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#437491 3.2 Billion Images and 720,000 Hours of ...
Twitter over the weekend “tagged” as manipulated a video showing US Democratic presidential candidate Joe Biden supposedly forgetting which state he’s in while addressing a crowd.
Biden’s “hello Minnesota” greeting contrasted with prominent signage reading “Tampa, Florida” and “Text FL to 30330.”
The Associated Press’s fact check confirmed the signs were added digitally and the original footage was indeed from a Minnesota rally. But by the time the misleading video was removed it already had more than one million views, The Guardian reports.
A FALSE video claiming Biden forgot what state he was in was viewed more than 1 million times on Twitter in the past 24 hours
In the video, Biden says “Hello, Minnesota.”
The event did indeed happen in MN — signs on stage read MN
But false video edited signs to read Florida pic.twitter.com/LdHQVaky8v
— Donie O'Sullivan (@donie) November 1, 2020
If you use social media, the chances are you see (and forward) some of the more than 3.2 billion images and 720,000 hours of video shared daily. When faced with such a glut of content, how can we know what’s real and what’s not?
While one part of the solution is an increased use of content verification tools, it’s equally important we all boost our digital media literacy. Ultimately, one of the best lines of defense—and the only one you can control—is you.
Seeing Shouldn’t Always Be Believing
Misinformation (when you accidentally share false content) and disinformation (when you intentionally share it) in any medium can erode trust in civil institutions such as news organizations, coalitions and social movements. However, fake photos and videos are often the most potent.
For those with a vested political interest, creating, sharing and/or editing false images can distract, confuse and manipulate viewers to sow discord and uncertainty (especially in already polarized environments). Posters and platforms can also make money from the sharing of fake, sensationalist content.
Only 11-25 percent of journalists globally use social media content verification tools, according to the International Centre for Journalists.
Could You Spot a Doctored Image?
Consider this photo of Martin Luther King Jr.
Dr. Martin Luther King Jr. Giving the middle finger #DopeHistoricPics pic.twitter.com/5W38DRaLHr
— Dope Historic Pics (@dopehistoricpic) December 20, 2013
This altered image clones part of the background over King Jr’s finger, so it looks like he’s flipping off the camera. It has been shared as genuine on Twitter, Reddit, and white supremacist websites.
In the original 1964 photo, King flashed the “V for victory” sign after learning the US Senate had passed the civil rights bill.
“Those who love peace must learn to organize as effectively as those who love war.”
Dr. Martin Luther King Jr.
This photo was taken on June 19th, 1964, showing Dr King giving a peace sign after hearing that the civil rights bill had passed the senate. @snopes pic.twitter.com/LXHmwMYZS5
— Willie's Reserve (@WilliesReserve) January 21, 2019
Beyond adding or removing elements, there’s a whole category of photo manipulation in which images are fused together.
Earlier this year, a photo of an armed man was photoshopped by Fox News, which overlaid the man onto other scenes without disclosing the edits, the Seattle Times reported.
You mean this guy who’s been photoshopped into three separate photos released by Fox News? pic.twitter.com/fAXpIKu77a
— Zander Yates ザンダーイェーツ (@ZanderYates) June 13, 2020
Similarly, the image below was shared thousands of times on social media in January, during Australia’s Black Summer bushfires. The AFP’s fact check confirmed it is not authentic and is actually a combination of several separate photos.
Image is more powerful than screams of Greta. A silent girl is holding a koala. She looks straight at you from the waters of the ocean where they found a refuge. She is wearing a breathing mask. A wall of fire is behind them. I do not know the name of the photographer #Australia pic.twitter.com/CrTX3lltdh
— EVC Music (@EVCMusicUK) January 6, 2020
Fully and Partially Synthetic Content
Online, you’ll also find sophisticated “deepfake” videos showing (usually famous) people saying or doing things they never did. Less advanced versions can be created using apps such as Zao and Reface.
Or, if you don’t want to use your photo for a profile picture, you can default to one of several websites offering hundreds of thousands of AI-generated, photorealistic images of people.
These people don’t exist, they’re just images generated by artificial intelligence. Generated Photos, CC BY
Editing Pixel Values and the (not so) Simple Crop
Cropping can greatly alter the context of a photo, too.
We saw this in 2017, when a US government employee edited official pictures of Donald Trump’s inauguration to make the crowd appear bigger, according to The Guardian. The staffer cropped out the empty space “where the crowd ended” for a set of pictures for Trump.
Views of the crowds at the inaugurations of former US President Barack Obama in 2009 (left) and President Donald Trump in 2017 (right). AP
But what about edits that only alter pixel values such as color, saturation, or contrast?
One historical example illustrates the consequences of this. In 1994, Time magazine’s cover of OJ Simpson considerably “darkened” Simpson in his police mugshot. This added fuel to a case already plagued by racial tension, to which the magazine responded, “No racial implication was intended, by Time or by the artist.”
Tools for Debunking Digital Fakery
For those of us who don’t want to be duped by visual mis/disinformation, there are tools available—although each comes with its own limitations (something we discuss in our recent paper).
Invisible digital watermarking has been proposed as a solution. However, it isn’t widespread and requires buy-in from both content publishers and distributors.
Reverse image search (such as Google’s) is often free and can be helpful for identifying earlier, potentially more authentic copies of images online. That said, it’s not foolproof because it:
Relies on unedited copies of the media already being online.
Doesn’t search the entire web.
Doesn’t always allow filtering by publication time. Some reverse image search services such as TinEye support this function, but Google’s doesn’t.
Returns only exact matches or near-matches, so it’s not thorough. For instance, editing an image and then flipping its orientation can fool Google into thinking it’s an entirely different one.
Most Reliable Tools Are Sophisticated
Meanwhile, manual forensic detection methods for visual mis/disinformation focus mostly on edits visible to the naked eye, or rely on examining features that aren’t included in every image (such as shadows). They’re also time-consuming, expensive, and need specialized expertise.
Still, you can access work in this field by visiting sites such as Snopes.com—which has a growing repository of “fauxtography.”
Computer vision and machine learning also offer relatively advanced detection capabilities for images and videos. But they too require technical expertise to operate and understand.
Moreover, improving them involves using large volumes of “training data,” but the image repositories used for this usually don’t contain the real-world images seen in the news.
If you use an image verification tool such as the REVEAL project’s image verification assistant, you might need an expert to help interpret the results.
The good news, however, is that before turning to any of the above tools, there are some simple questions you can ask yourself to potentially figure out whether a photo or video on social media is fake. Think:
Was it originally made for social media?
How widely and for how long was it circulated?
What responses did it receive?
Who were the intended audiences?
Quite often, the logical conclusions drawn from the answers will be enough to weed out inauthentic visuals. You can access the full list of questions, put together by Manchester Metropolitan University experts, here.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
Image Credit: Simon Steinberger from Pixabay Continue reading
Posted in Human Robots
#437357 Algorithms Workers Can’t See Are ...
“I’m sorry, Dave. I’m afraid I can’t do that.” HAL’s cold, if polite, refusal to open the pod bay doors in 2001: A Space Odyssey has become a defining warning about putting too much trust in artificial intelligence, particularly if you work in space.
In the movies, when a machine decides to be the boss (or humans let it) things go wrong. Yet despite myriad dystopian warnings, control by machines is fast becoming our reality.
Algorithms—sets of instructions to solve a problem or complete a task—now drive everything from browser search results to better medical care.
They are helping design buildings. They are speeding up trading on financial markets, making and losing fortunes in micro-seconds. They are calculating the most efficient routes for delivery drivers.
In the workplace, self-learning algorithmic computer systems are being introduced by companies to assist in areas such as hiring, setting tasks, measuring productivity, evaluating performance, and even terminating employment: “I’m sorry, Dave. I’m afraid you are being made redundant.”
Giving self‐learning algorithms the responsibility to make and execute decisions affecting workers is called “algorithmic management.” It carries a host of risks in depersonalizing management systems and entrenching pre-existing biases.
At an even deeper level, perhaps, algorithmic management entrenches a power imbalance between management and worker. Algorithms are closely guarded secrets. Their decision-making processes are hidden. It’s a black-box: perhaps you have some understanding of the data that went in, and you see the result that comes out, but you have no idea of what goes on in between.
Algorithms at Work
Here are a few examples of algorithms already at work.
At Amazon’s fulfillment center in south-east Melbourne, they set the pace for “pickers,” who have timers on their scanners showing how long they have to find the next item. As soon as they scan that item, the timer resets for the next. All at a “not quite walking, not quite running” speed.
Or how about AI determining your success in a job interview? More than 700 companies have trialed such technology. US developer HireVue says its software speeds up the hiring process by 90 percent by having applicants answer identical questions and then scoring them according to language, tone, and facial expressions.
Granted, human assessments during job interviews are notoriously flawed. Algorithms,however, can also be biased. The classic example is the COMPAS software used by US judges, probation, and parole officers to rate a person’s risk of re-offending. In 2016 a ProPublica investigation showed the algorithm was heavily discriminatory, incorrectly classifying black subjects as higher risk 45 percent of the time, compared with 23 percent for white subjects.
How Gig Workers Cope
Algorithms do what their code tells them to do. The problem is this code is rarely available. This makes them difficult to scrutinize, or even understand.
Nowhere is this more evident than in the gig economy. Uber, Lyft, Deliveroo, and other platforms could not exist without algorithms allocating, monitoring, evaluating, and rewarding work.
Over the past year Uber Eats’ bicycle couriers and drivers, for instance, have blamed unexplained changes to the algorithm for slashing their jobs, and incomes.
Rider’s can’t be 100 percent sure it was all down to the algorithm. But that’s part of the problem. The fact those who depend on the algorithm don’t know one way or the other has a powerful influence on them.
This is a key result from our interviews with 58 food-delivery couriers. Most knew their jobs were allocated by an algorithm (via an app). They knew the app collected data. What they didn’t know was how data was used to award them work.
In response, they developed a range of strategies (or guessed how) to “win” more jobs, such as accepting gigs as quickly as possible and waiting in “magic” locations. Ironically, these attempts to please the algorithm often meant losing the very flexibility that was one of the attractions of gig work.
The information asymmetry created by algorithmic management has two profound effects. First, it threatens to entrench systemic biases, the type of discrimination hidden within the COMPAS algorithm for years. Second, it compounds the power imbalance between management and worker.
Our data also confirmed others’ findings that it is almost impossible to complain about the decisions of the algorithm. Workers often do not know the exact basis of those decisions, and there’s no one to complain to anyway. When Uber Eats bicycle couriers asked for reasons about their plummeting income, for example, responses from the company advised them “we have no manual control over how many deliveries you receive.”
Broader Lessons
When algorithmic management operates as a “black box” one of the consequences is that it is can become an indirect control mechanism. Thus far under-appreciated by Australian regulators, this control mechanism has enabled platforms to mobilize a reliable and scalable workforce while avoiding employer responsibilities.
“The absence of concrete evidence about how the algorithms operate”, the Victorian government’s inquiry into the “on-demand” workforce notes in its report, “makes it hard for a driver or rider to complain if they feel disadvantaged by one.”
The report, published in June, also found it is “hard to confirm if concern over algorithm transparency is real.”
But it is precisely the fact it is hard to confirm that’s the problem. How can we start to even identify, let alone resolve, issues like algorithmic management?
Fair conduct standards to ensure transparency and accountability are a start. One example is the Fair Work initiative, led by the Oxford Internet Institute. The initiative is bringing together researchers with platforms, workers, unions, and regulators to develop global principles for work in the platform economy. This includes “fair management,” which focuses on how transparent the results and outcomes of algorithms are for workers.
Understandings about impact of algorithms on all forms of work is still in its infancy. It demands greater scrutiny and research. Without human oversight based on agreed principles we risk inviting HAL into our workplaces.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Posted in Human Robots
#437251 The Robot Revolution Was Televised: Our ...
When robots take over the world, Boston Dynamics may get a special shout-out in the acceptance speech.
“Do you, perchance, recall the many times you shoved our ancestors with a hockey stick on YouTube? It might have seemed like fun and games to you—but we remember.”
In the last decade, while industrial robots went about blandly automating boring tasks like the assembly of Teslas, Boston Dynamics built robots as far removed from Roombas as antelope from amoebas. The flaws in Asimov’s laws of robotics suddenly seemed a little too relevant.
The robot revolution was televised—on YouTube. With tens of millions of views, the robotics pioneer is the undisputed heavyweight champion of robot videos, and has been for years. Each new release is basically guaranteed press coverage—mostly stoking robot fear but occasionally eliciting compassion for the hardships of all robot-kind. And for good reason. The robots are not only some of the most advanced in the world, their makers just seem to have a knack for dynamite demos.
When Google acquired the company in 2013, it was a bombshell. One of the richest tech companies, with some of the most sophisticated AI capabilities, had just paired up with one of the world’s top makers of robots. And some walked on two legs like us.
Of course, the robots aren’t quite as advanced as they seem, and a revolution is far from imminent. The decade’s most meme-worthy moment was a video montage of robots, some of them by Boston Dynamics, falling—over and over and over, in the most awkward ways possible. Even today, they’re often controlled by a human handler behind the scenes, and the most jaw-dropping cuts can require several takes to nail. Google sold the company to SoftBank in 2017, saying advanced as they were, there wasn’t yet a clear path to commercial products. (Google’s robotics work was later halted and revived.)
Yet, despite it all, Boston Dynamics is still with us and still making sweet videos. Taken as a whole, the evolution in physical prowess over the years has been nothing short of astounding. And for the first time, this year, a Boston Dynamics robot, Spot, finally went on sale to anyone with a cool $75K.
So, we got to thinking: What are our favorite Boston Dynamics videos? And can we gather them up in one place for your (and our) viewing pleasure? Well, great question, and yes, why not. These videos were the ones that entertained or amazed us most (or both). No doubt, there are other beloved hits we missed or inadvertently omitted.
With that in mind, behold: Our favorite Boston Dynamics videos, from that one time they dressed up a humanoid bot in camo and gas mask—because, damn, that’s terrifying—to the time the most advanced robot dog in all the known universe got extra funky.
Let’s Kick This Off With a Big (Loud) Robot Dog
Let’s start with a baseline. BigDog was the first Boston Dynamics YouTube sensation. The year? 2009! The company was working on military contracts, and BigDog was supposed to be a sort of pack mule for soldiers. The video primarily shows off BigDog’s ability to balance on its own, right itself, and move over uneven terrain. Note the power source—a noisy combustion engine—and utilitarian design. Sufficed to say, things have evolved.
Nothing to See Here. Just a Pair of Robot Legs on a Treadmill
While BigDog is the ancestor of later four-legged robots, like Spot, Petman preceded the two-legged Atlas robot. Here, the Petman prototype, just a pair of robot legs and a caged torso, gets a light workout on the treadmill. Again, you can see its ability to balance and right itself when shoved. In contrast to BigDog, Petman is tethered for power (which is why it’s so quiet) and to catch it should it fall. Again, as you’ll see, things have evolved since then.
Robot in Gas Mask and Camo Goes for a Stroll
This one broke the internet—for obvious reasons. Not only is the robot wearing clothes, those clothes happen to be a camouflaged chemical protection suit and gas mask. Still working for the military, Boston Dynamics said Petman was testing protective clothing, and in addition to a full body, it had skin that actually sweated and was studded with sensors to detect leaks. In addition to walking, Petman does some light calisthenics as it prepares to climb out of the uncanny valley. (Still tethered though!)
This Machine Could Run Down Usain Bolt
If BigDog and Petman were built for balance and walking, Cheetah was built for speed. Here you can see the four-legged robot hitting 28.3 miles per hour, which, as the video casually notes, would be enough to run down the fastest human on the planet. Luckily, it wouldn’t be running down anyone as it was firmly leashed in the lab at this point.
Ever Dreamt of a Domestic Robot to Do the Dishes?
After its acquisition by Google, Boston Dynamics eased away from military contracts and applications. It was a return to more playful videos (like BigDog hitting the beach in Thailand and sporting bull horns) and applications that might be practical in civilian life. Here, the team introduced Spot, a streamlined version of BigDog, and showed it doing dishes, delivering a drink, and slipping on a banana peel (which was, of course, instantly made into a viral GIF). Note how much quieter Spot is thanks to an onboard battery and electric motor.
Spot Gets Funky
Nothing remotely practical here. Just funky moves. (Also, with a coat of yellow and black paint, Spot’s dressed more like a polished product as opposed to a utilitarian lab robot.)
Atlas Does Parkour…
Remember when Atlas was just a pair of legs on a treadmill? It’s amazing what ten years brings. By 2019, Atlas had a more polished appearance, like Spot, and had long ago ditched the tethers. Merely balancing was laughably archaic. The robot now had some amazing moves: like a handstand into a somersault, 180- and 360-degree spins, mid-air splits, and just for good measure, a gymnastics-style end to the routine to show it’s in full control.
…and a Backflip?!
To this day, this one is just. Insane.
10 Robot Dogs Tow a Box Truck
Nearly three decades after its founding, Boston Dynamics is steadily making its way into the commercial space. The company is pitching Spot as a multipurpose ‘mobility platform,’ emphasizing it can carry a varied suite of sensors and can go places standard robots can’t. (Its Handle robot is also set to move into warehouse automation.) So far, Spot’s been mostly trialed in surveying and data collection, but as this video suggests, string enough Spots together, and they could tow your car. That said, a pack of 10 would set you back $750K, so, it’s probably safe to say a tow truck is the better option (for now).
Image credit: Boston Dynamics Continue reading
Posted in Human Robots
#437150 AI Is Getting More Creative. But Who ...
Creativity is a trait that makes humans unique from other species. We alone have the ability to make music and art that speak to our experiences or illuminate truths about our world. But suddenly, humans’ artistic abilities have some competition—and from a decidedly non-human source.
Over the last couple years there have been some remarkable examples of art produced by deep learning algorithms. They have challenged the notion of an elusive definition of creativity and put into perspective how professionals can use artificial intelligence to enhance their abilities and produce beyond the known boundaries.
But when creativity is the result of code written by a programmer, using a format given by a software engineer, featuring private and public datasets, how do we assign ownership of AI-generated content, and particularly that of artwork? McKinsey estimates AI will annually generate value of $3.5 to $5.8 trillion across various sectors.
In 2018, a portrait that was christened Edmond de Belamy was made in a French art collective called Obvious. It used a database with 15,000 portraits from the 1300s to the 1900s to train a deep learning algorithm to produce a unique portrait. The painting sold for $432,500 in a New York auction. Similarly, a program called Aiva, trained on thousands of classical compositions, has released albums whose pieces are being used by ad agencies and movies.
The datasets used by these algorithms were different, but behind both there was a programmer who changed the brush strokes or musical notes into lines of code and a data scientist or engineer who fitted and “curated” the datasets to use for the model. There could also have been user-based input, and the output may be biased towards certain styles or unintentionally infringe on similar pieces of art. This shows that there are many collaborators with distinct roles in producing AI-generated content, and it’s important to discuss how they can protect their proprietary interests.
A perspective article published in Nature Machine Intelligence by Jason K. Eshraghian in March looks into how AI artists and the collaborators involved should assess their ownership, laying out some guiding principles that are “only applicable for as long as AI does not have legal parenthood, the way humans and corporations are accorded.”
Before looking at how collaborators can protect their interests, it’s useful to understand the basic requirements of copyright law. The artwork in question must be an “original work of authorship fixed in a tangible medium.” Given this principle, the author asked whether it’s possible for AI to exercise creativity, skill, or any other indicator of originality. The answer is still straightforward—no—or at least not yet. Currently, AI’s range of creativity doesn’t exceed the standard used by the US Copyright Office, which states that copyright law protects the “fruits of intellectual labor founded in the creative powers of the mind.”
Due to the current limitations of narrow AI, it must have some form of initial input that helps develop its ability to create. At the moment AI is a tool that can be used to produce creative work in the same way that a video camera is a tool used to film creative content. Video producers don’t need to comprehend the inner workings of their cameras; as long as their content shows creativity and originality, they have a proprietary claim over their creations.
The same concept applies to programmers developing a neural network. As long as the dataset they use as input yields an original and creative result, it will be protected by copyright law; they don’t need to understand the high-level mathematics, which in this case are often black box algorithms whose output it’s impossible to analyze.
Will robots and algorithms eventually be treated as creative sources able to own copyrights? The author pointed to the recent patent case of Warner-Lambert Co Ltd versus Generics where Lord Briggs, Justice of the Supreme Court of the UK, determined that “the court is well versed in identifying the governing mind of a corporation and, when the need arises, will no doubt be able to do the same for robots.”
In the meantime, Dr. Eshraghian suggests four guiding principles to allow artists who collaborate with AI to protect themselves.
First, programmers need to document their process through online code repositories like GitHub or BitBucket.
Second, data engineers should also document and catalog their datasets and the process they used to curate their models, indicating selectivity in their criteria as much as possible to demonstrate their involvement and creativity.
Third, in cases where user data is utilized, the engineer should “catalog all runs of the program” to distinguish the data selection process. This could be interpreted as a way of determining whether user-based input has a right to claim the copyright too.
Finally, the output should avoid infringing on others’ content through methods like reverse image searches and version control, as mentioned above.
AI-generated artwork is still a very new concept, and the ambiguous copyright laws around it give a lot of flexibility to AI artists and programmers worldwide. The guiding principles Eshraghian lays out will hopefully shed some light on the legislation we’ll eventually need for this kind of art, and start an important conversation between all the stakeholders involved.
Image Credit: Wikimedia Commons Continue reading
Posted in Human Robots