Narrow AI: Automating The Future Of Information Retrieval

With industry pundits, including Stephen Hawking, Elon Musk and others, hotly debating the dangers of artificial intelligence and Hollywood priming the public for the release of a slew of new movies — including Terminator 5 — that warn what can happen when software and hardware evolve to the point that they are capable of human feats of intelligence, it’s little wonder that the popular view of AI has become confused and convoluted.

The assumption that all AI is about systems designed to autonomously learn new tasks, adapt to changing environments and perhaps, like HAL, outwit their creators in the end, skims over the many important differences between classic AI (the one movies are made of) and its over one dozen subdisciplines.robotinfo

These AI subsets, ranging from the speech recognition and natural language understanding we know from personal assistants like Siri and Cortana, to the machine learning and deep learning capabilities core to business analytics and systems designed to make sense of big data, are — and will remain — where the action and opportunity is.

VCs need no convincing. The last few months have seen a flurry of activity and a wave of investment as startups in Silicon Valley and beyond raise substantial funding for AI approaches and innovations that emphasize the business benefits of AI and narrow AI, a technology subset focused on solving specific, reasonably well-defined problems.

It’s a stampede as many of Silicon Valley’s leading venture capital firms, including Khosla Ventures and Greylock Partners, as well as financial institutions, such as Goldman Sachs, flock to the space and invest big dollars in companies using narrow AI technologies to tackle tough business tasks like taming big data.

A prime example is Seattle-based Context Relevant, a provider of automated predictive analytics software for big data 2.0 applications. It raised $13.5 million in series B-1 funding with participation by Goldman Sachs, Bank of America Merrill Lynch, Formation 8, New York Life and Bloomberg Beta in September 2014. The round of funding came just months after it closed $21 million in a Series B round, bringing total funding for Context Relevant to $42 million.

With an estimated 170 startups in the starting gate ready to recast themselves as AI companies, or simply jump on the bandwagon, you can bet this year will see AI (in all its flavors and forms) lead the list of mega-trends. But before you dismiss this as hype, consider that the rise of AI, and specifically weak or narrow AI, is also inextricably linked with the growth of big data.

Simply put, it’s the explosive rate of information growth that creates the requirement for narrow AI. Add to that the recent avalanche of user-generated content — the nearly 300,000 tweets, 220,000 Instagram photos, 72 hours of YouTube video content and the 2.5 million pieces of content shared by Facebook users every single minute that businesses must monitor and acknowledge — and it’s clear that no organization (or human) can cope without the aid of narrow AI.

But the business and personal benefits of narrow AI go far beyond the ability to trawl through massive amounts of information and automate routine knowledge work. Some narrow AI approaches sift through the data to pull together and expose what is relevant and valuable to the individual user and their “need” state.

An early and rather primitive example of this is Apple’s Siri. I give it credit for bringing narrow AI to the mainstream. But I also side with Robert Scoble, who has repeatedly remarked that the fatal flaw in this and other personal assistant services is a lack of context.

Successful narrow AI services, to deliver value and benefit, must be aware of the user’s environment and factor this into the equation before delivering answers or advice or simply taking action.

A great sandbox for ideas and innovation is the smartphone calendar, the fiercely personal device most people regard as a digital extension of their physical “self.” The calendar and contacts is not only where people live and record their lives; it’s a living microcosm of their social graph device that grows and evolves as people and their networks do.

And so it makes sense that this space — where the calendar, contacts and context come together — is where startups are staging a new battle. The stakes are high, which is why competition is also high, as companies conduct a digital battle as fierce as Arnie and as determined as HAL.

Image Credits: Kjpargeter / Shutterstock

When Pixels Collide

Last weekend, a fascinating act in the history of humanity played out on Reddit.

For April Fool’s Day, Reddit launched a little experiment. It gave its users, who are all anonymous, a blank canvas called Place. The rules were simple. Each user could choose one pixel from 16 colors to place anywhere on the canvas. They could place as many pixels of as many colors as they wanted, but they had to wait a few minutes between placing each one.

Over the following 72 hours, what emerged was nothing short of miraculous. A collaborative artwork that shocked even its inventors.

From a single blank canvas, a couple simple rules and no plan, came this:

Each pixel you see was placed by hand. Each icon, each flag, each meme created painstakingly by millions of people who had nothing in common except an Internet connection. Somehow, someway, what happened in Reddit over those 72 hours was the birth of Art.

How did this happen?

While I followed Place closely, I cannot do justice to the story behind it in the few words here. There were countless dramas — countless ideas, and fights, and battles, and wars — that I don’t even know about. They happened in small forums and private Discord chats, with too much happening at once, all the time, to keep track of everything. And, of course, I had to sleep.

But at its core, the story of Place is an eternal story, about the three forces that humanity needs to make art, creation, and technology possible.

The Creators

First came the Creators. They were the artists to whom the blank canvas was an irresistible opportunity.

When Place was launched, with no warning, the first users started placing pixels willy-nilly, just to see what they could do. Within minutes, the first sketches appeared on Place. Crude and immature, they resembled cavemen paintings, the work of artists just stretching their wings.

Even from that humble beginning, the Creators quickly saw that the pixels held power, and lots of potential. But working alone, they could only place one pixel every 5 or 10 minutes. Making anything more meaningful would take forever — if someone didn’t mess up their work as they were doing it. To make something bigger, they would have to work together.

That’s when someone hit on the brilliant notion of a gridmap. They took a simple idea — a drawing overlaid on a grid, that showed where each of the pixels should go — and combined it with an image that resonated with the adolescent humor of Redditors. They proposed drawing Dickbutt.

The Placetions (denizens of r/place) quickly got to work. It didn’t take long — Dickbutt materialized within minutes in the lower left part of the canvas. The Place had its first collaborative Art.

But Creators didn’t stop there. They added more appendages to the creature, they added colors, and then they attempted to metamorphize their creation into Dickbutterfly. Behind its silliness was the hint of a creative tsunami about to come.

But it didn’t happen all at once. Creators started to get a little drunk on their power. Across the canvas from Dickbutt, a small Charmander came to life. But once the Pokemon character was brought to life, it started growing a large male member where once had been a leg. Then came two more.

This was not by design. Some Creators frantically tried to remove the offending additions, putting out calls to “purify” the art, but others kept the additions going.

Suddenly, it looked like Place would be a short-lived experiment that took the path of least surprise. Left to their own devices, Creators threatened to turn the Place into a phallic fantasy. Of course.

The problem was less one of immaturity, and more of the fundamental complexity of the creative process. What the Creators were starting to face was something that would become the defining theme of Place: too much freedom leads to chaos. Creativity needs constraint as much as it needs freedom.

When anyone could put any pixel anywhere, how does it not lead immediately to mayhem?

The Protectors

Another set of users emerged, who would soon address this very problem.

But like the primitive Creators, they weren’t yet self-aware of their purpose on the great white canvas. Instead, they began by simplifying the experiment into a single goal: world conquest.

They formed Factions around colors, that they used to take over the Place with. The Blue Corner was among the first, and by far the largest. It began in the bottom right corner and spread like a plague. Its followers self-identified with the color, claiming that its manifest destiny was to take over Place. Pixel by pixel, they started turning it into reality, in a mad land grab over the wide open space.

The Blue Corner wasn’t alone. Another group started a Red Corner on the other side of the canvas. Their users claimed a leftist political leaning. Yet another started the Green Lattice, which went for a polka-dot design with interspersing green pixels and white. They championed their superior efficiency, since they only had to color half as many pixels as the other Factions.

It wasn’t long before the Factions ran head-on into the Creators. Charmander was among the first battle sites. As the Blue Corner began to overwrite the Pokemon with blue pixels, the Creators turned from their internecine phallic wars to the bigger threat now on their doorstep.

They fought back, replacing each blue pixel with their own. But the numbers were against them. With its single-minded focus on expansion, the Blue Corner commanded a much larger army than the Creators could muster. So they did the only thing they could do. They pled for their lives.

Somehow, it struck a chord. It ignited a debate within the Blue Corner. What was their role in relation to Art? A member asked: “As our tide inevitably covers the world from edge to edge, should we show mercy to other art we come across?”

This was a question each Faction faced in turn. With all the power given to them by their expansionary zeal, what were they to do about the art that stood in their path?

They all decided to save it. One by one, each of the Factions began flowing around the artwork, rather than through them.

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This was a turning point. The mindless Factions had turned into beneficent Protectors.

Still No Happy Ending

Finally at peace with the ravenous color horde, the Creators turned back to their creations. They started making them more complex, adding one element after another.

They started using 3-pixel fonts to write text. A Star Wars prequel meme that had been sputtering along took a more defined shape, becoming one of the most prominent pieces of art in Place.

Others formed Creator collectives around common projects. Organizing in smaller subreddits that they created just for this purpose, they planned strategies and shared templates.

One of the most successful was a group that added a Windows 95-esque taskbar along the bottom, replete with Start button in the corner.

Another were a block of hearts. They started with only a few, mimicking hearts of life in old bitmap video games, like Zelda, before their collective took off with the idea. By the end they stretched across half the canvas, in a dazzling array of flags and designs.

And of course, there was Van Gogh.

But not all was well. The Protectors who they had once welcomed with relief had become tyrants dictating fashion. They decided what could and couldn’t be made. It wasn’t long before Creators started chafing under their rule.

Meanwhile, with the issue of artwork resolved, the Factions had turned their sights on each other, forcing followers to choose sides in epic battles. They had little time to pay attention to the pathetic pleas of Creators who wanted approval for ideas of new art.

The fights between the Protectors got nasty. A Twitch live-streamer exhorted his followers to attack the Blue Corner with Purple. There were battle plans. There were appeals to emotion. There were even false-flag attacks, where the followers of one color placed pixels of the opposing side inside their own, just so they could cry foul and attack in return.

But the biggest problem of all was one of the only hard rules of Place — it couldn’t grow. With the Factions engaged in a massive battle among themselves, the Creators started realizing there wasn’t space to make new Art.

Country flags had started emerging pretty much from the beginning. But as they grew and grew, they started bumping into each other.

Out in the unclaimed territory of the middle of the canvas, with no Protector to mediate between them, Germany and France engaged in an epic battle that sent shockwaves through Place.

Suddenly, a world that had been saved from its primitive beginnings looked like it would succumb to war. There were frantic attempts at diplomacy between all sides. Leaders form the Protectors and the Creators and met each other in chat rooms, but mostly they just pointed fingers at each other.

What Place needed was a villain that everyone could agree upon.

The Destroyers

Enter the Void.

They started on 4chan, Reddit’s mangled, red-headed step-brother. It wasn’t long before the pranksters on the Internet’s most notorious imageboard took notice of what was happening on Reddit. It was too good an opportunity for them to pass up. And so they turned to the color closest to their heart — black. They became the Void.

Like a tear spreading slowly across the canvas, black pixels started emerging near the center of Place.

At first, other Factions tried to form an alliance with them, foolishly assuming that diplomacy would work. But they failed, because the Void was different.

The Void was no Protector. Unlike the Factions, it professed no loyalty to Art. Followers of the Void championed its destructive egalitarianism, chanting only that “the Void will consume.” They took no sides. They only wanted to paint the world black.

This was exactly the kick in the ass that Place needed. While Creators had been busy fighting each other, and Protectors still measured themselves by the extent of canvas they controlled, a new threat — a real threat — had emerged under their nose.

Against the face of extinction, they banded together to fight the Void and save their Art.

But the Void was not easy to vanquish, because the Place needed it. It needed destruction so that new Art, better Art, would emerge from the ashes. Without the Void, there was no force to clean up the old Art.

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And so, by design or not, the Void gave birth to some of the largest Art in the Place.

Take, for example, the part of the canvas right in the center. Almost since the very beginning, it had been one of the most contested areas on the map. Time and again, Creators had tried to claim the territory for their own. First with icons. Then with a coordinated attempt at a prism.

But the Void ate them all. Art after art succumbed to its ravenous appetite for chaos.

And yet, this was exactly what Place needed. By destroying art, the Void forced Placetions to come up with something better. They knew they could overcome the sourge. They just needed an idea good enough, with enough momentum and enough followers, to beat the black monster.

That idea was the American flag.

In the last day of Place, a most unlikely coalition came together to beat back the Void, once and for all.

They were people who otherwise tear each other apart every day — Trump supporters and Trump resisters, Democrats and Republicans, Americans and Europeans. And here they were coming together to build something together, on a little corner of the Internet, proving in an age when such cooperation seems impossible, that they still can.

The Ancients Were Right

Reddit’s experiment ended soon after. There are so many more stories hidden deep in the dozens of subreddits and chat rooms that cropped up around Place. For every piece of artwork I mentioned, there are hundreds more on the final canvas. Perhaps the most amazing thing is that on an anonymous, no-holds-barred space on the Internet, there were no hate or racist symbols at all on the final canvas.

It is a beautiful circle of art, life and death. And it isn’t the first time in our history that we’ve seen it.

Many millenia before Place, when humanity itself was still in its infancy (the real one, not the one on Reddit), Hindu philosophers theorized that the Heavens were made of three competing, but necessary, deities that they called the Trimurti. They were Brahma the Creator, Vishnu the Protector, and Shiva the Destroyer.

Without any single one of them, the Universe would not work. For there to be light, there needed to be dark. For there to be life, there needed to be death. For there to be creation and art, there needed to be destruction.

Over the last few days, their vision proved prescient. In the most uncanny way, Reddit proved that human creation requires all three.

The Final Canvas

Boston Dynamics Officially Unveils Its Wheel-Leg Robot: “Best of Both Worlds”

When Boston Dynamics introduced its massively upgraded Atlas last year, we said the robot could “do things we’ve never seen other robots doing before, making it one of the most advanced humanoids in exi stence.” But now, after seeing the video that Boston Dynamics just released to officially unveil its newest creation, Handle, a sort of Atlas on wheels, we’ll just say it again: Handle can do things we’ve never seen other robots doing before, making it one of the most advanced humanoids in existence.

“Wheels are a great invention,” Marc Raibert, founder and president of Boston Dynamics, tells IEEE Spectrum, adding that Handle, which uses a wheel-leg hybrid system, “can have the best of both worlds.”

You probably saw footage of Handle a few weeks ago, when Raibert gave a talk in California and someone filmed the screen with a phone and posted it on YouTube. When we asked Boston Dynamics about the leaked video, the company said it wasn’t ready to discuss the new robot and suggested that we wait. Now, finally, we have more details about Handle, and Raibert even answered a few of our questions on why and how they built the robot.

Boston Dynamics says Handle is an “R&D robot,” so although it can perform a number of useful tasks, like carrying 45-kilogram crates, it probably won’t be commercially available anytime soon. Handle has a range of 24 kilometers on a battery charge, which is much more than what it would be able to cover with traditional bipedal robot locomotion. Using wheels also helps reduce the number of degrees of freedom, and the company says Handle is “significantly less complex” than some of the quadruped and biped robots that preceded it.

Indeed, this kind of multi-modal locomotion is highly effective. In a much more limited capacity, it’s what helped DRC-HUBO win the DARPA Robotics Challenge Finals: Being able to use both wheels and legs helps your robot efficiently adapt to different situations, trading the ability to traverse rough terrain for speed (and stability, which legged robots can have trouble with) and back again whenever necessary, just like you would as a human with a pair of rollerblades.

Teaching bipeds to move like this seems like an idea with a lot of potential, especially if Boston Dynamics can develop a generalized controller that allows robots with regular legs to take advantage of wheels—imagine the next generation of Atlas being equipped with an integrated pair of roller shoes like Heelys. We’re not sure if that’s part of the company’s plans, but here’s what Raibert told us about Handle and his team’s experience using wheels after famously building so many legged robots.

  1. IEEE Spectrum: How did the idea to build a wheeled robot come about, and how long did it take to build it?

    Marc Raibert: We’ve had the idea for building a robot that combined legs with wheels for a long time, but never had the opportunity to explore it. We started last summer and had something working in about six months. We accelerated the project by using components for power, arms, and upper body that were originally designed for Atlas.

    Were you able to reuse or adapt any of the bioinspired control strategies you’ve used so successfully in legged robots?

    Much of the control used in Handle leverages our team’s experience with the quadruped and biped robots. The software is not exactly the same, but the balance and dynamic control principles have a lot in common and share the same physics-based roots.

    Is Handle’s upper body an Atlas torso, or a completely new design? And is the robot all electric or does it use hydraulics?

    Yes, it uses Atlas’ torso and a slightly modified version of Atlas’ arms. [For power we use] electric power (batteries), but both electric and hydraulic actuation.

    How do you and your team feel about working with wheels after working on legged designs for so long?

    Wheels are a great invention. But wheels work best on flat surfaces and legs can go anywhere. By combining wheels and legs, Handle can have the best of both worlds.

Review: A New Exhibition Shows That Humanoid Robots Have Been Around Longer Than You Think

When science fiction critics Eric S. Rabkin and Robert E. Scholes argued in the 1970s that “no one would go through the trouble of building and maintaining a robot to hand wash clothes or pick up the telephone receiver,” they were apparently unaware that Japanese researchers had already made a long-term commitment to develop humanoid robots that could do exactly that. The goal was to care for the elderly in the 21st century. To this end, throughout the 1980s and 1990s, industrial giants Honda, Mitsubishi, and Toyota, as well as university research labs around the world, began demonstrating humanoid prototypes. More recently, the desire to operate in disaster sites like Fukushima has motivated even more researchers to explore humanoid designs.

But the dream of humanoid robots goes back much further than the 1970s. The Science Museum, in London, took a shot at plumbing this history with its recent Robots exhibition. (The exhibition closed in September, but it will be touring locations throughout the United Kingdom until 2019.)

The exhibition is a visually dazzling display of human creativity and mechanical engineering from the 1500s to today. Visitors are welcomed by a blinking, stretching android baby, perhaps representing the infancy of automation displayed in the first section, dubbed “Marvel.” A video clip of an early Spanish automaton monk, some exquisite clocks, and an 18th-century silver swan automaton represent a period when, the curators argue, “likening the human body to clockwork…led to the creation of the earliest robots.” Well, maybe.

Ancient Egyptian shabtis, automated by magic spells rather than motors, were actually the first expression of the human desire to re-create ourselves as machines, as the exhibit pamphlet puts it. Expecting to have to labor in the fields of the afterlife, people buried mummiform figurines with the deceased, expecting the figurines to do all the hard work. Still, given the challenges of mounting an exhibit like Robots, the result is impressive. The “Obey” section includes two beautiful examples of craftsmanship inspired by the industrial revolution: a finishing lathe from the mid-1700s, which mimicked the handiwork of humans by producing geometrical designs for watchcases and other objects, and an early 20th-century example of a Northrop automatic fabric loom.

A wall of toys, models, and magazines, and a stage of full-size humanoids from science fiction films, including Maria from Metropolis and an endoskeleton from Terminator 2: Judgment Day, share the “Dream” section with early novelty and exhibition robots. Among them is a replica of Eric, the electrically powered mechanical man that helped open the Model Engineering Exhibition in London (1928), and Cygan, built in 1957, which ended its performing career as a mascot for a car dealership in Sussex, England. Hobbyist-built humanoids welcome visitors to the “Build” area and show off synthetic speech and sensors that help them track human movements.

The “Imagine” section represents the combined recent achievements of researchers in improving the relationship between robots and humans. Unlike earlier automata that were essentially wind-up toys with preprogrammed motions, robots of the 21st century are learning to sense human expression and movement, and to respond in useful ways. Among those on view here are RoboThespian, the first full-size humanoid to be commercialized (IEEE Spectrum covered its theatrical debut in New York City in 2015); Hiroshi Ishiguro’s Kodomoroid, a female humanoid robot “employed” as a television newsreader; Rethink Robotics’ Baxter, a dual-armed industrial robot with a virtual face designed to fit into a human factory workspace (and another Spectrum favorite); the Shadow Dexterous Hand, which replicates the movement of a human hand; and several childlike humanoids designed to help children with learning and social deficits. Ironically, these child-friendly robots are typically either switched off or were unable to sense the children waving and yelling through the exhibit glass. Softbank Robotics Corp.’s NAO humanoid, whose advanced sensing and communication abilities make it a popular platform for the annual RoboCup, stood motionless.

In his 1965 preface to the science fiction collection The Pseudo-People: Androids in Science Fiction, William F. Nolan called humanoid robots an inevitable development: “The android will duplicate the human form as nearly as possible; synthetic flesh will cover a body and brain made up of superbly designed electronic components.” He would have appreciated this exhibit.

This article appears in the October 2017 print issue as “500 Years of Humanoid Robots.”