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#436484 If Machines Want to Make Art, Will ...
Assuming that the emergence of consciousness in artificial minds is possible, those minds will feel the urge to create art. But will we be able to understand it? To answer this question, we need to consider two subquestions: when does the machine become an author of an artwork? And how can we form an understanding of the art that it makes?
Empathy, we argue, is the force behind our capacity to understand works of art. Think of what happens when you are confronted with an artwork. We maintain that, to understand the piece, you use your own conscious experience to ask what could possibly motivate you to make such an artwork yourself—and then you use that first-person perspective to try to come to a plausible explanation that allows you to relate to the artwork. Your interpretation of the work will be personal and could differ significantly from the artist’s own reasons, but if we share sufficient experiences and cultural references, it might be a plausible one, even for the artist. This is why we can relate so differently to a work of art after learning that it is a forgery or imitation: the artist’s intent to deceive or imitate is very different from the attempt to express something original. Gathering contextual information before jumping to conclusions about other people’s actions—in art, as in life—can enable us to relate better to their intentions.
But the artist and you share something far more important than cultural references: you share a similar kind of body and, with it, a similar kind of embodied perspective. Our subjective human experience stems, among many other things, from being born and slowly educated within a society of fellow humans, from fighting the inevitability of our own death, from cherishing memories, from the lonely curiosity of our own mind, from the omnipresence of the needs and quirks of our biological body, and from the way it dictates the space- and time-scales we can grasp. All conscious machines will have embodied experiences of their own, but in bodies that will be entirely alien to us.
We are able to empathize with nonhuman characters or intelligent machines in human-made fiction because they have been conceived by other human beings from the only subjective perspective accessible to us: “What would it be like for a human to behave as x?” In order to understand machinic art as such—and assuming that we stand a chance of even recognizing it in the first place—we would need a way to conceive a first-person experience of what it is like to be that machine. That is something we cannot do even for beings that are much closer to us. It might very well happen that we understand some actions or artifacts created by machines of their own volition as art, but in doing so we will inevitably anthropomorphize the machine’s intentions. Art made by a machine can be meaningfully interpreted in a way that is plausible only from the perspective of that machine, and any coherent anthropomorphized interpretation will be implausibly alien from the machine perspective. As such, it will be a misinterpretation of the artwork.
But what if we grant the machine privileged access to our ways of reasoning, to the peculiarities of our perception apparatus, to endless examples of human culture? Wouldn’t that enable the machine to make art that a human could understand? Our answer is yes, but this would also make the artworks human—not authentically machinic. All examples so far of “art made by machines” are actually just straightforward examples of human art made with computers, with the artists being the computer programmers. It might seem like a strange claim: how can the programmers be the authors of the artwork if, most of the time, they can’t control—or even anticipate—the actual materializations of the artwork? It turns out that this is a long-standing artistic practice.
Suppose that your local orchestra is playing Beethoven’s Symphony No 7 (1812). Even though Beethoven will not be directly responsible for any of the sounds produced there, you would still say that you are listening to Beethoven. Your experience might depend considerably on the interpretation of the performers, the acoustics of the room, the behavior of fellow audience members or your state of mind. Those and other aspects are the result of choices made by specific individuals or of accidents happening to them. But the author of the music? Ludwig van Beethoven. Let’s say that, as a somewhat odd choice for the program, John Cage’s Imaginary Landscape No 4 (March No 2) (1951) is also played, with 24 performers controlling 12 radios according to a musical score. In this case, the responsibility for the sounds being heard should be attributed to unsuspecting radio hosts, or even to electromagnetic fields. Yet, the shaping of sounds over time—the composition—should be credited to Cage. Each performance of this piece will vary immensely in its sonic materialization, but it will always be a performance of Imaginary Landscape No 4.
Why should we change these principles when artists use computers if, in these respects at least, computer art does not bring anything new to the table? The (human) artists might not be in direct control of the final materializations, or even be able to predict them but, despite that, they are the authors of the work. Various materializations of the same idea—in this case formalized as an algorithm—are instantiations of the same work manifesting different contextual conditions. In fact, a common use of computation in the arts is the production of variations of a process, and artists make extensive use of systems that are sensitive to initial conditions, external inputs, or pseudo-randomness to deliberately avoid repetition of outputs. Having a computer executing a procedure to build an artwork, even if using pseudo-random processes or machine-learning algorithms, is no different than throwing dice to arrange a piece of music, or to pursuing innumerable variations of the same formula. After all, the idea of machines that make art has an artistic tradition that long predates the current trend of artworks made by artificial intelligence.
Machinic art is a term that we believe should be reserved for art made by an artificial mind’s own volition, not for that based on (or directed towards) an anthropocentric view of art. From a human point of view, machinic artworks will still be procedural, algorithmic, and computational. They will be generative, because they will be autonomous from a human artist. And they might be interactive, with humans or other systems. But they will not be the result of a human deferring decisions to a machine, because the first of those—the decision to make art—needs to be the result of a machine’s volition, intentions, and decisions. Only then will we no longer have human art made with computers, but proper machinic art.
The problem is not whether machines will or will not develop a sense of self that leads to an eagerness to create art. The problem is that if—or when—they do, they will have such a different Umwelt that we will be completely unable to relate to it from our own subjective, embodied perspective. Machinic art will always lie beyond our ability to understand it because the boundaries of our comprehension—in art, as in life—are those of the human experience.
This article was originally published at Aeon and has been republished under Creative Commons.
Image Credit: Rene Böhmer / Unsplash Continue reading
Posted in Human Robots
#435828 Video Friday: Boston Dynamics’ ...
Video Friday is your weekly selection of awesome robotics videos, collected by your Automaton bloggers. We’ll also be posting a weekly calendar of upcoming robotics events for the next few months; here’s what we have so far (send us your events!):
RoboBusiness 2019 – October 1-3, 2019 – Santa Clara, Calif., USA
ISRR 2019 – October 6-10, 2019 – Hanoi, Vietnam
Ro-Man 2019 – October 14-18, 2019 – New Delhi, India
Humanoids 2019 – October 15-17, 2019 – Toronto, Canada
ARSO 2019 – October 31-1, 2019 – Beijing, China
ROSCon 2019 – October 31-1, 2019 – Macau
IROS 2019 – November 4-8, 2019 – Macau
Let us know if you have suggestions for next week, and enjoy today’s videos.
You’ve almost certainly seen the new Spot and Atlas videos from Boston Dynamics, if for no other reason than we posted about Spot’s commercial availability earlier this week. But what, are we supposed to NOT include them in Video Friday anyway? Psh! Here you go:
[ Boston Dynamics ]
Eight deadly-looking robots. One Giant Nut trophy. Tonight is the BattleBots season finale, airing on Discovery, 8 p.m. ET, or check your local channels.
[ BattleBots ]
Thanks Trey!
Speaking of battling robots… Having giant robots fight each other is one of those things that sounds really great in theory, but doesn’t work out so well in reality. And sadly, MegaBots is having to deal with reality, which means putting their giant fighting robot up on eBay.
As of Friday afternoon, the current bid is just over $100,000 with a week to go.
[ MegaBots ]
Michigan Engineering has figured out the secret formula to getting 150,000 views on YouTube: drone plus nail gun.
[ Michigan Engineering ]
Michael Burke from the University of Edinburgh writes:
We’ve been learning to scoop grapefruit segments using a PR2, by “feeling” the difference between peel and pulp. We use joint torque measurements to predict the probability that the knife is in the peel or pulp, and use this to apply feedback control to a nominal cutting trajectory learned from human demonstration, so that we remain in a position of maximum uncertainty about which medium we’re cutting. This means we slice along the boundary between the two mediums. It works pretty well!
[ Paper ] via [ Robust Autonomy and Decisions Group ]
Thanks Michael!
Hey look, it’s Jan with eight EMYS robot heads. Hi, Jan! Hi, EMYSes!
[ EMYS ]
We’re putting the KRAKEN Arm through its paces, demonstrating that it can unfold from an Express Rack locker on the International Space Station and access neighboring lockers in NASA’s FabLab system to enable transfer of materials and parts between manufacturing, inspection, and storage stations. The KRAKEN arm will be able to change between multiple ’end effector’ tools such as grippers and inspection sensors – those are in development so they’re not shown in this video.
[ Tethers Unlimited ]
UBTECH’s Alpha Mini Robot with Smart Robot’s “Maatje” software is offering healthcare service to children at Praktijk Intraverte Multidisciplinary Institution in Netherlands.
This institution is using Alpha Mini in counseling children’s behavior. Alpha Mini can move and talk to children and offers games and activities to stimulate and interact with them. Alpha Mini talks, helps and motivates children thereby becoming more flexible in society.
[ UBTECH ]
Some impressive work here from Anusha Nagabandi, Kurt Konoglie, Sergey Levine, Vikash Kumar at Google Brain, training a dexterous multi-fingered hand to do that thing with two balls that I’m really bad at.
Dexterous multi-fingered hands can provide robots with the ability to flexibly perform a wide range of manipulation skills. However, many of the more complex behaviors are also notoriously difficult to control: Performing in-hand object manipulation, executing finger gaits to move objects, and exhibiting precise fine motor skills such as writing, all require finely balancing contact forces, breaking and reestablishing contacts repeatedly, and maintaining control of unactuated objects. In this work, we demonstrate that our method of online planning with deep dynamics models (PDDM) addresses both of these limitations; we show that improvements in learned dynamics models, together with improvements in online model-predictive control, can indeed enable efficient and effective learning of flexible contact-rich dexterous manipulation skills — and that too, on a 24-DoF anthropomorphic hand in the real world, using just 2-4 hours of purely real-world data to learn to simultaneously coordinate multiple free-floating objects.
[ PDDM ]
Thanks Vikash!
CMU’s Ballbot has a deceptively light touch that’s ideal for leading people around.
A paper on this has been submitted to IROS 2019.
[ CMU ]
The Autonomous Robots Lab at the University of Nevada is sharing some of the work they’ve done on path planning and exploration for aerial robots during the DARPA SubT Challenge.
[ Autonomous Robots Lab ]
More proof that anything can be a drone if you staple some motors to it. Even 32 feet of styrofoam insulation.
[ YouTube ]
Whatever you think of military drones, we can all agree that they look cool.
[ Boeing ]
I appreciate the fact that iCub has eyelids, I really do, but sometimes, it ends up looking kinda sleepy in research videos.
[ EPFL LASA ]
Video shows autonomous flight of a lightweight aerial vehicle outdoors and indoors on the campus of Carnegie Mellon University. The vehicle is equipped with limited onboard sensing from a front-facing camera and a proximity sensor. The aerial autonomy is enabled by utilizing a 3D prior map built in Step 1.
[ CMU ]
The Stanford Space Robotics Facility allows researchers to test innovative guidance and navigation algorithms on a realistic frictionless, underactuated system.
[ Stanford ASL ]
In this video, Ian and CP discuss Misty’s many capabilities including robust locomotion, obstacle avoidance, 3D mapping/SLAM, face detection and recognition, sound localization, hardware extensibility, photo and video capture, and programmable personality. They also talk about some of the skills he’s built using these capabilities (and others) and how those skills can be expanded upon by you.
[ Misty Robotics ]
This week’s CMU RI Seminar comes from Aaron Parness at Caltech and NASA JPL, on “Robotic Grippers for Planetary Applications.”
The previous generation of NASA missions to the outer solar system discovered salt water oceans on Europa and Enceladus, each with more liquid water than Earth – compelling targets to look for extraterrestrial life. Closer to home, JAXA and NASA have imaged sky-light entrances to lava tube caves on the Moon more than 100 m in diameter and ESA has characterized the incredibly varied and complex terrain of Comet 67P. While JPL has successfully landed and operated four rovers on the surface of Mars using a 6-wheeled rocker-bogie architecture, future missions will require new mobility architectures for these extreme environments. Unfortunately, the highest value science targets often lie in the terrain that is hardest to access. This talk will explore robotic grippers that enable missions to these extreme terrains through their ability to grip a wide variety of surfaces (shapes, sizes, and geotechnical properties). To prepare for use in space where repair or replacement is not possible, we field-test these grippers and robots in analog extreme terrain on Earth. Many of these systems are enabled by advances in autonomy. The talk will present a rapid overview of my work and a detailed case study of an underactuated rock gripper for deflecting asteroids.
[ CMU ]
Rod Brooks gives some of the best robotics talks ever. He gave this one earlier this week at UC Berkeley, on “Steps Toward Super Intelligence and the Search for a New Path.”
[ UC Berkeley ] Continue reading
Posted in Human Robots
#435196 Avatar Love? New ‘Black Mirror’ ...
This week, the widely-anticipated fifth season of the dystopian series Black Mirror was released on Netflix. The storylines this season are less focused on far-out scenarios and increasingly aligned with current issues. With only three episodes, this season raises more questions than it answers, often leaving audiences bewildered.
The episode Smithereens explores our society’s crippling addiction to social media platforms and the monopoly they hold over our data. In Rachel, Jack and Ashley Too, we see the disruptive impact of technologies on the music and entertainment industry, and the price of fame for artists in the digital world. Like most Black Mirror episodes, these explore the sometimes disturbing implications of tech advancements on humanity.
But once again, in the midst of all the doom and gloom, the creators of the series leave us with a glimmer of hope. Aligned with Pride month, the episode Striking Vipers explores the impact of virtual reality on love, relationships, and sexual fluidity.
*The review contains a few spoilers.*
Striking Vipers
The first episode of the season, Striking Vipers may be one of the most thought-provoking episodes in Black Mirror history. Reminiscent of previous episodes San Junipero and Hang the DJ, the writers explore the potential for technology to transform human intimacy.
The episode tells the story of two old friends, Danny and Karl, whose friendship is reignited in an unconventional way. Karl unexpectedly appears at Danny’s 38th birthday and reintroduces him to the VR version of a game they used to play years before. In the game Striking Vipers X, each of the players is represented by an avatar of their choice in an uncanny digital reality. Following old tradition, Karl chooses to become the female fighter, Roxanne, and Danny takes on the role of the male fighter, Lance. The state-of-the-art VR headsets appear to use an advanced form of brain-machine interface to allow each player to be fully immersed in the virtual world, emulating all physical sensations.
To their surprise (and confusion), Danny and Karl find themselves transitioning from fist-fighting to kissing. Over the course of many games, they continue to explore a sexual and romantic relationship in the virtual world, leaving them confused and distant in the real world. The virtual and physical realities begin to blur, and so do the identities of the players with their avatars. Danny, who is married (in a heterosexual relationship) and is a father, begins to carry guilt and confusion in the real world. They both wonder if there would be any spark between them in real life.
The brain-machine interface (BMI) depicted in the episode is still science fiction, but that hasn’t stopped innovators from pushing the technology forward. Experts today are designing more intricate BMI systems while programming better algorithms to interpret the neural signals they capture. Scientists have already succeeded in enabling paralyzed patients to type with their minds, and are even allowing people to communicate with one another purely through brainwaves.
The convergence of BMIs with virtual reality and artificial intelligence could make the experience of such immersive digital realities possible. Virtual reality, too, is decreasing exponentially in cost and increasing in quality.
The narrative provides meaningful commentary on another tech area—gaming. It highlights video games not necessarily as addictive distractions, but rather as a platform for connecting with others in a deeper way. This is already very relevant. Video games like Final Fantasy are often a tool for meaningful digital connections for their players.
The Implications of Virtual Reality on Love and Relationships
The narrative of Striking Vipers raises many novel questions about the implications of immersive technologies on relationships: could the virtual world allow us a safe space to explore suppressed desires? Can virtual avatars make it easier for us to show affection to those we care about? Can a sexual or romantic encounter in the digital world be considered infidelity?
Above all, the episode explores the therapeutic possibilities of such technologies. While many fears about virtual reality had been raised in previous seasons of Black Mirror, this episode was focused on its potential. This includes the potential of immersive technology to be a source of liberation, meaningful connections, and self-exploration, as well as a tool for realizing our true identities and desires.
Once again, this is aligned with emerging trends in VR. We are seeing the rise of social VR applications and platforms that allow you to hang out with your friends and family as avatars in the virtual space. The technology is allowing for animation movies, such as Coco VR, to become an increasingly social and interactive experience. Considering that meaningful social interaction can alleviate depression and anxiety, such applications could contribute to well-being.
Techno-philosopher and National Geographic host Jason Silva points out that immersive media technologies can be “engines of empathy.” VR allows us to enter virtual spaces that mimic someone else’s state of mind, allowing us to empathize with the way they view the world. Silva said, “Imagine the intimacy that becomes possible when people meet and they say, ‘Hey, do you want to come visit my world? Do you want to see what it’s like to be inside my head?’”
What is most fascinating about Striking Vipers is that it explores how we may redefine love with virtual reality; we are introduced to love between virtual avatars. While this kind of love may seem confusing to audiences, it may be one of the complex implications of virtual reality on human relationships.
In many ways, the title Black Mirror couldn’t be more appropriate, as each episode serves as a mirror to the most disturbing aspects of our psyches as they get amplified through technology. However, what we see in uplifting and thought-provoking plots like Striking Vipers, San Junipero, and Hang The DJ is that technology could also amplify the most positive aspects of our humanity. This includes our powerful capacity to love.
Image Credit: Arsgera / Shutterstock.com Continue reading
Posted in Human Robots