Tag Archives: literature
Last year, a novelist went on a road trip across the USA. The trip was an attempt to emulate Jack Kerouac—to go out on the road and find something essential to write about in the experience. There is, however, a key difference between this writer and anyone else talking your ear off in the bar. This writer is just a microphone, a GPS, and a camera hooked up to a laptop and a whole bunch of linear algebra.
People who are optimistic that artificial intelligence and machine learning won’t put us all out of a job say that human ingenuity and creativity will be difficult to imitate. The classic argument is that, just as machines freed us from repetitive manual tasks, machine learning will free us from repetitive intellectual tasks.
This leaves us free to spend more time on the rewarding aspects of our work, pursuing creative hobbies, spending time with loved ones, and generally being human.
In this worldview, creative works like a great novel or symphony, and the emotions they evoke, cannot be reduced to lines of code. Humans retain a dimension of superiority over algorithms.
But is creativity a fundamentally human phenomenon? Or can it be learned by machines?
And if they learn to understand us better than we understand ourselves, could the great AI novel—tailored, of course, to your own predispositions in fiction—be the best you’ll ever read?
Maybe Not a Beach Read
This is the futurist’s view, of course. The reality, as the jury-rigged contraption in Ross Goodwin’s Cadillac for that road trip can attest, is some way off.
“This is very much an imperfect document, a rapid prototyping project. The output isn’t perfect. I don’t think it’s a human novel, or anywhere near it,” Goodwin said of the novel that his machine created. 1 The Road is currently marketed as the first novel written by AI.
Once the neural network has been trained, it can generate any length of text that the author desires, either at random or working from a specific seed word or phrase. Goodwin used the sights and sounds of the road trip to provide these seeds: the novel is written one sentence at a time, based on images, locations, dialogue from the microphone, and even the computer’s own internal clock.
The results are… mixed.
The novel begins suitably enough, quoting the time: “It was nine seventeen in the morning, and the house was heavy.” Descriptions of locations begin according to the Foursquare dataset fed into the algorithm, but rapidly veer off into the weeds, becoming surreal. While experimentation in literature is a wonderful thing, repeatedly quoting longitude and latitude coordinates verbatim is unlikely to win anyone the Booker Prize.
Data In, Art Out?
Neural networks as creative agents have some advantages. They excel at being trained on large datasets, identifying the patterns in those datasets, and producing output that follows those same rules. Music inspired by or written by AI has become a growing subgenre—there’s even a pop album by human-machine collaborators called the Songularity.
A neural network can “listen to” all of Bach and Mozart in hours, and train itself on the works of Shakespeare to produce passable pseudo-Bard. The idea of artificial creativity has become so widespread that there’s even a meme format about forcibly training neural network ‘bots’ on human writing samples, with hilarious consequences—although the best joke was undoubtedly human in origin.
The AI that roamed from New York to New Orleans was an LSTM (long short-term memory) neural net. By default, information contained in individual neurons is preserved, and only small parts can be “forgotten” or “learned” in an individual timestep, rather than neurons being entirely overwritten.
The LSTM architecture performs better than previous recurrent neural networks at tasks such as handwriting and speech recognition. The neural net—and its programmer—looked further in search of literary influences, ingesting 60 million words (360 MB) of raw literature according to Goodwin’s recipe: one third poetry, one third science fiction, and one third “bleak” literature.
In this way, Goodwin has some creative control over the project; the source material influences the machine’s vocabulary and sentence structuring, and hence the tone of the piece.
The Thoughts Beneath the Words
The problem with artificially intelligent novelists is the same problem with conversational artificial intelligence that computer scientists have been trying to solve from Turing’s day. The machines can understand and reproduce complex patterns increasingly better than humans can, but they have no understanding of what these patterns mean.
Goodwin’s neural network spits out sentences one letter at a time, on a tiny printer hooked up to the laptop. Statistical associations such as those tracked by neural nets can form words from letters, and sentences from words, but they know nothing of character or plot.
When talking to a chatbot, the code has no real understanding of what’s been said before, and there is no dataset large enough to train it through all of the billions of possible conversations.
Unless restricted to a predetermined set of options, it loses the thread of the conversation after a reply or two. In a similar way, the creative neural nets have no real grasp of what they’re writing, and no way to produce anything with any overarching coherence or narrative.
Goodwin’s experiment is an attempt to add some coherent backbone to the AI “novel” by repeatedly grounding it with stimuli from the cameras or microphones—the thematic links and narrative provided by the American landscape the neural network drives through.
Goodwin feels that this approach (the car itself moving through the landscape, as if a character) borrows some continuity and coherence from the journey itself. “Coherent prose is the holy grail of natural-language generation—feeling that I had somehow solved a small part of the problem was exhilarating. And I do think it makes a point about language in time that’s unexpected and interesting.”
AI Is Still No Kerouac
A coherent tone and semantic “style” might be enough to produce some vaguely-convincing teenage poetry, as Google did, and experimental fiction that uses neural networks can have intriguing results. But wading through the surreal AI prose of this era, searching for some meaning or motif beyond novelty value, can be a frustrating experience.
Maybe machines can learn the complexities of the human heart and brain, or how to write evocative or entertaining prose. But they’re a long way off, and somehow “more layers!” or a bigger corpus of data doesn’t feel like enough to bridge that gulf.
Real attempts by machines to write fiction have so far been broadly incoherent, but with flashes of poetry—dreamlike, hallucinatory ramblings.
Neural networks might not be capable of writing intricately-plotted works with charm and wit, like Dickens or Dostoevsky, but there’s still an eeriness to trying to decipher the surreal, Finnegans’ Wake mish-mash.
You might see, in the odd line, the flickering ghost of something like consciousness, a deeper understanding. Or you might just see fragments of meaning thrown into a neural network blender, full of hype and fury, obeying rules in an occasionally striking way, but ultimately signifying nothing. In that sense, at least, the RNN’s grappling with metaphor feels like a metaphor for the hype surrounding the latest AI summer as a whole.
Or, as the human author of On The Road put it: “You guys are going somewhere or just going?”
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As artificial intelligence advances, we’re encountering the same old questions. How much of what we consider to be fundamentally human can be reduced to an algorithm? Can we create something sufficiently advanced that people can no longer distinguish between the two? This, after all, is the idea behind the Turing Test, which has yet to be passed.
At first glance, you might think music is beyond the realm of algorithms. Birds can sing, and people can compose symphonies. Music is evocative; it makes us feel. Very often, our intense personal and emotional attachments to music are because it reminds us of our shared humanity. We are told that creative jobs are the least likely to be automated. Creativity seems fundamentally human.
But I think above all, we view it as reductionist sacrilege: to dissect beautiful things. “If you try to strangle a skylark / to cut it up, see how it works / you will stop its heart from beating / you will stop its mouth from singing.” A human musician wrote that; a machine might be able to string words together that are happy or sad; it might even be able to conjure up a decent metaphor from the depths of some neural network—but could it understand humanity enough to produce art that speaks to humans?
Then, of course, there’s the other side of the debate. Music, after all, has a deeply mathematical structure; you can train a machine to produce harmonics. “In the teachings of Pythagoras and his followers, music was inseparable from numbers, which were thought to be the key to the whole spiritual and physical universe,” according to Grout in A History of Western Music. You might argue that the process of musical composition cannot be reduced to a simple algorithm, yet musicians have often done so. Mozart, with his “Dice Music,” used the roll of a dice to decide how to order musical fragments; creativity through an 18th-century random number generator. Algorithmic music goes back a very long way, with the first papers on the subject from the 1960s.
Then there’s the techno-enthusiast side of the argument. iTunes has 26 million songs, easily more than a century of music. A human could never listen to and learn from them all, but a machine could. It could also memorize every note of Beethoven. Music can be converted into MIDI files, a nice chewable data format that allows even a character-by-character neural net you can run on your computer to generate music. (Seriously, even I could get this thing working.)
Indeed, generating music in the style of Bach has long been a test for AI, and you can see neural networks gradually learn to imitate classical composers while trying to avoid overfitting. When an algorithm overfits, it essentially starts copying the existing music, rather than being inspired by it but creating something similar: a tightrope the best human artists learn to walk. Creativity doesn’t spring from nowhere; even maverick musical geniuses have their influences.
Does a machine have to be truly ‘creative’ to produce something that someone would find valuable? To what extent would listeners’ attitudes change if they thought they were hearing a human vs. an AI composition? This all suggests a musical Turing Test. Of course, it already exists. In fact, it’s run out of Dartmouth, the school that hosted that first, seminal AI summer conference. This year, the contest is bigger than ever: alongside the PoetiX, LimeriX and LyriX competitions for poetry and lyrics, there’s a DigiKidLit competition for children’s literature (although you may have reservations about exposing your children to neural-net generated content… it can get a bit surreal).
There’s also a pair of musical competitions, including one for original compositions in different genres. Key genres and styles are represented by Charlie Parker for Jazz and the Bach chorales for classical music. There’s also a free composition, and a contest where a human and an AI try to improvise together—the AI must respond to a human spontaneously, in real time, and in a musically pleasing way. Quite a challenge! In all cases, if any of the generated work is indistinguishable from human performers, the neural net has passed the Turing Test.
Did they? Here’s part of 2017’s winning sonnet from Charese Smiley and Hiroko Bretz:
The large cabin was in total darkness.
Come marching up the eastern hill afar.
When is the clock on the stairs dangerous?
Everything seemed so near and yet so far.
Behind the wall silence alone replied.
Was, then, even the staircase occupied?
Generating the rhymes is easy enough, the sentence structure a little trickier, but what’s impressive about this sonnet is that it sticks to a single topic and appears to be a more coherent whole. I’d guess they used associated “lexical fields” of similar words to help generate something coherent. In a similar way, most of the more famous examples of AI-generated music still involve some amount of human control, even if it’s editorial; a human will build a song around an AI-generated riff, or select the most convincing Bach chorale from amidst many different samples.
We are seeing strides forward in the ability of AI to generate human voices and human likenesses. As the latter example shows, in the fake news era people have focused on the dangers of this tech– but might it also be possible to create a virtual performer, trained on a dataset of their original music? Did you ever want to hear another Beatles album, or jam with Miles Davis? Of course, these things are impossible—but could we create a similar experience that people would genuinely value? Even, to the untrained eye, something indistinguishable from the real thing?
And if it did measure up to the real thing, what would this mean? Jaron Lanier is a fascinating technology writer, a critic of strong AI, and a believer in the power of virtual reality to change the world and provide truly meaningful experiences. He’s also a composer and a musical aficionado. He pointed out in a recent interview that translation algorithms, by reducing the amount of work translators are commissioned to do, have, in some sense, profited from stolen expertise. They were trained on huge datasets purloined from human linguists and translators. If you can train an AI on someone’s creative output and it produces new music, who “owns” it?
Although companies that offer AI music tools are starting to proliferate, and some groups will argue that the musical Turing test has been passed already, AI-generated music is hardly racing to the top of the pop charts just yet. Even as the line between human-composed and AI-generated music starts to blur, there’s still a gulf between the average human and musical genius. In the next few years, we’ll see how far the current techniques can take us. It may be the case that there’s something in the skylark’s song that can’t be generated by machines. But maybe not, and then this song might need an extra verse.
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In the myth about the Tower of Babel, people conspired to build a city and tower that would reach heaven. Their creator observed, “And now nothing will be restrained from them, which they have imagined to do.” According to the myth, God thwarted this effort by creating diverse languages so that they could no longer collaborate.
In our modern times, we’re experiencing a state of unprecedented connectivity thanks to technology. However, we’re still living under the shadow of the Tower of Babel. Language remains a barrier in business and marketing. Even though technological devices can quickly and easily connect, humans from different parts of the world often can’t.
Translation agencies step in, making presentations, contracts, outsourcing instructions, and advertisements comprehensible to all intended recipients. Some agencies also offer “localization” expertise. For instance, if a company is marketing in Quebec, the advertisements need to be in Québécois French, not European French. Risk-averse companies may be reluctant to invest in these translations. Consequently, these ventures haven’t achieved full market penetration.
Global markets are waiting, but AI-powered language translation isn’t ready yet, despite recent advancements in natural language processing and sentiment analysis. AI still has difficulties processing requests in one language, without the additional complications of translation. In November 2016, Google added a neural network to its translation tool. However, some of its translations are still socially and grammatically odd. I spoke to technologists and a language professor to find out why.
“To Google’s credit, they made a pretty massive improvement that appeared almost overnight. You know, I don’t use it as much. I will say this. Language is hard,” said Michael Housman, chief data science officer at RapportBoost.AI and faculty member of Singularity University.
He explained that the ideal scenario for machine learning and artificial intelligence is something with fixed rules and a clear-cut measure of success or failure. He named chess as an obvious example, and noted machines were able to beat the best human Go player. This happened faster than anyone anticipated because of the game’s very clear rules and limited set of moves.
Housman elaborated, “Language is almost the opposite of that. There aren’t as clearly-cut and defined rules. The conversation can go in an infinite number of different directions. And then of course, you need labeled data. You need to tell the machine to do it right or wrong.”
Housman noted that it’s inherently difficult to assign these informative labels. “Two translators won’t even agree on whether it was translated properly or not,” he said. “Language is kind of the wild west, in terms of data.”
Google’s technology is now able to consider the entirety of a sentence, as opposed to merely translating individual words. Still, the glitches linger. I asked Dr. Jorge Majfud, Associate Professor of Spanish, Latin American Literature, and International Studies at Jacksonville University, to explain why consistently accurate language translation has thus far eluded AI.
He replied, “The problem is that considering the ‘entire’ sentence is still not enough. The same way the meaning of a word depends on the rest of the sentence (more in English than in Spanish), the meaning of a sentence depends on the rest of the paragraph and the rest of the text, as the meaning of a text depends on a larger context called culture, speaker intentions, etc.”
He noted that sarcasm and irony only make sense within this widened context. Similarly, idioms can be problematic for automated translations.
“Google translation is a good tool if you use it as a tool, that is, not to substitute human learning or understanding,” he said, before offering examples of mistranslations that could occur.
“Months ago, I went to buy a drill at Home Depot and I read a sign under a machine: ‘Saw machine.’ Right below it, the Spanish translation: ‘La máquina vió,’ which means, ‘The machine did see it.’ Saw, not as a noun but as a verb in the preterit form,” he explained.
Dr. Majfud warned, “We should be aware of the fragility of their ‘interpretation.’ Because to translate is basically to interpret, not just an idea but a feeling. Human feelings and ideas that only humans can understand—and sometimes not even we, humans, understand other humans.”
He noted that cultures, gender, and even age can pose barriers to this understanding and also contended that an over-reliance on technology is leading to our cultural and political decline. Dr. Majfud mentioned that Argentinean writer Julio Cortázar used to refer to dictionaries as “cemeteries.” He suggested that automatic translators could be called “zombies.”
Erik Cambria is an academic AI researcher and assistant professor at Nanyang Technological University in Singapore. He mostly focuses on natural language processing, which is at the core of AI-powered language translation. Like Dr. Majfud, he sees the complexity and associated risks. “There are so many things that we unconsciously do when we read a piece of text,” he told me. Reading comprehension requires multiple interrelated tasks, which haven’t been accounted for in past attempts to automate translation.
Cambria continued, “The biggest issue with machine translation today is that we tend to go from the syntactic form of a sentence in the input language to the syntactic form of that sentence in the target language. That’s not what we humans do. We first decode the meaning of the sentence in the input language and then we encode that meaning into the target language.”
Additionally, there are cultural risks involved with these translations. Dr. Ramesh Srinivasan, Director of UCLA’s Digital Cultures Lab, said that new technological tools sometimes reflect underlying biases.
“There tend to be two parameters that shape how we design ‘intelligent systems.’ One is the values and you might say biases of those that create the systems. And the second is the world if you will that they learn from,” he told me. “If you build AI systems that reflect the biases of their creators and of the world more largely, you get some, occasionally, spectacular failures.”
Dr. Srinivasan said translation tools should be transparent about their capabilities and limitations. He said, “You know, the idea that a single system can take languages that I believe are very diverse semantically and syntactically from one another and claim to unite them or universalize them, or essentially make them sort of a singular entity, it’s a misnomer, right?”
Mary Cochran, co-founder of Launching Labs Marketing, sees the commercial upside. She mentioned that listings in online marketplaces such as Amazon could potentially be auto-translated and optimized for buyers in other countries.
She said, “I believe that we’re just at the tip of the iceberg, so to speak, with what AI can do with marketing. And with better translation, and more globalization around the world, AI can’t help but lead to exploding markets.”
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