Archive for the 'Technology' Category
June 22nd, 2015 by Wil
I’ve mentioned that I’ve been drawing a lot of comic book style art lately. And I’m always talking about the notion that computers and robots will soon be taking away a lot of people’s jobs. Today I woke up and found myself thinking about how software could allow non artists to render decent looking comic book art.
We all know computers are great at numbers and calculations. So the question is, can we turn a scene in a comic book world into numbers and calculations? That is exactly what happens with the kind of 3D animation so prevalent in movies (and there we have the added complication of motion.) Basically, any object—a box, a cat, a person, a spaceship—can be reduces to a series of lines and curves and these can be rendered as numbers. So I can envision a software where you basically say, “show me an office space (basically the interior of a box) and put inside it a desk and a guy in a business suit.” Then you could rotate the scene around or move the guy, or move his arms at the joints (like and action figure etc.) From there the software could apply different styles to the way the lines are drawn (using a thin or thick pen for example, or using different kinds of shading techniques.)
This would go a long way towards allowing dilettantes to produced decent looking comic books. But would it also put real comic book artists out of work? I dunno… probably. At least it would make the job market tougher. I suspect what you would start to see would be more of a hybrid approach where some of the art is produced by software and some by an artists.
I’ve also mentioned the idea of software writing stories. I wonder if we will see in my lifetime the first comic book fully created by computer. At point we will know computers are our masters.
June 19th, 2015 by Wil
In the field of ethics, you often hear discussion of “The Trolley Problem“, a fictional scenario where a person is forced to chose the best outcome from a situation where at least one person is guaranteed to die. I stumbled across this web article which makes the case that the self driving Google car could bring the trolley problem to reality. If you car is headed into a crash should it sacrifice you to save bystanders?
How will a Google car, or an ultra-safe Volvo, be programmed to handle a no-win situation — a blown tire, perhaps — where it must choose between swerving into oncoming traffic or steering directly into a retaining wall? The computers will certainly be fast enough to make a reasoned judgment within milliseconds. They would have time to scan the cars ahead and identify the one most likely to survive a collision, for example, or the one with the most other humans inside. But should they be programmed to make the decision that is best for their owners? Or the choice that does the least harm — even if that means choosing to slam into a retaining wall to avoid hitting an oncoming school bus? Who will make that call, and how will they decide?
I would offer an additional moral question. If my car decides to sacrifice me can it be programmed to quickly and painlessly kill me as opposed to leaving me to the destruction of a car accident?
May 28th, 2015 by Wil
A while back I read some blog post by a guy describing a friend of his who still bought CDs. The guy did this because he believed that the act of curation was part of what made the music special for him. It wasn’t enough to have a vast collection of music at his fingertips (as anyone who has access to the web does), he wanted to have a relationship of sorts with the music. He wanted o purchase the CD, to eagerly read its jacket, to place the CD on and listen to the music, determining which were his favorites etc. I get the point though I think that kind of fetishization is a little fruity.
But there is something that I think has occurs when you have the massive digitization of music albums: each individual album becomes less valuable. Not just in a financial sense, but in a harder to define personal sense. I can remember as a kid that certain albums had a strong cache. “Sgt. Peppers” would be one, as would Pink Floyd’s “The Wall.” These albums were almost legendary in certain circles. I’m sure fans of hip hop or heavy metal or various other music genres can point to similar examples of their own. And additionally, when I was a kid, I would find certain unknown albums that I came to love and they became personal favorites of mine. (A bizarre album by the group Zodiac Mindwarp and the Love Machine was one.) This music had great personal value to me.
And I wonder of that sort of thing is disappearing. Because music can be pertained with so little effort is music losing not just financial but personal value? The guy buying CDs above is sort of forcing himself to maintain the previous value of music (personal and financial), even if the rest of the world has moved on.
This is counter to the consumer oriented forces of “more is better” who argue that the cheapening of things can only be good for people. And I suspect they’re basically right in terms of food and other basic needs. But not so much in regards to objects of personal fetishization. The valuation of such things has always been an ethereal process—exactly why a culture values one album of music over another is unclear (especially since music really has no purely utilitarian value the way food or shelter does.)
It’s a mystery.
May 20th, 2015 by Wil
Digital music is a topic I occasionally discuss around here. And writing about the topic abounds on the web, often tackling the issue of how music producers can earn a living making music while music consumers can enjoy music cheaply (because otherwise they will resort to piracy.) Spotify is often portrayed as a hero or villain as are a few other similar streaming music services that pay little money to musicians.
I feel that unless the writing on the topic mentions Youtube it’s missing the elephant in the room. When I want to hear a piece of music my first choice is always to see whether it’s on youtube. I’m seldom disappointed.
Much of this music is obviously pirated. (There’s lots of pirated moves as well.) Some guy uploads his favorite music to youtube and it’s there for all to hear. Additionally, he can show advertising with the video and split the revenue with Youtube (owned by Google.)
I’ve longed wondered whether something similar could happen with books as the ebook format (the book equivalent of an mp3) becomes more popular. According to the GoodEReader site, it’s happening.
Google Play Books is quickly becoming a den of iniquity and a veritable cesspool of piracy. It is ridiculously easy for someone to start a publishing company and upload thousands of pirated books and piggyback on the success of established authors. Google won’t do anything about the pirated copies and has even told authors inquiring about their illegitimate books that they have to contact the publisher. It is a vicious cycle and so far Google Play Books is firmly endorsing piracy.
If you casually browse the Google Play Books section, it is fairly easy to find all of the modern bestsellers, at a fraction of the price. This includes pirated copies of the entire 50 Shades trilogy by E.L. James, all seven Harry Potter books, or even George RR Martin’s A Song of Ice and Fire series – all bundled together and sold alongside legitimate content offerings.
Google made the following statement to Good e-Reader when asked about the rampant piracy issue on Play. “Google Play takes copyright seriously. We take swift action when we receive a DMCA complaint, which the copyright holder can complete here. Additionally, we’re constantly improving our systems to provide a better experience.”
It honestly does not seem like Google is taking piracy seriously at all. They do not have cover art algorithms that cross-reference newly published content with an original author. Not does it employ any methods to scan for ISBN numbers and reference it against the Open Library or any other mainstream database.
UPDATE: Another blogger presses Google on the issue. The results?
When I asked what Google was doing to fight piracy in Google Play Books, they were unable to name a single activity. When I asked what it would take to get a commercial ebook pirate banned from Google Play Books, the Google rep was unable to even confirm that they would even ban a pirate after dozens of valid DMCA notices. When I asked what improvements they planned to make, none came to mind.
April 21st, 2015 by Wil
I pause to ask my readers a question. Are any of you considering uploading your mind into a computer? I think you should be aware of some potential problems.
The idea might sound crazy, but the possibility of such a thing is oft-discussed by scientists and psychologists who think it may be a real possibility in coming decades. How would such a thing work? First let’s consider what is probably the now mainstream view of the mind. The mind, this view advocates, essentially arises out of the complex, dense circuitry that is the human brain. (Each “circuit” could be thought of as an individual neuron of perhaps group of neurons that perform the same basic function like moving your index finger.) According to this view (which I basically subscribe to) your mind is your brain.
Now, if we could map out a person’s brain network down to very small details—and we seem to be getting closer and closer to this—we could then program that network into a computer and thus recreate that person—their personality, their essence—on a computer. And that person could conceivably live forever.
There are a couple problems so far. One being is that you aren’t really uploading your consciousness to a computer as much as you are simply cloning your mind. That consciousness—the uploaded mind—will live forever. The flesh and blood you will still eventually die as flesh and blood does. Also, it’s still unclear how our subjective consciousness arises our of our complex neural machinery. I could program a robot to respond to the wavelength of light we call red, but would it “see” red in any way comparable to the way we see red? It’s that perception that is really the magic of living. Would an uploaded mind possess this subjective magic or would it merely be a very complex robot? I don’t think anyone can authoritatively say.
Now let’s consider another view of the mind, this one advocated by philosopher David Chalmers among others. This view advocates that the mind extends beyond the realm of the brain into the rest of the physical world. To grasp this notion, take stock of your experience right now. You are seeing things, probably hearing things, maybe tasting and smelling things if you’re reading this over lunch. Your experience, your mindstate, would be very different without this particular outside stimuli. So, in a sense, this stimuli is part of your mind.
Here’s another way to think about it. The more popular “your-brain-is-all-you-are” theory I first mentioned says that your brain arises based on various electrical signals zipping through the circuitry of your brain. But what happens when I look at an apple. Photons bounce off the apple into my brain which results in the firing of neurons that somehow result in the subjective experience of seeing the apple. Is not this pathway of photons going from the apple to my eye similar to the pathway of a firing neuron. So is not every outside component (the apple, photons bouncing off it, etc.) part of my mind?
If Chalmers is on to something then we have a problem with mind uploading. If we upload only the brain part of your mind, not the external environment, we are only uploading part of the mind.
Now, maybe this could be solved. Maybe sensors could be created that would duplicate our senses, even augment them. For example, you could have some chemical sensor that, when provided cheese, fired the neural circuits in the uploaded mind that correlate to the neurons that fired when tasting cheese. But this idea seems a lot more complex than the already vastly complex task of uploading a mind to a computer.
April 11th, 2015 by Wil
As smart as computers are, they’re dumb in many ways. For instance, they have a hard time identifying objects in their field of vision. (Their “vision” of course being information sensed by various electronic sensors.) Even though humans can see objects without any effort*, computers stumble on this basic task.
*Actually, even human identification of objects is not flawless. Just yesterday I was looking around for my coffee mug and I realized it was right in front of me. I was staring directly at it, and just had trouble separating it from everything else on the kitchen counter
I’ve been reading a bit about a new process in computers called “deep learning” that is making computers much smarter. (Link goes to wikipedia article.) So much smarter that they are now able to be trained to recognize objects in image files even more accurately than humans. You can present a computer with 20,000 images and ask it to show you all the images with a cat and it will do so. You can then ask specifically for cats with pointy ears and it will do so.
This is pretty interesting when you think about it. How does a computer – a dumb, soulless computer – know to filter out dogs or chipmunks when it shows cats? I imagine it’s categorizing objects by pretty precise categories. A cat’s nose varies from a chipmunk’s in terms of nose size related to the whole face, cats have specific ear types etc. These must be the kinds of properties computers are using to separate cats from other objects.
An obvious and interesting next step would be to have computers create their own images of cats. (Essentially the computer would become an artist.) And perhaps “encourage” them to highlight different properties of cats over other, thus developing an aesthetic style. I’ve talked in the past about computers making art (it’s been going on for a while.) I suspect deep learning will speed things up even more on this front.
Of course, as computers get smarter humans grow anxious. Will they take our jobs? Jeremy Howard, a deep learning architect, has concerns.
Is this a good thing or a bad thing? It just depends how it’s used. It could be a wonderful thing, because it could allow us to spend our time doing the things we want to do rather than the things we have to do, which is, I think, what humanity has been aiming at for thousands of years. But on the bad side, that by definition puts people out of jobs. Eventually, it puts everybody out of a job.
If we remove the idea of the soul, at some point in history [there's nothing that] computers and machines won’t be able to do at least as well as us. We can argue about when that will happen. I think it will be in the next few decades.
What happens when the amount of things that can’t be automated is much smaller than the amount of people that exist to do them? That’s this point where half the world can’t add economic value. That means half the world is destitute and unable to feed themselves. So we have to start to allocate some wealth on a basis other than the basis of labor or capital inputs. The alternative would be to say, “Most of humanity can’t add any economic value, so we’ll just let them die.”
February 15th, 2015 by Wil
We all know one of my favorite topics: how technological developments in regards to robots and artificial intelligence are poised to disrupt the job marketplace. CNN has a nice overview article about the situation. It’s initially focused on software generated writing (something I’ve discussed) but moves into general gloomy prediction making.
Professor Yuval Harari, Israeli historian and author of Sapiens: A Brief History of Humankind, believes it is not just journalism that is being challenged by machines.
He said that while machines may have replaced humans for the past 200 years since the Industrial Revolution, there has always been something that humans could do better than machines.
However, he said that this gap is likely to close over the next 100 years.
“(Since the Industrial Revolution) humans have focused more on performing cognitive tasks. But what will happen once computerized algorithms can outperform humans in that (area) too?
There’s little doubt that the answer to the question involves cannibalism on a massive scale.
January 21st, 2015 by Wil
One point I’ve made before about music piracy: everyone drones on and on about pirate sites like Pirate Bay and what not, but there’s not as much discussion about the number one web site for free music: Youtube (owned by Google.) I haven’t downloaded music from a pirate site in years, but any time I want to hear some particular piece of music I check Youtube and, mostly, it’s there.
Is all this music on Youtube pirated (meaning, is it posted there without the consent of the rights holders)? Not entirely – most modern tunes have singles of which the videos are posted by the rights holders. (Though I was frustrated in my attempts to the see video for Daft Punk’s “Get Lucky” which I found once and then never again.) However, a lot of the music is uploaded by individuals who burn their CDs and make kludgy videos with the song. That basically is piracy though my understanding is that rights holders can bring these violations to Youtube’s attention and share in the ad revenue. (It should be understood that all these videos have ads in front of them.)
Youtube now seems to have a new trick up their sleeve: autogenerated videos. This was brought to my attention by a friend of mine who is a musician and has an in demand catalog going back decades. He discovered that Youtube had taken most of the songs from his catalog and created bare bones videos (basically just the album cover set to music.) He of course, was in no way notified and received no compensation. I looked around online and found someone with similar complaints:
I was surprised recently when I saw that several of my recordings had appeared as music videos on YouTube. All of the videos look the same: Each one, in addition to the audio of a song, includes an image of the album art and some text that provides the artist name and album title. The bare-bones descriptions that accompany the videos provide composer and copyright information and the statement “auto-generated by YouTube.”
I don’t really mind that these videos of my recordings exist, but not everyone will feel the way I do. Artists could have a number of legitimate objections to the videos. For example, if artists had created or intended to create videos of their own, these auto-generated videos would compete with the official videos. Artists might also object to the design aesthetic of the videos or the song selection.
But the biggest potential issues are copyright and compensation. Artists receive no royalties from these videos, and YouTube posts the videos without permission from the copyright owners. It’s strange that YouTube—which suspends users’ accounts and deletes videos if it detects copyright infringement or receives complaints from copyright holders—now trawls the internet for music and posts it without permission on an increasingly massive scale. Class-action suit, anyone?
I’m a little unclear how Youtube is getting access to the audio feed (e.g. the songs) to make the videos. It’s possible that if a musician places their music with a digital distributor (as I have) and that ditributor has some kind of deal in place with Youtube then Youtube has the legal cover they need.
Why would Youtube do this? I’m going to to take a guess that it’s for their recently announced Music Key service which is essentially a competitor for Spotify. The autogenerated videos are a tool to fill out the Youtube “jukebox”.
As I’ve mentioned before, there are all sorts of pirated movies on Youtube too.
December 17th, 2014 by Wil
There’s an old Bill Hicks joke:
“It’s hard to have a relationship in this business…it’s gonna take a very special woman…or a bunch of average ones.”
I was reminded of this while I was reading through a book on ebook publishing. The book made the claim that even if the market was flooded with free ebooks, excellent ebooks would always sell because quality will always sell. Ten mediocre books do not equal a great book.
Is this true? It seems to make sense. Certainly I would like it to be true. But I also have a nagging sense that when I occasionally do hear about an exceptional product for, say 10 bucks, there’s a little voice that says, “eh, you’ve got plenty to read/listen to/eat etc. that’s free.” It’s not that uncommon, especially when you’re broke, to trade in the proverbial special woman for a bunch of average ones.
September 16th, 2014 by Wil
Lately I’ve been getting back into drawing comic book style art. (I made my own mini comics as a kid.) It’s a lot of fun and I feel my skill is improving. But as I look at how art is produced in this modern age I find myself struck by a few concerns.
At one point after I started drawing again I looked into whether there was some cheap software that could render backgrounds such as room interiors or a rows of buildings. Such images are largely made up of basic shapes, I theorized, and shapes are basically a series of coordinates which a computer should have no problem rendering. I never really found an affordable program and ultimately decided I should learn to draw such images myself.
Nonetheless, a lot of computer art and animation is produced via that process: an artist defines a shape, often of great complexity, and the computer renders it. If one wants to change the color or texture of the shape, that’s easy enough. This process is far less laborious than the process of drawing or painting the shape.
And there are pluses to this process. It’s allowed for an explosion of 3d art and allowed people with limited conventional artistic skill to produce wonders. But here’s a point that nags at me: I could sit down and draw 10 red boxes. If I’m a decent enough artist, they’ll look pretty similar. But they will have differences. The pen strokes I use on any one box won’t match the strokes on any others. The boxes won’t match perfectly in size, even if I use a ruler. However, I can create 10 identical boxes in Photoshop or some similar program. It’s as easy as copy and paste. The uniqueness of the hand-drawn boxes is lost.
People make similar complaints in the world of music. I can sit down to a mic’d piano and play 10 instances of a C minor chord. None of them will sound exactly like the other because the pressure I use to play the piano keys will vary, the air in the room will settle in different ways causing the sound vibrations to be affected, and a number of other factors. On the other hand, I could sit down and play 10 chords on a midi synthesizer piano and they might end up sounding very similar. The piano sound on a synthesizer is a sample —-essentially a recording of a piano that took place in the past (when whoever was building the library sounds created it) and can’t really change. This is why people complain about the staticity of synthesized sounds. (In fact, sound engineers are making quite a lot of progress in getting variation in sound samples but it’s still not on par with the real thing.)
Having said all that, I’m quite glad sound libraries exist. I’ve recorded fairly complex works using synthesized symphonic instruments that I would never have been able to attempted in the analog (non-digital) days. (Because the world’s symphonies are not clamoring to play my work—the fools!)
But there’s something disturbing about the advent of so much art being exact duplicates of other pieces of art. The ease of use offered by computers is great for the art of neophytes (and in the realm of drawing that is what I consider myself) but it cheapens the work of pros. “Oh, that awesome looking hand you spent 10 hours painting? Look, I can generate something just as cool in 20 seconds on the computer!”
Of course we’ve seen this before. It used to be the only way to get a chair was to have a craftsman make one by hand. Now IKEA pumps them out by the millions. Such is progress. (Note how I spit that last word out.)