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#432487 Can We Make a Musical Turing Test?
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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#432467 Dungeons and Dragons, Not Chess and Go: ...
Everyone had died—not that you’d know it, from how they were laughing about their poor choices and bad rolls of the dice. As a social anthropologist, I study how people understand artificial intelligence (AI) and our efforts towards attaining it; I’m also a life-long fan of Dungeons and Dragons (D&D), the inventive fantasy roleplaying game. During a recent quest, when I was playing an elf ranger, the trainee paladin (or holy knight) acted according to his noble character, and announced our presence at the mouth of a dragon’s lair. The results were disastrous. But while success in D&D means “beating the bad guy,” the game is also a creative sandbox, where failure can count as collective triumph so long as you tell a great tale.
What does this have to do with AI? In computer science, games are frequently used as a benchmark for an algorithm’s “intelligence.” The late Robert Wilensky, a professor at the University of California, Berkeley and a leading figure in AI, offered one reason why this might be. Computer scientists “looked around at who the smartest people were, and they were themselves, of course,” he told the authors of Compulsive Technology: Computers as Culture (1985). “They were all essentially mathematicians by training, and mathematicians do two things—they prove theorems and play chess. And they said, hey, if it proves a theorem or plays chess, it must be smart.” No surprise that demonstrations of AI’s “smarts” have focused on the artificial player’s prowess.
Yet the games that get chosen—like Go, the main battlefield for Google DeepMind’s algorithms in recent years—tend to be tightly bounded, with set objectives and clear paths to victory or defeat. These experiences have none of the open-ended collaboration of D&D. Which got me thinking: do we need a new test for intelligence, where the goal is not simply about success, but storytelling? What would it mean for an AI to “pass” as human in a game of D&D? Instead of the Turing test, perhaps we need an elf ranger test?
Of course, this is just a playful thought experiment, but it does highlight the flaws in certain models of intelligence. First, it reveals how intelligence has to work across a variety of environments. D&D participants can inhabit many characters in many games, and the individual player can “switch” between roles (the fighter, the thief, the healer). Meanwhile, AI researchers know that it’s super difficult to get a well-trained algorithm to apply its insights in even slightly different domains—something that we humans manage surprisingly well.
Second, D&D reminds us that intelligence is embodied. In computer games, the bodily aspect of the experience might range from pressing buttons on a controller in order to move an icon or avatar (a ping-pong paddle; a spaceship; an anthropomorphic, eternally hungry, yellow sphere), to more recent and immersive experiences involving virtual-reality goggles and haptic gloves. Even without these add-ons, games can still produce biological responses associated with stress and fear (if you’ve ever played Alien: Isolation you’ll understand). In the original D&D, the players encounter the game while sitting around a table together, feeling the story and its impact. Recent research in cognitive science suggests that bodily interactions are crucial to how we grasp more abstract mental concepts. But we give minimal attention to the embodiment of artificial agents, and how that might affect the way they learn and process information.
Finally, intelligence is social. AI algorithms typically learn through multiple rounds of competition, in which successful strategies get reinforced with rewards. True, it appears that humans also evolved to learn through repetition, reward and reinforcement. But there’s an important collaborative dimension to human intelligence. In the 1930s, the psychologist Lev Vygotsky identified the interaction of an expert and a novice as an example of what became called “scaffolded” learning, where the teacher demonstrates and then supports the learner in acquiring a new skill. In unbounded games, this cooperation is channelled through narrative. Games of It among small children can evolve from win/lose into attacks by terrible monsters, before shifting again to more complex narratives that explain why the monsters are attacking, who is the hero, and what they can do and why—narratives that aren’t always logical or even internally compatible. An AI that could engage in social storytelling is doubtless on a surer, more multifunctional footing than one that plays chess; and there’s no guarantee that chess is even a step on the road to attaining intelligence of this sort.
In some ways, this failure to look at roleplaying as a technical hurdle for intelligence is strange. D&D was a key cultural touchstone for technologists in the 1980s and the inspiration for many early text-based computer games, as Katie Hafner and Matthew Lyon point out in Where Wizards Stay up Late: The Origins of the Internet (1996). Even today, AI researchers who play games in their free time often mention D&D specifically. So instead of beating adversaries in games, we might learn more about intelligence if we tried to teach artificial agents to play together as we do: as paladins and elf rangers.
This article was originally published at Aeon and has been republished under Creative Commons.
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#432352 Watch This Lifelike Robot Fish Swim ...
Earth’s oceans are having a rough go of it these days. On top of being the repository for millions of tons of plastic waste, global warming is affecting the oceans and upsetting marine ecosystems in potentially irreversible ways.
Coral bleaching, for example, occurs when warming water temperatures or other stress factors cause coral to cast off the algae that live on them. The coral goes from lush and colorful to white and bare, and sometimes dies off altogether. This has a ripple effect on the surrounding ecosystem.
Warmer water temperatures have also prompted many species of fish to move closer to the north or south poles, disrupting fisheries and altering undersea environments.
To keep these issues in check or, better yet, try to address and improve them, it’s crucial for scientists to monitor what’s going on in the water. A paper released last week by a team from MIT’s Computer Science and Artificial Intelligence Laboratory (CSAIL) unveiled a new tool for studying marine life: a biomimetic soft robotic fish, dubbed SoFi, that can swim with, observe, and interact with real fish.
SoFi isn’t the first robotic fish to hit the water, but it is the most advanced robot of its kind. Here’s what sets it apart.
It swims in three dimensions
Up until now, most robotic fish could only swim forward at a given water depth, advancing at a steady speed. SoFi blows older models out of the water. It’s equipped with side fins called dive planes, which move to adjust its angle and allow it to turn, dive downward, or head closer to the surface. Its density and thus its buoyancy can also be adjusted by compressing or decompressing air in an inner compartment.
“To our knowledge, this is the first robotic fish that can swim untethered in three dimensions for extended periods of time,” said CSAIL PhD candidate Robert Katzschmann, lead author of the study. “We are excited about the possibility of being able to use a system like this to get closer to marine life than humans can get on their own.”
The team took SoFi to the Rainbow Reef in Fiji to test out its swimming skills, and the robo fish didn’t disappoint—it was able to swim at depths of over 50 feet for 40 continuous minutes. What keeps it swimming? A lithium polymer battery just like the one that powers our smartphones.
It’s remote-controlled… by Super Nintendo
SoFi has sensors to help it see what’s around it, but it doesn’t have a mind of its own yet. Rather, it’s controlled by a nearby scuba-diving human, who can send it commands related to speed, diving, and turning. The best part? The commands come from an actual repurposed (and waterproofed) Super Nintendo controller. What’s not to love?
Image Credit: MIT CSAIL
Previous robotic fish built by this team had to be tethered to a boat, so the fact that SoFi can swim independently is a pretty big deal. Communication between the fish and the diver was most successful when the two were less than 10 meters apart.
It looks real, sort of
SoFi’s side fins are a bit stiff, and its camera may not pass for natural—but otherwise, it looks a lot like a real fish. This is mostly thanks to the way its tail moves; a motor pumps water between two chambers in the tail, and as one chamber fills, the tail bends towards that side, then towards the other side as water is pumped into the other chamber. The result is a motion that closely mimics the way fish swim. Not only that, the hydraulic system can change the water flow to get different tail movements that let SoFi swim at varying speeds; its average speed is around half a body length (21.7 centimeters) per second.
Besides looking neat, it’s important SoFi look lifelike so it can blend in with marine life and not scare real fish away, so it can get close to them and observe them.
“A robot like this can help explore the reef more closely than current robots, both because it can get closer more safely for the reef and because it can be better accepted by the marine species.” said Cecilia Laschi, a biorobotics professor at the Sant’Anna School of Advanced Studies in Pisa, Italy.
Just keep swimming
It sounds like this fish is nothing short of a regular Nemo. But its creators aren’t quite finished yet.
They’d like SoFi to be able to swim faster, so they’ll work on improving the robo fish’s pump system and streamlining its body and tail design. They also plan to tweak SoFi’s camera to help it follow real fish.
“We view SoFi as a first step toward developing almost an underwater observatory of sorts,” said CSAIL director Daniela Rus. “It has the potential to be a new type of tool for ocean exploration and to open up new avenues for uncovering the mysteries of marine life.”
The CSAIL team plans to make a whole school of SoFis to help biologists learn more about how marine life is reacting to environmental changes.
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#432249 New Malicious AI Report Outlines Biggest ...
Everyone’s talking about deep fakes: audio-visual imitations of people, generated by increasingly powerful neural networks, that will soon be indistinguishable from the real thing. Politicians are regularly laid low by scandals that arise from audio-visual recordings. Try watching the footage that could be created of Barack Obama from his speeches, and the Lyrebird impersonations. You could easily, today or in the very near future, create a forgery that might be indistinguishable from the real thing. What would that do to politics?
Once the internet is flooded with plausible-seeming tapes and recordings of this sort, how are we going to decide what’s real and what isn’t? Democracy, and our ability to counteract threats, is already threatened by a lack of agreement on the facts. Once you can’t believe the evidence of your senses anymore, we’re in serious trouble. Ultimately, you can dream up all kinds of utterly terrifying possibilities for these deep fakes, from fake news to blackmail.
How to solve the problem? Some have suggested that media websites like Facebook or Twitter should carry software that probes every video to see if it’s a deep fake or not and labels the fakes. But this will prove computationally intensive. Plus, imagine a case where we have such a system, and a fake is “verified as real” by news media algorithms that have been fooled by clever hackers.
The other alternative is even more dystopian: you can prove something isn’t true simply by always having an alibi. Lawfare describes a “solution” where those concerned about deep fakes have all of their movements and interactions recorded. So to avoid being blackmailed or having your reputation ruined, you just consent to some company engaging in 24/7 surveillance of everything you say or do and having total power over that information. What could possibly go wrong?
The point is, in the same way that you don’t need human-level, general AI or humanoid robotics to create systems that can cause disruption in the world of work, you also don’t need a general intelligence to threaten security and wreak havoc on society. Andrew Ng, AI researcher, says that worrying about the risks from superintelligent AI is like “worrying about overpopulation on Mars.” There are clearly risks that arise even from the simple algorithms we have today.
The looming issue of deep fakes is just one of the threats considered by the new malicious AI report, which has co-authors from the Future of Humanity Institute and the Centre for the Study of Existential Risk (among other organizations.) They limit their focus to the technologies of the next five years.
Some of the concerns the report explores are enhancements to familiar threats.
Automated hacking can get better, smarter, and algorithms can adapt to changing security protocols. “Phishing emails,” where people are scammed by impersonating someone they trust or an official organization, could be generated en masse and made more realistic by scraping data from social media. Standard phishing works by sending such a great volume of emails that even a very low success rate can be profitable. Spear phishing aims at specific targets by impersonating family members, but can be labor intensive. If AI algorithms enable every phishing scam to become sharper in this way, more people are going to get gouged.
Then there are novel threats that come from our own increasing use of and dependence on artificial intelligence to make decisions.
These algorithms may be smart in some ways, but as any human knows, computers are utterly lacking in common sense; they can be fooled. A rather scary application is adversarial examples. Machine learning algorithms are often used for image recognition. But it’s possible, if you know a little about how the algorithm is structured, to construct the perfect level of noise to add to an image, and fool the machine. Two images can be almost completely indistinguishable to the human eye. But by adding some cleverly-calculated noise, the hackers can fool the algorithm into thinking an image of a panda is really an image of a gibbon (in the OpenAI example). Research conducted by OpenAI demonstrates that you can fool algorithms even by printing out examples on stickers.
Now imagine that instead of tricking a computer into thinking that a panda is actually a gibbon, you fool it into thinking that a stop sign isn’t there, or that the back of someone’s car is really a nice open stretch of road. In the adversarial example case, the images are almost indistinguishable to humans. By the time anyone notices the road sign has been “hacked,” it could already be too late.
As the OpenAI foundation freely admits, worrying about whether we’d be able to tame a superintelligent AI is a hard problem. It looks all the more difficult when you realize some of our best algorithms can be fooled by stickers; even “modern simple algorithms can behave in ways we do not intend.”
There are ways around this approach.
Adversarial training can generate lots of adversarial examples and explicitly train the algorithm not to be fooled by them—but it’s costly in terms of time and computation, and puts you in an arms race with hackers. Many strategies for defending against adversarial examples haven’t proved adaptive enough; correcting against vulnerabilities one at a time is too slow. Moreover, it demonstrates a point that can be lost in the AI hype: algorithms can be fooled in ways we didn’t anticipate. If we don’t learn about these vulnerabilities until the algorithms are everywhere, serious disruption can occur. And no matter how careful you are, some vulnerabilities are likely to remain to be exploited, even if it takes years to find them.
Just look at the Meltdown and Spectre vulnerabilities, which weren’t widely known about for more than 20 years but could enable hackers to steal personal information. Ultimately, the more blind faith we put into algorithms and computers—without understanding the opaque inner mechanics of how they work—the more vulnerable we will be to these forms of attack. And, as China dreams of using AI to predict crimes and enhance the police force, the potential for unjust arrests can only increase.
This is before you get into the truly nightmarish territory of “killer robots”—not the Terminator, but instead autonomous or consumer drones which could potentially be weaponized by bad actors and used to conduct attacks remotely. Some reports have indicated that terrorist organizations are already trying to do this.
As with any form of technology, new powers for humanity come with new risks. And, as with any form of technology, closing Pandora’s box will prove very difficult.
Somewhere between the excessively hyped prospects of AI that will do everything for us and AI that will destroy the world lies reality: a complex, ever-changing set of risks and rewards. The writers of the malicious AI report note that one of their key motivations is ensuring that the benefits of new technology can be delivered to people as quickly, but as safely, as possible. In the rush to exploit the potential for algorithms and create 21st-century infrastructure, we must ensure we’re not building in new dangers.
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