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#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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#432352 Watch This Lifelike Robot Fish Swim ...
Earth’s oceans are having a rough go of it these days. On top of being the repository for millions of tons of plastic waste, global warming is affecting the oceans and upsetting marine ecosystems in potentially irreversible ways.
Coral bleaching, for example, occurs when warming water temperatures or other stress factors cause coral to cast off the algae that live on them. The coral goes from lush and colorful to white and bare, and sometimes dies off altogether. This has a ripple effect on the surrounding ecosystem.
Warmer water temperatures have also prompted many species of fish to move closer to the north or south poles, disrupting fisheries and altering undersea environments.
To keep these issues in check or, better yet, try to address and improve them, it’s crucial for scientists to monitor what’s going on in the water. A paper released last week by a team from MIT’s Computer Science and Artificial Intelligence Laboratory (CSAIL) unveiled a new tool for studying marine life: a biomimetic soft robotic fish, dubbed SoFi, that can swim with, observe, and interact with real fish.
SoFi isn’t the first robotic fish to hit the water, but it is the most advanced robot of its kind. Here’s what sets it apart.
It swims in three dimensions
Up until now, most robotic fish could only swim forward at a given water depth, advancing at a steady speed. SoFi blows older models out of the water. It’s equipped with side fins called dive planes, which move to adjust its angle and allow it to turn, dive downward, or head closer to the surface. Its density and thus its buoyancy can also be adjusted by compressing or decompressing air in an inner compartment.
“To our knowledge, this is the first robotic fish that can swim untethered in three dimensions for extended periods of time,” said CSAIL PhD candidate Robert Katzschmann, lead author of the study. “We are excited about the possibility of being able to use a system like this to get closer to marine life than humans can get on their own.”
The team took SoFi to the Rainbow Reef in Fiji to test out its swimming skills, and the robo fish didn’t disappoint—it was able to swim at depths of over 50 feet for 40 continuous minutes. What keeps it swimming? A lithium polymer battery just like the one that powers our smartphones.
It’s remote-controlled… by Super Nintendo
SoFi has sensors to help it see what’s around it, but it doesn’t have a mind of its own yet. Rather, it’s controlled by a nearby scuba-diving human, who can send it commands related to speed, diving, and turning. The best part? The commands come from an actual repurposed (and waterproofed) Super Nintendo controller. What’s not to love?
Image Credit: MIT CSAIL
Previous robotic fish built by this team had to be tethered to a boat, so the fact that SoFi can swim independently is a pretty big deal. Communication between the fish and the diver was most successful when the two were less than 10 meters apart.
It looks real, sort of
SoFi’s side fins are a bit stiff, and its camera may not pass for natural—but otherwise, it looks a lot like a real fish. This is mostly thanks to the way its tail moves; a motor pumps water between two chambers in the tail, and as one chamber fills, the tail bends towards that side, then towards the other side as water is pumped into the other chamber. The result is a motion that closely mimics the way fish swim. Not only that, the hydraulic system can change the water flow to get different tail movements that let SoFi swim at varying speeds; its average speed is around half a body length (21.7 centimeters) per second.
Besides looking neat, it’s important SoFi look lifelike so it can blend in with marine life and not scare real fish away, so it can get close to them and observe them.
“A robot like this can help explore the reef more closely than current robots, both because it can get closer more safely for the reef and because it can be better accepted by the marine species.” said Cecilia Laschi, a biorobotics professor at the Sant’Anna School of Advanced Studies in Pisa, Italy.
Just keep swimming
It sounds like this fish is nothing short of a regular Nemo. But its creators aren’t quite finished yet.
They’d like SoFi to be able to swim faster, so they’ll work on improving the robo fish’s pump system and streamlining its body and tail design. They also plan to tweak SoFi’s camera to help it follow real fish.
“We view SoFi as a first step toward developing almost an underwater observatory of sorts,” said CSAIL director Daniela Rus. “It has the potential to be a new type of tool for ocean exploration and to open up new avenues for uncovering the mysteries of marine life.”
The CSAIL team plans to make a whole school of SoFis to help biologists learn more about how marine life is reacting to environmental changes.
Image Credit: MIT CSAIL Continue reading
#432193 Are ‘You’ Just Inside Your Skin or ...
In November 2017, a gunman entered a church in Sutherland Springs in Texas, where he killed 26 people and wounded 20 others. He escaped in his car, with police and residents in hot pursuit, before losing control of the vehicle and flipping it into a ditch. When the police got to the car, he was dead. The episode is horrifying enough without its unsettling epilogue. In the course of their investigations, the FBI reportedly pressed the gunman’s finger to the fingerprint-recognition feature on his iPhone in an attempt to unlock it. Regardless of who’s affected, it’s disquieting to think of the police using a corpse to break into someone’s digital afterlife.
Most democratic constitutions shield us from unwanted intrusions into our brains and bodies. They also enshrine our entitlement to freedom of thought and mental privacy. That’s why neurochemical drugs that interfere with cognitive functioning can’t be administered against a person’s will unless there’s a clear medical justification. Similarly, according to scholarly opinion, law-enforcement officials can’t compel someone to take a lie-detector test, because that would be an invasion of privacy and a violation of the right to remain silent.
But in the present era of ubiquitous technology, philosophers are beginning to ask whether biological anatomy really captures the entirety of who we are. Given the role they play in our lives, do our devices deserve the same protections as our brains and bodies?
After all, your smartphone is much more than just a phone. It can tell a more intimate story about you than your best friend. No other piece of hardware in history, not even your brain, contains the quality or quantity of information held on your phone: it ‘knows’ whom you speak to, when you speak to them, what you said, where you have been, your purchases, photos, biometric data, even your notes to yourself—and all this dating back years.
In 2014, the United States Supreme Court used this observation to justify the decision that police must obtain a warrant before rummaging through our smartphones. These devices “are now such a pervasive and insistent part of daily life that the proverbial visitor from Mars might conclude they were an important feature of human anatomy,” as Chief Justice John Roberts observed in his written opinion.
The Chief Justice probably wasn’t making a metaphysical point—but the philosophers Andy Clark and David Chalmers were when they argued in “The Extended Mind” (1998) that technology is actually part of us. According to traditional cognitive science, “thinking” is a process of symbol manipulation or neural computation, which gets carried out by the brain. Clark and Chalmers broadly accept this computational theory of mind, but claim that tools can become seamlessly integrated into how we think. Objects such as smartphones or notepads are often just as functionally essential to our cognition as the synapses firing in our heads. They augment and extend our minds by increasing our cognitive power and freeing up internal resources.
If accepted, the extended mind thesis threatens widespread cultural assumptions about the inviolate nature of thought, which sits at the heart of most legal and social norms. As the US Supreme Court declared in 1942: “freedom to think is absolute of its own nature; the most tyrannical government is powerless to control the inward workings of the mind.” This view has its origins in thinkers such as John Locke and René Descartes, who argued that the human soul is locked in a physical body, but that our thoughts exist in an immaterial world, inaccessible to other people. One’s inner life thus needs protecting only when it is externalized, such as through speech. Many researchers in cognitive science still cling to this Cartesian conception—only, now, the private realm of thought coincides with activity in the brain.
But today’s legal institutions are straining against this narrow concept of the mind. They are trying to come to grips with how technology is changing what it means to be human, and to devise new normative boundaries to cope with this reality. Justice Roberts might not have known about the idea of the extended mind, but it supports his wry observation that smartphones have become part of our body. If our minds now encompass our phones, we are essentially cyborgs: part-biology, part-technology. Given how our smartphones have taken over what were once functions of our brains—remembering dates, phone numbers, addresses—perhaps the data they contain should be treated on a par with the information we hold in our heads. So if the law aims to protect mental privacy, its boundaries would need to be pushed outwards to give our cyborg anatomy the same protections as our brains.
This line of reasoning leads to some potentially radical conclusions. Some philosophers have argued that when we die, our digital devices should be handled as remains: if your smartphone is a part of who you are, then perhaps it should be treated more like your corpse than your couch. Similarly, one might argue that trashing someone’s smartphone should be seen as a form of “extended” assault, equivalent to a blow to the head, rather than just destruction of property. If your memories are erased because someone attacks you with a club, a court would have no trouble characterizing the episode as a violent incident. So if someone breaks your smartphone and wipes its contents, perhaps the perpetrator should be punished as they would be if they had caused a head trauma.
The extended mind thesis also challenges the law’s role in protecting both the content and the means of thought—that is, shielding what and how we think from undue influence. Regulation bars non-consensual interference in our neurochemistry (for example, through drugs), because that meddles with the contents of our mind. But if cognition encompasses devices, then arguably they should be subject to the same prohibitions. Perhaps some of the techniques that advertisers use to hijack our attention online, to nudge our decision-making or manipulate search results, should count as intrusions on our cognitive process. Similarly, in areas where the law protects the means of thought, it might need to guarantee access to tools such as smartphones—in the same way that freedom of expression protects people’s right not only to write or speak, but also to use computers and disseminate speech over the internet.
The courts are still some way from arriving at such decisions. Besides the headline-making cases of mass shooters, there are thousands of instances each year in which police authorities try to get access to encrypted devices. Although the Fifth Amendment to the US Constitution protects individuals’ right to remain silent (and therefore not give up a passcode), judges in several states have ruled that police can forcibly use fingerprints to unlock a user’s phone. (With the new facial-recognition feature on the iPhone X, police might only need to get an unwitting user to look at her phone.) These decisions reflect the traditional concept that the rights and freedoms of an individual end at the skin.
But the concept of personal rights and freedoms that guides our legal institutions is outdated. It is built on a model of a free individual who enjoys an untouchable inner life. Now, though, our thoughts can be invaded before they have even been developed—and in a way, perhaps this is nothing new. The Nobel Prize-winning physicist Richard Feynman used to say that he thought with his notebook. Without a pen and pencil, a great deal of complex reflection and analysis would never have been possible. If the extended mind view is right, then even simple technologies such as these would merit recognition and protection as a part of the essential toolkit of the mind.This article was originally published at Aeon and has been republished under Creative Commons.
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