Tag Archives: creators

#436218 An AI Debated Its Own Potential for Good ...

Artificial intelligence is going to overhaul the way we live and work. But will the changes it brings be for the better? As the technology slowly develops (let’s remember that right now, we’re still very much in the narrow AI space and nowhere near an artificial general intelligence), whether it will end up doing us more harm than good is a question at the top of everyone’s mind.

What kind of response might we get if we posed this question to an AI itself?

Last week at the Cambridge Union in England, IBM did just that. Its Project Debater (an AI that narrowly lost a debate to human debating champion Harish Natarajan in February) gave the opening arguments in a debate about the promise and peril of artificial intelligence.

Critical thinking, linking different lines of thought, and anticipating counter-arguments are all valuable debating skills that humans can practice and refine. While these skills are tougher for an AI to get good at since they often require deeper contextual understanding, AI does have a major edge over humans in absorbing and analyzing information. In the February debate, Project Debater used IBM’s cloud computing infrastructure to read hundreds of millions of documents and extract relevant details to construct an argument.

This time around, Debater looked through 1,100 arguments for or against AI. The arguments were submitted to IBM by the public during the week prior to the debate, through a website set up for that purpose. Of the 1,100 submissions, the AI classified 570 as anti-AI, or of the opinion that the technology will bring more harm to humanity than good. 511 arguments were found to be pro-AI, and the rest were irrelevant to the topic at hand.

Debater grouped the arguments into five themes; the technology’s ability to take over dangerous or monotonous jobs was a pro-AI theme, and on the flip side was its potential to perpetuate the biases of its creators. “AI companies still have too little expertise on how to properly assess datasets and filter out bias,” the tall black box that houses Project Debater said. “AI will take human bias and will fixate it for generations.”
After Project Debater kicked off the debate by giving opening arguments for both sides, two teams of people took over, elaborating on its points and coming up with their own counter-arguments.

In the end, an audience poll voted in favor of the pro-AI side, but just barely; 51.2 percent of voters felt convinced that AI can help us more than it can hurt us.

The software’s natural language processing was able to identify racist, obscene, or otherwise inappropriate comments and weed them out as being irrelevant to the debate. But it also repeated the same arguments multiple times, and mixed up a statement about bias as being pro-AI rather than anti-AI.

IBM has been working on Project Debater for over six years, and though it aims to iron out small glitches like these, the system’s goal isn’t to ultimately outwit and defeat humans. On the contrary, the AI is meant to support our decision-making by taking in and processing huge amounts of information in a nuanced way, more quickly than we ever could.

IBM engineer Noam Slonim envisions Project Debater’s tech being used, for example, by a government seeking citizens’ feedback about a new policy. “This technology can help to establish an interesting and effective communication channel between the decision maker and the people that are going to be impacted by the decision,” he said.

As for the question of whether AI will do more good or harm, perhaps Sylvie Delacroix put it best. A professor of law and ethics at the University of Birmingham who argued on the pro-AI side of the debate, she pointed out that the impact AI will have depends on the way we design it, saying “AI is only as good as the data it has been fed.”

She’s right; rather than asking what sort of impact AI will have on humanity, we should start by asking what sort of impact we want it to have. The people working on AI—not AIs themselves—are ultimately responsible for how much good or harm will be done.

Image Credit: IBM Project Debater at Cambridge Union Society, photo courtesy of IBM Research Continue reading

Posted in Human Robots

#435742 This ‘Useless’ Social Robot ...

The recent high profile failures of some home social robots (and the companies behind them) have made it even more challenging than it was before to develop robots in that space. And it was challenging enough to begin with—making a robot that can autonomous interact with random humans in their homes over a long period of time for a price that people can afford is extraordinarily difficult. However, the massive amount of initial interest in robots like Jibo, Kuri, Vector, and Buddy prove that people do want these things, or at least think they do, and while that’s the case, there’s incentive for other companies to give social home robots a try.

One of those companies is Zoetic, founded in 2107 by Mita Yun and Jitu Das, both ex-Googlers. Their robot, Kiki, is more or less exactly what you’d expect from a social home robot: It’s cute, white, roundish, has big eyes, promises that it will be your “robot sidekick,” and is not cheap: It’s on Kicksterter for $800. Kiki is among what appears to be a sort of tentative second wave of social home robots, where designers have (presumably) had a chance to take everything that they learned from the social home robot pioneers and use it to make things better this time around.

Kiki’s Kickstarter video is, again, more or less exactly what you’d expect from a social home robot crowdfunding campaign:

We won’t get into all of the details on Kiki in this article (the Kickstarter page has tons of information), but a few distinguishing features:

Each Kiki will develop its own personality over time through its daily interactions with its owner, other people, and other Kikis.
Interacting with Kiki is more abstract than with most robots—it can understand some specific words and phrases, and will occasionally use a few specific words or two, but otherwise it’s mostly listening to your tone of voice and responding with sounds rather than speech.
Kiki doesn’t move on its own, but it can operate for up to two hours away from its charging dock.
Depending on how your treat Kiki, it can get depressed or neurotic. It also needs to be fed, which you can do by drawing different kinds of food in the app.
Everything Kiki does runs on-board the robot. It has Wi-Fi connectivity for updates, but doesn’t rely on the cloud for anything in real-time, meaning that your data stays on the robot and that the robot will continue to function even if its remote service shuts down.

It’s hard to say whether features like these are unique enough to help Kiki be successful where other social home robots haven’t been, so we spoke with Zoetic co-founder Mita Yun and asked her why she believes that Kiki is going to be the social home robot that makes it.

IEEE Spectrum: What’s your background?

Mita Yun: I was an only child growing up, and so I always wanted something like Doraemon or Totoro. Something that when you come home it’s there to greet you, not just because it’s programmed to do that but because it’s actually actively happy to see you, and only you. I was so interested in this that I went to study robotics at CMU and then after I graduated I joined Google and worked there for five years. I tended to go for the more risky and more fun projects, but they always got cancelled—the first project I joined was called Android at Home, and then I joined Google Glass, and then I joined a team called Robots for Kids. That project was building educational robots, and then I just realized that when we’re adding technology to something, to a product, we’re actually taking the life away somehow, and the kids were more connected with stuffed animals compared to the educational robots we were building. That project was also cancelled, and in 2017, I left with a coworker of mine (Jitu Das) to bring this dream into reality. And now we’re building Kiki.

“Jibo was Alexa plus cuteness equals $800, and I feel like that equation doesn’t work for most people, and that eventually killed the company. So, for Kiki, we are actually building something very different. We’re building something that’s completely useless”
—Mita Yun, Zoetic

You started working on Kiki in 2017, when things were already getting challenging for Jibo—why did you decide to start developing a social home robot at that point?

I thought Jibo was great. It had a special magical way of moving, and it was such a new idea that you could have this robot with embodiment and it can actually be your assistant. The problem with Jibo, in my opinion, was that it took too long to fulfill the orders. It took them three to four years to actually manufacture, because it was a very complex piece of hardware, and then during that period of time Alexa and Google Home came out, and they started selling these voice systems for $30 and then you have Jibo for $800. Jibo was Alexa plus cuteness equals $800, and I feel like that equation doesn’t work for most people, and that eventually killed the company. So, for Kiki, we are actually building something very different. We’re building something that’s completely useless.

Can you elaborate on “completely useless?”

I feel like people are initially connected with robots because they remind them of a character. And it’s the closest we can get to a character other than an organic character like an animal. So we’re connected to a character like when we have a robot in a mall that’s roaming around, even if it looks really ugly, like if it doesn’t have eyes, people still take selfies with it. Why? Because they think it’s a character. And humans are just hardwired to love characters and love stories. With Kiki, we just wanted to build a character that’s alive, we don’t want to have a character do anything super useful.

I understand why other robotics companies are adding Alexa integration to their robots, and I think that’s great. But the dream I had, and the understanding I have about robotics technology, is that for a consumer robot especially, it is very very difficult for the robot to justify its price through usefulness. And then there’s also research showing that the more useless something is, the easier it is to have an emotional connection, so that’s why we want to keep Kiki very useless.

What kind of character are you creating with Kiki?

The whole design principle around Kiki is we want to make it a very vulnerable character. In terms of its status at home, it’s not going to be higher or equal status as the owner, but slightly lower status than the human, and it’s vulnerable and needs you to take care of it in order to grow up into a good personality robot.

We don’t let Kiki speak full English sentences, because whenever it does that, people are going to think it’s at least as intelligent as a baby, which is impossible for robots at this point. And we also don’t let it move around, because when you have it move around, people are going to think “I’m going to call Kiki’s name, and then Kiki is will come to me.” But that is actually very difficult to build. And then also we don’t have any voice integration so it doesn’t tell you about the stock market price and so on.

Photo: Zoetic

Kiki is designed to be “vulnerable,” and it needs you to take care of it so it can “grow up into a good personality robot,” according to its creators.

That sounds similar to what Mayfield did with Kuri, emphasizing an emotional connection rather than specific functionality.

It is very similar, but one of the key differences from Kuri, I think, is that Kuri started with a Kobuki base, and then it’s wrapped into a cute shell, and they added sounds. So Kuri started with utility in mind—navigation is an important part of Kuri, so they started with that challenge. For Kiki, we started with the eyes. The entire thing started with the character itself.

How will you be able to convince your customers to spend $800 on a robot that you’ve described as “useless” in some ways?

Because it’s useless, it’s actually easier to convince people, because it provides you with an emotional connection. I think Kiki is not a utility-driven product, so the adoption cycle is different. For a functional product, it’s very easy to pick up, because you can justify it by saying “I’m going to pay this much and then my life can become this much more efficient.” But it’s also very easy to be replaced and forgotten. For an emotional-driven product, it’s slower to pick up, but once people actually pick it up, they’re going to be hooked—they get be connected with it, and they’re willing to invest more into taking care of the robot so it will grow up to be smarter.

Maintaining value over time has been another challenge for social home robots. How will you make sure that people don’t get bored with Kiki after a few weeks?

Of course Kiki has limits in what it can do. We can combine the eyes, the facial expression, the motors, and lights and sounds, but is it going to be constantly entertaining? So we think of this as, imagine if a human is actually puppeteering Kiki—can Kiki stay interesting if a human is puppeteering it and interacting with the owner? So I think what makes a robot interesting is not just in the physical expressions, but the part in between that and the robot conveying its intentions and emotions.

For example, if you come into the room and then Kiki decides it will turn the other direction, ignore you, and then you feel like, huh, why did the robot do that to me? Did I do something wrong? And then maybe you will come up to it and you will try to figure out why it did that. So, even though Kiki can only express in four different dimensions, it can still make things very interesting, and then when its strategies change, it makes it feel like a new experience.

There’s also an explore and exploit process going on. Kiki wants to make you smile, and it will try different things. It could try to chase its tail, and if you smile, Kiki learns that this works and will exploit it. But maybe after doing it three times, you no longer find it funny, because you’re bored of it, and then Kiki will observe your reactions and be motivated to explore a new strategy.

Photo: Zoetic

Kiki’s creators are hoping that, with an emotionally engaging robot, it will be easier for people to get attached to it and willing to spend time taking care of it.

A particular risk with crowdfunding a robot like this is setting expectations unreasonably high. The emphasis on personality and emotional engagement with Kiki seems like it may be very difficult for the robot to live up to in practice.

I think we invested more than most robotics companies into really building out Kiki’s personality, because that is the single most important thing to us. For Jibo a lot of the focus was in the assistant, and for Kuri, it’s more in the movement. For Kiki, it’s very much in the personality.

I feel like when most people talk about personality, they’re mainly talking about expression. With Kiki, it’s not just in the expression itself, not just in the voice or the eyes or the output layer, it’s in the layer in between—when Kiki receives input, how will it make decisions about what to do? We actually don’t think the personality of Kiki is categorizable, which is why I feel like Kiki has a deeper implementation of how personalities should work. And you’re right, Kiki doesn’t really understand why you’re feeling a certain way, it just reads your facial expressions. It’s maybe not your best friend, but maybe closer to your little guinea pig robot.

Photo: Zoetic

The team behind Kiki paid particular attention to its eyes, and designed the robot to always face the person that it is interacting with.

Is that where you’d put Kiki on the scale of human to pet?

Kiki is definitely not human, we want to keep it very far away from human. And it’s also not a dog or cat. When we were designing Kiki, we took inspiration from mammals because humans are deeply connected to mammals since we’re mammals ourselves. And specifically we’re connected to predator animals. With prey animals, their eyes are usually on the sides of their heads, because they need to see different angles. A predator animal needs to hunt, they need to focus. Cats and dogs are predator animals. So with Kiki, that’s why we made sure the eyes are on one side of the face and the head can actuate independently from the body and the body can turn so it’s always facing the person that it’s paying attention to.

I feel like Kiki is probably does more than a plant. It does more than a fish, because a fish doesn’t look you in the eyes. It’s not as smart as a cat or a dog, so I would just put it in this guinea pig kind of category.

What have you found so far when running user studies with Kiki?

When we were first designing Kiki we went through a whole series of prototypes. One of the earlier prototypes of Kiki looked like a CRT, like a very old monitor, and when we were testing that with people they didn’t even want to touch it. Kiki’s design inspiration actually came from an airplane, with a very angular, futuristic look, but based on user feedback we made it more round and more friendly to the touch. The lights were another feature request from the users, which adds another layer of expressivity to Kiki, and they wanted to see multiple Kikis working together with different personalities. Users also wanted different looks for Kiki, to make it look like a deer or a unicorn, for example, and we actually did take that into consideration because it doesn’t look like any particular mammal. In the future, you’ll be able to have different ears to make it look like completely different animals.

There has been a lot of user feedback that we didn’t implement—I believe we should observe the users reactions and feedback but not listen to their advice. The users shouldn’t be our product designers, because if you test Kiki with 10 users, eight of them will tell you they want Alexa in it. But we’re never going to add Alexa integration to Kiki because that’s not what it’s meant to do.

While it’s far too early to tell whether Kiki will be a long-term success, the Kickstarter campaign is currently over 95 percent funded with 8 days to go, and 34 robots are still available for a May 2020 delivery.

[ Kickstarter ] Continue reading

Posted in Human Robots

#435687 Humanoid Robots Teach Coping Skills to ...

Photo: Rob Felt

IEEE Senior Member Ayanna Howard with one of the interactive androids that help children with autism improve their social and emotional engagement.

THE INSTITUTEChildren with autism spectrum disorder can have a difficult time expressing their emotions and can be highly sensitive to sound, sight, and touch. That sometimes restricts their participation in everyday activities, leaving them socially isolated. Occupational therapists can help them cope better, but the time they’re able to spend is limited and the sessions tend to be expensive.

Roboticist Ayanna Howard, an IEEE senior member, has been using interactive androids to guide children with autism on ways to socially and emotionally engage with others—as a supplement to therapy. Howard is chair of the School of Interactive Computing and director of the Human-Automation Systems Lab at Georgia Tech. She helped found Zyrobotics, a Georgia Tech VentureLab startup that is working on AI and robotics technologies to engage children with special needs. Last year Forbes named Howard, Zyrobotics’ chief technology officer, one of the Top 50 U.S. Women in Tech.

In a recent study, Howard and other researchers explored how robots might help children navigate sensory experiences. The experiment involved 18 participants between the ages of 4 and 12; five had autism, and the rest were meeting typical developmental milestones. Two humanoid robots were programmed to express boredom, excitement, nervousness, and 17 other emotional states. As children explored stations set up for hearing, seeing, smelling, tasting, and touching, the robots modeled what the socially acceptable responses should be.

“If a child’s expression is one of happiness or joy, the robot will have a corresponding response of encouragement,” Howard says. “If there are aspects of frustration or sadness, the robot will provide input to try again.” The study suggested that many children with autism exhibit stronger levels of engagement when the robots interact with them at such sensory stations.

It is one of many robotics projects Howard has tackled. She has designed robots for researching glaciers, and she is working on assistive robots for the home, as well as an exoskeleton that can help children who have motor disabilities.

Howard spoke about her work during the Ethics in AI: Impacts of (Anti?) Social Robotics panel session held in May at the IEEE Vision, Innovation, and Challenges Summit in San Diego. You can watch the session on IEEE.tv.

The next IEEE Vision, Innovation, and Challenges Summit and Honors Ceremony will be held on 15 May 2020 at the JW Marriott Parq Vancouver hotel, in Vancouver.

In this interview with The Institute, Howard talks about how she got involved with assistive technologies, the need for a more diverse workforce, and ways IEEE has benefited her career.

FOCUS ON ACCESSIBILITY
Howard was inspired to work on technology that can improve accessibility in 2008 while teaching high school students at a summer camp devoted to science, technology, engineering, and math.

“A young lady with a visual impairment attended camp. The robot programming tools being used at the camp weren’t accessible to her,” Howard says. “As an engineer, I want to fix problems when I see them, so we ended up designing tools to enable access to programming tools that could be used in STEM education.

“That was my starting motivation, and this theme of accessibility has expanded to become a main focus of my research. One of the things about this world of accessibility is that when you start interacting with kids and parents, you discover another world out there of assistive technologies and how robotics can be used for good in education as well as therapy.”

DIVERSITY OF THOUGHT
The Institute asked Howard why it’s important to have a more diverse STEM workforce and what could be done to increase the number of women and others from underrepresented groups.

“The makeup of the current engineering workforce isn’t necessarily representative of the world, which is composed of different races, cultures, ages, disabilities, and socio-economic backgrounds,” Howard says. “We’re creating products used by people around the globe, so we have to ensure they’re being designed for a diverse population. As IEEE members, we also need to engage with people who aren’t engineers, and we don’t do that enough.”

Educational institutions are doing a better job of increasing diversity in areas such as gender, she says, adding that more work is needed because the enrollment numbers still aren’t representative of the population and the gains don’t necessarily carry through after graduation.

“There has been an increase in the number of underrepresented minorities and females going into engineering and computer science,” she says, “but data has shown that their numbers are not sustained in the workforce.”

ROLE MODEL
Because there are more underrepresented groups on today’s college campuses that can form a community, the lack of engineering role models—although a concern on campuses—is more extreme for preuniversity students, Howard says.

“Depending on where you go to school, you may not know what an engineer does or even consider engineering as an option,” she says, “so there’s still a big disconnect there.”

Howard has been involved for many years in math- and science-mentoring programs for at-risk high school girls. She tells them to find what they’re passionate about and combine it with math and science to create something. She also advises them not to let anyone tell them that they can’t.

Howard’s father is an engineer. She says he never encouraged or discouraged her to become one, but when she broke something, he would show her how to fix it and talk her through the process. Along the way, he taught her a logical way of thinking she says all engineers have.

“When I would try to explain something, he would quiz me and tell me to ‘think more logically,’” she says.

Howard earned a bachelor’s degree in engineering from Brown University, in Providence, R.I., then she received both a master’s and doctorate degree in electrical engineering from the University of Southern California. Before joining the faculty of Georgia Tech in 2005, she worked at NASA’s Jet Propulsion Laboratory at the California Institute of Technology for more than a decade as a senior robotics researcher and deputy manager in the Office of the Chief Scientist.

ACTIVE VOLUNTEER
Howard’s father was also an IEEE member, but that’s not why she joined the organization. She says she signed up when she was a student because, “that was something that you just did. Plus, my student membership fee was subsidized.”

She kept the membership as a grad student because of the discounted rates members receive on conferences.

Those conferences have had an impact on her career. “They allow you to understand what the state of the art is,” she says. “Back then you received a printed conference proceeding and reading through it was brutal, but by attending it in person, you got a 15-minute snippet about the research.”

Howard is an active volunteer with the IEEE Robotics and Automation and the IEEE Systems, Man, and Cybernetics societies, holding many positions and serving on several committees. She is also featured in the IEEE Impact Creators campaign. These members were selected because they inspire others to innovate for a better tomorrow.

“I value IEEE for its community,” she says. “One of the nice things about IEEE is that it’s international.” Continue reading

Posted in Human Robots

#435199 The Rise of AI Art—and What It Means ...

Artificially intelligent systems are slowly taking over tasks previously done by humans, and many processes involving repetitive, simple movements have already been fully automated. In the meantime, humans continue to be superior when it comes to abstract and creative tasks.

However, it seems like even when it comes to creativity, we’re now being challenged by our own creations.

In the last few years, we’ve seen the emergence of hundreds of “AI artists.” These complex algorithms are creating unique (and sometimes eerie) works of art. They’re generating stunning visuals, profound poetry, transcendent music, and even realistic movie scripts. The works of these AI artists are raising questions about the nature of art and the role of human creativity in future societies.

Here are a few works of art created by non-human entities.

Unsecured Futures
by Ai.Da

Ai-Da Robot with Painting. Image Credit: Ai-Da portraits by Nicky Johnston. Published with permission from Midas Public Relations.
Earlier this month we saw the announcement of Ai.Da, considered the first ultra-realistic drawing robot artist. Her mechanical abilities, combined with AI-based algorithms, allow her to draw, paint, and even sculpt. She is able to draw people using her artificial eye and a pencil in her hand. Ai.Da’s artwork and first solo exhibition, Unsecured Futures, will be showcased at Oxford University in July.

Ai-Da Cartesian Painting. Image Credit: Ai-Da Artworks. Published with permission from Midas Public Relations.
Obviously Ai.Da has no true consciousness, thoughts, or feelings. Despite that, the (human) organizers of the exhibition believe that Ai.Da serves as a basis for crucial conversations about the ethics of emerging technologies. The exhibition will serve as a stimulant for engaging with critical questions about what kind of future we ought to create via such technologies.

The exhibition’s creators wrote, “Humans are confident in their position as the most powerful species on the planet, but how far do we actually want to take this power? To a Brave New World (Nightmare)? And if we use new technologies to enhance the power of the few, we had better start safeguarding the future of the many.”

Google’s PoemPortraits
Our transcendence adorns,
That society of the stars seem to be the secret.

The two lines of poetry above aren’t like any poetry you’ve come across before. They are generated by an algorithm that was trained via deep learning neural networks trained on 20 million words of 19th-century poetry.

Google’s latest art project, named PoemPortraits, takes a word of your suggestion and generates a unique poem (once again, a collaboration of man and machine). You can even add a selfie in the final “PoemPortrait.” Artist Es Devlin, the project’s creator, explains that the AI “doesn’t copy or rework existing phrases, but uses its training material to build a complex statistical model. As a result, the algorithm generates original phrases emulating the style of what it’s been trained on.”

The generated poetry can sometimes be profound, and sometimes completely meaningless.But what makes the PoemPortraits project even more interesting is that it’s a collaborative project. All of the generated lines of poetry are combined to form a consistently growing collective poem, which you can view after your lines are generated. In many ways, the final collective poem is a collaboration of people from around the world working with algorithms.

Faceless Portraits Transcending Time
AICAN + Ahmed Elgammal

Image Credit: AICAN + Ahmed Elgammal | Faceless Portrait #2 (2019) | Artsy.
In March of this year, an AI artist called AICAN and its creator Ahmed Elgammal took over a New York gallery. The exhibition at HG Commentary showed two series of canvas works portraying harrowing, dream-like faceless portraits.

The exhibition was not simply credited to a machine, but rather attributed to the collaboration between a human and machine. Ahmed Elgammal is the founder and director of the Art and Artificial Intelligence Laboratory at Rutgers University. He considers AICAN to not only be an autonomous AI artist, but also a collaborator for artistic endeavors.

How did AICAN create these eerie faceless portraits? The system was presented with 100,000 photos of Western art from over five centuries, allowing it to learn the aesthetics of art via machine learning. It then drew from this historical knowledge and the mandate to create something new to create an artwork without human intervention.

Genesis
by AIVA Technologies

Listen to the score above. While you do, reflect on the fact that it was generated by an AI.

AIVA is an AI that composes soundtrack music for movies, commercials, games, and trailers. Its creative works span a wide range of emotions and moods. The scores it generates are indistinguishable from those created by the most talented human composers.

The AIVA music engine allows users to generate original scores in multiple ways. One is to upload an existing human-generated score and select the temp track to base the composition process on. Another method involves using preset algorithms to compose music in pre-defined styles, including everything from classical to Middle Eastern.

Currently, the platform is promoted as an opportunity for filmmakers and producers. But in the future, perhaps every individual will have personalized music generated for them based on their interests, tastes, and evolving moods. We already have algorithms on streaming websites recommending novel music to us based on our interests and history. Soon, algorithms may be used to generate music and other works of art that are tailored to impact our unique psyches.

The Future of Art: Pushing Our Creative Limitations
These works of art are just a glimpse into the breadth of the creative works being generated by algorithms and machines. Many of us will rightly fear these developments. We have to ask ourselves what our role will be in an era where machines are able to perform what we consider complex, abstract, creative tasks. The implications on the future of work, education, and human societies are profound.

At the same time, some of these works demonstrate that AI artists may not necessarily represent a threat to human artists, but rather an opportunity for us to push our creative boundaries. The most exciting artistic creations involve collaborations between humans and machines.

We have always used our technological scaffolding to push ourselves beyond our biological limitations. We use the telescope to extend our line of sight, planes to fly, and smartphones to connect with others. Our machines are not always working against us, but rather working as an extension of our minds. Similarly, we could use our machines to expand on our creativity and push the boundaries of art.

Image Credit: Ai-Da portraits by Nicky Johnston. Published with permission from Midas Public Relations. Continue reading

Posted in Human Robots

#435196 Avatar Love? New ‘Black Mirror’ ...

This week, the widely-anticipated fifth season of the dystopian series Black Mirror was released on Netflix. The storylines this season are less focused on far-out scenarios and increasingly aligned with current issues. With only three episodes, this season raises more questions than it answers, often leaving audiences bewildered.

The episode Smithereens explores our society’s crippling addiction to social media platforms and the monopoly they hold over our data. In Rachel, Jack and Ashley Too, we see the disruptive impact of technologies on the music and entertainment industry, and the price of fame for artists in the digital world. Like most Black Mirror episodes, these explore the sometimes disturbing implications of tech advancements on humanity.

But once again, in the midst of all the doom and gloom, the creators of the series leave us with a glimmer of hope. Aligned with Pride month, the episode Striking Vipers explores the impact of virtual reality on love, relationships, and sexual fluidity.

*The review contains a few spoilers.*

Striking Vipers
The first episode of the season, Striking Vipers may be one of the most thought-provoking episodes in Black Mirror history. Reminiscent of previous episodes San Junipero and Hang the DJ, the writers explore the potential for technology to transform human intimacy.

The episode tells the story of two old friends, Danny and Karl, whose friendship is reignited in an unconventional way. Karl unexpectedly appears at Danny’s 38th birthday and reintroduces him to the VR version of a game they used to play years before. In the game Striking Vipers X, each of the players is represented by an avatar of their choice in an uncanny digital reality. Following old tradition, Karl chooses to become the female fighter, Roxanne, and Danny takes on the role of the male fighter, Lance. The state-of-the-art VR headsets appear to use an advanced form of brain-machine interface to allow each player to be fully immersed in the virtual world, emulating all physical sensations.

To their surprise (and confusion), Danny and Karl find themselves transitioning from fist-fighting to kissing. Over the course of many games, they continue to explore a sexual and romantic relationship in the virtual world, leaving them confused and distant in the real world. The virtual and physical realities begin to blur, and so do the identities of the players with their avatars. Danny, who is married (in a heterosexual relationship) and is a father, begins to carry guilt and confusion in the real world. They both wonder if there would be any spark between them in real life.

The brain-machine interface (BMI) depicted in the episode is still science fiction, but that hasn’t stopped innovators from pushing the technology forward. Experts today are designing more intricate BMI systems while programming better algorithms to interpret the neural signals they capture. Scientists have already succeeded in enabling paralyzed patients to type with their minds, and are even allowing people to communicate with one another purely through brainwaves.

The convergence of BMIs with virtual reality and artificial intelligence could make the experience of such immersive digital realities possible. Virtual reality, too, is decreasing exponentially in cost and increasing in quality.

The narrative provides meaningful commentary on another tech area—gaming. It highlights video games not necessarily as addictive distractions, but rather as a platform for connecting with others in a deeper way. This is already very relevant. Video games like Final Fantasy are often a tool for meaningful digital connections for their players.

The Implications of Virtual Reality on Love and Relationships
The narrative of Striking Vipers raises many novel questions about the implications of immersive technologies on relationships: could the virtual world allow us a safe space to explore suppressed desires? Can virtual avatars make it easier for us to show affection to those we care about? Can a sexual or romantic encounter in the digital world be considered infidelity?

Above all, the episode explores the therapeutic possibilities of such technologies. While many fears about virtual reality had been raised in previous seasons of Black Mirror, this episode was focused on its potential. This includes the potential of immersive technology to be a source of liberation, meaningful connections, and self-exploration, as well as a tool for realizing our true identities and desires.

Once again, this is aligned with emerging trends in VR. We are seeing the rise of social VR applications and platforms that allow you to hang out with your friends and family as avatars in the virtual space. The technology is allowing for animation movies, such as Coco VR, to become an increasingly social and interactive experience. Considering that meaningful social interaction can alleviate depression and anxiety, such applications could contribute to well-being.

Techno-philosopher and National Geographic host Jason Silva points out that immersive media technologies can be “engines of empathy.” VR allows us to enter virtual spaces that mimic someone else’s state of mind, allowing us to empathize with the way they view the world. Silva said, “Imagine the intimacy that becomes possible when people meet and they say, ‘Hey, do you want to come visit my world? Do you want to see what it’s like to be inside my head?’”

What is most fascinating about Striking Vipers is that it explores how we may redefine love with virtual reality; we are introduced to love between virtual avatars. While this kind of love may seem confusing to audiences, it may be one of the complex implications of virtual reality on human relationships.

In many ways, the title Black Mirror couldn’t be more appropriate, as each episode serves as a mirror to the most disturbing aspects of our psyches as they get amplified through technology. However, what we see in uplifting and thought-provoking plots like Striking Vipers, San Junipero, and Hang The DJ is that technology could also amplify the most positive aspects of our humanity. This includes our powerful capacity to love.

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