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Many of us intuitively think about intelligence as an individual trait. As a society, we have a tendency to praise individual game-changers for accomplishments that would not be possible without their teams, often tens of thousands of people that work behind the scenes to make extraordinary things happen.
Matt Ridley, best-selling author of multiple books, including The Rational Optimist: How Prosperity Evolves, challenges this view. He argues that human achievement and intelligence are entirely “networking phenomena.” In other words, intelligence is collective and emergent as opposed to individual.
When asked what scientific concept would improve everybody’s cognitive toolkit, Ridley highlights collective intelligence: “It is by putting brains together through the division of labor— through trade and specialization—that human society stumbled upon a way to raise the living standards, carrying capacity, technological virtuosity, and knowledge base of the species.”
Ridley has spent a lifetime exploring human prosperity and the factors that contribute to it. In a conversation with Singularity Hub, he redefined how we perceive intelligence and human progress.
Raya Bidshahri: The common perspective seems to be that competition is what drives innovation and, consequently, human progress. Why do you think collaboration trumps competition when it comes to human progress?
Matt Ridley: There is a tendency to think that competition is an animal instinct that is natural and collaboration is a human instinct we have to learn. I think there is no evidence for that. Both are deeply rooted in us as a species. The evidence from evolutionary biology tells us that collaboration is just as important as competition. Yet, at the end, the Darwinian perspective is quite correct: it’s usually cooperation for the purpose of competition, wherein a given group tries to achieve something more effectively than another group. But the point is that the capacity to co-operate is very deep in our psyche.
RB: You write that “human achievement is entirely a networking phenomenon,” and we need to stop thinking about intelligence as an individual trait, and that instead we should look at what you refer to as collective intelligence. Why is that?
MR: The best way to think about it is that IQ doesn’t matter, because a hundred stupid people who are talking to each other will accomplish more than a hundred intelligent people who aren’t. It’s absolutely vital to see that everything from the manufacturing of a pencil to the manufacturing of a nuclear power station can’t be done by an individual human brain. You can’t possibly hold in your head all the knowledge you need to do these things. For the last 200,000 years we’ve been exchanging and specializing, which enables us to achieve much greater intelligence than we can as individuals.
RB: We often think of achievement and intelligence on individual terms. Why do you think it’s so counter-intuitive for us to think about collective intelligence?
MR: People are surprisingly myopic to the extent they understand the nature of intelligence. I think it goes back to a pre-human tendency to think in terms of individual stories and actors. For example, we love to read about the famous inventor or scientist who invented or discovered something. We never tell these stories as network stories. We tell them as individual hero stories.
“It’s absolutely vital to see that everything from the manufacturing of a pencil to the manufacturing of a nuclear power station can’t be done by an individual human brain.”
This idea of a brilliant hero who saves the world in the face of every obstacle seems to speak to tribal hunter-gatherer societies, where the alpha male leads and wins. But it doesn’t resonate with how human beings have structured modern society in the last 100,000 years or so. We modern-day humans haven’t internalized a way of thinking that incorporates this definition of distributed and collective intelligence.
RB: One of the books you’re best known for is The Rational Optimist. What does it mean to be a rational optimist?
MR: My optimism is rational because it’s not based on a feeling, it’s based on evidence. If you look at the data on human living standards over the last 200 years and compare it with the way that most people actually perceive our progress during that time, you’ll see an extraordinary gap. On the whole, people seem to think that things are getting worse, but things are actually getting better.
We’ve seen the most astonishing improvements in human living standards: we’ve brought the number of people living in extreme poverty to 9 percent from about 70 percent when I was born. The human lifespan is expanding by five hours a day, child mortality has gone down by two thirds in half a century, and much more. These feats dwarf the things that are going wrong. Yet most people are quite pessimistic about the future despite the things we’ve achieved in the past.
RB: Where does this idea of collective intelligence fit in rational optimism?
MR: Underlying the idea of rational optimism was understanding what prosperity is, and why it happens to us and not to rabbits or rocks. Why are we the only species in the world that has concepts like a GDP, growth rate, or living standard? My answer is that it comes back to this phenomena of collective intelligence. The reason for a rise in living standards is innovation, and the cause of that innovation is our ability to collaborate.
The grand theme of human history is exchange of ideas, collaborating through specialization and the division of labor. Throughout history, it’s in places where there is a lot of open exchange and trade where you get a lot of innovation. And indeed, there are some extraordinary episodes in human history when societies get cut off from exchange and their innovation slows down and they start moving backwards. One example of this is Tasmania, which was isolated and lost a lot of the technologies it started off with.
RB: Lots of people like to point out that just because the world has been getting better doesn’t guarantee it will continue to do so. How do you respond to that line of argumentation?
MR: There is a quote by Thomas Babington Macaulay from 1830, where he was fed up with the pessimists of the time saying things will only get worse. He says, “On what principle is it that with nothing but improvement behind us, we are to expect nothing but deterioration before us?” And this was back in the 1830s, where in Britain and a few other parts of the world, we were only seeing the beginning of the rise of living standards. It’s perverse to argue that because things were getting better in the past, now they are about to get worse.
“I think it’s worth remembering that good news tends to be gradual, and bad news tends to be sudden. Hence, the good stuff is rarely going to make the news.”
Another thing to point out is that people have always said this. Every generation thought they were at the peak looking downhill. If you think about the opportunities technology is about to give us, whether it’s through blockchain, gene editing, or artificial intelligence, there is every reason to believe that 2017 is going to look like a time of absolute misery compared to what our children and grandchildren are going to experience.
RB: There seems to be a fair amount of mayhem in today’s world, and lots of valid problems to pay attention to in the news. What would you say to empower our readers that we will push through it and continue to grow and improve as a species?
MR: I think it’s worth remembering that good news tends to be gradual, and bad news tends to be sudden. Hence, the good stuff is rarely going to make the news. It’s happening in an inexorable way, as a result of ordinary people exchanging, specializing, collaborating, and innovating, and it’s surprisingly hard to stop it.
Even if you look back to the 1940s, at the end of a world war, there was still a lot of innovation happening. In some ways it feels like we are going through a bad period now. I do worry a lot about the anti-enlightenment values that I see spreading in various parts of the world. But then I remind myself that people are working on innovative projects in the background, and these things are going to come through and push us forward.
Image Credit: Sahacha Nilkumhang / Shutterstock.com
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Con artistry is one of the world’s oldest and most innovative professions, and it may soon have a new target. Research suggests artificial intelligence may be uniquely susceptible to tricksters, and as its influence in the modern world grows, attacks against it are likely to become more common.
The root of the problem lies in the fact that artificial intelligence algorithms learn about the world in very different ways than people do, and so slight tweaks to the data fed into these algorithms can throw them off completely while remaining imperceptible to humans.
Much of the research into this area has been conducted on image recognition systems, in particular those relying on deep learning neural networks. These systems are trained by showing them thousands of examples of images of a particular object until they can extract common features that allow them to accurately spot the object in new images.
But the features they extract are not necessarily the same high-level features a human would be looking for, like the word STOP on a sign or a tail on a dog. These systems analyze images at the individual pixel level to detect patterns shared between examples. These patterns can be obscure combinations of pixel values, in small pockets or spread across the image, that would be impossible to discern for a human, but highly accurate at predicting a particular object.
“An attacker can trick the object recognition algorithm into seeing something that isn’t there, without these alterations being obvious to a human.”
What this means is that by identifying these patterns and overlaying them over a different image, an attacker can trick the object recognition algorithm into seeing something that isn’t there, without these alterations being obvious to a human. This kind of manipulation is known as an “adversarial attack.”
Early attempts to trick image recognition systems this way required access to the algorithm’s inner workings to decipher these patterns. But in 2016 researchers demonstrated a “black box” attack that enabled them to trick such a system without knowing its inner workings.
By feeding the system doctored images and seeing how it classified them, they were able to work out what it was focusing on and therefore generate images they knew would fool it. Importantly, the doctored images were not obviously different to human eyes.
These approaches were tested by feeding doctored image data directly into the algorithm, but more recently, similar approaches have been applied in the real world. Last year it was shown that printouts of doctored images that were then photographed on a smartphone successfully tricked an image classification system.
Another group showed that wearing specially designed, psychedelically-colored spectacles could trick a facial recognition system into thinking people were celebrities. In August scientists showed that adding stickers to stop signs in particular configurations could cause a neural net designed to spot them to misclassify the signs.
These last two examples highlight some of the potential nefarious applications for this technology. Getting a self-driving car to miss a stop sign could cause an accident, either for insurance fraud or to do someone harm. If facial recognition becomes increasingly popular for biometric security applications, being able to pose as someone else could be very useful to a con artist.
Unsurprisingly, there are already efforts to counteract the threat of adversarial attacks. In particular, it has been shown that deep neural networks can be trained to detect adversarial images. One study from the Bosch Center for AI demonstrated such a detector, an adversarial attack that fools the detector, and a training regime for the detector that nullifies the attack, hinting at the kind of arms race we are likely to see in the future.
While image recognition systems provide an easy-to-visualize demonstration, they’re not the only machine learning systems at risk. The techniques used to perturb pixel data can be applied to other kinds of data too.
“Bypassing cybersecurity defenses is one of the more worrying and probable near-term applications for this approach.”
Chinese researchers showed that adding specific words to a sentence or misspelling a word can completely throw off machine learning systems designed to analyze what a passage of text is about. Another group demonstrated that garbled sounds played over speakers could make a smartphone running the Google Now voice command system visit a particular web address, which could be used to download malware.
This last example points toward one of the more worrying and probable near-term applications for this approach: bypassing cybersecurity defenses. The industry is increasingly using machine learning and data analytics to identify malware and detect intrusions, but these systems are also highly susceptible to trickery.
At this summer’s DEF CON hacking convention, a security firm demonstrated they could bypass anti-malware AI using a similar approach to the earlier black box attack on the image classifier, but super-powered with an AI of their own.
Their system fed malicious code to the antivirus software and then noted the score it was given. It then used genetic algorithms to iteratively tweak the code until it was able to bypass the defenses while maintaining its function.
All the approaches noted so far are focused on tricking pre-trained machine learning systems, but another approach of major concern to the cybersecurity industry is that of “data poisoning.” This is the idea that introducing false data into a machine learning system’s training set will cause it to start misclassifying things.
This could be particularly challenging for things like anti-malware systems that are constantly being updated to take into account new viruses. A related approach bombards systems with data designed to generate false positives so the defenders recalibrate their systems in a way that then allows the attackers to sneak in.
How likely it is that these approaches will be used in the wild will depend on the potential reward and the sophistication of the attackers. Most of the techniques described above require high levels of domain expertise, but it’s becoming ever easier to access training materials and tools for machine learning.
Simpler versions of machine learning have been at the heart of email spam filters for years, and spammers have developed a host of innovative workarounds to circumvent them. As machine learning and AI increasingly embed themselves in our lives, the rewards for learning how to trick them will likely outweigh the costs.
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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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Cambridge, MA – Soft Robotics Inc, which has built a fundamentally new class of robotic grippers, announced the release of its expanded and upgraded Soft Robotics Development Kit; SRDK 2.0.
The Soft Robotics Development Kit 2.0 comes complete with:
Robot tool flange mounting plate
4, 5 and 6 position hub plates
Tool Center Point
Soft Robotics Control Unit G2
6 rail mounted, 4 accordion actuator modules
Custom pneumatic manifold
Mounting hardware and accessories
Where the SRDK 1.0 included 5 four accordion actuator modules and the opportunity to create a gripper containing two to five actuators, The SRDK 2.0 contains 6 four accordion actuator modules plus the addition of a six position hub allowing users the ability to configure six actuator test tools. This expands use of the Development Kit to larger product applications, such as: large bagged and pouched items, IV bags, bags of nuts, bread and other food items.
SRDK 2.0 also contains an upgraded Soft Robotics Control Unit (SRCU G2) – the proprietary system that controls all software and hardware with one turnkey pneumatic operation. The upgraded SRCU features new software with a cleaner, user friendly interface and an IP65 rating. Highly intuitive, the software is able to store up to eight grip profiles and allows for very precise adjustments to actuation and vacuum.
Also new with the release of SRDK 2.0, is the introduction of several accessory kits that will allow for an expanded number of configurations and product applications available for testing.
Accessory Kit 1 – For SRDK 1.0 users only – includes the six position hub and 4 accordion actuators now included in SRDK 2.0
Accessory Kit 2 – For SRDK 1.0 or 2.0 users – includes 2 accordion actuators
Accessory Kit 3 – For SRDK 1.0 or 2.0 users – includes 3 accordion actuators
The shorter 2 and 3 accordion actuators provide increased stability for high-speed applications, increased placement precision, higher grip force capabilities and are optimized for gripping small, shallow objects.
Designed to plug and play with any existing robot currently in the market, the Soft Robotics Development Kit 2.0 allows end-users and OEM Integrators the ability to customize, test and validate their ideal Soft Robotics solution, with their own equipment, in their own environment.
Once an ideal solution has been found, the Soft Robotics team will take those exact specifications and build a production-grade tool for implementation into the manufacturing line. And, it doesn’t end there. Created to be fully reusable, the process – configure, test, validate, build, production – can start over again as many times as needed.
See the new SRDK 2.0 on display for the first time at PACK EXPO Las Vegas, September 25 – 27, 2017 in Soft Robotics booth S-5925.
Learn more about the Soft Robotics Development Kit at www.softroboticsinc.com/srdk.
Photo Credit: Soft Robotics – www.softroboticsinc.com
About Soft Robotics
Soft Robotics designs and builds soft robotic gripping systems and automation solutions
that can grasp and manipulate items of varying size, shape and weight. Spun out of the
Whitesides Group at Harvard University, Soft Robotics is the only company to be
commercializing this groundbreaking and proprietary technology platform. Today, the
company is a global enterprise solving previously off-limits automation challenges for
customers in food & beverage, advanced manufacturing and ecommerce. Soft Robotics’
engineers are building an ecosystem of robots, control systems, data and machine
learning to enable the workplace of the future. For more information, please visit
The Kondracki Group, LLC
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