Tag Archives: Visual
#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.
Image Credit: Darius Bashar on Unsplash Continue reading
#437293 These Scientists Just Completed a 3D ...
Human brain maps are a dime a dozen these days. Maps that detail neurons in a certain region. Maps that draw out functional connections between those cells. Maps that dive deeper into gene expression. Or even meta-maps that combine all of the above.
But have you ever wondered: how well do those maps represent my brain? After all, no two brains are alike. And if we’re ever going to reverse-engineer the brain as a computer simulation—as Europe’s Human Brain Project is trying to do—shouldn’t we ask whose brain they’re hoping to simulate?
Enter a new kind of map: the Julich-Brain, a probabilistic map of human brains that accounts for individual differences using a computational framework. Rather than generating a static PDF of a brain map, the Julich-Brain atlas is also dynamic, in that it continuously changes to incorporate more recent brain mapping results. So far, the map has data from over 24,000 thinly sliced sections from 23 postmortem brains covering most years of adulthood at the cellular level. But the atlas can also continuously adapt to progress in mapping technologies to aid brain modeling and simulation, and link to other atlases and alternatives.
In other words, rather than “just another” human brain map, the Julich-Brain atlas is its own neuromapping API—one that could unite previous brain-mapping efforts with more modern methods.
“It is exciting to see how far the combination of brain research and digital technologies has progressed,” said Dr. Katrin Amunts of the Institute of Neuroscience and Medicine at Research Centre Jülich in Germany, who spearheaded the study.
The Old Dogma
The Julich-Brain atlas embraces traditional brain-mapping while also yanking the field into the 21st century.
First, the new atlas includes the brain’s cytoarchitecture, or how brain cells are organized. As brain maps go, these kinds of maps are the oldest and most fundamental. Rather than exploring how neurons talk to each other functionally—which is all the rage these days with connectome maps—cytoarchitecture maps draw out the physical arrangement of neurons.
Like a census, these maps literally capture how neurons are distributed in the brain, what they look like, and how they layer within and between different brain regions.
Because neurons aren’t packed together the same way between different brain regions, this provides a way to parse the brain into areas that can be further studied. When we say the brain’s “memory center,” the hippocampus, or the emotion center, the “amygdala,” these distinctions are based on cytoarchitectural maps.
Some may call this type of mapping “boring.” But cytoarchitecture maps form the very basis of any sort of neuroscience understanding. Like hand-drawn maps from early explorers sailing to the western hemisphere, these maps provide the brain’s geographical patterns from which we try to decipher functional connections. If brain regions are cities, then cytoarchitecture maps attempt to show trading or other “functional” activities that occur in the interlinking highways.
You might’ve heard of the most common cytoarchitecture map used today: the Brodmann map from 1909 (yup, that old), which divided the brain into classical regions based on the cells’ morphology and location. The map, while impactful, wasn’t able to account for brain differences between people. More recent brain-mapping technologies have allowed us to dig deeper into neuronal differences and divide the brain into more regions—180 areas in the cortex alone, compared with 43 in the original Brodmann map.
The new study took inspiration from that age-old map and transformed it into a digital ecosystem.
A Living Atlas
Work began on the Julich-Brain atlas in the mid-1990s, with a little help from the crowd.
The preparation of human tissue and its microstructural mapping, analysis, and data processing is incredibly labor-intensive, the authors lamented, making it impossible to do for the whole brain at high resolution in just one lab. To build their “Google Earth” for the brain, the team hooked up with EBRAINS, a shared computing platform set up by the Human Brain Project to promote collaboration between neuroscience labs in the EU.
First, the team acquired MRI scans of 23 postmortem brains, sliced the brains into wafer-thin sections, and scanned and digitized them. They corrected distortions from the chopping using data from the MRI scans and then lined up neurons in consecutive sections—picture putting together a 3D puzzle—to reconstruct the whole brain. Overall, the team had to analyze 24,000 brain sections, which prompted them to build a computational management system for individual brain sections—a win, because they could now track individual donor brains too.
Their method was quite clever. They first mapped their results to a brain template from a single person, called the MNI-Colin27 template. Because the reference brain was extremely detailed, this allowed the team to better figure out the location of brain cells and regions in a particular anatomical space.
However, MNI-Colin27’s brain isn’t your or my brain—or any of the brains the team analyzed. To dilute any of Colin’s potential brain quirks, the team also mapped their dataset onto an “average brain,” dubbed the ICBM2009c (catchy, I know).
This step allowed the team to “standardize” their results with everything else from the Human Connectome Project and the UK Biobank, kind of like adding their Google Maps layer to the existing map. To highlight individual brain differences, the team overlaid their dataset on existing ones, and looked for differences in the cytoarchitecture.
The microscopic architecture of neurons change between two areas (dotted line), forming the basis of different identifiable brain regions. To account for individual differences, the team also calculated a probability map (right hemisphere). Image credit: Forschungszentrum Juelich / Katrin Amunts
Based on structure alone, the brains were both remarkably different and shockingly similar at the same time. For example, the cortexes—the outermost layer of the brain—were physically different across donor brains of different age and sex. The region especially divergent between people was Broca’s region, which is traditionally linked to speech production. In contrast, parts of the visual cortex were almost identical between the brains.
The Brain-Mapping Future
Rather than relying on the brain’s visible “landmarks,” which can still differ between people, the probabilistic map is far more precise, the authors said.
What’s more, the map could also pool yet unmapped regions in the cortex—about 30 percent or so—into “gap maps,” providing neuroscientists with a better idea of what still needs to be understood.
“New maps are continuously replacing gap maps with progress in mapping while the process is captured and documented … Consequently, the atlas is not static but rather represents a ‘living map,’” the authors said.
Thanks to its structurally-sound architecture down to individual cells, the atlas can contribute to brain modeling and simulation down the line—especially for personalized brain models for neurological disorders such as seizures. Researchers can also use the framework for other species, and they can even incorporate new data-crunching processors into the workflow, such as mapping brain regions using artificial intelligence.
Fundamentally, the goal is to build shared resources to better understand the brain. “[These atlases] help us—and more and more researchers worldwide—to better understand the complex organization of the brain and to jointly uncover how things are connected,” the authors said.
Image credit: Richard Watts, PhD, University of Vermont and Fair Neuroimaging Lab, Oregon Health and Science University Continue reading
#437265 This Russian Firm’s Star Designer Is ...
Imagine discovering a new artist or designer—whether visual art, fashion, music, or even writing—and becoming a big fan of her work. You follow her on social media, eagerly anticipate new releases, and chat about her talent with your friends. It’s not long before you want to know more about this creative, inspiring person, so you start doing some research. It’s strange, but there doesn’t seem to be any information about the artist’s past online; you can’t find out where she went to school or who her mentors were.
After some more digging, you find out something totally unexpected: your beloved artist is actually not a person at all—she’s an AI.
Would you be amused? Annoyed? Baffled? Impressed? Probably some combination of all these. If you wanted to ask someone who’s had this experience, you could talk to clients of the biggest multidisciplinary design company in Russia, Art.Lebedev Studio (I know, the period confused me at first too). The studio passed off an AI designer as human for more than a year, and no one caught on.
They gave the AI a human-sounding name—Nikolay Ironov—and it participated in more than 20 different projects that included designing brand logos and building brand identities. According to the studio’s website, several of the logos the AI made attracted “considerable public interest, media attention, and discussion in online communities” due to their unique style.
So how did an AI learn to create such buzz-worthy designs? It was trained using hand-drawn vector images each associated with one or more themes. To start a new design, someone enters a few words describing the client, such as what kind of goods or services they offer. The AI uses those words to find associated images and generate various starter designs, which then go through another series of algorithms that “touch them up.” A human designer then selects the best options to present to the client.
“These systems combined together provide users with the experience of instantly converting a client’s text brief into a corporate identity design pack archive. Within seconds,” said Sergey Kulinkovich, the studio’s art director. He added that clients liked Nikolay Ironov’s work before finding out he was an AI (and liked the media attention their brands got after Ironov’s identity was revealed even more).
Ironov joins a growing group of AI “artists” that are starting to raise questions about the nature of art and creativity. Where do creative ideas come from? What makes a work of art truly great? And when more than one person is involved in making art, who should own the copyright?
Art.Lebedev is far from the first design studio to employ artificial intelligence; Mailchimp is using AI to let businesses design multi-channel marketing campaigns without human designers, and Adobe is marketing its new Sensei product as an AI design assistant.
While art made by algorithms can be unique and impressive, though, there’s one caveat that’s important to keep in mind when we worry about human creativity being rendered obsolete. Here’s the thing: AIs still depend on people to not only program them, but feed them a set of training data on which their intelligence and output are based. Depending on the size and nature of an AI’s input data, its output will look pretty different from that of a similar system, and a big part of the difference will be due to the people that created and trained the AIs.
Admittedly, Nikolay Ironov does outshine his human counterparts in a handful of ways; as the studio’s website points out, he can handle real commercial tasks effectively, he doesn’t sleep, get sick, or have “crippling creative blocks,” and he can complete tasks in a matter of seconds.
Given these superhuman capabilities, then, why even keep human designers on staff? As detailed above, it will be a while before creative firms really need to consider this question on a large scale; for now, it still takes a hard-working creative human to make a fast-producing creative AI.
Image Credit: Art.Lebedev Continue reading
#437236 Why We Need Mass Automation to ...
The scale of goods moving around the planet at any moment is staggering. Raw materials are dug up in one country, spun into parts and pieces in another, and assembled into products in a third. Crossing oceans and continents, they find their way to a local store or direct to your door.
Magically, a roll of toilet paper, power tool, or tube of toothpaste is there just when you need it.
Even more staggering is that this whole system, the global supply chain, works so well that it’s effectively invisible most of the time. Until now, that is. The pandemic has thrown a floodlight on the inner workings of this modern wonder—and it’s exposed massive vulnerabilities.
The e-commerce supply chain is an instructive example. As the world went into lockdown, and everything non-essential went online, demand for digital fulfillment skyrocketed.
Even under “normal” conditions, most e-commerce warehouses were struggling to meet demand. But Covid-19 has further strained the ability to cope with shifting supply, an unprecedented tidal wave of orders, and labor shortages. Local stores are running out of key products. Online grocers and e-commerce platforms are suspending some home deliveries, restricting online purchases of certain items, and limiting new customers. The whole system is being severely tested.
Why? Despite an abundance of 21st century technology, we’re stuck in the 20th century.
Today’s supply chain consists of fleets of ships, trucks, warehouses, and importantly, people scattered around the world. While there are some notable instances of advanced automation, the overwhelming majority of work is still manual, resembling a sort of human-powered bucket brigade, with people wandering around warehouses or standing alongside conveyor belts. Each package of diapers or bottle of detergent ordered by an online customer might be touched dozens of times by warehouse workers before finding its way into a box delivered to a home.
The pandemic has proven the critical need for innovation due to increased demand, concerns about the health and safety of workers, and traceability and safety of products and services.
At the 2020 World Economic Forum, there was much discussion about the ongoing societal transformation in which humans and machines work in tandem, automating and augmenting the way we get things done. At the time, pre-pandemic, debate trended toward skepticism and fear of job losses, with some even questioning the ethics and need for these technologies.
Now, we see things differently. To make the global supply chain more resilient to shocks like Covid-19, we must look to technology.
Perfecting the Global Supply Chain: The Massive ‘Matter Router’
Technology has faced and overcome similar challenges in the past.
World War II, for example, drove innovation in techniques for rapid production of many products on a large scale, including penicillin. We went from the availability of one dose of the drug in 1941, to four million sterile packages of the drug every month four years later.
Similarly, today’s companies, big and small, are looking to automation, robotics, and AI to meet the pandemic head on. These technologies are crucial to scaling the infrastructure that will fulfill most of the world’s e-commerce and food distribution needs.
You can think of this new infrastructure as a rapidly evolving “matter router” that will employ increasingly complex robotic systems to move products more freely and efficiently.
Robots powered by specialized AI software, for example, are already learning to adapt to changes in the environment, using the most recent advances in industrial robotics and machine learning. When customers suddenly need to order dramatically new items, these robots don’t need to stop or be reprogrammed. They can perform new tasks by learning from experience using low-cost camera systems and deep learning for visual and image recognition.
These more flexible robots can work around the clock, helping make facilities less sensitive to sudden changes in workforce and customer demand and strengthening the supply chain.
Today, e-commerce is roughly 12% of retail sales in the US and is expected to rise well beyond 25% within the decade, fueled by changes in buying habits. However, analysts have begun to consider whether the current crisis might cause permanent jumps in those numbers, as it has in the past (for instance with the SARS epidemic in China in 2003). Whatever happens, the larger supply chain will benefit from greater, more flexible automation, especially during global crises.
We must create what Hamza Mudassire of the University of Cambridge calls a “resilient ecosystem that links multiple buyers with multiple vendors, across a mesh of supply chains.” This ecosystem must be backed by robust, efficient, and scalable automation that uses robotics, autonomous vehicles, and the Internet of Things to help track the flow of goods through the supply chain.
The good news? We can accomplish this with technologies we have today.
Image credit: Guillaume Bolduc / Unsplash Continue reading
#436426 Video Friday: This Robot Refuses to Fall ...
Video Friday is your weekly selection of awesome robotics videos, collected by your Automaton bloggers. We’ll also be posting a weekly calendar of upcoming robotics events for the next few months; here’s what we have so far (send us your events!):
Robotic Arena – January 25, 2020 – Wrocław, Poland
DARPA SubT Urban Circuit – February 18-27, 2020 – Olympia, Wash., USA
Let us know if you have suggestions for next week, and enjoy today’s videos.
In case you somehow missed the massive Skydio 2 review we posted earlier this week, the first batches of the drone are now shipping. Each drone gets a lot of attention before it goes out the door, and here’s a behind-the-scenes clip of the process.
[ Skydio ]
Sphero RVR is one of the 15 robots on our robot gift guide this year. Here’s a new video Sphero just released showing some of the things you can do with the robot.
[ RVR ]
NimbRo-OP2 has some impressive recovery skills from the obligatory research-motivated robot abuse.
[ NimbRo ]
Teams seeking to qualify for the Virtual Urban Circuit of the Subterranean Challenge can access practice worlds to test their approaches prior to submitting solutions for the competition. This video previews three of the practice environments.
[ DARPA SubT ]
Stretchable skin-like robots that can be rolled up and put in your pocket have been developed by a University of Bristol team using a new way of embedding artificial muscles and electrical adhesion into soft materials.
[ Bristol ]
Happy Holidays from ABB!
Helping New York celebrate the festive season, twelve ABB robots are interacting with visitors to Bloomingdale’s iconic holiday celebration at their 59th Street flagship store. ABB’s robots are the main attraction in three of Bloomingdale’s twelve-holiday window displays at Lexington and Third Avenue, as ABB demonstrates the potential for its robotics and automation technology to revolutionize visual merchandising and make the retail experience more dynamic and whimsical.
[ ABB ]
We introduce pelican eel–inspired dual-morphing architectures that embody quasi-sequential behaviors of origami unfolding and skin stretching in response to fluid pressure. In the proposed system, fluid paths were enclosed and guided by a set of entirely stretchable origami units that imitate the morphing principle of the pelican eel’s stretchable and foldable frames. This geometric and elastomeric design of fluid networks, in which fluid pressure acts in the direction that the whole body deploys first, resulted in a quasi-sequential dual-morphing response. To verify the effectiveness of our design rule, we built an artificial creature mimicking a pelican eel and reproduced biomimetic dual-morphing behavior.
And here’s a real pelican eel:
[ Science Robotics ]
Delft Dynamics’ updated anti-drone system involves a tether, mid-air net gun, and even a parachute.
[ Delft Dynamics ]
Teleoperation is a great way of helping robots with complex tasks, especially if you can do it through motion capture. But what if you’re teleoperating a non-anthropomorphic robot? Columbia’s ROAM Lab is working on it.
[ Paper ] via [ ROAM Lab ]
I don’t know how I missed this video last year because it’s got a steely robot hand squeezing a cute lil’ chick.
[ MotionLib ] via [ RobotStart ]
In this video we present results of a trajectory generation method for autonomous overtaking of unexpected obstacles in a dynamic urban environment. In these settings, blind spots can arise from perception limitations. For example when overtaking unexpected objects on the vehicle’s ego lane on a two-way street. In this case, a human driver would first make sure that the opposite lane is free and that there is enough room to successfully execute the maneuver, and then it would cut into the opposite lane in order to execute the maneuver successfully. We consider the practical problem of autonomous overtaking when the coverage of the perception system is impaired due to occlusion.
[ Paper ]
New weirdness from Toio!
[ Toio ]
Palo Alto City Library won a technology innovation award! Watch to see how Senior Librarian Dan Lou is using Misty to enhance their technology programs to inspire and educate customers.
[ Misty Robotics ]
We consider the problem of reorienting a rigid object with arbitrary known shape on a table using a two-finger pinch gripper. Reorienting problem is challenging because of its non-smoothness and high dimensionality. In this work, we focus on solving reorienting using pivoting, in which we allow the grasped object to rotate between fingers. Pivoting decouples the gripper rotation from the object motion, making it possible to reorient an object under strict robot workspace constraints.
[ CMU ]
How can a mobile robot be a good pedestrian without bumping into you on the sidewalk? It must be hard for a robot to navigate in crowded environments since the flow of traffic follows implied social rules. But researchers from MIT developed an algorithm that teaches mobile robots to maneuver in crowds of people, respecting their natural behaviour.
[ Roboy Research Reviews ]
What happens when humans and robots make art together? In this awe-inspiring talk, artist Sougwen Chung shows how she “taught” her artistic style to a machine — and shares the results of their collaboration after making an unexpected discovery: robots make mistakes, too. “Part of the beauty of human and machine systems is their inherent, shared fallibility,” she says.
[ TED ]
Last month at the Cooper Union in New York City, IEEE TechEthics hosted a public panel session on the facts and misperceptions of autonomous vehicles, part of the IEEE TechEthics Conversations Series. The speakers were: Jason Borenstein from Georgia Tech; Missy Cummings from Duke University; Jack Pokrzywa from SAE; and Heather M. Roff from Johns Hopkins Applied Physics Laboratory. The panel was moderated by Mark A. Vasquez, program manager for IEEE TechEthics.
[ IEEE TechEthics ]
Two videos this week from Lex Fridman’s AI podcast: Noam Chomsky, and Whitney Cummings.
[ AI Podcast ]
This week’s CMU RI Seminar comes from Jeff Clune at the University of Wyoming, on “Improving Robot and Deep Reinforcement Learning via Quality Diversity and Open-Ended Algorithms.”
Quality Diversity (QD) algorithms are those that seek to produce a diverse set of high-performing solutions to problems. I will describe them and a number of their positive attributes. I will then summarize our Nature paper on how they, when combined with Bayesian Optimization, produce a learning algorithm that enables robots, after being damaged, to adapt in 1-2 minutes in order to continue performing their mission, yielding state-of-the-art robot damage recovery. I will next describe our QD-based Go-Explore algorithm, which dramatically improves the ability of deep reinforcement learning algorithms to solve previously unsolvable problems wherein reward signals are sparse, meaning that intelligent exploration is required. Go-Explore solves Montezuma’s Revenge, considered by many to be a major AI research challenge. Finally, I will motivate research into open-ended algorithms, which seek to innovate endlessly, and introduce our POET algorithm, which generates its own training challenges while learning to solve them, automatically creating a curricula for robots to learn an expanding set of diverse skills. POET creates and solves challenges that are unsolvable with traditional deep reinforcement learning techniques.
[ CMU RI ] Continue reading