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Malthus had a fever dream in the 1790s. While the world was marveling in the first manifestations of modern science and technology and the industrial revolution that was just beginning, he was concerned. He saw the exponential growth in the human population as a terrible problem for the species—an existential threat. He was afraid the human population would overshoot the availability of resources, and then things would really hit the fan.
“Famine seems to be the last, the most dreadful resource of nature. The power of population is so superior to the power of the earth to produce subsistence for man, that premature death must in some shape or other visit the human race. The vices of mankind are active and able ministers of depopulation.”
So Malthus wrote in his famous text, an essay on the principles of population.
But Malthus was wrong. Not just in his proposed solution, which was to stop giving aid and food to the poor so that they wouldn’t explode in population. His prediction was also wrong: there was no great, overwhelming famine that caused the population to stay at the levels of the 1790s. Instead, the world population—with a few dips—has continued to grow exponentially ever since. And it’s still growing.
There have concurrently been developments in agriculture and medicine and, in the 20th century, the Green Revolution, in which Norman Borlaug ensured that countries adopted high-yield varieties of crops—the first precursors to modern ideas of genetically engineering food to produce better crops and more growth. The world was able to produce an astonishing amount of food—enough, in the modern era, for ten billion people. It is only a grave injustice in the way that food is distributed that means 12 percent of the world goes hungry, and we still have starvation. But, aside from that, we were saved by the majesty of another kind of exponential growth; the population grew, but the ability to produce food grew faster.
In so much of the world around us today, there’s the same old story. Take exploitation of fossil fuels: here, there is another exponential race. The exponential growth of our ability to mine coal, extract natural gas, refine oil from ever more complex hydrocarbons: this is pitted against our growing appetite. The stock market is built on exponential growth; you cannot provide compound interest unless the economy grows by a certain percentage a year.
“This relentless and ruthless expectation—that technology will continue to improve in ways we can’t foresee—is not just baked into share prices, but into the very survival of our species.”
When the economy fails to grow exponentially, it’s considered a crisis: a financial catastrophe. This expectation penetrates down to individual investors. In the cryptocurrency markets—hardly immune from bubbles, the bull-and-bear cycle of economics—the traders’ saying is “Buy the hype, sell the news.” Before an announcement is made, the expectation of growth, of a boost—the psychological shift—is almost invariably worth more than whatever the major announcement turns out to be. The idea of growth is baked into the share price, to the extent that even good news can often cause the price to dip when it’s delivered.
In the same way, this relentless and ruthless expectation—that technology will continue to improve in ways we can’t foresee—is not just baked into share prices, but into the very survival of our species. A third of Earth’s soil has been acutely degraded due to agriculture; we are looming on the brink of a topsoil crisis. In less relentless times, we may have tried to solve the problem by letting the fields lie fallow for a few years. But that’s no longer an option: if we do so, people will starve. Instead, we look to a second Green Revolution—genetically modified crops, or hydroponics—to save us.
Climate change is considered by many to be an existential threat. The Intergovernmental Panel on Climate Change has already put their faith in the exponential growth of technology. Many of the scenarios where they can successfully imagine the human race dealing with the climate crisis involve the development and widespread deployment of carbon capture and storage technology. Our hope for the future already has built-in expectations of exponential growth in our technology in this field. Alongside this, to reduce carbon emissions to zero on the timescales we need to, we will surely require new technologies in renewable energy, energy efficiency, and electrification of the transport system.
Without exponential growth in technology continuing, then, we are doomed. Humanity finds itself on a treadmill that’s rapidly accelerating, with the risk of plunging into the abyss if we can’t keep up the pace. Yet this very acceleration could also pose an existential threat. As our global system becomes more interconnected and complex, chaos theory takes over: the economics of a town in Macedonia can influence a US presidential election; critical infrastructure can be brought down by cybercriminals.
New threats, such as biotechnology, nanotechnology, or a generalized artificial intelligence, could put incredible power—power over the entire species—into the hands of a small number of people. We are faced with a paradox: the continued existence of our system depends on the exponential growth of our capacities outpacing the exponential growth of our needs and desires. Yet this very growth will create threats that are unimaginably larger than any humans have faced before in history.
“It is necessary that we understand the consequences and prospects for exponential growth: that we understand the nature of the race that we’re in.”
Neo-Luddites may find satisfaction in rejecting the ill-effects of technology, but they will still live in a society where technology is the lifeblood that keeps the whole system pumping. Now, more than ever, it is necessary that we understand the consequences and prospects for exponential growth: that we understand the nature of the race that we’re in.
If we decide that limitless exponential growth on a finite planet is unsustainable, we need to plan for the transition to a new way of living before our ability to accelerate runs out. If we require new technologies or fields of study to enable this growth to continue, we must focus our efforts on these before anything else. If we want to survive the 21st century without major catastrophe, we don’t have a choice but to understand it. Almost by default, we’re all accelerationists now.
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The new Blade Runner sequel will return us to a world where sophisticated androids made with organic body parts can match the strength and emotions of their human creators. As someone who builds biologically inspired robots, I’m interested in whether our own technology will ever come close to matching the “replicants” of Blade Runner 2049.
The reality is that we’re a very long way from building robots with human-like abilities. But advances in so-called soft robotics show a promising way forward for technology that could be a new basis for the androids of the future.
From a scientific point of view, the real challenge is replicating the complexity of the human body. Each one of us is made up of millions and millions of cells, and we have no clue how we can build such a complex machine that is indistinguishable from us humans. The most complex machines today, for example the world’s largest airliner, the Airbus A380, are composed of millions of parts. But in order to match the complexity level of humans, we would need to scale this complexity up about a million times.
There are currently three different ways that engineering is making the border between humans and robots more ambiguous. Unfortunately, these approaches are only starting points and are not yet even close to the world of Blade Runner.
There are human-like robots built from scratch by assembling artificial sensors, motors, and computers to resemble the human body and motion. However, extending the current human-like robot would not bring Blade Runner-style androids closer to humans, because every artificial component, such as sensors and motors, are still hopelessly primitive compared to their biological counterparts.
There is also cyborg technology, where the human body is enhanced with machines such as robotic limbs and wearable and implantable devices. This technology is similarly very far away from matching our own body parts.
Finally, there is the technology of genetic manipulation, where an organism’s genetic code is altered to modify that organism’s body. Although we have been able to identify and manipulate individual genes, we still have a limited understanding of how an entire human emerges from genetic code. As such, we don’t know the degree to which we can actually program code to design everything we wish.
Soft robotics: a way forward?
But we might be able to move robotics closer to the world of Blade Runner by pursuing other technologies and, in particular, by turning to nature for inspiration. The field of soft robotics is a good example. In the last decade or so, robotics researchers have been making considerable efforts to make robots soft, deformable, squishable, and flexible.
This technology is inspired by the fact that 90% of the human body is made from soft substances such as skin, hair, and tissues. This is because most of the fundamental functions in our body rely on soft parts that can change shape, from the heart and lungs pumping fluid around our body to the eye lenses generating signals from their movement. Cells even change shape to trigger division, self-healing and, ultimately, the evolution of the body.
The softness of our bodies is the origin of all their functionality needed to stay alive. So being able to build soft machines would at least bring us a step closer to the robotic world of Blade Runner. Some of the recent technological advances include artificial hearts made out of soft functional materials that are pumping fluid through deformation. Similarly, soft, wearable gloves can help make hand grasping stronger. And “epidermal electronics” has enabled us to tattoo electronic circuits onto our biological skins.
Softness is the keyword that brings humans and technologies closer together. Sensors, motors, and computers are all of a sudden integrated into human bodies once they became soft, and the border between us and external devices becomes ambiguous, just like soft contact lenses became part of our eyes.
Nevertheless, the hardest challenge is how to make individual parts of a soft robot body physically adaptable by self-healing, growing, and differentiating. After all, every part of a living organism is also alive in biological systems in order to make our bodies totally adaptable and evolvable, the function of which could make machines totally indistinguishable from ourselves.
It is impossible to predict when the robotic world of Blade Runner might arrive, and if it does, it will probably be very far in the future. But as long as the desire to build machines indistinguishable from humans is there, the current trends of robotic revolution could make it possible to achieve that dream.
This article was originally published on The Conversation. Read the original article.
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Does creativity make human intelligence special?
It may appear so at first glance. Though machines can calculate, analyze, and even perceive, creativity may seem far out of reach. Perhaps this is because we find it mysterious, even in ourselves. How can the output of a machine be anything more than that which is determined by its programmers?
Increasingly, however, artificial intelligence is moving into creativity’s hallowed domain, from art to industry. And though much is already possible, the future is sure to bring ever more creative machines.
What Is Machine Creativity?
Robotic art is just one example of machine creativity, a rapidly growing sub-field that sits somewhere between the study of artificial intelligence and human psychology.
The winning paintings from the 2017 Robot Art Competition are strikingly reminiscent of those showcased each spring at university exhibitions for graduating art students. Like the works produced by skilled artists, the compositions dreamed up by the competition’s robotic painters are aesthetically ambitious. One robot-made painting features a man’s bearded face gazing intently out from the canvas, his eyes locking with the viewer’s. Another abstract painting, “inspired” by data from EEG signals, visually depicts the human emotion of misery with jagged, gloomy stripes of black and purple.
More broadly, a creative machine is software (sometimes encased in a robotic body) that synthesizes inputs to generate new and valuable ideas, solutions to complex scientific problems, or original works of art. In a process similar to that followed by a human artist or scientist, a creative machine begins its work by framing a problem. Next, its software specifies the requirements the solution should have before generating “answers” in the form of original designs, patterns, or some other form of output.
Although the notion of machine creativity sounds a bit like science fiction, the basic concept is one that has been slowly developing for decades.
Nearly 50 years ago while a high school student, inventor and futurist Ray Kurzweil created software that could analyze the patterns in musical compositions and then compose new melodies in a similar style. Aaron, one of the world’s most famous painting robots, has been hard at work since the 1970s.
Industrial designers have used an automated, algorithm-driven process for decades to design computer chips (or machine parts) whose layout (or form) is optimized for a particular function or environment. Emily Howell, a computer program created by David Cope, writes original works in the style of classical composers, some of which have been performed by human orchestras to live audiences.
What’s different about today’s new and emerging generation of robotic artists, scientists, composers, authors, and product designers is their ubiquity and power.
“The recent explosion of artificial creativity has been enabled by the rapid maturation of the same exponential technologies that have already re-drawn our daily lives.”
I’ve already mentioned the rapidly advancing fields of robotic art and music. In the realm of scientific research, so-called “robotic scientists” such as Eureqa and Adam and Eve develop new scientific hypotheses; their “insights” have contributed to breakthroughs that are cited by hundreds of academic research papers. In the medical industry, creative machines are hard at work creating chemical compounds for new pharmaceuticals. After it read over seven million words of 20th century English poetry, a neural network developed by researcher Jack Hopkins learned to write passable poetry in a number of different styles and meters.
The recent explosion of artificial creativity has been enabled by the rapid maturation of the same exponential technologies that have already re-drawn our daily lives, including faster processors, ubiquitous sensors and wireless networks, and better algorithms.
As they continue to improve, creative machines—like humans—will perform a broad range of creative activities, ranging from everyday problem solving (sometimes known as “Little C” creativity) to producing once-in-a-century masterpieces (“Big C” creativity). A creative machine’s outputs could range from a design for a cast for a marble sculpture to a schematic blueprint for a clever new gadget for opening bottles of wine.
In the coming decades, by automating the process of solving complex problems, creative machines will again transform our world. Creative machines will serve as a versatile source of on-demand talent.
In the battle to recruit a workforce that can solve complex problems, creative machines will put small businesses on equal footing with large corporations. Art and music lovers will enjoy fresh creative works that re-interpret the style of ancient disciplines. People with a health condition will benefit from individualized medical treatments, and low-income people will receive top-notch legal advice, to name but a few potentially beneficial applications.
How Can We Make Creative Machines, Unless We Understand Our Own Creativity?
One of the most intriguing—yet unsettling—aspects of watching robotic arms skillfully oil paint is that we humans still do not understand our own creative process. Over the centuries, several different civilizations have devised a variety of models to explain creativity.
The ancient Greeks believed that poets drew inspiration from a transcendent realm parallel to the material world where ideas could take root and flourish. In the Middle Ages, philosophers and poets attributed our peculiarly human ability to “make something of nothing” to an external source, namely divine inspiration. Modern academic study of human creativity has generated vast reams of scholarship, but despite the value of these insights, the human imagination remains a great mystery, second only to that of consciousness.
Today, the rise of machine creativity demonstrates (once again), that we do not have to fully understand a biological process in order to emulate it with advanced technology.
Past experience has shown that jet planes can fly higher and faster than birds by using the forward thrust of an engine rather than wings. Submarines propel themselves forward underwater without fins or a tail. Deep learning neural networks identify objects in randomly-selected photographs with super-human accuracy. Similarly, using a fairly straightforward software architecture, creative software (sometimes paired with a robotic body) can paint, write, hypothesize, or design with impressive originality, skill, and boldness.
At the heart of machine creativity is simple iteration. No matter what sort of output they produce, creative machines fall into one of three categories depending on their internal architecture.
Briefly, the first group consists of software programs that use traditional rule-based, or symbolic AI, the second group uses evolutionary algorithms, and the third group uses a variation of a form of machine learning called deep learning that has already revolutionized voice and facial recognition software.
1) Symbolic creative machines are the oldest artificial artists and musicians. In this approach—also known as “good old-fashioned AI (GOFAI) or symbolic AI—the human programmer plays a key role by writing a set of step-by-step instructions to guide the computer through a task. Despite the fact that symbolic AI is limited in its ability to adapt to environmental changes, it’s still possible for a robotic artist programmed this way to create an impressively wide variety of different outputs.
2) Evolutionary algorithms (EA) have been in use for several decades and remain powerful tools for design. In this approach, potential solutions “compete” in a software simulator in a Darwinian process reminiscent of biological evolution. The human programmer specifies a “fitness criterion” that will be used to score and rank the solutions generated by the software. The software then generates a “first generation” population of random solutions (which typically are pretty poor in quality), scores this first generation of solutions, and selects the top 50% (those random solutions deemed to be the best “fit”). The software then takes another pass and recombines the “winning” solutions to create the next generation and repeats this process for thousands (and sometimes millions) of generations.
3) Generative deep learning (DL) neural networks represent the newest software architecture of the three, since DL is data-dependent and resource-intensive. First, a human programmer “trains” a DL neural network to recognize a particular feature in a dataset, for example, an image of a dog in a stream of digital images. Next, the standard “feed forward” process is reversed and the DL neural network begins to generate the feature, for example, eventually producing new and sometimes original images of (or poetry about) dogs. Generative DL networks have tremendous and unexplored creative potential and are able to produce a broad range of original outputs, from paintings to music to poetry.
The Coming Explosion of Machine Creativity
In the near future as Moore’s Law continues its work, we will see sophisticated combinations of these three basic architectures. Since the 1950s, artificial intelligence has steadily mastered one human ability after another, and in the process of doing so, has reduced the cost of calculation, analysis, and most recently, perception. When creative software becomes as inexpensive and ubiquitous as analytical software is today, humans will no longer be the only intelligent beings capable of creative work.
This is why I have to bite my tongue when I hear the well-intended (but shortsighted) advice frequently dispensed to young people that they should pursue work that demands creativity to help them “AI-proof” their futures.
Instead, students should gain skills to harness the power of creative machines.
There are two skills in which humans excel that will enable us to remain useful in a world of ever-advancing artificial intelligence. One, the ability to frame and define a complex problem so that it can be handed off to a creative machine to solve. And two, the ability to communicate the value of both the framework and the proposed solution to the other humans involved.
What will happen to people when creative machines begin to capably tread on intellectual ground that was once considered the sole domain of the human mind, and before that, the product of divine inspiration? While machines engaging in Big C creativity—e.g., oil painting and composing new symphonies—tend to garner controversy and make the headlines, I suspect the real world-changing application of machine creativity will be in the realm of everyday problem solving, or Little C. The mainstream emergence of powerful problem-solving tools will help people create abundance where there was once scarcity.
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