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#433474 How to Feed Global Demand for ...

“You really can’t justify tuna in Chicago as a source of sustenance.” That’s according to Dr. Sylvia Earle, a National Geographic Society Explorer who was the first female chief scientist at NOAA. She came to the Good Food Institute’s Good Food Conference to deliver a call to action around global food security, agriculture, environmental protection, and the future of consumer choice.

It seems like all options should be on the table to feed an exploding population threatened by climate change. But Dr. Earle, who is faculty at Singularity University, drew a sharp distinction between seafood for sustenance versus seafood as a choice. “There is this widespread claim that we must take large numbers of wildlife from the sea in order to have food security.”

A few minutes later, Dr. Earle directly addressed those of us in the audience. “We know the value of a dead fish,” she said. That’s market price. “But what is the value of a live fish in the ocean?”

That’s when my mind blew open. What is the value—or put another way, the cost—of using the ocean as a major source of protein for humans? How do you put a number on that? Are we talking about dollars and cents, or about something far larger?

Dr. Liz Specht of the Good Food Institute drew the audience’s attention to a strange imbalance. Currently, about half of the yearly global catch of seafood comes from aquaculture. That means that the other half is wild caught. It’s hard to imagine half of your meat coming directly from the forests and the plains, isn’t it? And yet half of the world’s seafood comes from direct harvesting of the oceans, by way of massive overfishing, a terrible toll from bycatch, a widespread lack of regulation and enforcement, and even human rights violations such as slavery.

The search for solutions is on, from both within the fishing industry and from external agencies such as governments and philanthropists. Could there be another way?

Makers of plant-based seafood and clean seafood think they know how to feed the global demand for seafood without harming the ocean. These companies are part of a larger movement harnessing technology to reduce our reliance on wild and domesticated animals—and all the environmental, economic, and ethical issues that come with it.

Producers of plant-based seafood (20 or so currently) are working to capture the taste, texture, and nutrition of conventional seafood without the limitations of geography or the health of a local marine population. Like with plant-based meat, makers of plant-based seafood are harnessing food science and advances in chemistry, biology, and engineering to make great food. The industry’s strategy? Start with what the consumer wants, and then figure out how to achieve that great taste through technology.

So how does plant-based seafood taste? Pretty good, as it turns out. (The biggest benefit of a food-oriented conference is that your mouth is always full!)

I sampled “tuna” salad made from Good Catch Food’s fish-free tuna, which is sourced from legumes; the texture was nearly indistinguishable from that of flaked albacore tuna, and there was no lingering fishy taste to overpower my next bite. In a blind taste test, I probably wouldn’t have known that I was eating a plant-based seafood alternative. Next I reached for Ocean Hugger Food’s Ahimi, a tomato-based alternative to raw tuna. I adore Hawaiian poke, so I was pleasantly surprised when my Ahimi-based poke captured the bite of ahi tuna. It wasn’t quite as delightfully fatty as raw tuna, but with wild tuna populations struggling to recover from a 97% decline in numbers from 40 years ago, Ahimi is a giant stride in the right direction.

These plant-based alternatives aren’t the only game in town, however.

The clean meat industry, which has also been called “cultured meat” or “cellular agriculture,” isn’t seeking to lure consumers away from animal protein. Instead, cells are sampled from live animals and grown in bioreactors—meaning that no animal is slaughtered to produce real meat.

Clean seafood is poised to piggyback off platforms developed for clean meat; growing fish cells in the lab should rely on the same processes as growing meat cells. I know of four companies currently focusing on seafood (Finless Foods, Wild Type, BlueNalu, and Seafuture Sustainable Biotech), and a few more are likely to emerge from stealth mode soon.

Importantly, there’s likely not much difference between growing clean seafood from the top or the bottom of the food chain. Tuna, for example, are top predators that must grow for at least 10 years before they’re suitable as food. Each year, a tuna consumes thousands of pounds of other fish, shellfish, and plankton. That “long tail of groceries,” said Dr. Earle, “is a pretty expensive choice.” Excitingly, clean tuna would “level the trophic playing field,” as Dr. Specht pointed out.

All this is only the beginning of what might be possible.

Combining synthetic biology with clean meat and seafood means that future products could be personalized for individual taste preferences or health needs, by reprogramming the DNA of the cells in the lab. Industries such as bioremediation and biofuels likely have a lot to teach us about sourcing new ingredients and flavors from algae and marine plants. By harnessing rapid advances in automation, robotics, sensors, machine vision, and other big-data analytics, the manufacturing and supply chains for clean seafood could be remarkably safe and robust. Clean seafood would be just that: clean, without pathogens, parasites, or the plastic threatening to fill our oceans, meaning that you could enjoy it raw.

What about price? Dr. Mark Post, a pioneer in clean meat who is also faculty at Singularity University, estimated that 80% of clean-meat production costs come from the expensive medium in which cells are grown—and some ingredients in the medium are themselves sourced from animals, which misses the point of clean meat. Plus, to grow a whole cut of food, like a fish fillet, the cells need to be coaxed into a complex 3D structure with various cell types like muscle cells and fat cells. These two technical challenges must be solved before clean meat and seafood give consumers the experience they want, at the price they want.

In this respect clean seafood has an unusual edge. Most of what we know about growing animal cells in the lab comes from the research and biomedical industries (from tissue engineering, for example)—but growing cells to replace an organ has different constraints than growing cells for food. The link between clean seafood and biomedicine is less direct, empowering innovators to throw out dogma and find novel reagents, protocols, and equipment to grow seafood that captures the tastes, textures, smells, and overall experience of dining by the ocean.

Asked to predict when we’ll be seeing clean seafood in the grocery store, Lou Cooperhouse the CEO of BlueNalu, explained that the challenges aren’t only in the lab: marketing, sales, distribution, and communication with consumers are all critical. As Niya Gupta, the founder of Fork & Goode, said, “The question isn’t ‘can we do it’, but ‘can we sell it’?”

The good news is that the clean meat and seafood industry is highly collaborative; there are at least two dozen companies in the space, and they’re all talking to each other. “This is an ecosystem,” said Dr. Uma Valeti, the co-founder of Memphis Meats. “We’re not competing with each other.” It will likely be at least a decade before science, business, and regulation enable clean meat and seafood to routinely appear on restaurant menus, let alone market shelves.

Until then, think carefully about your food choices. Meditate on Dr. Earle’s question: “What is the real cost of that piece of halibut?” Or chew on this from Dr. Ricardo San Martin, of the Sutardja Center at the University of California, Berkeley: “Food is a system of meanings, not an object.” What are you saying when you choose your food, about your priorities and your values and how you want the future to look? Do you think about animal welfare? Most ethical regulations don’t extend to marine life, and if you don’t think that ocean creatures feel pain, consider the lobster.

Seafood is largely an acquired taste, since most of us don’t live near the water. Imagine a future in which children grow up loving the taste of delicious seafood but without hurting a living animal, the ocean, or the global environment.

Do more than imagine. As Dr. Earle urged us, “Convince the public at large that this is a really cool idea.”

Widely available
Medium availability

Ahimi (Ocean Hugger)
New Wave Foods

Sophie’s Kitchen
Cedar Lake
To-funa Fish

SoFine Foods

Vegetarian Plus
Good Catch

Hungry Planet

Loma Linda
Heritage Health Food
Terramino Foods

The Vegetarian Butcher
May Wah


Table based on Figure 5 of the report “An Ocean of Opportunity: Plant-based and clean seafood for sustainable oceans without sacrifice,” from The Good Food Institute.

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#433288 The New AI Tech Turning Heads in Video ...

A new technique using artificial intelligence to manipulate video content gives new meaning to the expression “talking head.”

An international team of researchers showcased the latest advancement in synthesizing facial expressions—including mouth, eyes, eyebrows, and even head position—in video at this month’s 2018 SIGGRAPH, a conference on innovations in computer graphics, animation, virtual reality, and other forms of digital wizardry.

The project is called Deep Video Portraits. It relies on a type of AI called generative adversarial networks (GANs) to modify a “target” actor based on the facial and head movement of a “source” actor. As the name implies, GANs pit two opposing neural networks against one another to create a realistic talking head, right down to the sneer or raised eyebrow.

In this case, the adversaries are actually working together: One neural network generates content, while the other rejects or approves each effort. The back-and-forth interplay between the two eventually produces a realistic result that can easily fool the human eye, including reproducing a static scene behind the head as it bobs back and forth.

The researchers say the technique can be used by the film industry for a variety of purposes, from editing facial expressions of actors for matching dubbed voices to repositioning an actor’s head in post-production. AI can not only produce highly realistic results, but much quicker ones compared to the manual processes used today, according to the researchers. You can read the full paper of their work here.

“Deep Video Portraits shows how such a visual effect could be created with less effort in the future,” said Christian Richardt, from the University of Bath’s motion capture research center CAMERA, in a press release. “With our approach, even the positioning of an actor’s head and their facial expression could be easily edited to change camera angles or subtly change the framing of a scene to tell the story better.”

AI Tech Different Than So-Called “Deepfakes”
The work is far from the first to employ AI to manipulate video and audio. At last year’s SIGGRAPH conference, researchers from the University of Washington showcased their work using algorithms that inserted audio recordings from a person in one instance into a separate video of the same person in a different context.

In this case, they “faked” a video using a speech from former President Barack Obama addressing a mass shooting incident during his presidency. The AI-doctored video injects the audio into an unrelated video of the president while also blending the facial and mouth movements, creating a pretty credible job of lip synching.

A previous paper by many of the same scientists on the Deep Video Portraits project detailed how they were first able to manipulate a video in real time of a talking head (in this case, actor and former California governor Arnold Schwarzenegger). The Face2Face system pulled off this bit of digital trickery using a depth-sensing camera that tracked the facial expressions of an Asian female source actor.

A less sophisticated method of swapping faces using a machine learning software dubbed FakeApp emerged earlier this year. Predictably, the tech—requiring numerous photos of the source actor in order to train the neural network—was used for more juvenile pursuits, such as injecting a person’s face onto a porn star.

The application gave rise to the term “deepfakes,” which is now used somewhat ubiquitously to describe all such instances of AI-manipulated video—much to the chagrin of some of the researchers involved in more legitimate uses.

Fighting AI-Created Video Forgeries
However, the researchers are keenly aware that their work—intended for benign uses such as in the film industry or even to correct gaze and head positions for more natural interactions through video teleconferencing—could be used for nefarious purposes. Fake news is the most obvious concern.

“With ever-improving video editing technology, we must also start being more critical about the video content we consume every day, especially if there is no proof of origin,” said Michael Zollhöfer, a visiting assistant professor at Stanford University and member of the Deep Video Portraits team, in the press release.

Toward that end, the research team is training the same adversarial neural networks to spot video forgeries. They also strongly recommend that developers clearly watermark videos that are edited through AI or otherwise, and denote clearly what part and element of the scene was modified.

To catch less ethical users, the US Department of Defense, through the Defense Advanced Research Projects Agency (DARPA), is supporting a program called Media Forensics. This latest DARPA challenge enlists researchers to develop technologies to automatically assess the integrity of an image or video, as part of an end-to-end media forensics platform.

The DARPA official in charge of the program, Matthew Turek, did tell MIT Technology Review that so far the program has “discovered subtle cues in current GAN-manipulated images and videos that allow us to detect the presence of alterations.” In one reported example, researchers have targeted eyes, which rarely blink in the case of “deepfakes” like those created by FakeApp, because the AI is trained on still pictures. That method would seem to be less effective to spot the sort of forgeries created by Deep Video Portraits, which appears to flawlessly match the entire facial and head movements between the source and target actors.

“We believe that the field of digital forensics should and will receive a lot more attention in the future to develop approaches that can automatically prove the authenticity of a video clip,” Zollhöfer said. “This will lead to ever-better approaches that can spot such modifications even if we humans might not be able to spot them with our own eyes.

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#432884 This Week’s Awesome Stories From ...

Boston Dynamics’ SpotMini Robot Dog Goes on Sale in 2019
Stephen Shankland | CNET
“The company has 10 SpotMini prototypes now and will work with manufacturing partners to build 100 this year, said company co-founder and President Marc Raibert at a TechCrunch robotics conference Friday. ‘That’s a prelude to getting into a higher rate of production’ in anticipation of sales next year, he said. Who’ll buy it? Probably not you.”

Also from Boston Dynamics’ this week:

Made In Space Wins NASA Contract for Next-Gen ‘Vulcan’ Manufacturing System
Mike Wall | Space.com
“’The Vulcan hybrid manufacturing system allows for flexible augmentation and creation of metallic components on demand with high precision,’ Mike Snyder, Made In Space chief engineer and principal investigator, said in a statement. …When Vulcan is ready to go, Made In Space aims to demonstrate the technology on the ISS, showing Vulcan’s potential usefulness for a variety of exploration missions.”

Duplex Shows Google Failing at Ethical and Creative AI Design
Natasha Lomas | TechCrunch
“But while the home crowd cheered enthusiastically at how capable Google had seemingly made its prototype robot caller—with Pichai going on to sketch a grand vision of the AI saving people and businesses time—the episode is worryingly suggestive of a company that views ethics as an after-the-fact consideration. One it does not allow to trouble the trajectory of its engineering ingenuity.”

What Artists Can Tech Us About Making Technology More Human
Elizabeth Stinson| Wired
“For the last year, Park, along with the artist Sougwen Chung and dancers Jason Oremus and Garrett Coleman of the dance collective Hammerstep, have been working out of Bell Labs as part of a residency called Experiments in Art and Technology. The year-long residency, a collaboration between Bell Labs and the New Museum’s incubator, New Inc, culminated in ‘Only Human,’ a recently-opened exhibition at Mana where the artists’ pieces will be on display through the end of May.”

The White House Says a New AI Task Force Will Protect Workers and Keep America First
Will Knight | MIT Technology Review
“The meeting and the select committee signal that the administration takes the impact of artificial intellgence seriously. This has not always been apparent. In his campaign speeches, Trump suggested reviving industries that have already been overhauled by automation. The Treasury secretary, Steven Mnuchin, also previously said that the idea of robots and AI taking people’s jobs was ‘not even on my radar screen.’”

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#432487 Can We Make a Musical Turing Test?

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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#432331 $10 million XPRIZE Aims for Robot ...

Ever wished you could be in two places at the same time? The XPRIZE Foundation wants to make that a reality with a $10 million competition to build robot avatars that can be controlled from at least 100 kilometers away.

The competition was announced by XPRIZE founder Peter Diamandis at the SXSW conference in Austin last week, with an ambitious timeline of awarding the grand prize by October 2021. Teams have until October 31st to sign up, and they need to submit detailed plans to a panel of judges by the end of next January.

The prize, sponsored by Japanese airline ANA, has given contestants little guidance on how they expect them to solve the challenge other than saying their solutions need to let users see, hear, feel, and interact with the robot’s environment as well as the people in it.

XPRIZE has also not revealed details of what kind of tasks the robots will be expected to complete, though they’ve said tasks will range from “simple” to “complex,” and it should be possible for an untrained operator to use them.

That’s a hugely ambitious goal that’s likely to require teams to combine multiple emerging technologies, from humanoid robotics to virtual reality high-bandwidth communications and high-resolution haptics.

If any of the teams succeed, the technology could have myriad applications, from letting emergency responders enter areas too hazardous for humans to helping people care for relatives who live far away or even just allowing tourists to visit other parts of the world without the jet lag.

“Our ability to physically experience another geographic location, or to provide on-the-ground assistance where needed, is limited by cost and the simple availability of time,” Diamandis said in a statement.

“The ANA Avatar XPRIZE can enable creation of an audacious alternative that could bypass these limitations, allowing us to more rapidly and efficiently distribute skill and hands-on expertise to distant geographic locations where they are needed, bridging the gap between distance, time, and cultures,” he added.

Interestingly, the technology may help bypass an enduring hand break on the widespread use of robotics: autonomy. By having a human in the loop, you don’t need nearly as much artificial intelligence analyzing sensory input and making decisions.

Robotics software is doing a lot more than just high-level planning and strategizing, though. While a human moves their limbs instinctively without consciously thinking about which muscles to activate, controlling and coordinating a robot’s components requires sophisticated algorithms.

The DARPA Robotics Challenge demonstrated just how hard it was to get human-shaped robots to do tasks humans would find simple, such as opening doors, climbing steps, and even just walking. These robots were supposedly semi-autonomous, but on many tasks they were essentially tele-operated, and the results suggested autonomy isn’t the only problem.

There’s also the issue of powering these devices. You may have noticed that in a lot of the slick web videos of humanoid robots doing cool things, the machine is attached to the roof by a large cable. That’s because they suck up huge amounts of power.

Possibly the most advanced humanoid robot—Boston Dynamics’ Atlas—has a battery, but it can only run for about an hour. That might be fine for some applications, but you don’t want it running out of juice halfway through rescuing someone from a mine shaft.

When it comes to the link between the robot and its human user, some of the technology is probably not that much of a stretch. Virtual reality headsets can create immersive audio-visual environments, and a number of companies are working on advanced haptic suits that will let people “feel” virtual environments.

Motion tracking technology may be more complicated. While even consumer-grade devices can track peoples’ movements with high accuracy, you will probably need to don something more like an exoskeleton that can both pick up motion and provide mechanical resistance, so that when the robot bumps into an immovable object, the user stops dead too.

How hard all of this will be is also dependent on how the competition ultimately defines subjective terms like “feel” and “interact.” Will the user need to be able to feel a gentle breeze on the robot’s cheek or be able to paint a watercolor? Or will simply having the ability to distinguish a hard object from a soft one or shake someone’s hand be enough?

Whatever the fidelity they decide on, the approach will require huge amounts of sensory and control data to be transmitted over large distances, most likely wirelessly, in a way that’s fast and reliable enough that there’s no lag or interruptions. Fortunately 5G is launching this year, with a speed of 10 gigabits per second and very low latency, so this problem should be solved by 2021.

And it’s worth remembering there have already been some tentative attempts at building robotic avatars. Telepresence robots have solved the seeing, hearing, and some of the interacting problems, and MIT has already used virtual reality to control robots to carry out complex manipulation tasks.

South Korean company Hankook Mirae Technology has also unveiled a 13-foot-tall robotic suit straight out of a sci-fi movie that appears to have made some headway with the motion tracking problem, albeit with a human inside the robot. Toyota’s T-HR3 does the same, but with the human controlling the robot from a “Master Maneuvering System” that marries motion tracking with VR.

Combining all of these capabilities into a single machine will certainly prove challenging. But if one of the teams pulls it off, you may be able to tick off trips to the Seven Wonders of the World without ever leaving your house.

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