the ball and have to assume our dynamic models describe its motion accurately enough until it bounces back up.
What keeps Cassie from juggling indefinitely?
There are a few factors that affect how long Cassie can sustain a juggle. While in simulation the paddle exhibits homogeneous properties like its stiffness and damping, in reality every surface has anisotropic contact properties. So, there are parts of the paddle which may be better for juggling than others (and importantly, react differently than modeled). These differences in contact are also exacerbated due to how the paddle is cantilevered when mounted on Cassie. When the ball hits these areas, it leads to a larger than expected error in a juggle. Due to the small size of the paddle, the ball may then just hit the paddle’s edge and end the juggling run. Over a very long run, this is a likely occurrence. Additionally, some large juggling errors could cause Cassie’s feet to slip slightly, which ends up changing the stable standing position over time. Since this version of the controller assumes Cassie is stationary, this change in position eventually leads to poor juggles and failure.
Would Cassie be able to juggle while walking (or hovershoe-ing)?
Walking (and hovershoe-ing) while juggling is a far more challenging problem and is certainly a goal for future research. Some of these challenges include getting the paddle to precise poses to juggle the ball while also moving to avoid any destabilizing effects of stepping incorrectly. The number of juggles per step of walking could also vary and make the mathematics of the problem more challenging. The controller goal is also more involved. While the current goal of the juggling controller is to juggle the ball to a static apex position, with a walking juggling controller, we may instead want to hit the ball forwards and also walk forwards to bounce it, juggle the ball along a particular path, etc. Solving such challenges would be the main thrusts of the follow-up research.
Can you give an example of a practical task that would be made possible by using a controller like this?
Studying juggling means studying contact behavior and leveraging our models of it to achieve a known objective. Juggling could also be used to study predictable post-contact flight behavior. Consider the scenario where a robot is attempting to make a catch, but fails, letting the ball to bounce off of its hand, and then recovering the catch. This behavior could also be intentional: It is often easier to first execute a bounce to direct the target and then perform a subsequent action. For example, volleyball players could in principle directly hit a spiked ball back, but almost always bump the ball back up and then return it.
Even beyond this motivating example, the kinds of models we employ to get juggling working are more generally applicable to any task that involves contact, which could include tasks besides bouncing like sliding and rolling. For example, clearing space on a desk by pushing objects to the side may be preferable than individually manipulating each and every object on it.
You mention collaborative juggling or juggling multiple balls—is that something you’ve tried yet? Can you talk a bit more about what you’re working on next?
We haven’t yet started working on collaborative or multi-ball juggling, but that’s also a goal for future work. Juggling multiple balls statically is probably the most reasonable next goal, but presents additional challenges. For instance, you have to encode a notion of juggling urgency (if the second ball isn’t hit hard enough, you have less time to get the first ball up before you get back to the second one).
On the other hand, collaborative human-robot juggling requires a more advanced decision-making framework. To get robust multi-agent juggling, the robot will need to employ some sort of probabilistic model of the expected human behavior (are they likely to move somewhere? Are they trying to catch the ball high or low? Is it safe to hit the ball back?). In general, developing such human models is difficult since humans are fairly unpredictable and often don’t exhibit rational behavior. This will be a focus of future work.
[ Hybrid Robotics Lab ] Continue reading
Video Friday is your weekly selection of awesome robotics videos, collected by your Automaton bloggers. We’ll also be posting a weekly calendar of upcoming robotics events for the next few months; here’s what we have so far (send us your events!):
IROS 2019 – November 4-8, 2019 – Macau
Let us know if you have suggestions for next week, and enjoy today’s videos.
DJI’s new Mavic Mini looks like a pretty great drone for US $400 ($500 for a combo with more accessories): It’s tiny, flies for 30 minutes, and will do what you need as far as pictures and video (although not a whole lot more).
DJI seems to have put a bunch of effort into making the drone 249 grams, 1 gram under what’s required for FAA registration. That means you save $5 and a few minutes of your time, but that does not mean you don’t have to follow the FAA’s rules and regulations governing drone use.
[ DJI ]
Don’t panic, but Clearpath and HEBI Robotics have armed the Jackal:
After locking eyes across a crowded room at ICRA 2019, Clearpath Robotics and HEBI Robotics basked in that warm and fuzzy feeling that comes with starting a new and exciting relationship. Over a conference hall coffee, they learned that the two companies have many overlapping interests. The most compelling was the realization that customers across a variety of industries are hunting for an elusive true love of their own – a robust but compact robotic platform combined with a long reach manipulator for remote inspection tasks.
After ICRA concluded, Arron Griffiths, Application Engineer at Clearpath, and Matthew Tesch, Software Engineer at HEBI, kept in touch and decided there had been enough magic in the air to warrant further exploration. A couple of months later, Matthew arrived at Clearpath to formally introduce the HEBI’s X-Series Arm to Clearpath’s Jackal UGV. It was love.
[ Clearpath ]
I’m really not a fan of the people-carrying drones, but heavy lift cargo drones seem like a more okay idea.
Volocopter, the pioneer in Urban Air Mobility, presented the demonstrator of its VoloDrone. This marks Volocopters expansion into the logistics, agriculture, infrastructure and public services industry. The VoloDrone is an unmanned, fully electric, heavy-lift utility drone capable of carrying a payload of 200 kg (440 lbs) up to 40 km (25 miles). With a standardized payload attachment, VoloDrone can serve a great variety of purposes from transporting boxes, to liquids, to equipment and beyond. It can be remotely piloted or flown in automated mode on pre-set routes.
[ Volocopter ]
JAY is a mobile service robot that projects a display on the floor and plays sound with its speaker. By playing sounds and videos, it provides visual and audio entertainment in various places such as exhibition halls, airports, hotels, department stores and more.
[ Rainbow Robotics ]
The DARPA Subterranean Challenge Virtual Tunnel Circuit concluded this week—it was the same idea as the physical challenge that took place in August, just with a lot less IRL dirt.
The awards ceremony and team presentations are in this next video, and we’ll have more on this once we get back from IROS.
[ DARPA SubT ]
NASA is sending a mobile robot to the south pole of the Moon to get a close-up view of the location and concentration of water ice in the region and for the first time ever, actually sample the water ice at the same pole where the first woman and next man will land in 2024 under the Artemis program.
About the size of a golf cart, the Volatiles Investigating Polar Exploration Rover, or VIPER, will roam several miles, using its four science instruments — including a 1-meter drill — to sample various soil environments. Planned for delivery in December 2022, VIPER will collect about 100 days of data that will be used to inform development of the first global water resource maps of the Moon.
[ NASA ]
Happy Halloween from HEBI Robotics!
[ HEBI ]
Happy Halloween from Soft Robotics!
[ Soft Robotics ]
Halloween must be really, really confusing for autonomous cars.
[ Waymo ]
Once a year at Halloween, hardworking JPL engineers put their skills to the test in a highly competitive pumpkin carving contest. The result: A pumpkin gently landed on the Moon, its retrorockets smoldering, while across the room a Nemo-inspired pumpkin explored the sub-surface ocean of Jupiter moon Europa. Suffice to say that when the scientists and engineers at NASA’s Jet Propulsion Laboratory compete in a pumpkin-carving contest, the solar system’s the limit. Take a look at some of the masterpieces from 2019.
Now in its ninth year, the contest gives teams only one hour to carve and decorate their pumpkin though they can prepare non-pumpkin materials – like backgrounds, sound effects and motorized parts – ahead of time.
[ JPL ]
The online autonomous navigation and semantic mapping experiment presented [below] is conducted with the Cassie Blue bipedal robot at the University of Michigan. The sensors attached to the robot include an IMU, a 32-beam LiDAR and an RGB-D camera. The whole online process runs in real-time on a Jetson Xavier and a laptop with an i7 processor.
[ BPL ]
Misty II is now available to anyone who wants one, and she’s on sale for a mere $2900.
[ Misty ]
We leveraged LIDAR-based slam, in conjunction with our specialized relative localization sensor UVDAR to perform a de-centralized, communication-free swarm flight without the units knowing their absolute locations. The swarming and obstacle avoidance control is based on a modified Boids-like algorithm, while the whole swarm is controlled by directing a selected leader unit.
[ MRS ]
The MallARD robot is an autonomous surface vehicle (ASV), designed for the monitoring and inspection of wet storage facilities for example spent fuel pools or wet silos. The MallARD is holonomic, uses a LiDAR for localisation and features a robust trajectory tracking controller.
The University of Manchester’s researcher Dr Keir Groves designed and built the autonomous surface vehicle (ASV) for the challenge which came in the top three of the second round in Nov 2017. The MallARD went on to compete in a final 3rd round where it was deployed in a spent fuel pond at a nuclear power plant in Finland by the IAEA, along with two other entries. The MallARD came second overall, in November 2018.
[ RNE ]
I sometimes get the sense that in the robotic grasping and manipulation world, suction cups are kinda seen as cheating at times. But, their nature allows you to do some pretty interesting things.
More clever octopus footage please.
[ CMU ]
A Personal, At-Home Teacher For Playful Learning: From academic topics to child-friendly news bulletins, fun facts and more, Miko 2 is packed with relevant and freshly updated content specially designed by educationists and child-specialists. Your little one won’t even realize they’re learning.
As we point out pretty much every time we post a video like this, keep in mind that you’re seeing a heavily edited version of a hypothetical best case scenario for how this robot can function. And things like “creating a relationship that they can then learn how to form with their peers” is almost certainly overselling things. But at $300 (shipping included), this may be a decent robot as long as your expectations are appropriately calibrated.
[ Miko ]
ICRA 2018 plenary talk by Rodney Brooks: “Robots and People: the Research Challenge.”
[ IEEE RAS ]
ICRA-X 2018 talk by Ron Arkin: “Lethal Autonomous Robots and the Plight of the Noncombatant.”
[ IEEE RAS ]
On the most recent episode of the AI Podcast, Lex Fridman interviews Garry Kasparov.
[ AI Podcast ] Continue reading