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#439073 There’s a ‘New’ Nirvana Song Out, ...
One of the primary capabilities separating human intelligence from artificial intelligence is our ability to be creative—to use nothing but the world around us, our experiences, and our brains to create art. At present, AI needs to be extensively trained on human-made works of art in order to produce new work, so we’ve still got a leg up. That said, neural networks like OpenAI’s GPT-3 and Russian designer Nikolay Ironov have been able to create content indistinguishable from human-made work.
Now there’s another example of AI artistry that’s hard to tell apart from the real thing, and it’s sure to excite 90s alternative rock fans the world over: a brand-new, never-heard-before Nirvana song. Or, more accurately, a song written by a neural network that was trained on Nirvana’s music.
The song is called “Drowned in the Sun,” and it does have a pretty Nirvana-esque ring to it. The neural network that wrote it is Magenta, which was launched by Google in 2016 with the goal of training machines to create art—or as the tool’s website puts it, exploring the role of machine learning as a tool in the creative process. Magenta was built using TensorFlow, Google’s massive open-source software library focused on deep learning applications.
The song was written as part of an album called Lost Tapes of the 27 Club, a project carried out by a Toronto-based organization called Over the Bridge focused on mental health in the music industry.
Here’s how a computer was able to write a song in the unique style of a deceased musician. Music, 20 to 30 tracks, was fed into Magenta’s neural network in the form of MIDI files. MIDI stands for Musical Instrument Digital Interface, and the format contains the details of a song written in code that represents musical parameters like pitch and tempo. Components of each song, like vocal melody or rhythm guitar, were fed in one at a time.
The neural network found patterns in these different components, and got enough of a handle on them that when given a few notes to start from, it could use those patterns to predict what would come next; in this case, chords and melodies that sound like they could’ve been written by Kurt Cobain.
To be clear, Magenta didn’t spit out a ready-to-go song complete with lyrics. The AI wrote the music, but a different neural network wrote the lyrics (using essentially the same process as Magenta), and the team then sifted through “pages and pages” of output to find lyrics that fit the melodies Magenta created.
Eric Hogan, a singer for a Nirvana tribute band who the Over the Bridge team hired to sing “Drowned in the Sun,” felt that the lyrics were spot-on. “The song is saying, ‘I’m a weirdo, but I like it,’” he said. “That is total Kurt Cobain right there. The sentiment is exactly what he would have said.”
Cobain isn’t the only musician the Lost Tapes project tried to emulate; songs in the styles of Jimi Hendrix, Jim Morrison, and Amy Winehouse were also included. What all these artists have in common is that they died by suicide at the age of 27.
The project is meant to raise awareness around mental health, particularly among music industry professionals. It’s not hard to think of great artists of all persuasions—musicians, painters, writers, actors—whose lives are cut short due to severe depression and other mental health issues for which it can be hard to get help. These issues are sometimes romanticized, as suffering does tend to create art that’s meaningful, relatable, and timeless. But according to the Lost Tapes website, suicide attempts among music industry workers are more than double that of the general population.
How many more hit songs would these artists have written if they were still alive? We’ll never know, but hopefully Lost Tapes of the 27 Club and projects like it will raise awareness of mental health issues, both in the music industry and in general, and help people in need find the right resources. Because no matter how good computers eventually get at creating music, writing, or other art, as Lost Tapes’ website pointedly says, “Even AI will never replace the real thing.”
Image Credit: Edward Xu on Unsplash Continue reading
Posted in Human Robots
#439023 In ‘Klara and the Sun,’ We Glimpse ...
In a store in the center of an unnamed city, humanoid robots are displayed alongside housewares and magazines. They watch the fast-moving world outside the window, anxiously awaiting the arrival of customers who might buy them and take them home. Among them is Klara, a particularly astute robot who loves the sun and wants to learn as much as possible about humans and the world they live in.
So begins Kazuo Ishiguro’s new novel Klara and the Sun, published earlier this month. The book, told from Klara’s perspective, portrays an eerie future society in which intelligent machines and other advanced technologies have been integrated into daily life, but not everyone is happy about it.
Technological unemployment, the progress of artificial intelligence, inequality, the safety and ethics of gene editing, increasing loneliness and isolation—all of which we’re grappling with today—show up in Ishiguro’s world. It’s like he hit a fast-forward button, mirroring back to us how things might play out if we don’t approach these technologies with caution and foresight.
The wealthy genetically edit or “lift” their children to set them up for success, while the poor have to make do with the regular old brains and bodies bequeathed them by evolution. Lifted and unlifted kids generally don’t mix, and this is just one of many sinister delineations between a new breed of haves and have-nots.
There’s anger about robots’ steady infiltration into everyday life, and questions about how similar their rights should be to those of humans. “First they take the jobs. Then they take the seats at the theater?” one woman fumes.
References to “changes” and “substitutions” allude to an economy where automation has eliminated millions of jobs. While “post-employed” people squat in abandoned buildings and fringe communities arm themselves in preparation for conflict, those whose livelihoods haven’t been destroyed can afford to have live-in housekeepers and buy Artificial Friends (or AFs) for their lonely children.
“The old traditional model that we still live with now—where most of us can get some kind of paid work in exchange for our services or the goods we make—has broken down,” Ishiguro said in a podcast discussion of the novel. “We’re not talking just about the difference between rich and poor getting bigger. We’re talking about a gap appearing between people who participate in society in an obvious way and people who do not.”
He has a point; as much as techno-optimists claim that the economic changes brought by automation and AI will give us all more free time, let us work less, and devote time to our passion projects, how would that actually play out? What would millions of “post-employed” people receiving basic income actually do with their time and energy?
In the novel, we don’t get much of a glimpse of this side of the equation, but we do see how the wealthy live. After a long wait, just as the store manager seems ready to give up on selling her, Klara is chosen by a 14-year-old girl named Josie, the daughter of a woman who wears “high-rank clothes” and lives in a large, sunny home outside the city. Cheerful and kind, Josie suffers from an unspecified illness that periodically flares up and leaves her confined to her bed for days at a time.
Her life seems somewhat bleak, the need for an AF clear. In this future world, the children of the wealthy no longer go to school together, instead studying alone at home on their digital devices. “Interaction meetings” are set up for them to learn to socialize, their parents carefully eavesdropping from the next room and trying not to intervene when there’s conflict or hurt feelings.
Klara does her best to be a friend, aide, and confidante to Josie while continuing to learn about the world around her and decode the mysteries of human behavior. We surmise that she was programmed with a basic ability to understand emotions, which evolves along with her other types of intelligence. “I believe I have many feelings. The more I observe, the more feelings become available to me,” she explains to one character.
Ishiguro does an excellent job of representing Klara’s mind: a blend of pre-determined programming, observation, and continuous learning. Her narration has qualities both robotic and human; we can tell when something has been programmed in—she “Gives Privacy” to the humans around her when that’s appropriate, for example—and when she’s figured something out for herself.
But the author maintains some mystery around Klara’s inner emotional life. “Does she actually understand human emotions, or is she just observing human emotions and simulating them within herself?” he said. “I suppose the question comes back to, what are our emotions as human beings? What do they amount to?”
Klara is particularly attuned to human loneliness, since she essentially was made to help prevent it. It is, in her view, peoples’ biggest fear, and something they’ll go to great lengths to avoid, yet can never fully escape. “Perhaps all humans are lonely,” she says.
Warding off loneliness through technology isn’t a futuristic idea, it’s something we’ve been doing for a long time, with the technologies at hand growing more and more sophisticated. Products like AFs already exist. There’s XiaoIce, a chatbot that uses “sentiment analysis” to keep its 660 million users engaged, and Azuma Hikari, a character-based AI designed to “bring comfort” to users whose lives lack emotional connection with other humans.
The mere existence of these tools would be sinister if it wasn’t for their widespread adoption; when millions of people use AIs to fill a void in their lives, it raises deeper questions about our ability to connect with each other and whether technology is building it up or tearing it down.
This isn’t the only big question the novel tackles. An overarching theme is one we’ve been increasingly contemplating as computers start to acquire more complex capabilities, like the beginnings of creativity or emotional awareness: What is it that truly makes us human?
“Do you believe in the human heart?” one character asks. “I don’t mean simply the organ, obviously. I’m speaking in the poetic sense. The human heart. Do you think there is such a thing? Something that makes each of us special and individual?”
The alternative, at least in the story, is that people don’t have a unique essence, but rather we’re all a blend of traits and personalities that can be reduced to strings of code. Our understanding of the brain is still elementary, but at some level, doesn’t all human experience boil down to the firing of billions of neurons between our ears? Will we one day—in a future beyond that painted by Ishiguro, but certainly foreshadowed by it—be able to “decode” our humanity to the point that there’s nothing mysterious left about it? “A human heart is bound to be complex,” Klara says. “But it must be limited.”
Whether or not you agree, Klara and the Sun is worth the read. It’s both a marvelous, engaging story about what it means to love and be human, and a prescient warning to approach technological change with caution and nuance. We’re already living in a world where AI keeps us company, influences our behavior, and is wreaking various forms of havoc. Ishiguro’s novel is a snapshot of one of our possible futures, told through the eyes of a robot who keeps you rooting for her to the end.
Image Credit: Marion Wellmann from Pixabay Continue reading
Posted in Human Robots
#438553 New Drone Software Handles Motor ...
Good as some drones are becoming at obstacle avoidance, accidents do still happen. And as far as robots go, drones are very much on the fragile side of things. Any sort of significant contact between a drone and almost anything else usually results in a catastrophic, out-of-control spin followed by a death plunge to the ground. Bad times. Bad, expensive times.
A few years ago, we saw some interesting research into software that can keep the most common drone form factor, the quadrotor, aloft and controllable even after the failure of one motor. The big caveat to that software was that it relied on GPS for state estimation, meaning that without a GPS signal, the drone is unable to get the information it needs to keep itself under control. In a paper recently accepted to RA-L, researchers at the University of Zurich report that they have developed a vision-based system that brings state estimation completely on-board. The upshot: potentially any drone with some software and a camera can keep itself safe even under the most challenging conditions.
A few years ago, we wrote about first author Sihao Sun’s work on high speed controlled flight of a quadrotor with a non-functional motor. But that innovation relied on an external motion capture system. Since then, Sun has moved from Tu Delft to Davide Scaramuzza’s lab at UZH, and it looks like he’s been able to combine his work on controlled spinning flight with the Robotics and Perception Group’s expertise in vision. Now, a downward-facing camera is all it takes for a spinning drone to remain stable and controllable:
Remember, this software isn’t just about guarding against motor failure. Drone motors themselves don’t just up and fail all that often, either with respect to their software or hardware. But they do represent the most likely point of failure for any drone, usually because when you run into something, what ultimately causes your drone to crash is damage to a motor or a propeller that causes loss of control.
The reason that earlier solutions relied on GPS was because the spinning drone needs a method of state estimation—that is, in order to be closed-loop controllable, the drone needs to have a reasonable understanding of what its position is and how that position is changing over time. GPS is an easy way to take care of this, but GPS is also an external system that doesn’t work everywhere. Having a state estimation system that’s completely internal to the drone itself is much more fail safe, and Sun got his onboard system to work through visual feature tracking with a downward-facing camera, even as the drone is spinning at over 20 rad/s.
While the system works well enough with a regular downward-facing camera—something that many consumer drones are equipped with for stabilization purposes—replacing it with an event camera (you remember event cameras, right?) makes the performance even better, especially in low light.
For more details on this, including what you’re supposed to do with a rapidly spinning partially disabled quadrotor (as well as what it’ll take to make this a standard feature on consumer hardware), we spoke with Sihao Sun via email.
IEEE Spectrum: what usually happens when a drone spinning this fast lands? Is there any way to do it safely?
Sihao Sun: Our experience shows that we can safely land the drone while it is spinning. When the range sensor measurements are lower than a threshold (around 10 cm, indicating that the drone is close to the ground), we switch off the rotors. During the landing procedure, despite the fast spinning motion, the thrust direction oscillates around the gravity vector, thus the drone touches the ground with its legs without damaging other components.
Can your system handle more than one motor failure?
Yes, the system can also handle the failure of two opposing rotors. However, if two adjacent rotors or more than two rotors fail, our method cannot save the quadrotor. Some research has shown that it is possible to control a quadrotor with only one remaining rotor. But the drone requires a very special inertial property, which is hard to satisfy in real applications.
How different is your system's performance from a similar system that relies on GPS, in a favorable environment?
In a favorable environment, our system outperforms those relying on GPS signals because it obtains better position estimates. Since a damaged quadrotor spins fast, the accelerometer readings are largely affected by centrifugal forces. When the GPS signal is lost or degraded, a drone relying on GPS needs to integrate these biased accelerometer measurements for position estimation, leading to large position estimation errors. Feeding these erroneous estimates to the flight controller can easily crash the drone.
When you say that your solution requires “only onboard sensors and computation,” are those requirements specialized, or would they be generally compatible with the current generation of recreational and commercial quadrotors?
We use an NVIDIA Jetson TX2 to run our solution, which includes two parts: the control algorithm and the vision-based state estimation algorithm. The control algorithm is lightweight; thus, we believe that it is compatible with the current generation of quadrotors. On the other hand, the vision-based state estimation requires relatively more computational resources, which may not be affordable for cheap recreational platforms. But this is not an issue for commercial quadrotors because many of them have more powerful processors than a TX2.
What else can event cameras be used for, in recreational or commercial applications?
Many drone applications can benefit from event cameras, especially those in high-speed or low-light conditions, such as autonomous drone racing, cave exploration, drone delivery during night time, etc. Event cameras also consume very little power, which is a significant advantage for energy-critical missions, such as planetary aerial vehicles for Mars explorations. Regarding space applications, we are currently collaborating with JPL to explore the use of event cameras to address the key limitations of standard cameras for the next Mars helicopter.
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Posted in Human Robots