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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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The multiverse of science fiction is populated by robots that are indistinguishable from humans. They are usually smarter, faster, and stronger than us. They seem capable of doing any job imaginable, from piloting a starship and battling alien invaders to taking out the trash and cooking a gourmet meal.
The reality, of course, is far from fantasy. Aside from industrial settings, robots have yet to meet The Jetsons. The robots the public are exposed to seem little more than over-sized plastic toys, pre-programmed to perform a set of tasks without the ability to interact meaningfully with their environment or their creators.
To paraphrase PayPal co-founder and tech entrepreneur Peter Thiel, we wanted cool robots, instead we got 140 characters and Flippy the burger bot. But scientists are making progress to empower robots with the ability to see and respond to their surroundings just like humans.
Some of the latest developments in that arena were presented this month at the annual Robotics: Science and Systems Conference in Cambridge, Massachusetts. The papers drilled down into topics that ranged from how to make robots more conversational and help them understand language ambiguities to helping them see and navigate through complex spaces.
Ben Burchfiel, a graduate student at Duke University, and his thesis advisor George Konidaris, an assistant professor of computer science at Brown University, developed an algorithm to enable machines to see the world more like humans.
In the paper, Burchfiel and Konidaris demonstrate how they can teach robots to identify and possibly manipulate three-dimensional objects even when they might be obscured or sitting in unfamiliar positions, such as a teapot that has been tipped over.
The researchers trained their algorithm by feeding it 3D scans of about 4,000 common household items such as beds, chairs, tables, and even toilets. They then tested its ability to identify about 900 new 3D objects just from a bird’s eye view. The algorithm made the right guess 75 percent of the time versus a success rate of about 50 percent for other computer vision techniques.
In an email interview with Singularity Hub, Burchfiel notes his research is not the first to train machines on 3D object classification. How their approach differs is that they confine the space in which the robot learns to classify the objects.
“Imagine the space of all possible objects,” Burchfiel explains. “That is to say, imagine you had tiny Legos, and I told you [that] you could stick them together any way you wanted, just build me an object. You have a huge number of objects you could make!”
The infinite possibilities could result in an object no human or machine might recognize.
To address that problem, the researchers had their algorithm find a more restricted space that would host the objects it wants to classify. “By working in this restricted space—mathematically we call it a subspace—we greatly simplify our task of classification. It is the finding of this space that sets us apart from previous approaches.”
Meanwhile, a pair of undergraduate students at Brown University figured out a way to teach robots to understand directions better, even at varying degrees of abstraction.
The research, led by Dilip Arumugam and Siddharth Karamcheti, addressed how to train a robot to understand nuances of natural language and then follow instructions correctly and efficiently.
“The problem is that commands can have different levels of abstraction, and that can cause a robot to plan its actions inefficiently or fail to complete the task at all,” says Arumugam in a press release.
In this project, the young researchers crowdsourced instructions for moving a virtual robot through an online domain. The space consisted of several rooms and a chair, which the robot was told to manipulate from one place to another. The volunteers gave various commands to the robot, ranging from general (“take the chair to the blue room”) to step-by-step instructions.
The researchers then used the database of spoken instructions to teach their system to understand the kinds of words used in different levels of language. The machine learned to not only follow instructions but to recognize the level of abstraction. That was key to kickstart its problem-solving abilities to tackle the job in the most appropriate way.
The research eventually moved from virtual pixels to a real place, using a Roomba-like robot that was able to respond to instructions within one second 90 percent of the time. Conversely, when unable to identify the specificity of the task, it took the robot 20 or more seconds to plan a task about 50 percent of the time.
One application of this new machine-learning technique referenced in the paper is a robot worker in a warehouse setting, but there are many fields that could benefit from a more versatile machine capable of moving seamlessly between small-scale operations and generalized tasks.
“Other areas that could possibly benefit from such a system include things from autonomous vehicles… to assistive robotics, all the way to medical robotics,” says Karamcheti, responding to a question by email from Singularity Hub.
More to Come
These achievements are yet another step toward creating robots that see, listen, and act more like humans. But don’t expect Disney to build a real-life Westworld next to Toon Town anytime soon.
“I think we’re a long way off from human-level communication,” Karamcheti says. “There are so many problems preventing our learning models from getting to that point, from seemingly simple questions like how to deal with words never seen before, to harder, more complicated questions like how to resolve the ambiguities inherent in language, including idiomatic or metaphorical speech.”
Even relatively verbose chatbots can run out of things to say, Karamcheti notes, as the conversation becomes more complex.
The same goes for human vision, according to Burchfiel.
While deep learning techniques have dramatically improved pattern matching—Google can find just about any picture of a cat—there’s more to human eyesight than, well, meets the eye.
“There are two big areas where I think perception has a long way to go: inductive bias and formal reasoning,” Burchfiel says.
The former is essentially all of the contextual knowledge people use to help them reason, he explains. Burchfiel uses the example of a puddle in the street. People are conditioned or biased to assume it’s a puddle of water rather than a patch of glass, for instance.
“This sort of bias is why we see faces in clouds; we have strong inductive bias helping us identify faces,” he says. “While it sounds simple at first, it powers much of what we do. Humans have a very intuitive understanding of what they expect to see, [and] it makes perception much easier.”
Formal reasoning is equally important. A machine can use deep learning, in Burchfiel’s example, to figure out the direction any river flows once it understands that water runs downhill. But it’s not yet capable of applying the sort of human reasoning that would allow us to transfer that knowledge to an alien setting, such as figuring out how water moves through a plumbing system on Mars.
“Much work was done in decades past on this sort of formal reasoning… but we have yet to figure out how to merge it with standard machine-learning methods to create a seamless system that is useful in the actual physical world.”
Robots still have a lot to learn about being human, which should make us feel good that we’re still by far the most complex machines on the planet.
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Spherical Induction Motor Eliminates Robot’s Mechanical Drive System
PITTSBURGH— More than a decade ago, Ralph Hollis invented the ballbot, an elegantly simple robot whose tall, thin body glides atop a sphere slightly smaller than a bowling ball. The latest version, called SIMbot, has an equally elegant motor with just one moving part: the ball.
The only other active moving part of the robot is the body itself.
The spherical induction motor (SIM) invented by Hollis, a research professor in Carnegie Mellon University’s Robotics Institute, and Masaaki Kumagai, a professor of engineering at Tohoku Gakuin University in Tagajo, Japan, eliminates the mechanical drive systems that each used on previous ballbots. Because of this extreme mechanical simplicity, SIMbot requires less routine maintenance and is less likely to suffer mechanical failures.
The new motor can move the ball in any direction using only electronic controls. These movements keep SIMbot’s body balanced atop the ball.
Early comparisons between SIMbot and a mechanically driven ballbot suggest the new robot is capable of similar speed — about 1.9 meters per second, or the equivalent of a very fast walk — but is not yet as efficient, said Greg Seyfarth, a former member of Hollis’ lab who recently completed his master’s degree in robotics.
Induction motors are nothing new; they use magnetic fields to induce electric current in the motor’s rotor, rather than through an electrical connection. What is new here is that the rotor is spherical and, thanks to some fancy math and advanced software, can move in any combination of three axes, giving it omnidirectional capability. In contrast to other attempts to build a SIM, the design by Hollis and Kumagai enables the ball to turn all the way around, not just move back and forth a few degrees.
Though Hollis said it is too soon to compare the cost of the experimental motor with conventional motors, he said long-range trends favor the technologies at its heart.
“This motor relies on a lot of electronics and software,” he explained. “Electronics and software are getting cheaper. Mechanical systems are not getting cheaper, or at least not as fast as electronics and software are.”
SIMbot’s mechanical simplicity is a significant advance for ballbots, a type of robot that Hollis maintains is ideally suited for working with people in human environments. Because the robot’s body dynamically balances atop the motor’s ball, a ballbot can be as tall as a person, but remain thin enough to move through doorways and in between furniture. This type of robot is inherently compliant, so people can simply push it out of the way when necessary. Ballbots also can perform tasks such as helping a person out of a chair, helping to carry parcels and physically guiding a person.
Until now, moving the ball to maintain the robot’s balance has relied on mechanical means. Hollis’ ballbots, for instance, have used an “inverse mouse ball” method, in which four motors actuate rollers that press against the ball so that it can move in any direction across a floor, while a fifth motor controls the yaw motion of the robot itself.
“But the belts that drive the rollers wear out and need to be replaced,” said Michael Shomin, a Ph.D. student in robotics. “And when the belts are replaced, the system needs to be recalibrated.” He said the new motor’s solid-state system would eliminate that time-consuming process.
The rotor of the spherical induction motor is a precisely machined hollow iron ball with a copper shell. Current is induced in the ball with six laminated steel stators, each with three-phase wire windings. The stators are positioned just next to the ball and are oriented slightly off vertical.
The six stators generate travelling magnetic waves in the ball, causing the ball to move in the direction of the wave. The direction of the magnetic waves can be steered by altering the currents in the stators.
Hollis and Kumagai jointly designed the motor. Ankit Bhatia, a Ph.D. student in robotics, and Olaf Sassnick, a visiting scientist from Salzburg University of Applied Sciences, adapted it for use in ballbots.
Getting rid of the mechanical drive eliminates a lot of the friction of previous ballbot models, but virtually all friction could be eliminated by eventually installing an air bearing, Hollis said. The robot body would then be separated from the motor ball with a cushion of air, rather than passive rollers.
“Even without optimizing the motor’s performance, SIMbot has demonstrated impressive performance,” Hollis said. “We expect SIMbot technology will make ballbots more accessible and more practical for wide adoption.”
The National Science Foundation and, in Japan, Grants-in-Aid for Scientific Research (KAKENHI) supported this research. A report on the work was presented at the May IEEE International Conference on Robotics and Automation in Stockholm, Sweden.
Video by: Carnegie Mellon University
About Carnegie Mellon University: Carnegie Mellon (www.cmu.edu) is a private, internationally ranked research university with programs in areas ranging from science, technology and business, to public policy, the humanities and the arts. More than 13,000 students in the university’s seven schools and colleges benefit from a small student-to-faculty ratio and an education characterized by its focus on creating and implementing solutions for real problems, interdisciplinary collaboration and innovation.
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