Tag Archives: Turing Test
#437477 If a Robot Is Conscious, Is It OK to ...
In the Star Trek: The Next Generation episode “The Measure of a Man,” Data, an android crew member of the Enterprise, is to be dismantled for research purposes unless Captain Picard can argue that Data deserves the same rights as a human being. Naturally the question arises: What is the basis upon which something has rights? What gives an entity moral standing?
The philosopher Peter Singer argues that creatures that can feel pain or suffer have a claim to moral standing. He argues that nonhuman animals have moral standing, since they can feel pain and suffer. Limiting it to people would be a form of speciesism, something akin to racism and sexism.
Without endorsing Singer’s line of reasoning, we might wonder if it can be extended further to an android robot like Data. It would require that Data can either feel pain or suffer. And how you answer that depends on how you understand consciousness and intelligence.
As real artificial intelligence technology advances toward Hollywood’s imagined versions, the question of moral standing grows more important. If AIs have moral standing, philosophers like me reason, it could follow that they have a right to life. That means you cannot simply dismantle them, and might also mean that people shouldn’t interfere with their pursuing their goals.
Two Flavors of Intelligence and a Test
IBM’s Deep Blue chess machine was successfully trained to beat grandmaster Gary Kasparov. But it could not do anything else. This computer had what’s called domain-specific intelligence.
On the other hand, there’s the kind of intelligence that allows for the ability to do a variety of things well. It is called domain-general intelligence. It’s what lets people cook, ski, and raise children—tasks that are related, but also very different.
Artificial general intelligence, AGI, is the term for machines that have domain-general intelligence. Arguably no machine has yet demonstrated that kind of intelligence. This summer, a startup called OpenAI released a new version of its Generative Pre-Training language model. GPT-3 is a natural language processing system, trained to read and write so that it can be easily understood by people.
It drew immediate notice, not just because of its impressive ability to mimic stylistic flourishes and put together plausible content, but also because of how far it had come from a previous version. Despite this impressive performance, GPT-3 doesn’t actually know anything beyond how to string words together in various ways. AGI remains quite far off.
Named after pioneering AI researcher Alan Turing, the Turing test helps determine when an AI is intelligent. Can a person conversing with a hidden AI tell whether it’s an AI or a human being? If he can’t, then for all practical purposes, the AI is intelligent. But this test says nothing about whether the AI might be conscious.
Two Kinds of Consciousness
There are two parts to consciousness. First, there’s the what-it’s-like-for-me aspect of an experience, the sensory part of consciousness. Philosophers call this phenomenal consciousness. It’s about how you experience a phenomenon, like smelling a rose or feeling pain.
In contrast, there’s also access consciousness. That’s the ability to report, reason, behave, and act in a coordinated and responsive manner to stimuli based on goals. For example, when I pass the soccer ball to my friend making a play on the goal, I am responding to visual stimuli, acting from prior training, and pursuing a goal determined by the rules of the game. I make the pass automatically, without conscious deliberation, in the flow of the game.
Blindsight nicely illustrates the difference between the two types of consciousness. Someone with this neurological condition might report, for example, that they cannot see anything in the left side of their visual field. But if asked to pick up a pen from an array of objects in the left side of their visual field, they can reliably do so. They cannot see the pen, yet they can pick it up when prompted—an example of access consciousness without phenomenal consciousness.
Data is an android. How do these distinctions play out with respect to him?
The Data Dilemma
The android Data demonstrates that he is self-aware in that he can monitor whether or not, for example, he is optimally charged or there is internal damage to his robotic arm.
Data is also intelligent in the general sense. He does a lot of distinct things at a high level of mastery. He can fly the Enterprise, take orders from Captain Picard and reason with him about the best path to take.
He can also play poker with his shipmates, cook, discuss topical issues with close friends, fight with enemies on alien planets, and engage in various forms of physical labor. Data has access consciousness. He would clearly pass the Turing test.
However, Data most likely lacks phenomenal consciousness—he does not, for example, delight in the scent of roses or experience pain. He embodies a supersized version of blindsight. He’s self-aware and has access consciousness—can grab the pen—but across all his senses he lacks phenomenal consciousness.
Now, if Data doesn’t feel pain, at least one of the reasons Singer offers for giving a creature moral standing is not fulfilled. But Data might fulfill the other condition of being able to suffer, even without feeling pain. Suffering might not require phenomenal consciousness the way pain essentially does.
For example, what if suffering were also defined as the idea of being thwarted from pursuing a just cause without causing harm to others? Suppose Data’s goal is to save his crewmate, but he can’t reach her because of damage to one of his limbs. Data’s reduction in functioning that keeps him from saving his crewmate is a kind of nonphenomenal suffering. He would have preferred to save the crewmate, and would be better off if he did.
In the episode, the question ends up resting not on whether Data is self-aware—that is not in doubt. Nor is it in question whether he is intelligent—he easily demonstrates that he is in the general sense. What is unclear is whether he is phenomenally conscious. Data is not dismantled because, in the end, his human judges cannot agree on the significance of consciousness for moral standing.
Should an AI Get Moral Standing?
Data is kind; he acts to support the well-being of his crewmates and those he encounters on alien planets. He obeys orders from people and appears unlikely to harm them, and he seems to protect his own existence. For these reasons he appears peaceful and easier to accept into the realm of things that have moral standing.
But what about Skynet in the Terminator movies? Or the worries recently expressed by Elon Musk about AI being more dangerous than nukes, and by Stephen Hawking on AI ending humankind?
Human beings don’t lose their claim to moral standing just because they act against the interests of another person. In the same way, you can’t automatically say that just because an AI acts against the interests of humanity or another AI it doesn’t have moral standing. You might be justified in fighting back against an AI like Skynet, but that does not take away its moral standing. If moral standing is given in virtue of the capacity to nonphenomenally suffer, then Skynet and Data both get it even if only Data wants to help human beings.
There are no artificial general intelligence machines yet. But now is the time to consider what it would take to grant them moral standing. How humanity chooses to answer the question of moral standing for nonbiological creatures will have big implications for how we deal with future AIs—whether kind and helpful like Data, or set on destruction, like Skynet.
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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#436184 Why People Demanded Privacy to Confide ...
This is part four of a six-part series on the history of natural language processing.
Between 1964 and 1966, Joseph Weizenbaum, a German American computer scientist at MIT’s artificial intelligence lab, developed the first-ever chatbot [PDF].
While there were already some rudimentary digital language generators in existence—programs that could spit out somewhat coherent lines of text—Weizenbaum’s program was the first designed explicitly for interactions with humans. The user could type in some statement or set of statements in their normal language, press enter, and receive a response from the machine. As Weizenbaum explained, his program made “certain kinds of natural-language conversation between man and computer possible.”
He named the program Eliza after Eliza Doolittle, the working-class hero of George Bernard Shaw’s Pygmalion who learns how to talk with an upper-class accent. The new Eliza was written for the 36-bit IBM 7094, an early transistorized mainframe computer, in a programming language that Weizenbaum developed called MAD-SLIP.
Because computer time was a valuable resource, Eliza could only be run via a time-sharing system; the user interacted with the program remotely via an electric typewriter and printer. When the user typed in a sentence and pressed enter, a message was sent to the mainframe computer. Eliza scanned the message for the presence of a keyword and used it in a new sentence to form a response that was sent back, printed out, and read by the user.
To encourage ongoing dialogue, Weizenbaum designed Eliza to simulate the type of conversational style used by a Rogerian psychoanalyst. The program would take something the user said and reflect it back with a question, as can be seen in the example below. (Notice how the program takes keywords like “boyfriend” and “depressed” and re-uses them.)
Human: Men are all alike.
Computer: IN WHAT WAY?
Human: They're always bugging us about something or other.
Computer: CAN YOU THINK OF A SPECIFIC EXAMPLE?
Human: Well, my boyfriend made me come here.
Computer: YOUR BOYFRIEND MADE YOU COME HERE
Human: He says I'm depressed much of the time.
Computer: I AM SORRY TO HEAR YOU ARE DEPRESSED
Human: It's true. I am unhappy.
Weizenbaum chose this mode of dialogue for Eliza because it gave the impression that the computer understood what was being said without having to offer anything new to the conversation. It created the illusion of comprehension and engagement in a mere 200 lines of code.
To test Eliza’s capacity to engage an interlocutor, Weizenbaum invited students and colleagues into his office and let them chat with the machine while he looked on. He noticed, with some concern, that during their brief interactions with Eliza, many users began forming emotional attachments to the algorithm. They would open up to the machine and confess problems they were facing in their lives and relationships.
During their brief interactions with Eliza, many users began forming emotional attachments to the algorithm.
Even more surprising was that this sense of intimacy persisted even after Weizenbaum described how the machine worked and explained that it didn’t really understand anything that was being said. Weizenbaum was most troubled when his secretary, who had watched him build the program from scratch over many months, insisted that he leave the room so she could talk to Eliza in private.
For Weizenbaum, this experiment with Eliza made him question an idea that Alan Turing had proposed in 1950 about machine intelligence. In his paper, entitled “Computing Machinery and Intelligence,” Turing suggested that if a computer could conduct a convincingly human conversation in text, one could assume it was intelligent—an idea that became the basis of the famous Turing Test.
But Eliza demonstrated that convincing communication between a human and a machine could take place even if comprehension only flowed from one side: The simulation of intelligence, rather than intelligence itself, was enough to fool people. Weizenbaum called this the Eliza effect, and believed it was a type of “delusional thinking” that humanity would collectively suffer from in the digital age. This insight was a profound shock for Weizenbaum, and one that came to define his intellectual trajectory over the next decade.
The simulation of intelligence, rather than intelligence itself, was enough to fool people.
In 1976, he published Computing Power and Human Reason: From Judgment to Calculation [PDF], which offered a long meditation on why people are willing to believe that a simple machine might be able to understand their complex human emotions.
In this book, he argues that the Eliza effect signifies a broader pathology afflicting “modern man.” In a world conquered by science, technology, and capitalism, people had grown accustomed to viewing themselves as isolated cogs in a large and uncaring machine. In such a diminished social world, Weizenbaum reasoned, people had grown so desperate for connection that they put aside their reason and judgment in order to believe that a program could care about their problems.
Weizenbaum spent the rest of his life developing this humanistic critique of artificial intelligence and digital technology. His mission was to remind people that their machines were not as smart as they were often said to be. And that even though it sometimes appeared as though they could talk, they were never really listening.
This is the fourth installment of a six-part series on the history of natural language processing. Last week’s post described Andrey Markov and Claude Shannon’s painstaking efforts to create statistical models of language for text generation. Come back next Monday for part five, “In 2016, Microsoft’s Racist Chatbot Revealed the Dangers of Conversation.”
You can also check out our prior series on the untold history of AI. Continue reading
Posted in Human Robots
#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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