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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.
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.”
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.
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
As a human you instinctively know that a leopard is closer to a cat than a motorbike, but the way we train most AI makes them oblivious to these kinds of relations. Building the concept of similarity into our algorithms could make them far more capable, writes the author of a new paper in Science Robotics.
Convolutional neural networks have revolutionized the field of computer vision to the point that machines are now outperforming humans on some of the most challenging visual tasks. But the way we train them to analyze images is very different from the way humans learn, says Atsuto Maki, an associate professor at KTH Royal Institute of Technology.
“Imagine that you are two years old and being quizzed on what you see in a photo of a leopard,” he writes. “You might answer ‘a cat’ and your parents might say, ‘yeah, not quite but similar’.”
In contrast, the way we train neural networks rarely gives that kind of partial credit. They are typically trained to have very high confidence in the correct label and consider all incorrect labels, whether ”cat” or “motorbike,” equally wrong. That’s a mistake, says Maki, because ignoring the fact that something can be “less wrong” means you’re not exploiting all of the information in the training data.
Even when models are trained this way, there will be small differences in the probabilities assigned to incorrect labels that can tell you a lot about how well the model can generalize what it has learned to unseen data.
If you show a model a picture of a leopard and it gives “cat” a probability of five percent and “motorbike” one percent, that suggests it picked up on the fact that a cat is closer to a leopard than a motorbike. In contrast, if the figures are the other way around it means the model hasn’t learned the broad features that make cats and leopards similar, something that could potentially be helpful when analyzing new data.
If we could boost this ability to identify similarities between classes we should be able to create more flexible models better able to generalize, says Maki. And recent research has demonstrated how variations of an approach called regularization might help us achieve that goal.
Neural networks are prone to a problem called “overfitting,” which refers to a tendency to pay too much attention to tiny details and noise specific to their training set. When that happens, models will perform excellently on their training data but poorly when applied to unseen test data without these particular quirks.
Regularization is used to circumvent this problem, typically by reducing the network’s capacity to learn all this unnecessary information and therefore boost its ability to generalize to new data. Techniques are varied, but generally involve modifying the network’s structure or the strength of the weights between artificial neurons.
More recently, though, researchers have suggested new regularization approaches that work by encouraging a broader spread of probabilities across all classes. This essentially helps them capture more of the class similarities, says Maki, and therefore boosts their ability to generalize.
One such approach was devised in 2017 by Google Brain researchers, led by deep learning pioneer Geoffrey Hinton. They introduced a penalty to their training process that directly punished overconfident predictions in the model’s outputs, and a technique called label smoothing that prevents the largest probability becoming much larger than all others. This meant the probabilities were lower for correct labels and higher for incorrect ones, which was found to boost performance of models on varied tasks from image classification to speech recognition.
Another came from Maki himself in 2017 and achieves the same goal, but by suppressing high values in the model’s feature vector—the mathematical construct that describes all of an object’s important characteristics. This has a knock-on effect on the spread of output probabilities and also helped boost performance on various image classification tasks.
While it’s still early days for the approach, the fact that humans are able to exploit these kinds of similarities to learn more efficiently suggests that models that incorporate them hold promise. Maki points out that it could be particularly useful in applications such as robotic grasping, where distinguishing various similar objects is important.
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Plants are the planet’s lungs, but they’re struggling to keep up due to rising CO2 emissions and deforestation. Engineers are giving them a helping hand, though, by augmenting their capacity with new technology and creating artificial substitutes to help them clean up our atmosphere.
Imperial College London, one of the UK’s top engineering schools, recently announced that it was teaming up with startup Arborea to build the company’s first outdoor pilot of its BioSolar Leaf cultivation system at the university’s White City campus in West London.
Arborea is developing large solar panel-like structures that house microscopic plants and can be installed on buildings or open land. The plants absorb light and carbon dioxide as they photosynthesize, removing greenhouse gases from the air and producing organic material, which can be processed to extract valuable food additives like omega-3 fatty acids.
The idea of growing algae to produce useful materials isn’t new, but Arborea’s pitch seems to be flexibility and affordability. The more conventional approach is to grow algae in open ponds, which are less efficient and open to contamination, or in photo-bioreactors, which typically require CO2 to be piped in rather than getting it from the air and can be expensive to run.
There’s little detail on how the technology deals with issues like nutrient supply and harvesting or how efficient it is. The company claims it can remove carbon dioxide as fast as 100 trees using the surface area of just a single tree, but there’s no published research to back that up, and it’s hard to compare the surface area of flat panels to that of a complex object like a tree. If you flattened out every inch of a tree’s surface it would cover a surprisingly large area.
Nonetheless, the ability to install these panels directly on buildings could present a promising way to soak up the huge amount of CO2 produced in our cities by transport and industry. And Arborea isn’t the only one trying to give plants a helping hand.
For decades researchers have been working on ways to use light-activated catalysts to split water into oxygen and hydrogen fuel, and more recently there have been efforts to fuse this with additional processes to combine the hydrogen with carbon from CO2 to produce all kinds of useful products.
Most notably, in 2016 Harvard researchers showed that water-splitting catalysts could be augmented with bacteria that combines the resulting hydrogen with CO2 to create oxygen and biomass, fuel, or other useful products. The approach was more efficient than plants at turning CO2 to fuel and was built using cheap materials, but turning it into a commercially viable technology will take time.
Not everyone is looking to mimic or borrow from biology in their efforts to suck CO2 out of the atmosphere. There’s been a recent glut of investment in startups working on direct-air capture (DAC) technology, which had previously been written off for using too much power and space to be practical. The looming climate change crisis appears to be rewriting some of those assumptions, though.
Most approaches aim to use the concentrated CO2 to produce synthetic fuels or other useful products, creating a revenue stream that could help improve their commercial viability. But we look increasingly likely to surpass the safe greenhouse gas limits, so attention is instead turning to carbon-negative technologies.
That means capturing CO2 from the air and then putting it into long-term storage. One way could be to grow lots of biomass and then bury it, mimicking the process that created fossil fuels in the first place. Or DAC plants could pump the CO2 they produce into deep underground wells.
But the former would take up unreasonably large amounts of land to make a significant dent in emissions, while the latter would require huge amounts of already scant and expensive renewable power. According to a recent analysis, artificial photosynthesis could sidestep these issues because it’s up to five times more efficient than its natural counterpart and could be cheaper than DAC.
Whether the technology will develop quickly enough for it to be deployed at scale and in time to mitigate the worst effects of climate change remains to be seen. Emissions reductions certainly present a more sure-fire way to deal with the problem, but nonetheless, cyborg plants could soon be a common sight in our cities.
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