Alan Turing & AI LCC 2700: Intro to Computational Media.
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Transcript of Alan Turing & AI LCC 2700: Intro to Computational Media.
Alan Turing & AI
LCC 2700: Intro to Computational Media
Alan Turing
1912 - 1954
Mathematician, Cryptographer
Worked at Bletchley Park, Britain’s codebreaking hq, where he designd ciphers to break the code for the German Enigma Machine
1952, convicted of “gross acts of indecency” for having a homosexual relationship.
Turing was forced to take estrogen treatments and committed suicide in 1954
Turing
From thinking machines to credible machines
“Can machines think?” is a meaningless and loaded question
The foundation of the field that came to be known as Artificial Intelligence
The “Turing Test” — a human engages in natural conversation with a human and a machine. If the human cannot tell the difference, the machine passes — based on the Imitation Game (a party game in which players try to guess the gender of a
A specific, discrete state machine : context
Alan Turing, Can Machines Think? (1950)
Q. If machines could think, how would we know it?
A. Indistinguishability using the “imitation game”:
The new form of the problem can be described in terms of a game which we call the "imitation game." It is played with three people, a man (A), a woman (B), and an interrogator (C) who may be of either sex. The interrogator stays in a room apart from the other two. The object of the game for the interrogator is to determine which of the other two is the man and which is the woman. He knows them by labels X and Y, and at the end of the game he says either "X is A and Y is B" or "X is B and Y is A." The interrogator is allowed to put questions to A and B.
Some notable Objections to the Turing Test(as covered by Turing)
• Theological - thinking is a function of an immortal soul; machines can’t think– Turing: God could grant a computer a soul if he wished
• Mathematical - There are limits to what logic can answer– Turing: Humans are pleased with the fallibility of machines
• Consciousness - Only composition from emotions could = brain– Turing: We have no way of knowing if non-human things
experience emotion• Lady Lovelace - Computers are incapable of originality
– Turing: computers can show things that are not immediately recognizable
Turing Machine
• An abstract machine that represents computation• Model:
– A person executes ordered operations on the contents of an unlimited number of paper sheets. The sheets contain a finite number of symbols. The person stores one of a finite number of states.
• Example– Change the state of the current page to 1 and move
one symbol to the right– If your current state is 4, move to page 456
• A Turing Machine that simulates any other Turing machine is said to be a universal Turing machine
Turing Completeness
• A system equivalent to a universal Turing machine• Unlimited storage can be assumed or ascribed to qualify
a system as Turing complete– Babbage’s Analytical Engine– Programming languages (C, Java, Lisp, etc.)– Formal grammars
From Thinking Machines to Credible Machines
• Move from thinking to believability (Turing)• The responsibility of computation (Weizenbaum)
– Computation as a representational system• Computation as literary expression (Murray’s adoption of
W.)
Experiencing Characters in Traditional Media
Drama embodied actors reciting speeches and exchanging dialog, gesturing, using props in unisequential story
we interpret their inner life based on what they say and do while we are observing them directly
Filmembodied actors seen in moving images, with dialog, voice-over narration; shorter scenes, fewer words; smaller gestures; unisequential or multi-sequential
we interpret their inner life based on what the camera shows us of them and of their world
Experiencing Computational Characters
Computational characters come alive when they executebehaviors in response to our participation in their world
Inscription in both directions bits/clicks
Circular transmission display – input - output
Interpretation in both directions images, words – pointing, typed words
We interpret their inner life based on how they respond to what we do
Traditional vs Computational Character Making
All characters are imagined by creators and readers/audience as having inner, continuous reality, and a range of possible behaviors beyond what is represented in the text
• Writers imagine the character’s deeper self – the psyche, soul, feelings, consciousness, personalities out of which all the behavior we see arises
• In computational media, we can create a character by inscribing and representing the deeper self, and a range of possible actions, and letting the computer dynamically create the behavior : e.g. the Sims
Traditional vs Computational Character Making
In computational media, we can create a character by
inscribing parameters and/or rules, and then watching the computer dynamically generate the behavior
inscribing parameters and then operating the character
inscribing parameters and then interacting with the character
Parameterized Characters
The Sims : Parameters realized in behaviors
Characters in Computational Media
Characters can be created procedurallyby new behavior (rules)by parameters for existing behavior
Characters are made real by participationby scripting the interactor to form expectationsby giving the interactor props and actions to shape
their behaviorsExchanges between character and interactor should be
coherentreadable
Genre expectations shape interaction
• Dramatic genres: mysteries, thrillers, romances, situation comedies, etc.– Create expectations of possible sequences and
outcomes– Include familiar roles (detective, villain, Mr. Right,
insensitive husband, etc. )– Include familiar events and actions (interrogation,
fight, kiss, insult, etc.)– Include props that carry scripts and expectations
(blackmail note, gun, bouquet of flowers, sixpack of beer)
ELIZA
• Joseph Weizenbaum, 1966• Simulation of a Rogerian therapist• Named after Eliza Doolittle, the character in Pygmalion
who learns to speak with an upper-class accent instead of her Cockney one
• ELIZA Works by parsing and substituting key words/phrases with canned responses
• The result evokes a therapist
E.M. Forster: Flat vs Round Characters
• Flat characters do not change• Flat characters always respond in the same way to the
same situation• Flat characters make good comic characters
– Predictable, creating anticipation– Inappropriate, because repeat same response in new
situation
Classic Flat Character
Jack Benny, the stingy man
Thief: Your money or your life!(long pause)Thief: Your money or your life!!Jack Benny: I’m thinking….
Interactive flat character
• Less satisfying to play because too predictable• More satisfying to interact with because you can
anticipate and evoke the behavior
Interactive round character
• Hard!• “Selectively” round characters
Conversations with Characters:
• Loebner Prize established 1990– Hard to do it with knowledge base
• The real world is too hard to represent• Fact-based conversation is hard to fudge
– Yet same character (Julia) failed Loebner but passed the test in a social MUD
• Human beings are often unresponsive • Comic characters are often unresponsive• Human beings often converse in formulaic patterns• Dating / flirting insult conversation is very
formulaic(http://openseduction.org/signals/
Loebner Prize 2003
?
Humans outperformed all the chatterbots
Humans outperformed all the chatterbots
Rollo Carpenter, Jabberwock Loebner Prize Winner 2003
http://www.abenteuermedien.de/jabberwock/
Conversations with Characters:
• Free text input creates high expectations– Façade– www.interactivestory.net
Dramatic Agency
• Procedural + Participatory + Dramatic compression• Character’s conditions and parameters are suited to the
dramatic world• Interactor’s actions are well suited to the dramatic world• Character’s behaviors are evoked smoothly by
Interactor’s actions and satisfy dramatic expectations of the situation
• Interactor is able to do things that effect the character in significant, dramatizable ways
Janet Murray on Chatterbots
• “The most successful characters have been those who are self-absorbed, evasive, or obsessive in familiar ways.
• Politicians in a press conference• Defaults and conversions for a genre of insolent
characters• What about other characters?• Trouble with “an authoring environment that does not
require programming”
QuickTime™ and aTIFF (Uncompressed) decompressor
are needed to see this picture.
Then why did Eliza work?
• Clear scripting of the interactor by dramatic situation• Clever key word/response pairs• Very clever DEFAULTS• Character’s lack of responsiveness is dramatically
motivated• Character is barely a character; a simple subject to
simulate
ELIZA as Parody
• Weizenbaum worried about reactions to Eliza that suggested that it should be used as a “real” therapist
• This concern had much to do with how willing users were to anthropomorphize the program– Story of the secretary
• Weizenbaum: the responsibility of the artist/scientist for the work they create
The Danger of Science
• “What aspects of life are formalizable” becomes “of what technological genius is man a species”– Critique of the drive to discover and invent as an end
• Science as an “addictive drug”– The seduction of rationality: all things human can be
understood, modeled, and predicted• Instead, Weizenbaum suggests that science is all
argument, persuasion– “Scientific statements can never be certain; they can
be only more or less credible”– Compare to Turing on AI, and contemporary
simulation vs. expression.
Computation as Expression
• Creating and consuming computational artifacts • There is a science in computational representation, but
computational representation is not a science
Designing Character Behavior
• Abstraction • Flat characters can be interesting when they are the
primary subject of a computational artifact• Parody is useful and valid• Design character behaviors from your own perspective
– Disaffected http://www.persuasivegames.com/games/game.aspx?game=disaffected
• Steal others’ perspectives for commentary, critique, or caricature– Signals & Flirtation
http://openseduction.org/signals/discussion/