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#437373 Microsoft’s New Deepfake Detector Puts ...
The upcoming US presidential election seems set to be something of a mess—to put it lightly. Covid-19 will likely deter millions from voting in person, and mail-in voting isn’t shaping up to be much more promising. This all comes at a time when political tensions are running higher than they have in decades, issues that shouldn’t be political (like mask-wearing) have become highly politicized, and Americans are dramatically divided along party lines.
So the last thing we need right now is yet another wrench in the spokes of democracy, in the form of disinformation; we all saw how that played out in 2016, and it wasn’t pretty. For the record, disinformation purposely misleads people, while misinformation is simply inaccurate, but without malicious intent. While there’s not a ton tech can do to make people feel safe at crowded polling stations or up the Postal Service’s budget, tech can help with disinformation, and Microsoft is trying to do so.
On Tuesday the company released two new tools designed to combat disinformation, described in a blog post by VP of Customer Security and Trust Tom Burt and Chief Scientific Officer Eric Horvitz.
The first is Microsoft Video Authenticator, which is made to detect deepfakes. In case you’re not familiar with this wicked byproduct of AI progress, “deepfakes” refers to audio or visual files made using artificial intelligence that can manipulate peoples’ voices or likenesses to make it look like they said things they didn’t. Editing a video to string together words and form a sentence someone didn’t say doesn’t count as a deepfake; though there’s manipulation involved, you don’t need a neural network and you’re not generating any original content or footage.
The Authenticator analyzes videos or images and tells users the percentage chance that they’ve been artificially manipulated. For videos, the tool can even analyze individual frames in real time.
Deepfake videos are made by feeding hundreds of hours of video of someone into a neural network, “teaching” the network the minutiae of the person’s voice, pronunciation, mannerisms, gestures, etc. It’s like when you do an imitation of your annoying coworker from accounting, complete with mimicking the way he makes every sentence sound like a question and his eyes widen when he talks about complex spreadsheets. You’ve spent hours—no, months—in his presence and have his personality quirks down pat. An AI algorithm that produces deepfakes needs to learn those same quirks, and more, about whoever the creator’s target is.
Given enough real information and examples, the algorithm can then generate its own fake footage, with deepfake creators using computer graphics and manually tweaking the output to make it as realistic as possible.
The scariest part? To make a deepfake, you don’t need a fancy computer or even a ton of knowledge about software. There are open-source programs people can access for free online, and as far as finding video footage of famous people—well, we’ve got YouTube to thank for how easy that is.
Microsoft’s Video Authenticator can detect the blending boundary of a deepfake and subtle fading or greyscale elements that the human eye may not be able to see.
In the blog post, Burt and Horvitz point out that as time goes by, deepfakes are only going to get better and become harder to detect; after all, they’re generated by neural networks that are continuously learning from and improving themselves.
Microsoft’s counter-tactic is to come in from the opposite angle, that is, being able to confirm beyond doubt that a video, image, or piece of news is real (I mean, can McDonald’s fries cure baldness? Did a seal slap a kayaker in the face with an octopus? Never has it been so imperative that the world know the truth).
A tool built into Microsoft Azure, the company’s cloud computing service, lets content producers add digital hashes and certificates to their content, and a reader (which can be used as a browser extension) checks the certificates and matches the hashes to indicate the content is authentic.
Finally, Microsoft also launched an interactive “Spot the Deepfake” quiz it developed in collaboration with the University of Washington’s Center for an Informed Public, deepfake detection company Sensity, and USA Today. The quiz is intended to help people “learn about synthetic media, develop critical media literacy skills, and gain awareness of the impact of synthetic media on democracy.”
The impact Microsoft’s new tools will have remains to be seen—but hey, we’re glad they’re trying. And they’re not alone; Facebook, Twitter, and YouTube have all taken steps to ban and remove deepfakes from their sites. The AI Foundation’s Reality Defender uses synthetic media detection algorithms to identify fake content. There’s even a coalition of big tech companies teaming up to try to fight election interference.
One thing is for sure: between a global pandemic, widespread protests and riots, mass unemployment, a hobbled economy, and the disinformation that’s remained rife through it all, we’re going to need all the help we can get to make it through not just the election, but the rest of the conga-line-of-catastrophes year that is 2020.
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Posted in Human Robots
#437345 Moore’s Law Lives: Intel Says Chips ...
If you weren’t already convinced the digital world is taking over, you probably are now.
To keep the economy on life support as people stay home to stem the viral tide, we’ve been forced to digitize interactions at scale (for better and worse). Work, school, events, shopping, food, politics. The companies at the center of the digital universe are now powerhouses of the modern era—worth trillions and nearly impossible to avoid in daily life.
Six decades ago, this world didn’t exist.
A humble microchip in the early 1960s would have boasted a handful of transistors. Now, your laptop or smartphone runs on a chip with billions of transistors. As first described by Moore’s Law, this is possible because the number of transistors on a chip doubled with extreme predictability every two years for decades.
But now progress is faltering as the size of transistors approaches physical limits, and the money and time it takes to squeeze a few more onto a chip are growing. There’ve been many predictions that Moore’s Law is, finally, ending. But, perhaps also predictably, the company whose founder coined Moore’s Law begs to differ.
In a keynote presentation at this year’s Hot Chips conference, Intel’s chief architect, Raja Koduri, laid out a roadmap to increase transistor density—that is, the number of transistors you can fit on a chip—by a factor of 50.
“We firmly believe there is a lot more transistor density to come,” Koduri said. “The vision will play out over time—maybe a decade or more—but it will play out.”
Why the optimism?
Calling the end of Moore’s Law is a bit of a tradition. As Peter Lee, vice president at Microsoft Research, quipped to The Economist a few years ago, “The number of people predicting the death of Moore’s Law doubles every two years.” To date, prophets of doom have been premature, and though the pace is slowing, the industry continues to dodge death with creative engineering.
Koduri believes the trend will continue this decade and outlined the upcoming chip innovations Intel thinks can drive more gains in computing power.
Keeping It Traditional
First, engineers can further shrink today’s transistors. Fin field effect transistors (or FinFET) first hit the scene in the 2010s and have since pushed chip features past 14 and 10 nanometers (or nodes, as such size checkpoints are called). Korduri said FinFET will again triple chip density before it’s exhausted.
The Next Generation
FinFET will hand the torch off to nanowire transistors (also known as gate-all-around transistors).
Here’s how they’ll work. A transistor is made up of three basic components: the source, where current is introduced, the gate and channel, where current selectively flows, and the drain. The gate is like a light switch. It controls how much current flows through the channel. A transistor is “on” when the gate allows current to flow, and it’s off when no current flows. The smaller transistors get, the harder it is to control that current.
FinFET maintained fine control of current by surrounding the channel with a gate on three sides. Nanowire designs kick that up a notch by surrounding the channel with a gate on four sides (hence, gate-all-around). They’ve been in the works for years and are expected around 2025. Koduri said first-generation nanowire transistors will be followed by stacked nanowire transistors, and together, they’ll quadruple transistor density.
Building Up
Growing transistor density won’t only be about shrinking transistors, but also going 3D.
This is akin to how skyscrapers increase a city’s population density by adding more usable space on the same patch of land. Along those lines, Intel recently launched its Foveros chip design. Instead of laying a chip’s various “neighborhoods” next to each other in a 2D silicon sprawl, they’ve stacked them on top of each other like a layer cake. Chip stacking isn’t entirely new, but it’s advancing and being applied to general purpose CPUs, like the chips in your phone and laptop.
Koduri said 3D chip stacking will quadruple transistor density.
A Self-Fulfilling Prophecy
The technologies Koduri outlines are an evolution of the same general technology in use today. That is, we don’t need quantum computing or nanotube transistors to augment or replace silicon chips yet. Rather, as it’s done many times over the years, the chip industry will get creative with the design of its core product to realize gains for another decade.
Last year, veteran chip engineer Jim Keller, who at the time was Intel’s head of silicon engineering but has since left the company, told MIT Technology Review there are over a 100 variables driving Moore’s Law (including 3D architectures and new transistor designs). From the standpoint of pure performance, it’s also about how efficiently software uses all those transistors. Keller suggested that with some clever software tweaks “we could get chips that are a hundred times faster in 10 years.”
But whether Intel’s vision pans out as planned is far from certain.
Intel’s faced challenges recently, taking five years instead of two to move its chips from 14 nanometers to 10 nanometers. After a delay of six months for its 7-nanometer chips, it’s now a year behind schedule and lagging other makers who already offer 7-nanometer chips. This is a key point. Yes, chipmakers continue making progress, but it’s getting harder, more expensive, and timelines are stretching.
The question isn’t if Intel and competitors can cram more transistors onto a chip—which, Intel rival TSMC agrees is clearly possible—it’s how long will it take and at what cost?
That said, demand for more computing power isn’t going anywhere.
Amazon, Microsoft, Alphabet, Apple, and Facebook now make up a whopping 20 percent of the stock market’s total value. By that metric, tech is the most dominant industry in at least 70 years. And new technologies—from artificial intelligence and virtual reality to a proliferation of Internet of Things devices and self-driving cars—will demand better chips.
There’s ample motivation to push computing to its bitter limits and beyond. As is often said, Moore’s Law is a self-fulfilling prophecy, and likely whatever comes after it will be too.
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#437150 AI Is Getting More Creative. But Who ...
Creativity is a trait that makes humans unique from other species. We alone have the ability to make music and art that speak to our experiences or illuminate truths about our world. But suddenly, humans’ artistic abilities have some competition—and from a decidedly non-human source.
Over the last couple years there have been some remarkable examples of art produced by deep learning algorithms. They have challenged the notion of an elusive definition of creativity and put into perspective how professionals can use artificial intelligence to enhance their abilities and produce beyond the known boundaries.
But when creativity is the result of code written by a programmer, using a format given by a software engineer, featuring private and public datasets, how do we assign ownership of AI-generated content, and particularly that of artwork? McKinsey estimates AI will annually generate value of $3.5 to $5.8 trillion across various sectors.
In 2018, a portrait that was christened Edmond de Belamy was made in a French art collective called Obvious. It used a database with 15,000 portraits from the 1300s to the 1900s to train a deep learning algorithm to produce a unique portrait. The painting sold for $432,500 in a New York auction. Similarly, a program called Aiva, trained on thousands of classical compositions, has released albums whose pieces are being used by ad agencies and movies.
The datasets used by these algorithms were different, but behind both there was a programmer who changed the brush strokes or musical notes into lines of code and a data scientist or engineer who fitted and “curated” the datasets to use for the model. There could also have been user-based input, and the output may be biased towards certain styles or unintentionally infringe on similar pieces of art. This shows that there are many collaborators with distinct roles in producing AI-generated content, and it’s important to discuss how they can protect their proprietary interests.
A perspective article published in Nature Machine Intelligence by Jason K. Eshraghian in March looks into how AI artists and the collaborators involved should assess their ownership, laying out some guiding principles that are “only applicable for as long as AI does not have legal parenthood, the way humans and corporations are accorded.”
Before looking at how collaborators can protect their interests, it’s useful to understand the basic requirements of copyright law. The artwork in question must be an “original work of authorship fixed in a tangible medium.” Given this principle, the author asked whether it’s possible for AI to exercise creativity, skill, or any other indicator of originality. The answer is still straightforward—no—or at least not yet. Currently, AI’s range of creativity doesn’t exceed the standard used by the US Copyright Office, which states that copyright law protects the “fruits of intellectual labor founded in the creative powers of the mind.”
Due to the current limitations of narrow AI, it must have some form of initial input that helps develop its ability to create. At the moment AI is a tool that can be used to produce creative work in the same way that a video camera is a tool used to film creative content. Video producers don’t need to comprehend the inner workings of their cameras; as long as their content shows creativity and originality, they have a proprietary claim over their creations.
The same concept applies to programmers developing a neural network. As long as the dataset they use as input yields an original and creative result, it will be protected by copyright law; they don’t need to understand the high-level mathematics, which in this case are often black box algorithms whose output it’s impossible to analyze.
Will robots and algorithms eventually be treated as creative sources able to own copyrights? The author pointed to the recent patent case of Warner-Lambert Co Ltd versus Generics where Lord Briggs, Justice of the Supreme Court of the UK, determined that “the court is well versed in identifying the governing mind of a corporation and, when the need arises, will no doubt be able to do the same for robots.”
In the meantime, Dr. Eshraghian suggests four guiding principles to allow artists who collaborate with AI to protect themselves.
First, programmers need to document their process through online code repositories like GitHub or BitBucket.
Second, data engineers should also document and catalog their datasets and the process they used to curate their models, indicating selectivity in their criteria as much as possible to demonstrate their involvement and creativity.
Third, in cases where user data is utilized, the engineer should “catalog all runs of the program” to distinguish the data selection process. This could be interpreted as a way of determining whether user-based input has a right to claim the copyright too.
Finally, the output should avoid infringing on others’ content through methods like reverse image searches and version control, as mentioned above.
AI-generated artwork is still a very new concept, and the ambiguous copyright laws around it give a lot of flexibility to AI artists and programmers worldwide. The guiding principles Eshraghian lays out will hopefully shed some light on the legislation we’ll eventually need for this kind of art, and start an important conversation between all the stakeholders involved.
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