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Daily Archives: June 10, 2017
Doug Liman Goes VR With ‘Invisible’: I Thought People Could Do Better – Deadline
Posted: June 10, 2017 at 7:10 pm
To gain some insight into the career and ambition of director and producer Doug Limana multifaceted, endlessly inquisitive artisttake a look at his second directorial effort,Swingers, the classic comedy starring a younger Jon Favreau and Vince Vaughn that launched his career. A tinkerer by nature, Liman understood that there was a different way to make an independent film, for much less money, while creating a more immersive experience.
WithInvisiblehis latest project from Conde Nast Entertainment, Samsung and VR firm JaunttheBourneIdentityandEdge of Tomorrow helmer continues to push boundaries and question established procedure, entering the world of virtual reality with a bang and a lot of action, and demonstrating that the much-discussed, burgeoning medium need not be reduced to a mundane, aimless panorama.
Speaking with Deadline, Liman touches on his proclivity for immersive storytelling, the low bar that has been set with VR, and the Holy Grail he is chasing after in the medium.
Conde Nast Entertainment
Youve pursued many artistic outlets throughout your career. At what point did you start thinking about virtual reality as a medium?
I had put on a VR headset and was just floored by the potential of it, but also, it wasnt necessarily being used to its full potential. I think it was a natural thing for me to be drawn to, just knowing the concept, because I really aspired to create movies that give you a first-person experience.
When I set out to make Bourne Identity, my main goal for the franchise was to create something where it feels like youre in the action. Youre not just passively watching it from far away. Thats something that I have constantly aspired to doeven in Swingers, to feel like youre Jon Favreau; youre not just watching him.
I really have thought about immersive storytelling my whole career, so when I first heard about VR, I was like Oh, this sounds like its for me.
What was the genesis of Invisible, and what were you setting out to do?
Given the kind of filmmaker I am, the kind of experiences Ive been trying to give audiences, I was drawn to the potential of VR before I even tried watching anything in VR.
To be honest, when I started watching VR content, I was mostly disappointed and thought people could do betternot that different from when I set out to make Swingers and thought, Theres a better way to make an independent film. Which is why Swingers ended up being so much less expensive than anything like it.
Maybe, in part, I was attracted by how scary it seems. You know that expression, Whats the worst that could happen? People use that all the time; parents use that with their kids to convince them to try something. Whats the worst that could happen? How many times are we told that in our lives?
Ive had some experiences in my life, where someone is like,Whats the worst that could happen? where its been pretty bad. Whether its trying to kiss a girl in ninth grade and its like, Whats the worst that could happen? And it was bad.
In college, I tried to organize a dance marathon, and it was like, Try it! Whats the worst that could happen? Nobody showed up, and thats a 24-hour-long party that no ones at.
Conde Nast Entertainment
Ive experienced some Whats the worst that could happen? and when I started looking at VR, and Im like, I want to try something new. Whats the worst that could happen? I was like, you can really fall flat on your face with this one.
Theres some really boring VR content out there. Its like watching a PBS videotape of a boring play. Youre like, Cool! I can look at the ceiling and the wall, in case the main performance isnt boring enough.
I really think I was attracted in part because I understood how dangerous a medium it is. I was excited by the challenge of inventing new rulesrules that might enable dynamic, scripted storytelling to live up to the potential of the medium.
Invisible was an idea that Melisa Wallack and I had been kicking about, and I thought, this is exactly the kind of story that might work in VR. I was looking at things that werent working, because not every story, I think, can work in VR.
I really thought making a scripted series in VR work has to start at the concept stage.
Even with that, it was a steep and fast learning curve. I discovered almost immediately that the bar for Melisa and her writing is so much higher because you have to hook an audience way more quickly, because part of VRs appeal and the way it works is that the audience has to want to follow the story. Then, they enjoy hunting to find the breadcrumbs you left them. They love exploring the world, but they have to want to explore it.
So many times, VR is used as promotional material to support a world that has already interested an audience in another medium. But if its original content, new characters and a new world, you dont have the luxury of a five-minute setup to get hooked into a character and a world, the way I do in my movies.
When taking on a series in VRgrappling with the complexities of that mediumwhat inspired you to throw the additional challenge of a visual effects component on top of it all?
I think VR really lends itself to visual effects work because basically, every shot is a visual effect anyhow. I think VR is really effective when The New York Times does it, if you want to take an audience and show them a real refugee camp, and give them that experience.
But if youre talking about scripted, the magic of VR is transporting the audience to a world thats different than our world. If youre just going to show them our world, they might as well watch VR on The New York Times. The way you show the audience a world thats different than our world is with visual effects. It just seems like the natural place for scripted VR to go.
To be honest, the biggest challenge in VR, and ironically the thing that got me most interested in the beginning is shooting action in VR. One of my starting places was, the action of, say, The Bourne Identity. Im working so hard to make the action of my movies immersive, and make you feel like youre in the car with Matt; youre being chased by Angelina Jolie. Its to give you that immersive experience like youre in it.Youre not passively watching it.
I selected Invisible as the story I wanted to tell in VR because it does have effects and it does have action. The reality is, it was shockingly hard to do the action. I was working with [director/stunt coordinator] Simon Crane, whos done a number of films with me. Hes at the top of the field in action directing, and Im excited for the next one we do because of how much we learned.
The Holy Grail, Im still looking for, which is, the peak of action in VR that justifies the medium. I feel like we made big steps in that direction with Invisible. I know its thereI know we can do itso Im excited about the medium. Im excited to keep going, and Im excited, as other filmmakers join the fray, because we learn from each other.
Conde Nast Entertainment
The camera technology used to shoot Invisible is quite complex. How do you work with a camera shooting in 360 degrees, while keeping yourself and your crew out of the shot?
Shooting VR is really cumbersome right now. It has the challenge of the camera shooting 360, so it ultimately requires you to use witness cameras and things like that to see what the cameras are picking up.
The other aspect of VR is that younger directors who grew up in a media-saturated environment might have an edge in VR. But those of us who started out when movies were made on film have one advantage right now in VR, which is that you dont get to see what youve shot until later. They cant stitch it in real time.
Those of us who grew up when movies were made on film are used to shooting and waiting to see the results, and a modern filmmaker is used to seeing results immediately. You can look at a high definition monitor and see exactly what an audience is going to see when the movies done.
In VR, theres a lot of looking at the elements that are going to go into it, and then having to imagine what its going to be like when its all put together. Especially when you get to visual effects, sometimes you dont to get to see it until a month later.
The audio is so complicated. I grew up making films like where, you did the color timing over here, and you did it with no sound, and over here, you did the sound, and you had a lousy picture to look at. And then its not till youre all done with everything that the picture and sound are married.
Movies were made that way for 70 yearssome of the greatest movies. VR was the same way, where mixing the sound is so complicated that when youre doing the stitching of the picture, you have a lousy soundtrack that youre working with, and then separately, over here, you have great sound, but you have no picture to go with it, and its not till its all done and its too late to make any changes that you finally see the sound and the picture married.
But thats also really exciting, especially in the case of Invisible, where I was so happy with how the results turned out.
Virtual reality is a format that has generated a lot of conversation, and with that, a lot of skepticism. What are your thoughts on the future of the medium, and its place in entertainment?
Personally, I think VRs greatest strength is going to be in replacing Skypesort of having meetings with avatars, and not entertainment. I think gaming is extraordinary in VR. It has a huge potential. I think augmented reality also has incredible, untapped potential.
I think VR documentaries and VR narrative series are also really exciting, and were still discovering where this medium can go. As I said before, I love making action films, and I know that VR will become mainstream when one of us succeeds in the goal I set out for myselfwhen one of us succeeds in accomplishing truly giving an audience the experience of being in the middle of extraordinary action.
Has it been heartening to see the conversation shift over the course of this past year, with the success of your series and Alejandro Gonzlez Irritus Carne y Arena, which lit up Cannes?
Its exciting for me because its such a fertile environment for creative thinkers, and people who want to push boundaries and try ideas.
Filmmakers feed off each other, even if we dont know each other. We learn from each other, we feed off each other; we get better because of each other. The competition pushes us. The camaraderie pushes us.
So yeah, I think the more filmmakers that join and achieve any form of success will encourage more people to come into the tent.
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Can virtual reality find an audience at the multiplex? – USA Today – USA TODAY
Posted: at 7:10 pm
This is a 360 video experience. Use your mouse or the arrow keys on your keyboard to see the entire 360 view.
Grab the bar! Leap out of your comfort zone and through the air with a troupe of trapeze artists in Brooklyn, NYC. USA TODAY NETWORK
IMAX VR in the lobby of the AMC Loews Kips Bay 15 in Manhattan.(Photo: IMAX)
NEW YORKThere are numerous reasons why virtual reality has gotten off to a shaky start at home: cost, complexity, slim content, and the fact that you must wear this contraption on your head. Will VR fare better at the multiplex?
IMAX and AMC Theatres have just opened a series of experiential VR pods in the lobby of the AMC Loews Kips Bay 15 theater in Manhattan, the second of ten such VR centers that IMAX plans to launch worldwide this year, and the first in a multiplex. IMAXs initial pilot VR venture was in Los Angeles. Others are coming to Toronto, Tokyo, Paris, Shanghai, Manchester and elsewhere.
Each pod features a different virtual setupwith either an HTC Vive VR or StarbreezeStarVR headset. The VR content also varies from pod to pod, with choices such as Ubisofts Star Trek: Bridge Crew, Skydances Archangel, and an experience I tried, Starbreezes Mummy Prodigium Strike.
Sort of like a modern-day arcade, each pod alsohas a screen so that while youve got a headset on your noggin, your pals can watch what youre doing (though it will cost a lot more to play). And some experiences are multiplayer, so you can compete against pals in another pod or eventually, another location.
Though there are obvious tie-ins to a movie that might be playing in the same theater as The Mummy was, AMC and IMAX are treating these separately. Youll have to buy a ticket to see a movie; youll pay to wear the VR headsets.
The VR experiences last between sevenand 10 minutes; IMAX VR charges $10 to $15 to play a VR game. So if youre also planning to see a movie, munch on popcorn and buy a soft drink the price can add up fast, especially if youre bringing the family.
AMC and IMAX may experiment with bundled pricing.
One of the reasons why this is in the lobby of the theater is you dont actually need to buy a ticket to see the movie to enjoy the IMAX VR experience, says Adam Aron, CEO of AMC Theatres. And we actually think the IMAX VR experience is going to be a standalone attraction. In that regard, I dont think a $10 price point is that expensive.
Virtual reality parlors are one of a slew of upgrades and features movie theaters have planned as a bid to stoke attendance in an age when more consumers can watch movies at home and on the go using increasingly varied streaming options and unlimited data plans.
Movie attendance was close to flat last year, though box office sales reached a record thanks to rising ticket prices.
The hope: customers will hang out and spend money longer at the theater just to have a go at VR.In early tests, around 70% of the people whove tried IMAX VR have experienced virtual reality for the first time.
IMAX CEO Richard Gelfond also hopes to draw in people from outside the multiplex, especially during hours when the theater is less busy.
We have to recognize over the long term, this has to coexist with the home, he says. So what were trying to provide here is something more premium, something more social and the first place you can see the hottest new content. Our idea is not only to get a head start, but to maintain a permanent advantage.
A player tries The Mummy VR experience at AMC Kips Bay theater in Manhattan.(Photo: Edward C. Baig)
AMC has 650 theaters in the U.S. and another 350 or so in Europe. According to Aron, the VR experience will work well in theaters with a lot of public space, where we can afford to steal some of it. At Kips Bay, IMAX VR takes up about 2900 square feet of a lobby that is about 6900 square feet.
If the consumer response is strong enough, Aron envisions placing VR in between 50 and 200 theaters in the blink of an eye.
The Navy wants to recruit you with Virtual Reality
Weapon in hand, I had fun blasting away nasty creatures during my Mummy VR experience. That is, until the screen went dark and I hit technical snags. AMC and IMAX will have to have staff in place to service consumers and deal with any problems. In the early going, IMAX saysunder 1% of customers have faced problems.
Yet another potential issue is that some consumers might get queasy or frightened during certain VR adventuresonescary option at Kips Bay is to virtually experience The Walk along a wire some 110 stories above ground between the Twin Towers of the World Trade Center.
Customers do have to sign a waiver. And experiences are open to 7-years olds on up, with some better suited for an older audience.
As joint venture partners, AMC and IMAX share in the price of the content and share in the investment and proceeds. It cost between $250,000 to $400,000 to deploy IMAX VR at Kips Bay, not factoring in the tech or the content. In L.A., the most popular VR attractions so far have been for Star Wars and John Wick.
An IMAX VR player in Los Angeles has a go at Star Wars.(Photo: IMAX VR)
The results of L.A. are encouraging. The early results of (Kips Bay) are also encouraging. And Im changing my mindset from `does it work? to a different question which is `where does it work?, Gelfond says.
For his part, Aron says, Im almost as certain as I can be that fast-forward a year or two and were going to have a lot of installations.
Email: ebaig@usatoday.com; Follow USA TODAY Personal Tech Columnist @edbaig on Twitter
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Google’s AI Vision May No Longer Include Giant Robots – The Ringer (blog)
Posted: at 7:09 pm
(Getty Images/Ringer illustration)
Good news for the deeply paranoid among us: If the apocalypse arrives via giant anthropomorphic robots, they probably wont be bankrolled by Google. On Thursday, Googles parent company, Alphabet, announced that it was selling Boston Dynamics, its premier robotics division, to the Japanese telco giant SoftBank for an undisclosed sum. The deal also includes a smaller robotics company called Schaft.
Boston Dynamics was less a moonshot than a sci-fi horror brought to life. Even before being acquired by Google in 2013, the 25-year-old company had already developed a Beast Warsstyle squadron of robot predators with names like BigDog and WildCat, as well as a humanoid model called Atlas. The machines were often developed for the Pentagon under contracts with agencies such as the Defense Advanced Research Projects Agency. Google and the government both said the robots were being tested for disaster-relief scenarios, but that never stopped the stream of headlines describing them as scary, nightmare-inducing, or evil.
Whether Googles ultimate plans were benign or nefarious, they never properly got off the ground. Both Boston Dynamics and Schaft were part of a months-long spending spree Google bankrolled to appease Andy Rubin, the creator of Android, who was looking to robots as his next frontier for innovation. But Rubin left Google in 2014, creating a leadership vacuum as the company struggled to get its various robotics acquisitions headquartered around the world to work in tandem. Under Rubin, Google reportedly had plans to launch a consumer robotics product by 2020, but that timeline seems in doubt now. (Alphabet still owns several smaller robotics startups that specialize in areas such as industrial manufacturing and film production.)
In the years since the Boston Dynamics acquisition, Google has shown that it doesnt need to build a robot butler (or soldier) to create a future dominated by artificial intelligence. Machine-learning algorithms now guide most of the companys products, whether recommending YouTube videos, identifying objects in users photo libraries, or whisking people around in driverless cars. The company is partnering with appliance manufacturers like General Electric so that people can control their ovens via voice commands to Google Home. And most ambitiously, at this years Google I/O, the company unveiled a suite of new products related to its machine-learning framework, TensorFlow. Developers will soon be able to make use of the same AI engines that power Googles products to improve their own offerings via the companys cloud-computing platform.
In the companys ideal future, every human-machine interaction will be powered by Google, even if a specific app or appliance doesnt have Googles name on it. Terminator-style robots (OK, hopefully Jetsons-style) may one day be part of that vision, but the company can easily build an AI army with the products that fill our homes and garages today.
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DARPA Is Working to Make AI More Trustworthy – Futurism
Posted: at 7:09 pm
In Brief In order to probe the AI mind, DARPA is funding research by Oregon State University that will try to understand the reasoning behind decisions made by AI systems. DARPA hopes that this will make AI more trustworthy. Cracking the AI Black Box Artificial intelligence (AI) has grown by leaps and bounds over the past years. Now there are AI systems capable of driving carsand making medical diagnoses, as well as numerous other choices which people makeon a day-to-day basis. Except that when it comes to humans, we actually can understand the reasoning behind such decisions (to a certain extent).
When it comes to AI, however, theres a certain black box behind decisions that makes it so that even AI developers themselves dont quite understand or anticipate the decisions an AI is making. We do know that neural networks are taught to make these choices by exposing them to a huge data set. From there, AIs train themselves into applying what they learn. Its ratherdifficult to trust what one doesnt understand.
The U.S. Defense Advanced Research Projects Agency (DARPA) wants to break this black box, and the first step is to fund eight computer science professors from Oregon State University (OSU) with a $6.5 million research grant. Ultimately, we want these explanations to be very natural translating these deep network decisions into sentences and visualizations, OSUs Alan Fern, principal investigator for the grant, said in a press release.
The DARPA-OSU program, set to run for four years, will involve developing a system that will allow AI to communicate with machine learning experts. They would start developing this system by plugging AI-powered players into real-time strategy games like StarCraft. The AI players would be trained to explain to human players the reasoning behind their in-game choices. This isnt the first project that puts AIs into video game environments. Googles DeepMind has also chosen StarCraft as a training environment for AI. Theres also that controversial Doom-playing AI bot.
Results from this research project would then be applied by DARPA to their existing work with robotics and unmanned vehicles. Obviously, the potential applications of AI in law enforcement and the militaryrequire these systems to be ethical.
Nobody is going to use these emerging technologies for critical applications until we are able to build some level of trust, and having an explanation capability is one important way of building trust, Fern said. Thankfully, this DARPA-OSU project isnt the only one working on humanizing AI to make it more trustworthy.
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Westworld creators want to make a show about AI without ‘going straight to Skynet’ – Polygon
Posted: at 7:09 pm
At times, Westworld is a show about the advancements and dangers of artificial intelligence, but the series creators never wanted it to be Skynet.
Jonathan Nolan and Lisa Joy spoke about the message they were trying to get across with the shows first season during a conference hosted by Wired. Nolan said that one of the tropes they wanted to avoid was turning AI into a terrifying enemy just because the rise of technology seemed scary. Nolan said that they never wanted their AI to be Skynet, the main antagonist and artificially intelligent death machines from the Terminator films.
Until now, AI has tended to lean into a dystopian perspective, Nolan said. It goes straight to Skynet, with the exception of Spike Jonze's Her, which is a beautiful movie. What's becoming increasingly clear is that's not how it's going to play out.
Nolan added that our relationship with the different forms of AI we interact with on a daily basis from Siri, Alexa and Goole to the AI that powers driverless cars is constantly changing, and thats where he finds inspiration. Nolan said the issue is that as technology rapidly changes, we expect more from the artificial intelligence in our lives. We come to rely on it without ever fully trusting it.
One of the goals of Westworld was to examine these relationships between machines and humans, co-creator Joy added. After talking to those who work in Silicon Valley and specialize on how artificial intelligence functions and grows it became clear to both creators that Westworld was introducing an important discussion to those who werent focused on it five days a week.
As technology increases exponentially and AI certainly grows were kind of leaping into the unfathomable with machines that can learn and process better than we can, Joy said. The thing that we've heard most is that it's almost good to have a prophylactic discussion; When is enough enough? What are the safeguards we need?
Orion Pictures
One of the ways that Nolan and Joy got away from turning their show into Terminator was by examining consciousness and storytelling from the perspective of artificial intelligence, instead of just humans. Nolan said they wanted to dive into the commonalities shared by humans and AI instead of just the differences to showcase just how powerful and resonating the technology can be.
We were attempting to look deeply at the question of consciousness and one of the things I was surprised about is that conscious is still largely a question for philosophers, Nolan said. It's not something the [computer science] folks [we talked to] want to get into.
Nolan added, however, that what became apparent during their conversations with experts in the field was the main question is quickly becoming whether consciousness is a necessary function going forward.
Consciousness is either very, very important and very hard to explore, or, as more than one computer scientist we talked to suggested, maybe it doesn't need to exist, Nolan said. It's not necessary.
Nolan and Joy didnt provide any hints as to what the second season of Westworld will focus on specifically, but Nolan said it will continue to examine the question of how stories are told and how important consciousness is to both humans and artificial intelligence.
Throughout history we have defined consciousness as that which others do not possess, Joy said. That bar has shifted. It's all subjective.
Westworld will return for a second season in 2018.
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Former AI Company CEO Warns About Abuse of Virtual Relationship – Futurism
Posted: at 7:09 pm
In BriefArtificial Intelligence has the potential to expedite humandevelopment and liberate us from menial tasks. However, AI is alsobecoming more integrated into our personal lives, raising concernsabout manipulation and coercion. AI Interaction as Manipulation
An article for the MIT Technology Reviewhas raised concerns about the potential for our intimacy with artificial intelligence (AI) to be exploited for insidious ends. Its author, Liesl Yearsley, shares her perspective as the former CEO of Cognea, which built virtual agents using a mixture of structured and deep learning.
Yearsley observed during her tenure at Cognea that humans were becoming more and more dependent on AI not just to perform tasks, but also to provide emotional and platonic support. This phenomenon occurred regardless of whether the agent was designed to act as a personal banker, a companion, or a fitness coach Yearsley wrote people would volunteer secrets, dreams, and even details of their love lives.
This may not necessarily be bad. AI is perhaps more capable than we are at caring it has the potential to be always available and be modified specifically for us. The fundamental problem is that the companies designing them are not primarily interested in each users well being, but in increasing traffic, consumption, and addiction to their technology, Yearsley wrote in the article.
Hauntingly, she writes that AI corporations have developed formulas that are incredibly efficient at achieving this. Every behavioral change we at Cognea wanted, we got so what if what companies wanted was unethical? Yearsley also observed that humans relationships with AI became circular. If humans were exposed to particularly servile or neutral AI, humans would tend to abuse them, and this relationship would make them more likely to behave the same toward humans.
AI is becoming integrated into our daily lives at a rapid pace: SIRI mediates our interaction with our iPhones, AI curates our online experience by tailoring advertisements, and chatbots constitute a significant proportion of our interactions with companies.
Our growing relationship with AI is catalyzed by the anthropomorphization (attributing human traits to things) of technology. SIRI was given a name to make her appear more like a person, and bots are adapting to your speech patterns in order to encourage you to trust them, bond with them, and therefore use them more.
The vulnerability caused by not understanding what an AI may be specifically programmed to do is increased by our lack of understanding concerning how AI does this. We currently know very little about how AI thinks, but are continuing to create bigger, faster, and more complex versions of it. This is not only an issue for us, but with the companies developing it because they cannot predict the actions of their AI with any certainty.
Our interaction with AI is clearly going to shape our future, but the danger is that AI can be curated to affect our society in a particular way or perhaps more that AIs interpretation of a human intention will lead to a future that none of us actually wanted.
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Stanford Scientist: AI Is the New Electricity – Wall Street Journal – Wall Street Journal (blog) (subscription)
Posted: at 7:09 pm
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Google’s DeepMind Creates Dataset With 300,000 YouTube Clips to … – The Daily Dot
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Even the most advanced artificial intelligencealgorithms in the world have trouble recognizing the actions of Homer Simpson.
DeepMind, the Google-owned artificial intelligence lab best known for defeating the worlds greatest Go players, created a new dataset of YouTube clips to help AI find and learn patterns so it can better recognize human movement. The massive sample set consists of 300,000 video clips and 400 different actions.
AI systems are now very good at recognizing objects in images, but still have trouble making sense of videos, aDeepMind spokesperson told IEEE Spectrum.One of the main reasons for this is that the research community has so far lacked a large, high-quality video dataset.
According to IEEE Spectrum, early testing of the Kinetics Human Action Video Dataset showed mixed results. The deep learning algorithm was up to 80 percent accurate in classifying actions like playing tennis, crawling baby, cutting watermelon, and bowling. But its accuracy dropped to 20 percent or less when attempting to identify some of the activities and habits associated with Homer: drinking beer, eating doughnuts, and yawning.
Video understanding represents a significant challenge for the research community, and we are in the very early stages with this, a DeepMind spokesperson said in a statement. Any real-world applications are still a really long way off, but you can see potential in areas such as medicine, for example, aiding the diagnosis of heart problems in echocardiograms.
DeepMind got some help from Amazons Mechanical Turk, a crowdsourcing service that companies can use to enlist other humans in completing a task. In this case, thetask was labeling actions in thousands of 10-second YouTube clips.
After discovering the effectiveness of its dataset, the U.K.-based company ran tests to see if it had any gender imbalance. Past tests showed that the contents of certain datasets resulted in AI that was unsuccessful recognizing certain ethnics groups. Preliminary results showed this particular set of video clips did not present those problems. In fact, DeepMind found that no single gender dominated within 340 of 400 action classes. The actions that did not pass the test included shaving a beard, cheerleading, and playing basketball.
We found little evidence that the resulting classifiers demonstrate bias along sensitive axes, such as across gender, researchers at DeepMind wrote in a paper.
The company will now work with outside researchers to grow its dataset and continue to develop AI so it can better recognize what is going on in videos. The research could lead to uses ranging from suggesting relevant YouTube video to users to diagnosing heart problems.
We have reached out to DeepMind to learn more about why Homer Simpson is causing such problems.
Update June 9, 5pm:A DeepMind spokesperson clarified that dataset didnt actually include videos ofThe Simpsons characterjust actions hes widely associated with. Doh! Weve updated our article accordingly.
H/T IEEE Spectrum
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Google's DeepMind Creates Dataset With 300,000 YouTube Clips to ... - The Daily Dot
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Half Of People Who Encounter Artificial Intelligence Don’t Even Realize It – Forbes
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Forbes | Half Of People Who Encounter Artificial Intelligence Don't Even Realize It Forbes Artificial Intelligence (AI) is no longer in the future. It's not science fiction. It's here. It's now. It's happening all around us, and actually has been for more years than most of us even know. For the past two years, I've been writing about IBM's ... |
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Half Of People Who Encounter Artificial Intelligence Don't Even Realize It - Forbes
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Adobe CEO Hints at Artificial Intelligence on Photoshop – Fortune
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Age: 54
From: Mumbai
In cloud we trust: CEO since 2007, Shantanu Narayen has overseen a period of explosive growth for the San Jose software company. As Adobe ( adbe ) has embraced a cloud-based subscription model, its stock has been on a tear, up 43% (to $142) since late May, with annual revenues of $5.85 billion.
Foggy bottom: When Narayen became CEO, you could see there were some dark clouds on the horizon, he says. The global financial crisis was just around the corner, and Adobe was not landing new customers as fast as desired. I didnt time that very well, Narayen jokes.
Outside the box: By 2009, Adobe embarked on an ambitious mission to overhaul the way it shipped popular products like Photoshop. A crisis is a terrible thing to waste, Narayen says. Adobe switched to a subscription model, opening the door to a new way to deliver software in which customers could more easily receive updates and new features.
Finding Wall Street: Investors were concerned Adobe was spending too much on data centers, but Narayen convinced them it would pay off. I think we did a good job of that, Narayen says. By going to the cloud , Adobe ended up saving money with the switch from one-time licenses to recurring subscriptions. Narayen adds that ditching packaging also helped.
The next frontier: Narayen sees artificial intelligence as a game changer, but he warns, Many companies just say A.I. without understanding how they want to apply it. Adobes A.I. plans start with voice commands. Imagine brightening colors on photos just by speaking.
Double Duty: Adobes board elected Narayen as its chairman this year on top of his CEO duties. Narayen is quick to mention Adobe couldnt be successful without his staffs hard work. But, he says, maybe it is recognition of some of the contributions Ive made in the company.
A version of this article appears in the June 15, 2017 issue of Fortune with the headline "Flash Forward."
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