Tag Archives: style
Pedro Domingos on the Arms Race in Artificial Intelligence
Christoph Scheuermann and Bernhard Zand | Spiegel Online
“AI lowers the cost of knowledge by orders of magnitude. One good, effective machine learning system can do the work of a million people, whether it’s for commercial purposes or for cyberespionage. Imagine a country that produces a thousand times more knowledge than another. This is the challenge we are facing.”
Gene Therapy Could Free Some People From a Lifetime of Blood Transfusions
Emily Mullin | MIT Technology Review
“A one-time, experimental treatment for an inherited blood disorder has shown dramatic results in a small study. …[Lead author Alexis Thompson] says the effect on patients has been remarkable. ‘They have been tied to this ongoing medical therapy that is burdensome and expensive for their whole lives,’ she says. ‘Gene therapy has allowed people to have aspirations and really pursue them.’ ”
The Revolutionary Giant Ocean Cleanup Machine Is About to Set Sail
Adele Peters | Fast Company
“By the end of 2018, the nonprofit says it will bring back its first harvest of ocean plastic from the North Pacific Gyre, along with concrete proof that the design works. The organization expects to bring 5,000 kilograms of plastic ashore per month with its first system. With a full fleet of systems deployed, it believes that it can collect half of the plastic trash in the Great Pacific Garbage Patch—around 40,000 metric tons—within five years.”
Autonomous Boats Will Be on the Market Sooner Than Self-Driving Cars
Tracey Lindeman | Motherboard
“Some unmanned watercraft…may be at sea commercially before 2020. That’s partly because automating all ships could generate a ridiculous amount of revenue. According to the United Nations, 90 percent of the world’s trade is carried by sea and 10.3 billion tons of products were shipped in 2016.”
Style Is an Algorithm
Kyle Chayka | Racked
“Confronting the Echo Look’s opaque statements on my fashion sense, I realize that all of these algorithmic experiences are matters of taste: the question of what we like and why we like it, and what it means that taste is increasingly dictated by black-box robots like the camera on my shelf.”
How Apple Will Use AR to Reinvent the Human-Computer Interface
Tim Bajarin | Fast Company
“It’s in Apple’s DNA to continually deliver the ‘next’ major advancement to the personal computing experience. Its innovation in man-machine interfaces started with the Mac and then extended to the iPod, the iPhone, the iPad, and most recently, the Apple Watch. Now, get ready for the next chapter, as Apple tackles augmented reality, in a way that could fundamentally transform the human-computer interface.”
Advanced Microscope Shows Cells at Work in Incredible Detail
Steve Dent | Engadget
“For the first time, scientists have peered into living cells and created videos showing how they function with unprecedented 3D detail. Using a special microscope and new lighting techniques, a team from Harvard and the Howard Hughes Medical Institute captured zebrafish immune cell interactions with unheard-of 3D detail and resolution.”
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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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You might be really pleased with the camera technology in your latest smartphone, which can recognize your face and take slow-mo video in ultra-high definition. But these technological feats are just the start of a larger revolution that is underway.
The latest camera research is shifting away from increasing the number of mega-pixels towards fusing camera data with computational processing. By that, we don’t mean the Photoshop style of processing where effects and filters are added to a picture, but rather a radical new approach where the incoming data may not actually look like at an image at all. It only becomes an image after a series of computational steps that often involve complex mathematics and modeling how light travels through the scene or the camera.
This additional layer of computational processing magically frees us from the chains of conventional imaging techniques. One day we may not even need cameras in the conventional sense any more. Instead we will use light detectors that only a few years ago we would never have considered any use for imaging. And they will be able to do incredible things, like see through fog, inside the human body and even behind walls.
Single Pixel Cameras
One extreme example is the single pixel camera, which relies on a beautifully simple principle. Typical cameras use lots of pixels (tiny sensor elements) to capture a scene that is likely illuminated by a single light source. But you can also do things the other way around, capturing information from many light sources with a single pixel.
To do this you need a controlled light source, for example a simple data projector that illuminates the scene one spot at a time or with a series of different patterns. For each illumination spot or pattern, you then measure the amount of light reflected and add everything together to create the final image.
Clearly the disadvantage of taking a photo in this is way is that you have to send out lots of illumination spots or patterns in order to produce one image (which would take just one snapshot with a regular camera). But this form of imaging would allow you to create otherwise impossible cameras, for example that work at wavelengths of light beyond the visible spectrum, where good detectors cannot be made into cameras.
These cameras could be used to take photos through fog or thick falling snow. Or they could mimic the eyes of some animals and automatically increase an image’s resolution (the amount of detail it captures) depending on what’s in the scene.
It is even possible to capture images from light particles that have never even interacted with the object we want to photograph. This would take advantage of the idea of “quantum entanglement,” that two particles can be connected in a way that means whatever happens to one happens to the other, even if they are a long distance apart. This has intriguing possibilities for looking at objects whose properties might change when lit up, such as the eye. For example, does a retina look the same when in darkness as in light?
Single-pixel imaging is just one of the simplest innovations in upcoming camera technology and relies, on the face of it, on the traditional concept of what forms a picture. But we are currently witnessing a surge of interest for systems that use lots of information but traditional techniques only collect a small part of it.
This is where we could use multi-sensor approaches that involve many different detectors pointed at the same scene. The Hubble telescope was a pioneering example of this, producing pictures made from combinations of many different images taken at different wavelengths. But now you can buy commercial versions of this kind of technology, such as the Lytro camera that collects information about light intensity and direction on the same sensor, to produce images that can be refocused after the image has been taken.
The next generation camera will probably look something like the Light L16 camera, which features ground-breaking technology based on more than ten different sensors. Their data are combined using a computer to provide a 50 MB, re-focusable and re-zoomable, professional-quality image. The camera itself looks like a very exciting Picasso interpretation of a crazy cell-phone camera.
Yet these are just the first steps towards a new generation of cameras that will change the way in which we think of and take images. Researchers are also working hard on the problem of seeing through fog, seeing behind walls, and even imaging deep inside the human body and brain.
All of these techniques rely on combining images with models that explain how light travels through through or around different substances.
Another interesting approach that is gaining ground relies on artificial intelligence to “learn” to recognize objects from the data. These techniques are inspired by learning processes in the human brain and are likely to play a major role in future imaging systems.
Single photon and quantum imaging technologies are also maturing to the point that they can take pictures with incredibly low light levels and videos with incredibly fast speeds reaching a trillion frames per second. This is enough to even capture images of light itself traveling across as scene.
Some of these applications might require a little time to fully develop, but we now know that the underlying physics should allow us to solve these and other problems through a clever combination of new technology and computational ingenuity.
This article was originally published on The Conversation. Read the original article.
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Millions of years of evolution have allowed animals to develop some elegant and highly efficient solutions to problems like locomotion, flight, and dexterity. As Boston Dynamics unveils its latest mechanical animals, here’s a rundown of nine recent robots that borrow from nature and why.
SpotMini – Boston Dynamics
Starting with BigDog in 2005, the US company has built a whole stable of four-legged robots in recent years. Their first product was designed to be a robotic packhorse for soldiers that borrowed the quadrupedal locomotion of animals to travel over terrain too rough for conventional vehicles.
The US Army ultimately rejected the robot for being too noisy, according to the Guardian, but since then the company has scaled down its design, first to the Spot, then a first edition of the SpotMini that came out last year.
The latter came with a robotic arm where its head should be and was touted as a domestic helper, but a sleeker second edition without the arm was released earlier this month. There’s little detail on what the new robot is designed for, but the more polished design suggests a more consumer-focused purpose.
OctopusGripper – Festo
Festo has released a long line of animal-inspired machines over the years, from a mechanical kangaroo to robotic butterflies. Its latest creation isn’t a full animal—instead it’s a gripper based on an octopus tentacle that can be attached to the end of a robotic arm.
The pneumatically-powered device is made of soft silicone and features two rows of suction cups on its inner edge. By applying compressed air the tentacle can wrap around a wide variety of differently shaped objects, just like its natural counterpart, and a vacuum can be applied to the larger suction cups to grip the object securely. Because it’s soft, it holds promise for robots required to operate safely in collaboration with humans.
CRAM – University of California, Berkeley
Cockroaches are renowned for their hardiness and ability to disappear down cracks that seem far too small for them. Researchers at UC Berkeley decided these capabilities could be useful for search and rescue missions and so set about experimenting on the insects to find out their secrets.
They found the bugs can squeeze into gaps a fifth of their normal standing height by splaying their legs out to the side without significantly slowing themselves down. So they built a palm-sized robot with a jointed plastic shell that could do the same to squeeze into crevices half its normal height.
Snake Robot – Carnegie Mellon University
Search and rescue missions are a common theme for animal-inspired robots, but the snake robot built by CMU researchers is one of the first to be tested in a real disaster.
A team of roboticists from the university helped Mexican Red Cross workers search collapsed buildings for survivors after the 7.1-magnitude earthquake that struck Mexico City in September. The snake design provides a small diameter and the ability to move in almost any direction, which makes the robot ideal for accessing tight spaces, though the team was unable to locate any survivors.
The snake currently features a camera on the front, but researchers told IEEE Spectrum that the experience helped them realize they should also add a microphone to listen for people trapped under the rubble.
Bio-Hybrid Stingray – Harvard University
Taking more than just inspiration from the animal kingdom, a group from Harvard built a robotic stingray out of silicone and rat heart muscle cells.
The robot uses the same synchronized undulations along the edge of its fins to propel itself as a ray does. But while a ray has two sets of muscles to pull the fins up and down, the new device has only one that pulls them down, with a springy gold skeleton that pulls them back up again. The cells are also genetically modified to be activated by flashes of light.
The project’s leader eventually hopes to engineer a human heart, and both his stingray and an earlier jellyfish bio-robot are primarily aimed at better understanding how that organ works.
Bat Bot – Caltech
Most recent advances in drone technology have come from quadcopters, but Caltech engineers think rigid devices with rapidly spinning propellers are probably not ideal for use in close quarters with humans.
That’s why they turned to soft-winged bats for inspiration. That’s no easy feat, though, considering bats use more than 40 joints with each flap of their wings, so the team had to optimize down to nine joints to avoid it becoming too bulky. The simplified bat can’t ascend yet, but its onboard computer and sensors let it autonomously carry out glides, turns, and dives.
Salto – UC Berkeley
While even the most advanced robots tend to plod around, tree-dwelling animals have the ability to spring from branch to branch to clear obstacles and climb quickly. This could prove invaluable for search and rescue robots by allowing them to quickly traverse disordered rubble.
UC Berkeley engineers turned to the Senegal bush baby for inspiration after determining it scored highest in “vertical jumping agility”—a combination of how high and how frequently an animal can jump. They recreated its ability to get into a super-low crouch that stores energy in its tendons to create a robot that could carry out parkour-style double jumps off walls to quickly gain height.
Pleurobot – École Polytechnique Fédérale de Lausanne
Normally robots are masters of air, land, or sea, but the robotic salamander built by researchers at EPFL can both walk and swim.
Its designers used X-ray videos to carefully study how the amphibians move before using this to build a true-to-life robotic version using 3D printed bones, motorized joints, and a synthetic nervous system made up of electronic circuitry.
The robot’s low center of mass and segmented legs make it great at navigating rough terrain without losing balance, and the ability to swim gives added versatility. They also hope it will help paleontologists gain a better understanding of the movements of the first tetrapods to transition from water to land, which salamanders are the best living analog of.
Eelume – Eelume
A snakelike body isn’t only useful on land—eels are living proof it’s an efficient way to travel underwater, too. Norwegian robotics company Eelume has borrowed these principles to build a robot capable of sub-sea inspection, maintenance, and repair.
The modular design allows operators to put together their own favored configuration of joints and payloads such as sensors and tools. And while an early version of the robot used the same method of locomotion as an eel, the latest version undergoing sea trials has added a variety of thrusters for greater speeds and more maneuverability.
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