Tag Archives: knowledge
#432262 How We Can ‘Robot-Proof’ Education ...
Like millions of other individuals in the workforce, you’re probably wondering if you will one day be replaced by a machine. If you’re a student, you’re probably wondering if your chosen profession will even exist by the time you’ve graduated. From driving to legal research, there isn’t much that technology hasn’t already automated (or begun to automate). Many of us will need to adapt to this disruption in the workforce.
But it’s not enough for students and workers to adapt, become lifelong learners, and re-skill themselves. We also need to see innovation and initiative at an institutional and governmental level. According to research by The Economist, almost half of all jobs could be automated by computers within the next two decades, and no government in the world is prepared for it.
While many see the current trend in automation as a terrifying threat, others see it as an opportunity. In Robot-Proof: Higher Education in the Age of Artificial Intelligence, Northeastern University president Joseph Aoun proposes educating students in a way that will allow them to do the things that machines can’t. He calls for a new paradigm that teaches young minds “to invent, to create, and to discover”—filling the relevant needs of our world that robots simply can’t fill. Aoun proposes a much-needed novel framework that will allow us to “robot-proof” education.
Literacies and Core Cognitive Capacities of the Future
Aoun lays a framework for a new discipline, humanics, which discusses the important capacities and literacies for emerging education systems. At its core, the framework emphasizes our uniquely human abilities and strengths.
The three key literacies include data literacy (being able to manage and analyze big data), technological literacy (being able to understand exponential technologies and conduct computational thinking), and human literacy (being able to communicate and evaluate social, ethical, and existential impact).
Beyond the literacies, at the heart of Aoun’s framework are four cognitive capacities that are crucial to develop in our students if they are to be resistant to automation: critical thinking, systems thinking, entrepreneurship, and cultural agility.
“These capacities are mindsets rather than bodies of knowledge—mental architecture rather than mental furniture,” he writes. “Going forward, people will still need to know specific bodies of knowledge to be effective in the workplace, but that alone will not be enough when intelligent machines are doing much of the heavy lifting of information. To succeed, tomorrow’s employees will have to demonstrate a higher order of thought.”
Like many other experts in education, Joseph Aoun emphasizes the importance of critical thinking. This is important not just when it comes to taking a skeptical approach to information, but also being able to logically break down a claim or problem into multiple layers of analysis. We spend so much time teaching students how to answer questions that we often neglect to teach them how to ask questions. Asking questions—and asking good ones—is a foundation of critical thinking. Before you can solve a problem, you must be able to critically analyze and question what is causing it. This is why critical thinking and problem solving are coupled together.
The second capacity, systems thinking, involves being able to think holistically about a problem. The most creative problem-solvers and thinkers are able to take a multidisciplinary perspective and connect the dots between many different fields. According to Aoun, it “involves seeing across areas that machines might be able to comprehend individually but that they cannot analyze in an integrated way, as a whole.” It represents the absolute opposite of how most traditional curricula is structured with emphasis on isolated subjects and content knowledge.
Among the most difficult-to-automate tasks or professions is entrepreneurship.
In fact, some have gone so far as to claim that in the future, everyone will be an entrepreneur. Yet traditionally, initiative has been something students show in spite of or in addition to their schoolwork. For most students, developing a sense of initiative and entrepreneurial skills has often been part of their extracurricular activities. It needs to be at the core of our curricula, not a supplement to it. At its core, teaching entrepreneurship is about teaching our youth to solve complex problems with resilience, to become global leaders, and to solve grand challenges facing our species.
Finally, with an increasingly globalized world, there is a need for more workers with cultural agility, the ability to build amongst different cultural contexts and norms.
One of the major trends today is the rise of the contingent workforce. We are seeing an increasing percentage of full-time employees working on the cloud. Multinational corporations have teams of employees collaborating at different offices across the planet. Collaboration across online networks requires a skillset of its own. As education expert Tony Wagner points out, within these digital contexts, leadership is no longer about commanding with top-down authority, but rather about leading by influence.
An Emphasis on Creativity
The framework also puts an emphasis on experiential or project-based learning, wherein the heart of the student experience is not lectures or exams but solving real-life problems and learning by doing, creating, and executing. Unsurprisingly, humans continue to outdo machines when it comes to innovating and pushing intellectual, imaginative, and creative boundaries, making jobs involving these skills the hardest to automate.
In fact, technological trends are giving rise to what many thought leaders refer to as the imagination economy. This is defined as “an economy where intuitive and creative thinking create economic value, after logical and rational thinking have been outsourced to other economies.” Consequently, we need to develop our students’ creative abilities to ensure their success against machines.
In its simplest form, creativity represents the ability to imagine radical ideas and then go about executing them in reality.
In many ways, we are already living in our creative imaginations. Consider this: every invention or human construct—whether it be the spaceship, an architectural wonder, or a device like an iPhone—once existed as a mere idea, imagined in someone’s mind. The world we have designed and built around us is an extension of our imaginations and is only possible because of our creativity. Creativity has played a powerful role in human progress—now imagine what the outcomes would be if we tapped into every young mind’s creative potential.
The Need for a Radical Overhaul
What is clear from the recommendations of Aoun and many other leading thinkers in this space is that an effective 21st-century education system is radically different from the traditional systems we currently have in place. There is a dramatic contrast between these future-oriented frameworks and the way we’ve structured our traditional, industrial-era and cookie-cutter-style education systems.
It’s time for a change, and incremental changes or subtle improvements are no longer enough. What we need to see are more moonshots and disruption in the education sector. In a world of exponential growth and accelerating change, it is never too soon for a much-needed dramatic overhaul.
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#431859 Digitized to Democratized: These Are the ...
“The Six Ds are a chain reaction of technological progression, a road map of rapid development that always leads to enormous upheaval and opportunity.”
–Peter Diamandis and Steven Kotler, Bold
We live in incredible times. News travels the globe in an instant. Music, movies, games, communication, and knowledge are ever-available on always-connected devices. From biotechnology to artificial intelligence, powerful technologies that were once only available to huge organizations and governments are becoming more accessible and affordable thanks to digitization.
The potential for entrepreneurs to disrupt industries and corporate behemoths to unexpectedly go extinct has never been greater.
One hundred or fifty or even twenty years ago, disruption meant coming up with a product or service people needed but didn’t have yet, then finding a way to produce it with higher quality and lower costs than your competitors. This entailed hiring hundreds or thousands of employees, having a large physical space to put them in, and waiting years or even decades for hard work to pay off and products to come to fruition.
“Technology is disrupting traditional industrial processes, and they’re never going back.”
But thanks to digital technologies developing at exponential rates of change, the landscape of 21st-century business has taken on a dramatically different look and feel.
The structure of organizations is changing. Instead of thousands of employees and large physical plants, modern start-ups are small organizations focused on information technologies. They dematerialize what was once physical and create new products and revenue streams in months, sometimes weeks.
It no longer takes a huge corporation to have a huge impact.
Technology is disrupting traditional industrial processes, and they’re never going back. This disruption is filled with opportunity for forward-thinking entrepreneurs.
The secret to positively impacting the lives of millions of people is understanding and internalizing the growth cycle of digital technologies. This growth cycle takes place in six key steps, which Peter Diamandis calls the Six Ds of Exponentials: digitization, deception, disruption, demonetization, dematerialization, and democratization.
According to Diamandis, cofounder and chairman of Singularity University and founder and executive chairman of XPRIZE, when something is digitized it begins to behave like an information technology.
Newly digitized products develop at an exponential pace instead of a linear one, fooling onlookers at first before going on to disrupt companies and whole industries. Before you know it, something that was once expensive and physical is an app that costs a buck.
Newspapers and CDs are two obvious recent examples. The entertainment and media industries are still dealing with the aftermath of digitization as they attempt to transform and update old practices tailored to a bygone era. But it won’t end with digital media. As more of the economy is digitized—from medicine to manufacturing—industries will hop on an exponential curve and be similarly disrupted.
Diamandis’s 6 Ds are critical to understanding and planning for this disruption.
The 6 Ds of Exponential Organizations are Digitized, Deceptive, Disruptive, Demonetized, Dematerialized, and Democratized.
Diamandis uses the contrasting fates of Kodak and Instagram to illustrate the power of the six Ds and exponential thinking.
Kodak invented the digital camera in 1975, but didn’t invest heavily in the new technology, instead sticking with what had always worked: traditional cameras and film. In 1996, Kodak had a $28 billion market capitalization with 95,000 employees.
But the company didn’t pay enough attention to how digitization of their core business was changing it; people were no longer taking pictures in the same way and for the same reasons as before.
After a downward spiral, Kodak went bankrupt in 2012. That same year, Facebook acquired Instagram, a digital photo sharing app, which at the time was a startup with 13 employees. The acquisition’s price tag? $1 billion. And Instagram had been founded only 18 months earlier.
The most ironic piece of this story is that Kodak invented the digital camera; they took the first step toward overhauling the photography industry and ushering it into the modern age, but they were unwilling to disrupt their existing business by taking a risk in what was then uncharted territory. So others did it instead.
The same can happen with any technology that’s just getting off the ground. It’s easy to stop pursuing it in the early part of the exponential curve, when development appears to be moving slowly. But failing to follow through only gives someone else the chance to do it instead.
The Six Ds are a road map showing what can happen when an exponential technology is born. Not every phase is easy, but the results give even small teams the power to change the world in a faster and more impactful way than traditional business ever could.
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Posted in Human Robots
#431592 Reactive Content Will Get to Know You ...
The best storytellers react to their audience. They look for smiles, signs of awe, or boredom; they simultaneously and skillfully read both the story and their sitters. Kevin Brooks, a seasoned storyteller working for Motorola’s Human Interface Labs, explains, “As the storyteller begins, they must tune in to… the audience’s energy. Based on this energy, the storyteller will adjust their timing, their posture, their characterizations, and sometimes even the events of the story. There is a dialog between audience and storyteller.”
Shortly after I read the script to Melita, the latest virtual reality experience from Madrid-based immersive storytelling company Future Lighthouse, CEO Nicolas Alcalá explained to me that the piece is an example of “reactive content,” a concept he’s been working on since his days at Singularity University.
For the first time in history, we have access to technology that can merge the reactive and affective elements of oral storytelling with the affordances of digital media, weaving stunning visuals, rich soundtracks, and complex meta-narratives in a story arena that has the capability to know you more intimately than any conventional storyteller could.
It’s no understatement to say that the storytelling potential here is phenomenal.
In short, we can refer to content as reactive if it reads and reacts to users based on their body rhythms, emotions, preferences, and data points. Artificial intelligence is used to analyze users’ behavior or preferences to sculpt unique storylines and narratives, essentially allowing for a story that changes in real time based on who you are and how you feel.
The development of reactive content will allow those working in the industry to go one step further than simply translating the essence of oral storytelling into VR. Rather than having a narrative experience with a digital storyteller who can read you, reactive content has the potential to create an experience with a storyteller who knows you.
This means being able to subtly insert minor personal details that have a specific meaning to the viewer. When we talk to our friends we often use experiences we’ve shared in the past or knowledge of our audience to give our story as much resonance as possible. Targeting personal memories and aspects of our lives is a highly effective way to elicit emotions and aid in visualizing narratives. When you can do this with the addition of visuals, music, and characters—all lifted from someone’s past—you have the potential for overwhelmingly engaging and emotionally-charged content.
Future Lighthouse inform me that for now, reactive content will rely primarily on biometric feedback technology such as breathing, heartbeat, and eye tracking sensors. A simple example would be a story in which parts of the environment or soundscape change in sync with the user’s heartbeat and breathing, or characters who call you out for not paying attention.
The next step would be characters and situations that react to the user’s emotions, wherein algorithms analyze biometric information to make inferences about states of emotional arousal (“why are you so nervous?” etc.). Another example would be implementing the use of “arousal parameters,” where the audience can choose what level of “fear” they want from a VR horror story before algorithms modulate the experience using information from biometric feedback devices.
The company’s long-term goal is to gather research on storytelling conventions and produce a catalogue of story “wireframes.” This entails distilling the basic formula to different genres so they can then be fleshed out with visuals, character traits, and soundtracks that are tailored for individual users based on their deep data, preferences, and biometric information.
The development of reactive content will go hand in hand with a renewed exploration of diverging, dynamic storylines, and multi-narratives, a concept that hasn’t had much impact in the movie world thus far. In theory, the idea of having a story that changes and mutates is captivating largely because of our love affair with serendipity and unpredictability, a cultural condition theorist Arthur Kroker refers to as the “hypertextual imagination.” This feeling of stepping into the unknown with the possibility of deviation from the habitual translates as a comforting reminder that our own lives can take exciting and unexpected turns at any moment.
The inception of the concept into mainstream culture dates to the classic Choose Your Own Adventure book series that launched in the late 70s, which in its literary form had great success. However, filmic takes on the theme have made somewhat less of an impression. DVDs like I’m Your Man (1998) and Switching (2003) both use scene selection tools to determine the direction of the storyline.
A more recent example comes from Kino Industries, who claim to have developed the technology to allow filmmakers to produce interactive films in which viewers can use smartphones to quickly vote on which direction the narrative takes at numerous decision points throughout the film.
The main problem with diverging narrative films has been the stop-start nature of the interactive element: when I’m immersed in a story I don’t want to have to pick up a controller or remote to select what’s going to happen next. Every time the audience is given the option to take a new path (“press this button”, “vote on X, Y, Z”) the narrative— and immersion within that narrative—is temporarily halted, and it takes the mind a while to get back into this state of immersion.
Reactive content has the potential to resolve these issues by enabling passive interactivity—that is, input and output without having to pause and actively make decisions or engage with the hardware. This will result in diverging, dynamic narratives that will unfold seamlessly while being dependent on and unique to the specific user and their emotions. Passive interactivity will also remove the game feel that can often be a symptom of interactive experiences and put a viewer somewhere in the middle: still firmly ensconced in an interactive dynamic narrative, but in a much subtler way.
While reading the Melita script I was particularly struck by a scene in which the characters start to engage with the user and there’s a synchronicity between the user’s heartbeat and objects in the virtual world. As the narrative unwinds and the words of Melita’s character get more profound, parts of the landscape, which seemed to be flashing and pulsating at random, come together and start to mimic the user’s heartbeat.
In 2013, Jane Aspell of Anglia Ruskin University (UK) and Lukas Heydrich of the Swiss Federal Institute of Technology proved that a user’s sense of presence and identification with a virtual avatar could be dramatically increased by syncing the on-screen character with the heartbeat of the user. The relationship between bio-digital synchronicity, immersion, and emotional engagement is something that will surely have revolutionary narrative and storytelling potential.
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Posted in Human Robots