Toward Machines with Emotional Intelligence
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bioRxiv preprint doi: https://doi.org/10.1101/470237; this version posted November 14, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. 1 Emotion Schemas are Embedded in the Human Visual System 2 Philip A. Kragel1,2*, Marianne Reddan1, Kevin S. LaBar3, and Tor D. Wager1* 3 1. Department of Psychology and Neuroscience and the Institute of Cognitive Science, University of 4 Colorado, Boulder, CO, USA 2. Institute for Behavioral Genetics, the University of Colorado, Boulder, CO, USA 3. Department of Psychology and Neuroscience and the Center for Cognitive Neuroscience, Duke University, Durham, NC, USA 5 6 *corresponding authors: [email protected], [email protected] bioRxiv preprint doi: https://doi.org/10.1101/470237; this version posted November 14, 2018. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Kragel, Reddan, LaBar, and Wager Visual Features of Emotions 7 Abstract 8 Theorists have suggested that emotions are canonical responses to situations ancestrally linked to survival. If so, 9 then emotions may be afforded by features of the sensory environment. However, few computationally explicit 10 models describe how combinations of stimulus features evoke different emotions. Here we develop a 11 convolutional neural network that accurately decodes images into 11 distinct emotion categories. -
ARCHITECTS of INTELLIGENCE for Xiaoxiao, Elaine, Colin, and Tristan ARCHITECTS of INTELLIGENCE
MARTIN FORD ARCHITECTS OF INTELLIGENCE For Xiaoxiao, Elaine, Colin, and Tristan ARCHITECTS OF INTELLIGENCE THE TRUTH ABOUT AI FROM THE PEOPLE BUILDING IT MARTIN FORD ARCHITECTS OF INTELLIGENCE Copyright © 2018 Packt Publishing All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews. Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing or its dealers and distributors, will be held liable for any damages caused or alleged to have been caused directly or indirectly by this book. Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information. Acquisition Editors: Ben Renow-Clarke Project Editor: Radhika Atitkar Content Development Editor: Alex Sorrentino Proofreader: Safis Editing Presentation Designer: Sandip Tadge Cover Designer: Clare Bowyer Production Editor: Amit Ramadas Marketing Manager: Rajveer Samra Editorial Director: Dominic Shakeshaft First published: November 2018 Production reference: 2201118 Published by Packt Publishing Ltd. Livery Place 35 Livery Street Birmingham B3 2PB, UK ISBN 978-1-78913-151-2 www.packt.com Contents Introduction ........................................................................ 1 A Brief Introduction to the Vocabulary of Artificial Intelligence .......10 How AI Systems Learn ........................................................11 Yoshua Bengio .....................................................................17 Stuart J. -
Re-Excavated: Debunking a Fallacious Account of the JAFFE Dataset Michael Lyons
”Excavating AI” Re-excavated: Debunking a Fallacious Account of the JAFFE Dataset Michael Lyons To cite this version: Michael Lyons. ”Excavating AI” Re-excavated: Debunking a Fallacious Account of the JAFFE Dataset. 2021. hal-03321964 HAL Id: hal-03321964 https://hal.archives-ouvertes.fr/hal-03321964 Preprint submitted on 18 Aug 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License “Excavating AI” Re-excavated: Debunking a Fallacious Account of the JAFFE Dataset Michael J. Lyons Ritsumeikan University Abstract Twenty-five years ago, my colleagues Miyuki Kamachi and Jiro Gyoba and I designed and photographed JAFFE, a set of facial expression images intended for use in a study of face perception. In 2019, without seeking permission or informing us, Kate Crawford and Trevor Paglen exhibited JAFFE in two widely publicized art shows. In addition, they published a nonfactual account of the images in the essay “Excavating AI: The Politics of Images in Machine Learning Training Sets.” The present article recounts the creation of the JAFFE dataset and unravels each of Crawford and Paglen’s fallacious statements. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
Arxiv:1811.02435V1 [Cs.CL] 6 Nov 2018
WordNet-feelings: A linguistic categorisation of human feelings Advaith Siddharthan · Nicolas Cherbuin · Paul J. Eslinger · Kasia Kozlowska · Nora A. Murphy · Leroy Lowe Abstract In this article, we present the first in depth linguistic study of hu- man feelings. While there has been substantial research on incorporating some affective categories into linguistic analysis (e.g. sentiment, and to a lesser extent, emotion), the more diverse category of human feelings has thus far not been investigated. We surveyed the extensive interdisciplinary literature around feelings to construct a working definition of what constitutes a feeling and propose 9 broad categories of feeling. We identified potential feeling words based on their pointwise mutual information with morphological variants of the word \feel" in the Google n-gram corpus, and present a manual annotation exercise where 317 WordNet senses of one hundred of these words were cate- gorised as \not a feeling" or as one of the 9 proposed categories of feeling. We then proceded to annotate 11386 WordNet senses of all these words to create WordNet-feelings, a new affective dataset that identifies 3664 word senses as feelings, and associates each of these with one of the 9 categories of feeling. arXiv:1811.02435v1 [cs.CL] 6 Nov 2018 WordNet-feelings can be used in conjunction with other datasets such as Sen- tiWordNet that annotate word senses with complementary affective properties such as valence and intensity. · Advaith Siddharthan, Knowledge Media Institute, The Open University, Milton Keynes MK7 6AA, U.K. E-mail: [email protected] · Nicolas Cherbuin, College of Medicine Biology and Environment, Australian National Uni- versity, Acton, ACT 2601, Australia. -
The Bern Nix Trio:Alarms and Excursions New World 80437-2
The Bern Nix Trio: Alarms and Excursions New World 80437-2 “Bern Nix has the clearest tone for playing harmolodic music that relates to the guitar as a concert instrument,” says Ornette Coleman in whose Prime Time Band Nix performed from 1975 to 1987. Melody has always been central to Nix's musical thinking since his youth in Toledo, Ohio, where he listened to Duane Eddy, The Ventures, Chet Atkins, and blues guitarist Freddie King. When his private instructors Don Heminger and John Justus played records by Wes Montgomery, Charlie Christian, Django Reinhardt, Barney Kessel, and Grant Green, Nix turned toward jazz at age fourteen. “I remember seeing Les Paul on TV. I wanted to play more than the standard Fifties pop stuff. I liked the sound of jazz.” With Coleman's harmolodic theory, jazz took a new direction—in which harmony, rhythm, and melody assumed equal roles, as did soloists. Ever since Coleman disbanded the original Prime Time Band in 1987, harmolodics has remained an essential element in Nix's growth and personal expression as a jazz guitarist, as evidenced here on Alarms and Excursions—The Bern Nix Trio. The linear phrasing and orchestral effects of a jazz tradition founded by guitarists Charlie Christian, Grant Green and Wes Montgomery are apparent in Nix's techniques, as well as his clean-toned phrasing and bluesy melodies. Nix harks back to his mentors, but with his witty articulation and rhythmical surprises, he conveys a modernist sensibility. “I paint a mustache on the Mona Lisa,” says Nix about his combination of harmolodic and traditional methods. -
Race (1999; Excerpt) Tially What Distinguishes That Stance from Its Superficial Imitations-From Posturing
266 Joel Rudinow musician's commitment to jazz, the ultimate concern, proposed that the sub-cultural attitudes that produced the music as a profound expression of human feelings, could be learned. ... And Negro music is essentially the expression of an attitude, or a collection of attitudes about the world, and only secondarily an attitude about the way music is made. The white jazz musician carne to understand this attitude as a way of making music, and the intensity of his understanding produced the "great" white jazz musicians, 35 and is producing them now, 30 In other words, the essence of the blues is a stance embodied and articulated in sound and poetry, and what distinguishes authentic from inauthentic blues is essen Race (1999; excerpt) tially what distinguishes that stance from its superficial imitations-from posturing. I think that if we wish to avoid ethnocentrism, as we would wish to avoid racism, what we should say is that the authenticity of a blues performance turns not on the ethnicity of the performer but on the degree of mastery of the idiom and the integri Russell A. Potter ty of the performer's use of the idiom in performance. This last is delicate and can be difficult to discern. But what one is looking for is evidence in and around the per formance of the performer's recognition and acknowledgement of indebtedness to When people worldwide refer to American music, they often mean, by way of shorthand, sources of inspiration and technique (which as a matter of historical fact do have an black music. -
Affectiva RANA EL KALIOUBY
STE Episode Transcript: Affectiva RANA EL KALIOUBY: A lip corner pull, which is pulling your lips outwards and upwards – what we call a smile – is action unit 12. The face is one of the most powerful ways of communicating human emotions. We're on this mission to humanize technology. I was spending more time with my computer than I did with any other human being – and this computer, it knew a lot of things about me, but it didn't have any idea of how I felt. There are hundreds of different types of smiles. There's a sad smile, there's a happy smile, there's an “I'm embarrassed” smile – and there's definitely an “I'm flirting” smile. When we're face to face, when we actually are able to get these nonverbal signals, we end up being kinder people. The algorithm tracks your different facial expressions. I really believe this is going to become ubiquitous. It's going to be the standard human machine interface. Any technology in human history is neutral. It's how we decide to use it. There's a lot of potential where this thing knows you so well, it can help you become a better version of you. But that same data in the wrong hands could be could be manipulated to exploit you. CATERINA FAKE: That was computer scientist Rana el Kaliouby. She invented an AI tool that can read the expression on your face and know how you’re feeling in real time. With this software, computers can read our signs of emotion – happiness, fear, confusion, grief – which paves the way for a future where technology is more human, and therefore serves us better. -
Affective Computing and Autism
Affective Computing and Autism a a RANA EL KALIOUBY, ROSALIND PICARD, AND SIMON BARON-COHENb aMassachusetts Institute of Technology, Cambridge, Massachusetts 02142-1308, USA bUniversity of Cambridge, Cambridge CB3 0FD, United Kingdom ABSTRACT: This article highlights the overlapping and converging goals and challenges of autism research and affective computing. We propose that a collaboration between autism research and affective computing could lead to several mutually beneficial outcomes—from developing new tools to assist people with autism in understanding and operating in the socioemotional world around them, to developing new computa- tional models and theories that will enable technology to be modified to provide an overall better socioemotional experience to all people who use it. This article describes work toward this convergence at the MIT Media Lab, and anticipates new research that might arise from the interaction between research into autism, technology, and human socioemotional intelligence. KEYWORDS: autism; Asperger syndrome (AS); affective computing; af- fective sensors; mindreading software AFFECTIVE COMPUTING AND AUTISM Autism is a set of neurodevelopmental conditions characterized by social interaction and communication difficulties, as well as unusually narrow, repeti- tive interests (American Psychiatric Association 1994). Autism spectrum con- ditions (ASC) comprise at least four subgroups: high-, medium-, and low- functioning autism (Kanner 1943) and Asperger syndrome (AS) (Asperger 1991; Frith 1991). Individuals with AS have average or above average IQ and no language delay. In the other three autism subgroups there is invariably some degree of language delay, and the level of functioning is indexed by overall IQ. Individuals diagnosed on the autistic spectrum often exhibit a “triad of strengths”: good attention to detail, deep, narrow interest, and islets of ability (Baron-Cohen 2004). -
Why We Listen to Sad Music: Effects on Emotion and Cognition
Fachbereich Erziehungswissenschaft und Psychologie der Freien Universität Berlin Why We Listen to Sad Music: Effects on Emotion and Cognition Dissertation zur Erlangung des akademischen Grades Doktorin der Philosophie (Dr. phil.) Doctor of Philosophy (Ph.D.) vorgelegt von Liila Taruffi (M.Sc./M.A.) Berlin, 2016 Erstgutachter: Univ.-Prof. Dr. Stefan Koelsch (University of Bergen) Zweitgutachter: Univ.-Prof. Dr. Arthur M. Jacobs (Freie Universität Berlin) Disputation: 21. Dezember 2016 II In memory of Riccardo Taruffi 1922 - 2013 III Eidesstattliche Erklärung Hiermit erkläre ich an Eides statt, • dass ich die vorliegende Arbeit selbständig und ohne unerlaubte Hilfe verfasst habe, • dass ich mich nicht bereits anderwärts um einen Doktorgrad beworben habe und keinen Doktorgrad in dem Promotionsfach Psychologie besitze, • dass ich die zugrunde liegende Promotionsordnung vom 02.12.2008 kenne. Berlin, den 30.05.2016 Liila Taruffi IV Table of Contents Acknowledgements ..........................................................................................VIII English Summary ............................................................................................. IX Deutsche Zusammenfassung ........................................................................... XI List of Figures .................................................................................................. XIV List of Tables .................................................................................................... XV List of Abbreviations ....................................................................................... -
THE KC Washington, DC 2000) PITCH List for $8.98 Unless Otherwise (Mr
ALL THE NEWS THAT'S FIT TO PITCH FREE Baby" and "Atomic Love." "I was accused of being insane, film documents fifteen years of of being a drunkard, of being efforts by the U. S. government everything that you might ima and the media to pacify the pub gine a derelict to be," the pi DAJ1ClrG Duck and cover. That's all you lic about the dangers of nuclear lot says, "as a result of guilty to do to protect yourself war. conscience for doing this." atom bomb attack, says American soldiers in the Ne Filmmakers Jayne Loader, Kevin Turtle, a sprightly vada desert watch an Atomic bomb Rafferty and Pierce Rafferty WESTPORT character. He also tells test and then go in closer for a worked for five years on the Gershwin, Motown, Richard tUJO children UJho under bet ter look af ter hear ing a project, which began as a com Rodgers, Claude Debussy and the bomb can drop at chaplain describe the blast as prehensive history of American dancers in art deco blacks and and are alUJays on the "one of the most beautiful propaganda but ended up focusing whites and romantic tutus will a place to use as a sights ever seen by man." A con on the bomb. In These Times meet and mesmerize an outdoor basic, generic boy cerned father proudly displays quotes Pierce Rafferty as say audience at a series of free dOUJn a sideUJalk, the lead-lined snowsuit that ing, "We exhausted the Library performances by the Westport. stop in their tracks will protect his children. -
Middle East Prepares for AI Acceleration
Research Insights Middle East prepares for AI acceleration Exploring AI commitment, ambitions and strategies By Ian Fletcher, Brian Goehring, Anthony Marshall, and Tarek Saeed Talking points Connectivity, big data drive AI use AI is the new space race While early investment in artificial Modern AI has been around since the 1950s. Since that time, there have been several AI false starts known as “AI intelligence (AI) was typically motivated by winters,” in which AI was not considered all that seriously. a desire to get ahead, the emphasis today Now, however, AI is being driven by the proliferation of is increasingly on achieving competitive ubiquitous connectivity, dramatically increased computing capability, unprecedented amounts of data, parity—making sure an organization is not and ever-more sophisticated systems of engagement. left behind. As a consequence, regional Today’s business leaders understand that AI is an leaders—especially those in Middle East increasingly important tool for future growth and prosperity and are investing accordingly. nations—are recognizing AI’s growing significance and are placing AI at the Forward-looking countries in the Middle East, such as the United Arab Emirates (UAE), Saudi Arabia, Egypt, and center of national economic strategies, Qatar are taking bold steps—through increased organization, and culture. investment across sectors and policy awareness and commitment—to prepare and position for dramatic AI creates jobs progress using AI. Smaller countries that develop a Despite intense media attention on AI’s significant edge in AI technology will punch above their weight class. possible impact on replacing workers, empirical evidence collected by the IBM AI investment is clearly on the rise.