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#432431 Why Slowing Down Can Actually Help Us ...
Leah Weiss believes that when we pay attention to how we do our work—our thoughts and feelings about what we do and why we do it—we can tap into a much deeper reservoir of courage, creativity, meaning, and resilience.
As a researcher, educator, and author, Weiss teaches a course called “Leading with Compassion and Mindfulness” at the Stanford Graduate School of Business, one of the most competitive MBA programs in the world, and runs programs at HopeLab.
Weiss is the author of the new book How We Work: Live Your Purpose, Reclaim your Sanity and Embrace the Daily Grind, endorsed by the Dalai Lama, among others. I caught up with Leah to learn more about how the practice of mindfulness can deepen our individual and collective purpose and passion.
Lisa Kay Solomon: We’re hearing a lot about mindfulness these days. What is mindfulness and why is it so important to bring into our work? Can you share some of the basic tenets of the practice?
Leah Weiss, PhD: Mindfulness is, in its most literal sense, “the attention to inattention.” It’s as simple as noticing when you’re not paying attention and then re-focusing. It is prioritizing what is happening right now over internal and external noise.
The ability to work well with difficult coworkers, handle constructive feedback and criticism, regulate emotions at work—all of these things can come from regular mindfulness practice.
Some additional benefits of mindfulness are a greater sense of compassion (both self-compassion and compassion for others) and a way to seek and find purpose in even mundane things (and especially at work). From the business standpoint, mindfulness at work leads to increased productivity and creativity, mostly because when we are focused on one task at a time (as opposed to multitasking), we produce better results.
We spend more time with our co-workers than we do with our families; if our work relationships are negative, we suffer both mentally and physically. Even worse, we take all of those negative feelings home with us at the end of the work day. The antidote to this prescription for unhappiness is to have clear, strong purpose (one third of people do not have purpose at work and this is a major problem in the modern workplace!). We can use mental training to grow as people and as employees.
LKS: What are some recommendations you would make to busy leaders who are working around the clock to change the world?
LW: I think the most important thing is to remember to tend to our relationship with ourselves while trying to change the world. If we’re beating up on ourselves all the time we’ll be depleted.
People passionate about improving the world can get into habits of believing self-care isn’t important. We demand a lot of ourselves. It’s okay to fail, to mess up, to make mistakes—what’s important is how we learn from those mistakes and what we tell ourselves about those instances. What is the “internal script” playing in your own head? Is it positive, supporting, and understanding? It should be. If it isn’t, you can work on it. And the changes you make won’t just improve your quality of life, they’ll make you more resilient to weather life’s inevitable setbacks.
A close second recommendation is to always consider where everyone in an organization fits and help everyone (including yourself) find purpose. When you know what your own purpose is and show others their purpose, you can motivate a team and help everyone on a team gain pride in and at work. To get at this, make sure to ask people on your team what really lights them up. What sucks their energy and depletes them? If we know our own answers to these questions and relate them to the people we work with, we can create more engaged organizations.
LKS: Can you envision a future where technology and mindfulness can work together?
LW: Technology and mindfulness are already starting to work together. Some artificial intelligence companies are considering things like mindfulness and compassion when building robots, and there are numerous apps that target spreading mindfulness meditations in a widely-accessible way.
LKS: Looking ahead at our future generations who seem more attached to their devices than ever, what advice do you have for them?
LW: It’s unrealistic to say “stop using your device so much,” so instead, my suggestion is to make time for doing things like scrolling social media and make the same amount of time for putting your phone down and watching a movie or talking to a friend. No matter what it is that you are doing, make sure you have meta-awareness or clarity about what you’re paying attention to. Be clear about where your attention is and recognize that you can be a steward of attention. Technology can support us in this or pull us away from this; it depends on how we use it.
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#432193 Are ‘You’ Just Inside Your Skin or ...
In November 2017, a gunman entered a church in Sutherland Springs in Texas, where he killed 26 people and wounded 20 others. He escaped in his car, with police and residents in hot pursuit, before losing control of the vehicle and flipping it into a ditch. When the police got to the car, he was dead. The episode is horrifying enough without its unsettling epilogue. In the course of their investigations, the FBI reportedly pressed the gunman’s finger to the fingerprint-recognition feature on his iPhone in an attempt to unlock it. Regardless of who’s affected, it’s disquieting to think of the police using a corpse to break into someone’s digital afterlife.
Most democratic constitutions shield us from unwanted intrusions into our brains and bodies. They also enshrine our entitlement to freedom of thought and mental privacy. That’s why neurochemical drugs that interfere with cognitive functioning can’t be administered against a person’s will unless there’s a clear medical justification. Similarly, according to scholarly opinion, law-enforcement officials can’t compel someone to take a lie-detector test, because that would be an invasion of privacy and a violation of the right to remain silent.
But in the present era of ubiquitous technology, philosophers are beginning to ask whether biological anatomy really captures the entirety of who we are. Given the role they play in our lives, do our devices deserve the same protections as our brains and bodies?
After all, your smartphone is much more than just a phone. It can tell a more intimate story about you than your best friend. No other piece of hardware in history, not even your brain, contains the quality or quantity of information held on your phone: it ‘knows’ whom you speak to, when you speak to them, what you said, where you have been, your purchases, photos, biometric data, even your notes to yourself—and all this dating back years.
In 2014, the United States Supreme Court used this observation to justify the decision that police must obtain a warrant before rummaging through our smartphones. These devices “are now such a pervasive and insistent part of daily life that the proverbial visitor from Mars might conclude they were an important feature of human anatomy,” as Chief Justice John Roberts observed in his written opinion.
The Chief Justice probably wasn’t making a metaphysical point—but the philosophers Andy Clark and David Chalmers were when they argued in “The Extended Mind” (1998) that technology is actually part of us. According to traditional cognitive science, “thinking” is a process of symbol manipulation or neural computation, which gets carried out by the brain. Clark and Chalmers broadly accept this computational theory of mind, but claim that tools can become seamlessly integrated into how we think. Objects such as smartphones or notepads are often just as functionally essential to our cognition as the synapses firing in our heads. They augment and extend our minds by increasing our cognitive power and freeing up internal resources.
If accepted, the extended mind thesis threatens widespread cultural assumptions about the inviolate nature of thought, which sits at the heart of most legal and social norms. As the US Supreme Court declared in 1942: “freedom to think is absolute of its own nature; the most tyrannical government is powerless to control the inward workings of the mind.” This view has its origins in thinkers such as John Locke and René Descartes, who argued that the human soul is locked in a physical body, but that our thoughts exist in an immaterial world, inaccessible to other people. One’s inner life thus needs protecting only when it is externalized, such as through speech. Many researchers in cognitive science still cling to this Cartesian conception—only, now, the private realm of thought coincides with activity in the brain.
But today’s legal institutions are straining against this narrow concept of the mind. They are trying to come to grips with how technology is changing what it means to be human, and to devise new normative boundaries to cope with this reality. Justice Roberts might not have known about the idea of the extended mind, but it supports his wry observation that smartphones have become part of our body. If our minds now encompass our phones, we are essentially cyborgs: part-biology, part-technology. Given how our smartphones have taken over what were once functions of our brains—remembering dates, phone numbers, addresses—perhaps the data they contain should be treated on a par with the information we hold in our heads. So if the law aims to protect mental privacy, its boundaries would need to be pushed outwards to give our cyborg anatomy the same protections as our brains.
This line of reasoning leads to some potentially radical conclusions. Some philosophers have argued that when we die, our digital devices should be handled as remains: if your smartphone is a part of who you are, then perhaps it should be treated more like your corpse than your couch. Similarly, one might argue that trashing someone’s smartphone should be seen as a form of “extended” assault, equivalent to a blow to the head, rather than just destruction of property. If your memories are erased because someone attacks you with a club, a court would have no trouble characterizing the episode as a violent incident. So if someone breaks your smartphone and wipes its contents, perhaps the perpetrator should be punished as they would be if they had caused a head trauma.
The extended mind thesis also challenges the law’s role in protecting both the content and the means of thought—that is, shielding what and how we think from undue influence. Regulation bars non-consensual interference in our neurochemistry (for example, through drugs), because that meddles with the contents of our mind. But if cognition encompasses devices, then arguably they should be subject to the same prohibitions. Perhaps some of the techniques that advertisers use to hijack our attention online, to nudge our decision-making or manipulate search results, should count as intrusions on our cognitive process. Similarly, in areas where the law protects the means of thought, it might need to guarantee access to tools such as smartphones—in the same way that freedom of expression protects people’s right not only to write or speak, but also to use computers and disseminate speech over the internet.
The courts are still some way from arriving at such decisions. Besides the headline-making cases of mass shooters, there are thousands of instances each year in which police authorities try to get access to encrypted devices. Although the Fifth Amendment to the US Constitution protects individuals’ right to remain silent (and therefore not give up a passcode), judges in several states have ruled that police can forcibly use fingerprints to unlock a user’s phone. (With the new facial-recognition feature on the iPhone X, police might only need to get an unwitting user to look at her phone.) These decisions reflect the traditional concept that the rights and freedoms of an individual end at the skin.
But the concept of personal rights and freedoms that guides our legal institutions is outdated. It is built on a model of a free individual who enjoys an untouchable inner life. Now, though, our thoughts can be invaded before they have even been developed—and in a way, perhaps this is nothing new. The Nobel Prize-winning physicist Richard Feynman used to say that he thought with his notebook. Without a pen and pencil, a great deal of complex reflection and analysis would never have been possible. If the extended mind view is right, then even simple technologies such as these would merit recognition and protection as a part of the essential toolkit of the mind.This article was originally published at Aeon and has been republished under Creative Commons.
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Posted in Human Robots
#431186 The Coming Creativity Explosion Belongs ...
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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#431006 Adoption of robotics into a ...
VTT Technical Research Centre of Finland studied the implementation of a logistics robot system at the Seinäjoki Central Hospital in South Ostrobothnia. The aim is to reduce transportation costs, improve the availability of supplies and alleviate congestion on hospital hallways by running deliveries around the clock on every day of the week. Joint planning and dialogue between the various occupational groups and stakeholders involved was necessary for a successful change process. Continue reading
Posted in Human Robots