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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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#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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#431958 The Next Generation of Cameras Might See ...
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?
Multi-Sensor Imaging
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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