Tag Archives: creative

#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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#432549 Your Next Pilot Could Be Drone Software

Would you get on a plane that didn’t have a human pilot in the cockpit? Half of air travelers surveyed in 2017 said they would not, even if the ticket was cheaper. Modern pilots do such a good job that almost any air accident is big news, such as the Southwest engine disintegration on April 17.

But stories of pilot drunkenness, rants, fights and distraction, however rare, are reminders that pilots are only human. Not every plane can be flown by a disaster-averting pilot, like Southwest Capt. Tammie Jo Shults or Capt. Chesley “Sully” Sullenberger. But software could change that, equipping every plane with an extremely experienced guidance system that is always learning more.

In fact, on many flights, autopilot systems already control the plane for basically all of the flight. And software handles the most harrowing landings—when there is no visibility and the pilot can’t see anything to even know where he or she is. But human pilots are still on hand as backups.

A new generation of software pilots, developed for self-flying vehicles, or drones, will soon have logged more flying hours than all humans have—ever. By combining their enormous amounts of flight data and experience, drone-control software applications are poised to quickly become the world’s most experienced pilots.

Drones That Fly Themselves
Drones come in many forms, from tiny quad-rotor copter toys to missile-firing winged planes, or even 7-ton aircraft that can stay aloft for 34 hours at a stretch.

When drones were first introduced, they were flown remotely by human operators. However, this merely substitutes a pilot on the ground for one aloft. And it requires significant communications bandwidth between the drone and control center, to carry real-time video from the drone and to transmit the operator’s commands.

Many newer drones no longer need pilots; some drones for hobbyists and photographers can now fly themselves along human-defined routes, leaving the human free to sightsee—or control the camera to get the best view.

University researchers, businesses, and military agencies are now testing larger and more capable drones that will operate autonomously. Swarms of drones can fly without needing tens or hundreds of humans to control them. And they can perform coordinated maneuvers that human controllers could never handle.

Could humans control these 1,218 drones all together?

Whether flying in swarms or alone, the software that controls these drones is rapidly gaining flight experience.

Importance of Pilot Experience
Experience is the main qualification for pilots. Even a person who wants to fly a small plane for personal and noncommercial use needs 40 hours of flying instruction before getting a private pilot’s license. Commercial airline pilots must have at least 1,000 hours before even serving as a co-pilot.

On-the-ground training and in-flight experience prepare pilots for unusual and emergency scenarios, ideally to help save lives in situations like the “Miracle on the Hudson.” But many pilots are less experienced than “Sully” Sullenberger, who saved his planeload of people with quick and creative thinking. With software, though, every plane can have on board a pilot with as much experience—if not more. A popular software pilot system, in use in many aircraft at once, could gain more flight time each day than a single human might accumulate in a year.

As someone who studies technology policy as well as the use of artificial intelligence for drones, cars, robots, and other uses, I don’t lightly suggest handing over the controls for those additional tasks. But giving software pilots more control would maximize computers’ advantages over humans in training, testing, and reliability.

Training and Testing Software Pilots
Unlike people, computers will follow sets of instructions in software the same way every time. That lets developers create instructions, test reactions, and refine aircraft responses. Testing could make it far less likely, for example, that a computer would mistake the planet Venus for an oncoming jet and throw the plane into a steep dive to avoid it.

The most significant advantage is scale: Rather than teaching thousands of individual pilots new skills, updating thousands of aircraft would require only downloading updated software.

These systems would also need to be thoroughly tested—in both real-life situations and in simulations—to handle a wide range of aviation situations and to withstand cyberattacks. But once they’re working well, software pilots are not susceptible to distraction, disorientation, fatigue, or other human impairments that can create problems or cause errors even in common situations.

Rapid Response and Adaptation
Already, aircraft regulators are concerned that human pilots are forgetting how to fly on their own and may have trouble taking over from an autopilot in an emergency.

In the “Miracle on the Hudson” event, for example, a key factor in what happened was how long it took for the human pilots to figure out what had happened—that the plane had flown through a flock of birds, which had damaged both engines—and how to respond. Rather than the approximately one minute it took the humans, a computer could have assessed the situation in seconds, potentially saving enough time that the plane could have landed on a runway instead of a river.

Aircraft damage can pose another particularly difficult challenge for human pilots: It can change what effects the controls have on its flight. In cases where damage renders a plane uncontrollable, the result is often tragedy. A sufficiently advanced automated system could make minute changes to the aircraft’s steering and use its sensors to quickly evaluate the effects of those movements—essentially learning how to fly all over again with a damaged plane.

Boosting Public Confidence
The biggest barrier to fully automated flight is psychological, not technical. Many people may not want to trust their lives to computer systems. But they might come around when reassured that the software pilot has tens, hundreds, or thousands more hours of flight experience than any human pilot.

Other autonomous technologies, too, are progressing despite public concerns. Regulators and lawmakers are allowing self-driving cars on the roads in many states. But more than half of Americans don’t want to ride in one, largely because they don’t trust the technology. And only 17 percent of travelers around the world are willing to board a plane without a pilot. However, as more people experience self-driving cars on the road and have drones deliver them packages, it is likely that software pilots will gain in acceptance.

The airline industry will certainly be pushing people to trust the new systems: Automating pilots could save tens of billions of dollars a year. And the current pilot shortage means software pilots may be the key to having any airline service to smaller destinations.

Both Boeing and Airbus have made significant investments in automated flight technology, which would remove or reduce the need for human pilots. Boeing has actually bought a drone manufacturer and is looking to add software pilot capabilities to the next generation of its passenger aircraft. (Other tests have tried to retrofit existing aircraft with robotic pilots.)

One way to help regular passengers become comfortable with software pilots—while also helping to both train and test the systems—could be to introduce them as co-pilots working alongside human pilots. Planes would be operated by software from gate to gate, with the pilots instructed to touch the controls only if the system fails. Eventually pilots could be removed from the aircraft altogether, just like they eventually were from the driverless trains that we routinely ride in airports around the world.

This article was originally published on The Conversation. Read the original article.

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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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#432467 Dungeons and Dragons, Not Chess and Go: ...

Everyone had died—not that you’d know it, from how they were laughing about their poor choices and bad rolls of the dice. As a social anthropologist, I study how people understand artificial intelligence (AI) and our efforts towards attaining it; I’m also a life-long fan of Dungeons and Dragons (D&D), the inventive fantasy roleplaying game. During a recent quest, when I was playing an elf ranger, the trainee paladin (or holy knight) acted according to his noble character, and announced our presence at the mouth of a dragon’s lair. The results were disastrous. But while success in D&D means “beating the bad guy,” the game is also a creative sandbox, where failure can count as collective triumph so long as you tell a great tale.

What does this have to do with AI? In computer science, games are frequently used as a benchmark for an algorithm’s “intelligence.” The late Robert Wilensky, a professor at the University of California, Berkeley and a leading figure in AI, offered one reason why this might be. Computer scientists “looked around at who the smartest people were, and they were themselves, of course,” he told the authors of Compulsive Technology: Computers as Culture (1985). “They were all essentially mathematicians by training, and mathematicians do two things—they prove theorems and play chess. And they said, hey, if it proves a theorem or plays chess, it must be smart.” No surprise that demonstrations of AI’s “smarts” have focused on the artificial player’s prowess.

Yet the games that get chosen—like Go, the main battlefield for Google DeepMind’s algorithms in recent years—tend to be tightly bounded, with set objectives and clear paths to victory or defeat. These experiences have none of the open-ended collaboration of D&D. Which got me thinking: do we need a new test for intelligence, where the goal is not simply about success, but storytelling? What would it mean for an AI to “pass” as human in a game of D&D? Instead of the Turing test, perhaps we need an elf ranger test?

Of course, this is just a playful thought experiment, but it does highlight the flaws in certain models of intelligence. First, it reveals how intelligence has to work across a variety of environments. D&D participants can inhabit many characters in many games, and the individual player can “switch” between roles (the fighter, the thief, the healer). Meanwhile, AI researchers know that it’s super difficult to get a well-trained algorithm to apply its insights in even slightly different domains—something that we humans manage surprisingly well.

Second, D&D reminds us that intelligence is embodied. In computer games, the bodily aspect of the experience might range from pressing buttons on a controller in order to move an icon or avatar (a ping-pong paddle; a spaceship; an anthropomorphic, eternally hungry, yellow sphere), to more recent and immersive experiences involving virtual-reality goggles and haptic gloves. Even without these add-ons, games can still produce biological responses associated with stress and fear (if you’ve ever played Alien: Isolation you’ll understand). In the original D&D, the players encounter the game while sitting around a table together, feeling the story and its impact. Recent research in cognitive science suggests that bodily interactions are crucial to how we grasp more abstract mental concepts. But we give minimal attention to the embodiment of artificial agents, and how that might affect the way they learn and process information.

Finally, intelligence is social. AI algorithms typically learn through multiple rounds of competition, in which successful strategies get reinforced with rewards. True, it appears that humans also evolved to learn through repetition, reward and reinforcement. But there’s an important collaborative dimension to human intelligence. In the 1930s, the psychologist Lev Vygotsky identified the interaction of an expert and a novice as an example of what became called “scaffolded” learning, where the teacher demonstrates and then supports the learner in acquiring a new skill. In unbounded games, this cooperation is channelled through narrative. Games of It among small children can evolve from win/lose into attacks by terrible monsters, before shifting again to more complex narratives that explain why the monsters are attacking, who is the hero, and what they can do and why—narratives that aren’t always logical or even internally compatible. An AI that could engage in social storytelling is doubtless on a surer, more multifunctional footing than one that plays chess; and there’s no guarantee that chess is even a step on the road to attaining intelligence of this sort.

In some ways, this failure to look at roleplaying as a technical hurdle for intelligence is strange. D&D was a key cultural touchstone for technologists in the 1980s and the inspiration for many early text-based computer games, as Katie Hafner and Matthew Lyon point out in Where Wizards Stay up Late: The Origins of the Internet (1996). Even today, AI researchers who play games in their free time often mention D&D specifically. So instead of beating adversaries in games, we might learn more about intelligence if we tried to teach artificial agents to play together as we do: as paladins and elf rangers.

This article was originally published at Aeon and has been republished under Creative Commons.

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#432262 How We Can ‘Robot-Proof’ Education ...

Like millions of other individuals in the workforce, you’re probably wondering if you will one day be replaced by a machine. If you’re a student, you’re probably wondering if your chosen profession will even exist by the time you’ve graduated. From driving to legal research, there isn’t much that technology hasn’t already automated (or begun to automate). Many of us will need to adapt to this disruption in the workforce.

But it’s not enough for students and workers to adapt, become lifelong learners, and re-skill themselves. We also need to see innovation and initiative at an institutional and governmental level. According to research by The Economist, almost half of all jobs could be automated by computers within the next two decades, and no government in the world is prepared for it.

While many see the current trend in automation as a terrifying threat, others see it as an opportunity. In Robot-Proof: Higher Education in the Age of Artificial Intelligence, Northeastern University president Joseph Aoun proposes educating students in a way that will allow them to do the things that machines can’t. He calls for a new paradigm that teaches young minds “to invent, to create, and to discover”—filling the relevant needs of our world that robots simply can’t fill. Aoun proposes a much-needed novel framework that will allow us to “robot-proof” education.

Literacies and Core Cognitive Capacities of the Future
Aoun lays a framework for a new discipline, humanics, which discusses the important capacities and literacies for emerging education systems. At its core, the framework emphasizes our uniquely human abilities and strengths.

The three key literacies include data literacy (being able to manage and analyze big data), technological literacy (being able to understand exponential technologies and conduct computational thinking), and human literacy (being able to communicate and evaluate social, ethical, and existential impact).

Beyond the literacies, at the heart of Aoun’s framework are four cognitive capacities that are crucial to develop in our students if they are to be resistant to automation: critical thinking, systems thinking, entrepreneurship, and cultural agility.

“These capacities are mindsets rather than bodies of knowledge—mental architecture rather than mental furniture,” he writes. “Going forward, people will still need to know specific bodies of knowledge to be effective in the workplace, but that alone will not be enough when intelligent machines are doing much of the heavy lifting of information. To succeed, tomorrow’s employees will have to demonstrate a higher order of thought.”

Like many other experts in education, Joseph Aoun emphasizes the importance of critical thinking. This is important not just when it comes to taking a skeptical approach to information, but also being able to logically break down a claim or problem into multiple layers of analysis. We spend so much time teaching students how to answer questions that we often neglect to teach them how to ask questions. Asking questions—and asking good ones—is a foundation of critical thinking. Before you can solve a problem, you must be able to critically analyze and question what is causing it. This is why critical thinking and problem solving are coupled together.

The second capacity, systems thinking, involves being able to think holistically about a problem. The most creative problem-solvers and thinkers are able to take a multidisciplinary perspective and connect the dots between many different fields. According to Aoun, it “involves seeing across areas that machines might be able to comprehend individually but that they cannot analyze in an integrated way, as a whole.” It represents the absolute opposite of how most traditional curricula is structured with emphasis on isolated subjects and content knowledge.

Among the most difficult-to-automate tasks or professions is entrepreneurship.

In fact, some have gone so far as to claim that in the future, everyone will be an entrepreneur. Yet traditionally, initiative has been something students show in spite of or in addition to their schoolwork. For most students, developing a sense of initiative and entrepreneurial skills has often been part of their extracurricular activities. It needs to be at the core of our curricula, not a supplement to it. At its core, teaching entrepreneurship is about teaching our youth to solve complex problems with resilience, to become global leaders, and to solve grand challenges facing our species.

Finally, with an increasingly globalized world, there is a need for more workers with cultural agility, the ability to build amongst different cultural contexts and norms.

One of the major trends today is the rise of the contingent workforce. We are seeing an increasing percentage of full-time employees working on the cloud. Multinational corporations have teams of employees collaborating at different offices across the planet. Collaboration across online networks requires a skillset of its own. As education expert Tony Wagner points out, within these digital contexts, leadership is no longer about commanding with top-down authority, but rather about leading by influence.

An Emphasis on Creativity
The framework also puts an emphasis on experiential or project-based learning, wherein the heart of the student experience is not lectures or exams but solving real-life problems and learning by doing, creating, and executing. Unsurprisingly, humans continue to outdo machines when it comes to innovating and pushing intellectual, imaginative, and creative boundaries, making jobs involving these skills the hardest to automate.

In fact, technological trends are giving rise to what many thought leaders refer to as the imagination economy. This is defined as “an economy where intuitive and creative thinking create economic value, after logical and rational thinking have been outsourced to other economies.” Consequently, we need to develop our students’ creative abilities to ensure their success against machines.

In its simplest form, creativity represents the ability to imagine radical ideas and then go about executing them in reality.

In many ways, we are already living in our creative imaginations. Consider this: every invention or human construct—whether it be the spaceship, an architectural wonder, or a device like an iPhone—once existed as a mere idea, imagined in someone’s mind. The world we have designed and built around us is an extension of our imaginations and is only possible because of our creativity. Creativity has played a powerful role in human progress—now imagine what the outcomes would be if we tapped into every young mind’s creative potential.

The Need for a Radical Overhaul
What is clear from the recommendations of Aoun and many other leading thinkers in this space is that an effective 21st-century education system is radically different from the traditional systems we currently have in place. There is a dramatic contrast between these future-oriented frameworks and the way we’ve structured our traditional, industrial-era and cookie-cutter-style education systems.

It’s time for a change, and incremental changes or subtle improvements are no longer enough. What we need to see are more moonshots and disruption in the education sector. In a world of exponential growth and accelerating change, it is never too soon for a much-needed dramatic overhaul.

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