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As artificial intelligence advances, we’re encountering the same old questions. How much of what we consider to be fundamentally human can be reduced to an algorithm? Can we create something sufficiently advanced that people can no longer distinguish between the two? This, after all, is the idea behind the Turing Test, which has yet to be passed.
At first glance, you might think music is beyond the realm of algorithms. Birds can sing, and people can compose symphonies. Music is evocative; it makes us feel. Very often, our intense personal and emotional attachments to music are because it reminds us of our shared humanity. We are told that creative jobs are the least likely to be automated. Creativity seems fundamentally human.
But I think above all, we view it as reductionist sacrilege: to dissect beautiful things. “If you try to strangle a skylark / to cut it up, see how it works / you will stop its heart from beating / you will stop its mouth from singing.” A human musician wrote that; a machine might be able to string words together that are happy or sad; it might even be able to conjure up a decent metaphor from the depths of some neural network—but could it understand humanity enough to produce art that speaks to humans?
Then, of course, there’s the other side of the debate. Music, after all, has a deeply mathematical structure; you can train a machine to produce harmonics. “In the teachings of Pythagoras and his followers, music was inseparable from numbers, which were thought to be the key to the whole spiritual and physical universe,” according to Grout in A History of Western Music. You might argue that the process of musical composition cannot be reduced to a simple algorithm, yet musicians have often done so. Mozart, with his “Dice Music,” used the roll of a dice to decide how to order musical fragments; creativity through an 18th-century random number generator. Algorithmic music goes back a very long way, with the first papers on the subject from the 1960s.
Then there’s the techno-enthusiast side of the argument. iTunes has 26 million songs, easily more than a century of music. A human could never listen to and learn from them all, but a machine could. It could also memorize every note of Beethoven. Music can be converted into MIDI files, a nice chewable data format that allows even a character-by-character neural net you can run on your computer to generate music. (Seriously, even I could get this thing working.)
Indeed, generating music in the style of Bach has long been a test for AI, and you can see neural networks gradually learn to imitate classical composers while trying to avoid overfitting. When an algorithm overfits, it essentially starts copying the existing music, rather than being inspired by it but creating something similar: a tightrope the best human artists learn to walk. Creativity doesn’t spring from nowhere; even maverick musical geniuses have their influences.
Does a machine have to be truly ‘creative’ to produce something that someone would find valuable? To what extent would listeners’ attitudes change if they thought they were hearing a human vs. an AI composition? This all suggests a musical Turing Test. Of course, it already exists. In fact, it’s run out of Dartmouth, the school that hosted that first, seminal AI summer conference. This year, the contest is bigger than ever: alongside the PoetiX, LimeriX and LyriX competitions for poetry and lyrics, there’s a DigiKidLit competition for children’s literature (although you may have reservations about exposing your children to neural-net generated content… it can get a bit surreal).
There’s also a pair of musical competitions, including one for original compositions in different genres. Key genres and styles are represented by Charlie Parker for Jazz and the Bach chorales for classical music. There’s also a free composition, and a contest where a human and an AI try to improvise together—the AI must respond to a human spontaneously, in real time, and in a musically pleasing way. Quite a challenge! In all cases, if any of the generated work is indistinguishable from human performers, the neural net has passed the Turing Test.
Did they? Here’s part of 2017’s winning sonnet from Charese Smiley and Hiroko Bretz:
The large cabin was in total darkness.
Come marching up the eastern hill afar.
When is the clock on the stairs dangerous?
Everything seemed so near and yet so far.
Behind the wall silence alone replied.
Was, then, even the staircase occupied?
Generating the rhymes is easy enough, the sentence structure a little trickier, but what’s impressive about this sonnet is that it sticks to a single topic and appears to be a more coherent whole. I’d guess they used associated “lexical fields” of similar words to help generate something coherent. In a similar way, most of the more famous examples of AI-generated music still involve some amount of human control, even if it’s editorial; a human will build a song around an AI-generated riff, or select the most convincing Bach chorale from amidst many different samples.
We are seeing strides forward in the ability of AI to generate human voices and human likenesses. As the latter example shows, in the fake news era people have focused on the dangers of this tech– but might it also be possible to create a virtual performer, trained on a dataset of their original music? Did you ever want to hear another Beatles album, or jam with Miles Davis? Of course, these things are impossible—but could we create a similar experience that people would genuinely value? Even, to the untrained eye, something indistinguishable from the real thing?
And if it did measure up to the real thing, what would this mean? Jaron Lanier is a fascinating technology writer, a critic of strong AI, and a believer in the power of virtual reality to change the world and provide truly meaningful experiences. He’s also a composer and a musical aficionado. He pointed out in a recent interview that translation algorithms, by reducing the amount of work translators are commissioned to do, have, in some sense, profited from stolen expertise. They were trained on huge datasets purloined from human linguists and translators. If you can train an AI on someone’s creative output and it produces new music, who “owns” it?
Although companies that offer AI music tools are starting to proliferate, and some groups will argue that the musical Turing test has been passed already, AI-generated music is hardly racing to the top of the pop charts just yet. Even as the line between human-composed and AI-generated music starts to blur, there’s still a gulf between the average human and musical genius. In the next few years, we’ll see how far the current techniques can take us. It may be the case that there’s something in the skylark’s song that can’t be generated by machines. But maybe not, and then this song might need an extra verse.
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We all have scars, and each one tells a story. Tales of tomfoolery, tales of haphazardness, or in my case, tales of stupidity.
Whether the cause of your scar was a push-bike accident, a lack of concentration while cutting onions, or simply the byproduct of an active lifestyle, the experience was likely extremely painful and distressing. Not to mention the long and vexatious recovery period, stretching out for weeks and months after the actual event!
Cast your minds back to that time. How you longed for instant relief from your discomfort! How you longed to have your capabilities restored in an instant!
Well, materials that can heal themselves in an instant may not be far from becoming a reality—and a family of them known as elastomers holds the key.
“Elastomer” is essentially a big, fancy word for rubber. However, elastomers have one unique property—they are capable of returning to their original form after being vigorously stretched and deformed.
This unique property of elastomers has caught the eye of many scientists around the world, particularly those working in the field of robotics. The reason? Elastomer can be encouraged to return to its original shape, in many cases by simply applying heat. The implication of this is the quick and cost-effective repair of “wounds”—cuts, tears, and punctures to the soft, elastomer-based appendages of a robot’s exoskeleton.
Researchers from Vrije University in Brussels, Belgium have been toying with the technique, and with remarkable success. The team built a robotic hand with fingers made of a type of elastomer. They found that cuts and punctures were indeed able to repair themselves simply by applying heat to the affected area.
How long does the healing process take? In this instance, about a day. Now that’s a lot shorter than the weeks and months of recovery time we typically need for a flesh wound, during which we are unable to write, play the guitar, or do the dishes. If you consider the latter to be a bad thing…
However, it’s not the first time scientists have played around with elastomers and examined their self-healing properties. Another team of scientists, headed up by Cheng-Hui Li and Chao Wang, discovered another type of elastomer that exhibited autonomous self-healing properties. Just to help you picture this stuff, the material closely resembles animal muscle— strong, flexible, and elastic. With autogenetic restorative powers to boot.
Advancements in the world of self-healing elastomers, or rubbers, may also affect the lives of everyday motorists. Researchers from the Harvard John A. Paulson School of Engineering and Applied Sciences (SEAS) have developed a self-healing rubber material that could be used to make tires that repair their own punctures.
This time the mechanism of self-healing doesn’t involve heat. Rather, it is related to a physical phenomenon associated with the rubber’s unique structure. Normally, when a large enough stress is applied to a typical rubber, there is catastrophic failure at the focal point of that stress. The self-healing rubber the researchers created, on the other hand, distributes that same stress evenly over a network of “crazes”—which are like cracks connected by strands of fiber.
Here’s the interesting part. Not only does this unique physical characteristic of the rubber prevent catastrophic failure, it facilitates self-repair. According to Harvard researchers, when the stress is released, the material snaps back to its original form and the crazes heal.
This wonder material could be used in any number of rubber-based products.
Professor Jinrong Wu, of Sichuan University, China, and co-author of the study, happened to single out tires: “Imagine that we could use this material as one of the components to make a rubber tire… If you have a cut through the tire, this tire wouldn’t have to be replaced right away. Instead, it would self-heal while driving, enough to give you leeway to avoid dramatic damage,” said Wu.
So where to from here? Well, self-healing elastomers could have a number of different applications. According to the article published by Quartz, cited earlier, the material could be used on artificial limbs. Perhaps it will provide some measure of structural integrity without looking like a tattered mess after years of regular use.
Or perhaps a sort of elastomer-based hybrid skin is on the horizon. A skin in which wounds heal instantly. And recovery time, unlike your regular old human skin of yesteryear, is significantly slashed. Furthermore, this future skin might eliminate those little reminders we call scars.
For those with poor judgment skills, this spells an end to disquieting reminders of our own stupidity.
Image Credit: Vrije Universiteit Brussel / Prof. Dr. ir. Bram Vanderborght Continue reading
I don’t have to open the doors of AImotive’s white 2015 Prius to see that it’s not your average car. This particular Prius has been christened El Capitan, the name written below the rear doors, and two small cameras are mounted on top of the car. Bundles of wire snake out from them, as well as from the two additional cameras on the car’s hood and trunk.
Inside is where things really get interesting, though. The trunk holds a computer the size of a microwave, and a large monitor covers the passenger glove compartment and dashboard. The center console has three switches labeled “Allowed,” “Error,” and “Active.”
Budapest-based AImotive is working to provide scalable self-driving technology alongside big players like Waymo and Uber in the autonomous vehicle world. On a highway test ride with CEO Laszlo Kishonti near the company’s office in Mountain View, California, I got a glimpse of just how complex that world is.
Camera-Based Feedback System
AImotive’s approach to autonomous driving is a little different from that of some of the best-known systems. For starters, they’re using cameras, not lidar, as primary sensors. “The traffic system is visual and the cost of cameras is low,” Kishonti said. “A lidar can recognize when there are people near the car, but a camera can differentiate between, say, an elderly person and a child. Lidar’s resolution isn’t high enough to recognize the subtle differences of urban driving.”
Image Credit: AImotive
The company’s aiDrive software uses data from the camera sensors to feed information to its algorithms for hierarchical decision-making, grouped under four concurrent activities: recognition, location, motion, and control.
Kishonti pointed out that lidar has already gotten more cost-efficient, and will only continue to do so.
“Ten years ago, lidar was best because there wasn’t enough processing power to do all the calculations by AI. But the cost of running AI is decreasing,” he said. “In our approach, computer vision and AI processing are key, and for safety, we’ll have fallback sensors like radar or lidar.”
aiDrive currently runs on Nvidia chips, which Kishonti noted were originally designed for graphics, and are not terribly efficient given how power-hungry they are. “We’re planning to substitute lower-cost, lower-energy chips in the next six months,” he said.
Testing in Virtual Reality
Waymo recently announced its fleet has now driven four million miles autonomously. That’s a lot of miles, and hard to compete with. But AImotive isn’t trying to compete, at least not by logging more real-life test miles. Instead, the company is doing 90 percent of its testing in virtual reality. “This is what truly differentiates us from competitors,” Kishonti said.
He outlined the three main benefits of VR testing: it can simulate scenarios too dangerous for the real world (such as hitting something), too costly (not every company has Waymo’s funds to run hundreds of cars on real roads), or too time-consuming (like waiting for rain, snow, or other weather conditions to occur naturally and repeatedly).
“Real-world traffic testing is very skewed towards the boring miles,” he said. “What we want to do is test all the cases that are hard to solve.”
On a screen that looked not unlike multiple games of Mario Kart, he showed me the simulator. Cartoon cars cruised down winding streets, outfitted with all the real-world surroundings: people, trees, signs, other cars. As I watched, a furry kangaroo suddenly hopped across one screen. “Volvo had an issue in Australia,” Kishonti explained. “A kangaroo’s movement is different than other animals since it hops instead of running.” Talk about cases that are hard to solve.
AImotive is currently testing around 1,000 simulated scenarios every night, with a steadily-rising curve of successful tests. These scenarios are broken down into features, and the car’s behavior around those features fed into a neural network. As the algorithms learn more features, the level of complexity the vehicles can handle goes up.
On the Road
After Kishonti and his colleagues filled me in on the details of their product, it was time to test it out. A safety driver sat in the driver’s seat, a computer operator in the passenger seat, and Kishonti and I in back. The driver maintained full control of the car until we merged onto the highway. Then he flicked the “Allowed” switch, his copilot pressed the “Active” switch, and he took his hands off the wheel.
What happened next, you ask?
A few things. El Capitan was going exactly the speed limit—65 miles per hour—which meant all the other cars were passing us. When a car merged in front of us or cut us off, El Cap braked accordingly (if a little abruptly). The monitor displayed the feed from each of the car’s cameras, plus multiple data fields and a simulation where a blue line marked the center of the lane, measured by the cameras tracking the lane markings on either side.
I noticed El Cap wobbling out of our lane a bit, but it wasn’t until two things happened in a row that I felt a little nervous: first we went under a bridge, then a truck pulled up next to us, both bridge and truck casting a complete shadow over our car. At that point El Cap lost it, and we swerved haphazardly to the right, narrowly missing the truck’s rear wheels. The safety driver grabbed the steering wheel and took back control of the car.
What happened, Kishonti explained, was that the shadows made it hard for the car’s cameras to see the lane markings. This was a new scenario the algorithm hadn’t previously encountered. If we’d only gone under a bridge or only been next to the truck for a second, El Cap may not have had so much trouble, but the two events happening in a row really threw the car for a loop—almost literally.
“This is a new scenario we’ll add to our testing,” Kishonti said. He added that another way for the algorithm to handle this type of scenario, rather than basing its speed and positioning on the lane markings, is to mimic nearby cars. “The human eye would see that other cars are still moving at the same speed, even if it can’t see details of the road,” he said.
After another brief—and thankfully uneventful—hands-off cruise down the highway, the safety driver took over, exited the highway, and drove us back to the office.
Driving into the Future
I climbed out of the car feeling amazed not only that self-driving cars are possible, but that driving is possible at all. I squint when driving into a tunnel, swerve to avoid hitting a stray squirrel, and brake gradually at stop signs—all without consciously thinking to do so. On top of learning to steer, brake, and accelerate, self-driving software has to incorporate our brains’ and bodies’ unconscious (but crucial) reactions, like our pupils dilating to let in more light so we can see in a tunnel.
Despite all the progress of machine learning, artificial intelligence, and computing power, I have a wholly renewed appreciation for the thing that’s been in charge of driving up till now: the human brain.
Kishonti seemed to feel similarly. “I don’t think autonomous vehicles in the near future will be better than the best drivers,” he said. “But they’ll be better than the average driver. What we want to achieve is safe, good-quality driving for everyone, with scalability.”
AImotive is currently working with American tech firms and with car and truck manufacturers in Europe, China, and Japan.
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