Tag Archives: Western
#434655 Purposeful Evolution: Creating an ...
More often than not, we fall into the trap of trying to predict and anticipate the future, forgetting that the future is up to us to envision and create. In the words of Buckminster Fuller, “We are called to be architects of the future, not its victims.”
But how, exactly, do we create a “good” future? What does such a future look like to begin with?
In Future Consciousness: The Path to Purposeful Evolution, Tom Lombardo analytically deconstructs how we can flourish in the flow of evolution and create a prosperous future for humanity. Scientifically informed, the books taps into themes that are constructive and profound, from both eastern and western philosophies.
As the executive director of the Center for Future Consciousness and an executive board member and fellow of the World Futures Studies Federation, Lombardo has dedicated his life and career to studying how we can create a “realistic, constructive, and ethical future.”
In a conversation with Singularity Hub, Lombardo discussed purposeful evolution, ethical use of technology, and the power of optimism.
Raya Bidshahri: Tell me more about the title of your book. What is future consciousness and what role does it play in what you call purposeful evolution?
Tom Lombardo: Humans have the unique capacity to purposefully evolve themselves because they possess future consciousness. Future consciousness contains all of the cognitive, motivational, and emotional aspects of the human mind that pertain to the future. It’s because we can imagine and think about the future that we can manipulate and direct our future evolution purposefully. Future consciousness empowers us to become self-responsible in our own evolutionary future. This is a jump in the process of evolution itself.
RB: In several places in the book, you discuss the importance of various eastern philosophies. What can we learn from the east that is often missing from western models?
TL: The key idea in the east that I have been intrigued by for decades is the Taoist Yin Yang, which is the idea that reality should be conceptualized as interdependent reciprocities.
In the west we think dualistically, or we attempt to think in terms of one end of the duality to the exclusion of the other, such as whole versus parts or consciousness versus physical matter. Yin Yang thinking is seeing how both sides of a “duality,” even though they appear to be opposites, are interdependent; you can’t have one without the other. You can’t have order without chaos, consciousness without the physical world, individuals without the whole, humanity without technology, and vice versa for all these complementary pairs.
RB: You talk about the importance of chaos and destruction in the trajectory of human progress. In your own words, “Creativity frequently involves destruction as a prelude to the emergence of some new reality.” Why is this an important principle for readers to keep in mind, especially in the context of today’s world?
TL: In order for there to be progress, there often has to be a disintegration of aspects of the old. Although progress and evolution involve a process of building up, growth isn’t entirely cumulative; it’s also transformative. Things fall apart and come back together again.
Throughout history, we have seen a transformation of what are the most dominant human professions or vocations. At some point, almost everybody worked in agriculture, but most of those agricultural activities were replaced by machines, and a lot of people moved over to industry. Now we’re seeing that jobs and functions are increasingly automated in industry, and humans are being pushed into vocations that involve higher cognitive and artistic skills, services, information technology, and so on.
RB: You raise valid concerns about the dark side of technological progress, especially when it’s combined with mass consumerism, materialism, and anti-intellectualism. How do we counter these destructive forces as we shape the future of humanity?
TL: We can counter such forces by always thoughtfully considering how our technologies are affecting the ongoing purposeful evolution of our conscious minds, bodies, and societies. We should ask ourselves what are the ethical values that are being served by the development of various technologies.
For example, we often hear the criticism that technologies that are driven by pure capitalism degrade human life and only benefit the few people who invented and market them. So we need to also think about what good these new technologies can serve. It’s what I mean when I talk about the “wise cyborg.” A wise cyborg is somebody who uses technology to serve wisdom, or values connected with wisdom.
RB: Creating an ideal future isn’t just about progress in technology, but also progress in morality. How we do decide what a “good” future is? What are some philosophical tools we can use to determine a code of ethics that is as objective as possible?
TL: Let’s keep in mind that ethics will always have some level of subjectivity. That being said, the way to determine a good future is to base it on the best theory of reality that we have, which is that we are evolutionary beings in an evolutionary universe and we are interdependent with everything else in that universe. Our ethics should acknowledge that we are fluid and interactive.
Hence, the “good” can’t be something static, and it can’t be something that pertains to me and not everybody else. It can’t be something that only applies to humans and ignores all other life on Earth, and it must be a mode of change rather than something stable.
RB: You present a consciousness-centered approach to creating a good future for humanity. What are some of the values we should develop in order to create a prosperous future?
TL: A sense of self-responsibility for the future is critical. This means realizing that the “good future” is something we have to take upon ourselves to create; we can’t let something or somebody else do that. We need to feel responsible both for our own futures and for the future around us.
Another one is going to be an informed and hopeful optimism about the future, because both optimism and pessimism have self-fulfilling prophecy effects. If you hope for the best, you are more likely to look deeply into your reality and increase the chance of it coming out that way. In fact, all of the positive emotions that have to do with future consciousness actually make people more intelligent and creative.
Some other important character virtues are discipline and tenacity, deep purpose, the love of learning and thinking, and creativity.
RB: Are you optimistic about the future? If so, what informs your optimism?
I justify my optimism the same way that I have seen Ray Kurzweil, Peter Diamandis, Kevin Kelly, and Steven Pinker justify theirs. If we look at the history of human civilization and even the history of nature, we see a progressive motion forward toward greater complexity and even greater intelligence. There’s lots of ups and downs, and catastrophes along the way, but the facts of nature and human history support the long-term expectation of continued evolution into the future.
You don’t have to be unrealistic to be optimistic. It’s also, psychologically, the more empowering position. That’s the position we should take if we want to maximize the chances of our individual or collective reality turning out better.
A lot of pessimists are pessimistic because they’re afraid of the future. There are lots of reasons to be afraid, but all in all, fear disempowers, whereas hope empowers.
Image Credit: Quick Shot / Shutterstock.com
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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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Posted in Human Robots