Tag: Star Trek

Statistics and Symbols in Mimicking the Mind

MIT recently held a symposium on the current status of AI, which apparently has seen precious little progress in recent decades. The discussion, it seems, ground down to a squabble over the prevalence of statistical techniques in AI and a call for a revival of work on the sorts of rule-governed models of symbolic processing that once dominated much of AI and its sibling, computational linguistics.

Briefly, from the early days in the 1950s up through the 1970s both disciplines used models built on carefully hand-crafted symbolic knowledge. The computational linguists built parsers and sentence generators and the AI folks modeled specific domains of knowledge (e.g. diagnosis in elected medical domains, naval ships, toy blocks). Initially these efforts worked like gang-busters. Not that they did much by Star Trek standards, but they actually did something and they did things never before done with computers. That’s exciting, and fun.

In time, alas, the excitement wore off and there was no more fun. Just systems that got too big and failed too often and they still didn’t do a whole heck of a lot.

Then, starting, I believe, in the 1980s, statistical models were developed that, yes, worked like gang-busters. And these models actually did practical tasks, like speech recognition and then machine translation. That was a blow to the symbolic methodology because these programs were “dumb.” They had no knowledge crafted into them, no rules of grammar, no semantics. Just routines the learned while gobbling up terabytes of example data. Thus, as Google’s Peter Norvig points out, machine translation is now dominated by statistical methods. No grammars and parsers carefully hand-crafted by linguists. No linguists needed.

What a bummer. For machine translation is THE prototype problem for computational linguistics. It’s the problem that set the field in motion and has been a constant arena for research and practical development. That’s where much of the handcrafted art was first tried, tested, and, in a measure, proved. For it to now be dominated by statistics . . . bummer.

So that’s where we are. And that’s what the symposium was chewing over.

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Origins of Culture

NPR hosts a fascinating debate on the connections between science and art and the origins of culture.  The guests include the utterly bizarre mix of novelist Cormac McCarthy (The Road, No Country for old Men), filmmaker Werner Herzog (The cave of forgotten dreams, Grizzly Man),  and physicist Lawrence Krauss (The physics of Star Trek).  Artificial Intelligence, Neanderthal culture and our place in the universe.  And a buffalo humping a woman.

Falling miserably back to Earth

I just watched the first episode of the BBC’s new show Defying Gravity, and it is absolutely awful. Clichéd characters, boring plot, and a completely unrealistic setting (it’s set in 2052, which seems to have not moved on from 2009 — the obvious exception being space travel). However, it did remind me of a recent post by one of my favourite writers, Charles Stross:

There’s an implicit feedback between such a situation and the characters who are floundering around in it, trying to survive. For example: You want to deflect that civilization-killing asteroid? You need to find some way of getting there. It’s going to be expensive and difficult, and there’s plenty of scope for human drama arising from it. Lo: that’s one possible movie in a nutshell. You’ve got the drama — just add protagonists.

I use a somewhat more complex process to develop SF. I start by trying to draw a cognitive map of a culture, and then establish a handful of characters who are products of (and producers of) that culture. The culture in question differs from our own: there will be knowledge or techniques or tools that we don’t have, and these have social effects and the social effects have second order effects — much as integrated circuits are useful and allow the mobile phone industry to exist and to add cheap camera chips to phones: and cheap camera chips in phones lead to happy slapping or sexting and other forms of behaviour that, thirty years ago, would have sounded science fictional. And then I have to work with characters who arise naturally from this culture and take this stuff for granted, and try and think myself inside their heads. Then I start looking for a source of conflict, and work out what cognitive or technological tools my protagonists will likely turn to to deal with it.

Star Trek and its ilk are approaching the dramatic stage from the opposite direction: the situation is irrelevant, it’s background for a story which is all about the interpersonal relationships among the cast. You could strip out the 25th century tech in Star Trek and replace it with 18th century tech — make the Enterprise a man o’war (with a particularly eccentric crew) at large upon the seven seas during the age of sail — without changing the scripts significantly. (The only casualty would be the eyeball candy — big gunpowder explosions be damned, modern audiences want squids in space, with added lasers!)

TV sci-fi sucks.

N.B. They just started jabbering on about natural selection and completely missed the point. So I’ll repeat: TV sci-fi sucks.