Tag Archives: horror
#432051 What Roboticists Are Learning From Early ...
You might not have heard of Hanson Robotics, but if you’re reading this, you’ve probably seen their work. They were the company behind Sophia, the lifelike humanoid avatar that’s made dozens of high-profile media appearances. Before that, they were the company behind that strange-looking robot that seemed a bit like Asimo with Albert Einstein’s head—or maybe you saw BINA48, who was interviewed for the New York Times in 2010 and featured in Jon Ronson’s books. For the sci-fi aficionados amongst you, they even made a replica of legendary author Philip K. Dick, best remembered for having books with titles like Do Androids Dream of Electric Sheep? turned into films with titles like Blade Runner.
Hanson Robotics, in other words, with their proprietary brand of life-like humanoid robots, have been playing the same game for a while. Sometimes it can be a frustrating game to watch. Anyone who gives the robot the slightest bit of thought will realize that this is essentially a chat-bot, with all the limitations this implies. Indeed, even in that New York Times interview with BINA48, author Amy Harmon describes it as a frustrating experience—with “rare (but invariably thrilling) moments of coherence.” This sensation will be familiar to anyone who’s conversed with a chatbot that has a few clever responses.
The glossy surface belies the lack of real intelligence underneath; it seems, at first glance, like a much more advanced machine than it is. Peeling back that surface layer—at least for a Hanson robot—means you’re peeling back Frubber. This proprietary substance—short for “Flesh Rubber,” which is slightly nightmarish—is surprisingly complicated. Up to thirty motors are required just to control the face; they manipulate liquid cells in order to make the skin soft, malleable, and capable of a range of different emotional expressions.
A quick combinatorial glance at the 30+ motors suggests that there are millions of possible combinations; researchers identify 62 that they consider “human-like” in Sophia, although not everyone agrees with this assessment. Arguably, the technical expertise that went into reconstructing the range of human facial expressions far exceeds the more simplistic chat engine the robots use, although it’s the second one that allows it to inflate the punters’ expectations with a few pre-programmed questions in an interview.
Hanson Robotics’ belief is that, ultimately, a lot of how humans will eventually relate to robots is going to depend on their faces and voices, as well as on what they’re saying. “The perception of identity is so intimately bound up with the perception of the human form,” says David Hanson, company founder.
Yet anyone attempting to design a robot that won’t terrify people has to contend with the uncanny valley—that strange blend of concern and revulsion people react with when things appear to be creepily human. Between cartoonish humanoids and genuine humans lies what has often been a no-go zone in robotic aesthetics.
The uncanny valley concept originated with roboticist Masahiro Mori, who argued that roboticists should avoid trying to replicate humans exactly. Since anything that wasn’t perfect, but merely very good, would elicit an eerie feeling in humans, shirking the challenge entirely was the only way to avoid the uncanny valley. It’s probably a task made more difficult by endless streams of articles about AI taking over the world that inexplicably conflate AI with killer humanoid Terminators—which aren’t particularly likely to exist (although maybe it’s best not to push robots around too much).
The idea behind this realm of psychological horror is fairly simple, cognitively speaking.
We know how to categorize things that are unambiguously human or non-human. This is true even if they’re designed to interact with us. Consider the popularity of Aibo, Jibo, or even some robots that don’t try to resemble humans. Something that resembles a human, but isn’t quite right, is bound to evoke a fear response in the same way slightly distorted music or slightly rearranged furniture in your home will. The creature simply doesn’t fit.
You may well reject the idea of the uncanny valley entirely. David Hanson, naturally, is not a fan. In the paper Upending the Uncanny Valley, he argues that great art forms have often resembled humans, but the ultimate goal for humanoid roboticists is probably to create robots we can relate to as something closer to humans than works of art.
Meanwhile, Hanson and other scientists produce competing experiments to either demonstrate that the uncanny valley is overhyped, or to confirm it exists and probe its edges.
The classic experiment involves gradually morphing a cartoon face into a human face, via some robotic-seeming intermediaries—yet it’s in movement that the real horror of the almost-human often lies. Hanson has argued that incorporating cartoonish features may help—and, sometimes, that the uncanny valley is a generational thing which will melt away when new generations grow used to the quirks of robots. Although Hanson might dispute the severity of this effect, it’s clearly what he’s trying to avoid with each new iteration.
Hiroshi Ishiguro is the latest of the roboticists to have dived headlong into the valley.
Building on the work of pioneers like Hanson, those who study human-robot interaction are pushing at the boundaries of robotics—but also of social science. It’s usually difficult to simulate what you don’t understand, and there’s still an awful lot we don’t understand about how we interpret the constant streams of non-verbal information that flow when you interact with people in the flesh.
Ishiguro took this imitation of human forms to extreme levels. Not only did he monitor and log the physical movements people made on videotapes, but some of his robots are based on replicas of people; the Repliee series began with a ‘replicant’ of his daughter. This involved making a rubber replica—a silicone cast—of her entire body. Future experiments were focused on creating Geminoid, a replica of Ishiguro himself.
As Ishiguro aged, he realized that it would be more effective to resemble his replica through cosmetic surgery rather than by continually creating new casts of his face, each with more lines than the last. “I decided not to get old anymore,” Ishiguro said.
We love to throw around abstract concepts and ideas: humans being replaced by machines, cared for by machines, getting intimate with machines, or even merging themselves with machines. You can take an idea like that, hold it in your hand, and examine it—dispassionately, if not without interest. But there’s a gulf between thinking about it and living in a world where human-robot interaction is not a field of academic research, but a day-to-day reality.
As the scientists studying human-robot interaction develop their robots, their replicas, and their experiments, they are making some of the first forays into that world. We might all be living there someday. Understanding ourselves—decrypting the origins of empathy and love—may be the greatest challenge to face. That is, if you want to avoid the valley.
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#431872 AI Uses Titan Supercomputer to Create ...
You don’t have to dig too deeply into the archive of dystopian science fiction to uncover the horror that intelligent machines might unleash. The Matrix and The Terminator are probably the most well-known examples of self-replicating, intelligent machines attempting to enslave or destroy humanity in the process of building a brave new digital world.
The prospect of artificially intelligent machines creating other artificially intelligent machines took a big step forward in 2017. However, we’re far from the runaway technological singularity futurists are predicting by mid-century or earlier, let alone murderous cyborgs or AI avatar assassins.
The first big boost this year came from Google. The tech giant announced it was developing automated machine learning (AutoML), writing algorithms that can do some of the heavy lifting by identifying the right neural networks for a specific job. Now researchers at the Department of Energy’s Oak Ridge National Laboratory (ORNL), using the most powerful supercomputer in the US, have developed an AI system that can generate neural networks as good if not better than any developed by a human in less than a day.
It can take months for the brainiest, best-paid data scientists to develop deep learning software, which sends data through a complex web of mathematical algorithms. The system is modeled after the human brain and known as an artificial neural network. Even Google’s AutoML took weeks to design a superior image recognition system, one of the more standard operations for AI systems today.
Computing Power
Of course, Google Brain project engineers only had access to 800 graphic processing units (GPUs), a type of computer hardware that works especially well for deep learning. Nvidia, which pioneered the development of GPUs, is considered the gold standard in today’s AI hardware architecture. Titan, the supercomputer at ORNL, boasts more than 18,000 GPUs.
The ORNL research team’s algorithm, called MENNDL for Multinode Evolutionary Neural Networks for Deep Learning, isn’t designed to create AI systems that cull cute cat photos from the internet. Instead, MENNDL is a tool for testing and training thousands of potential neural networks to work on unique science problems.
That requires a different approach from the Google and Facebook AI platforms of the world, notes Steven Young, a postdoctoral research associate at ORNL who is on the team that designed MENNDL.
“We’ve discovered that those [neural networks] are very often not the optimal network for a lot of our problems, because our data, while it can be thought of as images, is different,” he explains to Singularity Hub. “These images, and the problems, have very different characteristics from object detection.”
AI for Science
One application of the technology involved a particle physics experiment at the Fermi National Accelerator Laboratory. Fermilab researchers are interested in understanding neutrinos, high-energy subatomic particles that rarely interact with normal matter but could be a key to understanding the early formation of the universe. One Fermilab experiment involves taking a sort of “snapshot” of neutrino interactions.
The team wanted the help of an AI system that could analyze and classify Fermilab’s detector data. MENNDL evaluated 500,000 neural networks in 24 hours. Its final solution proved superior to custom models developed by human scientists.
In another case involving a collaboration with St. Jude Children’s Research Hospital in Memphis, MENNDL improved the error rate of a human-designed algorithm for identifying mitochondria inside 3D electron microscopy images of brain tissue by 30 percent.
“We are able to do better than humans in a fraction of the time at designing networks for these sort of very different datasets that we’re interested in,” Young says.
What makes MENNDL particularly adept is its ability to define the best or most optimal hyperparameters—the key variables—to tackle a particular dataset.
“You don’t always need a big, huge deep network. Sometimes you just need a small network with the right hyperparameters,” Young says.
A Virtual Data Scientist
That’s not dissimilar to the approach of a company called H20.ai, a startup out of Silicon Valley that uses open source machine learning platforms to “democratize” AI. It applies machine learning to create business solutions for Fortune 500 companies, including some of the world’s biggest banks and healthcare companies.
“Our software is more [about] pattern detection, let’s say anti-money laundering or fraud detection or which customer is most likely to churn,” Dr. Arno Candel, chief technology officer at H2O.ai, tells Singularity Hub. “And that kind of insight-generating software is what we call AI here.”
The company’s latest product, Driverless AI, promises to deliver the data scientist equivalent of a chessmaster to its customers (the company claims several such grandmasters in its employ and advisory board). In other words, the system can analyze a raw dataset and, like MENNDL, automatically identify what features should be included in the computer model to make the most of the data based on the best “chess moves” of its grandmasters.
“So we’re using those algorithms, but we’re giving them the human insights from those data scientists, and we automate their thinking,” he explains. “So we created a virtual data scientist that is relentless at trying these ideas.”
Inside the Black Box
Not unlike how the human brain reaches a conclusion, it’s not always possible to understand how a machine, despite being designed by humans, reaches its own solutions. The lack of transparency is often referred to as the AI “black box.” Experts like Young say we can learn something about the evolutionary process of machine learning by generating millions of neural networks and seeing what works well and what doesn’t.
“You’re never going to be able to completely explain what happened, but maybe we can better explain it than we currently can today,” Young says.
Transparency is built into the “thought process” of each particular model generated by Driverless AI, according to Candel.
The computer even explains itself to the user in plain English at each decision point. There is also real-time feedback that allows users to prioritize features, or parameters, to see how the changes improve the accuracy of the model. For example, the system may include data from people in the same zip code as it creates a model to describe customer turnover.
“That’s one of the advantages of our automatic feature engineering: it’s basically mimicking human thinking,” Candel says. “It’s not just neural nets that magically come up with some kind of number, but we’re trying to make it statistically significant.”
Moving Forward
Much digital ink has been spilled over the dearth of skilled data scientists, so automating certain design aspects for developing artificial neural networks makes sense. Experts agree that automation alone won’t solve that particular problem. However, it will free computer scientists to tackle more difficult issues, such as parsing the inherent biases that exist within the data used by machine learning today.
“I think the world has an opportunity to focus more on the meaning of things and not on the laborious tasks of just fitting a model and finding the best features to make that model,” Candel notes. “By automating, we are pushing the burden back for the data scientists to actually do something more meaningful, which is think about the problem and see how you can address it differently to make an even bigger impact.”
The team at ORNL expects it can also make bigger impacts beginning next year when the lab’s next supercomputer, Summit, comes online. While Summit will boast only 4,600 nodes, it will sport the latest and greatest GPU technology from Nvidia and CPUs from IBM. That means it will deliver more than five times the computational performance of Titan, the world’s fifth-most powerful supercomputer today.
“We’ll be able to look at much larger problems on Summit than we were able to with Titan and hopefully get to a solution much faster,” Young says.
It’s all in a day’s work.
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#431592 Reactive Content Will Get to Know You ...
The best storytellers react to their audience. They look for smiles, signs of awe, or boredom; they simultaneously and skillfully read both the story and their sitters. Kevin Brooks, a seasoned storyteller working for Motorola’s Human Interface Labs, explains, “As the storyteller begins, they must tune in to… the audience’s energy. Based on this energy, the storyteller will adjust their timing, their posture, their characterizations, and sometimes even the events of the story. There is a dialog between audience and storyteller.”
Shortly after I read the script to Melita, the latest virtual reality experience from Madrid-based immersive storytelling company Future Lighthouse, CEO Nicolas Alcalá explained to me that the piece is an example of “reactive content,” a concept he’s been working on since his days at Singularity University.
For the first time in history, we have access to technology that can merge the reactive and affective elements of oral storytelling with the affordances of digital media, weaving stunning visuals, rich soundtracks, and complex meta-narratives in a story arena that has the capability to know you more intimately than any conventional storyteller could.
It’s no understatement to say that the storytelling potential here is phenomenal.
In short, we can refer to content as reactive if it reads and reacts to users based on their body rhythms, emotions, preferences, and data points. Artificial intelligence is used to analyze users’ behavior or preferences to sculpt unique storylines and narratives, essentially allowing for a story that changes in real time based on who you are and how you feel.
The development of reactive content will allow those working in the industry to go one step further than simply translating the essence of oral storytelling into VR. Rather than having a narrative experience with a digital storyteller who can read you, reactive content has the potential to create an experience with a storyteller who knows you.
This means being able to subtly insert minor personal details that have a specific meaning to the viewer. When we talk to our friends we often use experiences we’ve shared in the past or knowledge of our audience to give our story as much resonance as possible. Targeting personal memories and aspects of our lives is a highly effective way to elicit emotions and aid in visualizing narratives. When you can do this with the addition of visuals, music, and characters—all lifted from someone’s past—you have the potential for overwhelmingly engaging and emotionally-charged content.
Future Lighthouse inform me that for now, reactive content will rely primarily on biometric feedback technology such as breathing, heartbeat, and eye tracking sensors. A simple example would be a story in which parts of the environment or soundscape change in sync with the user’s heartbeat and breathing, or characters who call you out for not paying attention.
The next step would be characters and situations that react to the user’s emotions, wherein algorithms analyze biometric information to make inferences about states of emotional arousal (“why are you so nervous?” etc.). Another example would be implementing the use of “arousal parameters,” where the audience can choose what level of “fear” they want from a VR horror story before algorithms modulate the experience using information from biometric feedback devices.
The company’s long-term goal is to gather research on storytelling conventions and produce a catalogue of story “wireframes.” This entails distilling the basic formula to different genres so they can then be fleshed out with visuals, character traits, and soundtracks that are tailored for individual users based on their deep data, preferences, and biometric information.
The development of reactive content will go hand in hand with a renewed exploration of diverging, dynamic storylines, and multi-narratives, a concept that hasn’t had much impact in the movie world thus far. In theory, the idea of having a story that changes and mutates is captivating largely because of our love affair with serendipity and unpredictability, a cultural condition theorist Arthur Kroker refers to as the “hypertextual imagination.” This feeling of stepping into the unknown with the possibility of deviation from the habitual translates as a comforting reminder that our own lives can take exciting and unexpected turns at any moment.
The inception of the concept into mainstream culture dates to the classic Choose Your Own Adventure book series that launched in the late 70s, which in its literary form had great success. However, filmic takes on the theme have made somewhat less of an impression. DVDs like I’m Your Man (1998) and Switching (2003) both use scene selection tools to determine the direction of the storyline.
A more recent example comes from Kino Industries, who claim to have developed the technology to allow filmmakers to produce interactive films in which viewers can use smartphones to quickly vote on which direction the narrative takes at numerous decision points throughout the film.
The main problem with diverging narrative films has been the stop-start nature of the interactive element: when I’m immersed in a story I don’t want to have to pick up a controller or remote to select what’s going to happen next. Every time the audience is given the option to take a new path (“press this button”, “vote on X, Y, Z”) the narrative— and immersion within that narrative—is temporarily halted, and it takes the mind a while to get back into this state of immersion.
Reactive content has the potential to resolve these issues by enabling passive interactivity—that is, input and output without having to pause and actively make decisions or engage with the hardware. This will result in diverging, dynamic narratives that will unfold seamlessly while being dependent on and unique to the specific user and their emotions. Passive interactivity will also remove the game feel that can often be a symptom of interactive experiences and put a viewer somewhere in the middle: still firmly ensconced in an interactive dynamic narrative, but in a much subtler way.
While reading the Melita script I was particularly struck by a scene in which the characters start to engage with the user and there’s a synchronicity between the user’s heartbeat and objects in the virtual world. As the narrative unwinds and the words of Melita’s character get more profound, parts of the landscape, which seemed to be flashing and pulsating at random, come together and start to mimic the user’s heartbeat.
In 2013, Jane Aspell of Anglia Ruskin University (UK) and Lukas Heydrich of the Swiss Federal Institute of Technology proved that a user’s sense of presence and identification with a virtual avatar could be dramatically increased by syncing the on-screen character with the heartbeat of the user. The relationship between bio-digital synchronicity, immersion, and emotional engagement is something that will surely have revolutionary narrative and storytelling potential.
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