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Friday, 15 November 2013

How close are we to synthesizing Artificial Consciousness in an engineered artefact and how could it be applied to Video Games?

Dissertation (Digital Animation)
Level 6 Enquiry/Report/Essay (Screen)






Table of contents



Abstract


Dissertation

        Introduction

        Brief history of consciousness

Machine consciousness today

        Condition of success for MC

        Conclusion


Bibliography


Appendix










Abstract


Artificial Consciousness (AC), also known as Machine Consciousness, has the central objective of producing consciousness in an artificial system and determining what the process of consciousness is. Many hypotheses exist about consciousness but it is unknown which one could replicate the function of the human mind. In this work the plausibility of AC will be explored by studying the progress that has been made in the fields of robotics, computer science, neuroscience and others. With reference to issues of ethics and morality the paper will focus on AC’s potential impact on video games.



Dissertation


Introduction



The attempt to develop a systematic approach to the study of consciousness was started by René Descartes (1596–1650) who made a sharp distinction between the physical and the mental, known as Cartesian dualism (Velmans and Schneider, 2008:9). Since Descartes until recent years, psychologists, computer scientists, philosophers, physicists, neuroscientists, engineers, and many other theorists, have devoted their efforts to coming closer to understanding the product of the most complicated machine on Earth: the living brain. Increasingly, scientists have been showing further interest in the topic, which covers both the development of consciousness and subjectivity in machines and the use of computer software and robotics to try and understand what a conscious process actually is, known as Artificial Consciousness (AC) or Machine Consciousness (MC) (Raiko et al. 2008). The possibility of creating a conscious machine will be answered by looking into the latest prototypes and other achievements made in the field of AC. With advancements towards AC, new moral and ethical problems will arise and new modes of thinking will need to be developed in order to solve them. Clowes (et al. 2007:13) classifies AC as weak or strong, based on its complexity. In the circumstance that a machine is imbued with “strong” AC, our understanding of human consciousness will be revolutionised. The possible applications of AC within video games and computer simulation are staggering. Games already attempt to simulate conscious interaction with players using AI, and so the implementation of AC within a game environment will dramatically improve the believability of the experience. With the progress in this technology, a lot of innovation is brought by analysing the electric signals produced by the brain to detect player thoughts, feelings and expression, and use them to control a computer application (EPOC Neuroheadset). It also allows the player to communicate with other players or with non-playable characters in a game environment, by sending and receiving information like emotions and even more complex concepts (Wright, P. 2010).



Brief history of consciousness




What is conscious mind? This question has been explored by philosophers since it was first asked and yet no definite answers have been found (Haikonen, 2003). The obvious answer to the question is that the mind is that which is within a person’s head, or more specifically their observations, thoughts, imaginations, reasoning, will, emotions and the unconscious. The mind is what makes an individual person. According to Haikonen, the unique thing about it is that it is aware of itself, it is conscious.

The issue of what is consciousness is a heavily philosophically and ethically sensitive debate as it has serious implication on the human perception of self.
The results from the MC project can reveal aspects of the human consciousness which we have not presumed so far. This might bring a huge difference to how we perceive the mind so far. It further questions the notion of the unique human existence through personal thought.

By introducing conscious agents in a videogame, the experience from realism-focused applications will grow enormously. Every computer game has modules which support and deal with the out coming of the game, so in theory the game could be shaped based on the player’s conscience and behaviour. Furthermore the artificial players (known as bots) will be able to learn and behave differently every time the player interacts with them. If the bots are enemies, they will be able to set unpredictable challenges to the player and maybe even plan a different strategy to achieve their goal. This raises questions like the amount of influence these agents are afforded to have with the player and will the player be allowed to kill them.

Offray de la Mettrie (1705-51) extended the main Descartes's idea of consciousness by proposing that conscious and voluntary processes result from more complex mechanisms than involuntary and instinctive processes (Velmans et al. 2008:10). This is still in the essence of belief held by many of the followers of AC and the scientist searching for the neural correlates of consciousness in the twenty-first century. In philosophy literature today, the most common taxonomy of consciousness is “access” and “phenomenal”, which can also be described as “weak” AC and “strong” AC as done by Clowes et al. (2007) or also as “thin” and “thick” phenomenality. There are a lot of different words for it, but in its essence it is what was proposed by La Mettrie, there are at least two different elements that make up consciousness. Variants of the “thin” conception or the “access” one, also known as “cognitive”, is the part of the conscious mind which handles philosophically simple tasks, sometimes described as the unconscious. That is the part of the mind where cognition, reflexes and other functions vital to preserving a sensorimotor are performed. Tasks like these have already been performed by robots and computer systems with Artificial Intelligence (AI), because they work in a mathematical or logical fashion and are easier to understand as we know so much about that particular field in science. Examples of robots with “access” conception are all around us today, completing tasks such as image recognition, computation and everything that is a straightforward function. The access consciousness is a process which does not require complex activity like sentience. Clowes et al. (2007:12) describes the ‘thin’ conception’s explanation of consciousness as a super-layer upon physical or functional aspects of an agent. An example of an agent with only “access” consciousness, that has been a subject of interest for neuroscientists and psychologists, is a Haitian zombie, also known as philosophical zombie (Velman and Schneider 2008:18). This is a kind of zombie which is physically and behaviourally identical to a human being but is not conscious.

In Computer Games, artificial intelligence (AI) is used for simulating human-like actions such as decision making to produce an illusion of intelligence in the behaviour of non-playable characters (NPC). The player can interact with a NPC in the form of bots as enemies or allies in cooperative gameplay. In different styles of games the game AI is able to deal with a lot of actions which range from decision theory, problem-solving, environment awareness to squad tactics and army control. But the limitations of game AI stretch so far, because achieving something more  complex using this approach like common sense knowledge, which is known as situated AI, requires enormous amounts of ontological engineering. One way it could be done is to have the computer understand enough concepts so it can learn through sources like the internet. If introduced into gaming, in theory it can enhance the capabilities of a game AI with actions such as abstract thinking, language interpretation, adaptation, awareness, subjective experience and will.

On the other hand, everything that distinguishes a person from a philosophical zombie is phenomenal consciousness and it is these parts of experience that defy functional depiction (Block 1997). Specifically the area of phenomenal consciousness is the area which has fascinated scientists and has been hard to be described or understand even with recent discoveries in science (Haikonen 2008:12). That is the precise reason supporters of AC are using all means to achieve consciousness in a machine, as it will provide a lot of answers to how the phenomenal conception is formed. Igor Alexander (Veman and Schneider 2008:95) describes the model of being conscious as stemming from five features of consciousness, dubbed as axioms. The author’s approach aims to identify mechanisms which, through neurons (physical or virtual), are able to represent the accuracy that is felt in reporting a sensation. The five axioms are:

“1  perception of oneself in an “out- there” world; 2  imagination of past events and fiction; 3  inner and outer attention; 4  volition and planning; 5  emotion. “
(Velman and Schneider 2007:95)


This is not an exhaustive list, but it is found that for a modelling study it is necessary to have such approach. In the belief that consciousness is the name given to a composition of the listed sensations, most of the methodology today seeks a variety of mechanistic or virtual models each of which is an imitation of one of the above basic sensations.

Such means to achieving machine consciousness, as building a depictive model of how thought can be synthesized in an artefact, is defined by Igor Alexander (Velman and Schneider 2008:87) as machine modelling of consciousness (MMC). It refers to the work of those who use both their analytic skills and the ability to design machines which come closer to better understanding what “being conscious” might mean.

Later in this paper, ethical, moral and social issues that might arise from accurately simulating conscious thought will be discussed



Machine consciousness today




It could be easy to think that in this age of scientific progress, the old mind-body theories would be irrelevant to modern research and that most of the questions, asked before significant scientific discoveries, would be answered or negated. But even with the convenience of all the technology and instruments and a better understanding of biology, Descartes’s dualism still applies (Haikonen 2012:12). Science today can study and explain that in the brain there are material neurons, synapses and glia, where physical and chemical reactions take place, and it can prove that without those processes, no consciousness or subjective experience could occur. These neural areas of the brain that are correlated with conscious experience are called neural correlates of consciousness (NCC). Haikonen mentions research done analysing those areas and attempting to discover evidence of the activation of a specific group when certain mental states arise, does not explain how the subjective experience would be created. Although there are some functionalists who believe that it is due to the lack of scientific progress, such as quantum entanglement at a macroscopic level, that still need to be understood before consciousness can be explained. Research has not been able to explain how these physical processes in our brain, real or specular, could host and create the inner subjective experience. Haikonen (2012) explains how the existence of this, so called explanatory gap, has been recognized. This is the same subject that has been covered since Descartes’s separation of the mental and the physical in philosophical terms.


On the other hand, with the improvement and better understanding of scientific disciplines, like neuroscience, theoretical physics, machine learning and artificial intelligence, many hypotheses were made. Most importantly, there has been much MC research that has contributed to the MC project and many difficulties resolved.


Despite all the progress that has been made on the subject, The contributors Chris Frith and Geraint Rees (Velmans and Schneider 2008:18) explain that machine consciousness is still as wondrous as it has always been. The subject of the human-like mind has created vast number of hypotheses, trying to explain how it works and how it can be created. If Alexander’s (2012) model for depicting consciousness is followed, then phenomenal concept of the mind will be broken down to even more modules, which are as complicated as the concept.  According to them (Chris Frith and Geraint Rees), Eliminative materialists claim that consciousness itself is a vital essence and therefore does not actually exist. For functionalists, following La Mettrie, the vital essence is a complex computational algorithm that is able to produce consciousness and create its phenomenal characteristics. Furthermore, functionalists believe that if the same physical complexity that exists in the human brain is recreated in another environment, like silicon, consciousness will arise. Others (such as functionalists mentioned earlier) believe that a necessary scientific discovery has to be made before we are able to understand machine consciousness. And lastly mysterians think that consciousness is a subject which is so complex that the human brain can never come to an explanation or understanding of the process. Others believe that consciousness could be just an epiphenomenon, which can have no impact over the physical world we live in. On the other hand, followers of Charles Darwin believe that as any part of evolution, consciousness has evolved and gives some advantage to those who have it. Bringing this line of enquiry to a point, following the above example, consciousness could be associated with language and the creation of culture, and by their necessity, it grew and developed in human beings.

“consciousness in general developed itself only under the pressure of the need to communicate.” by Nietzsche
(Velman and Schneider 2007:18)






Condition of success for MC



As it has been stated, there are a lot theories on to how consciousness could have arisen but being the main point of interest in MC, many of them have been applied in building a potential machine. In his research paper, Igor Alexander (1996) proposes that that the principles for creating a conscious machine already exist but it would take forty years to train such a machine to understand language. From this it becomes obvious that there is another problem in all MC research, and that is the question, when is it declared that consciousness is present? Igor Alexander (2012) proposes the following criteria which have to be fulfilled in order to claim conditions of success for MC:

1  There needs to be a demonstrable representation that the agent is aware of the world around it and that it understands its role within it.
2  The machine must show a sufficient understanding of its human interlocutors.
3  Reactive, contemplative and supervisory levels of reasoning must be discernible in the process of committing an action or taking a choice.
4  The machine could be characterized by low-level mechanisms that have the same function as the processes that are proven to be crucial to consciousness in the neurology of living organisms.
5  The machine must have means of demonstrably depicting and using the out- thereness of the perceived world and be able to use such depictions to imagine worlds and the effect of its actions.
6  The design must qualify what is meant by an emotional evaluation of the content of consciousness.


In his paper Alexander emphasizes the fact that this paper is open-ended but together with his list of five axioms (mentioned above) defines almost all approaches that have been used over the years in terms of forming a depictive model which is essential to the MC project. There have been many theories and prototypes, which try to achieve one of the features mentioned by Alexander.

If consciousness is decidedly present in a virtual being, then this raises the ethical issue of how it should be treated. Should it be afforded the same rights as a living person? If it is implemented in a video game as a virtual mind, it would not be distributed separately for every game. For example, computer systems such as a Personal Computer, PlayStation, Xbox etc. are environments which provide specific possibilities to developers to programme games using those options. The virtual consciousness will exist on that system (such as a console) and it will be used to simulate that exact same environment on which the game was design, so it can be played properly. As the system learns behavioural information of his or her user, it will be able to run the game with the preferred by the user features, for example the difficulty will already be known, the language, the user’s account to online servers and other specific to the game options. Furthermore, if the computer system provides the game with its consciousness, it will be able to create virtual bots, which still think as the system and appear conscious, but when they are killed, the player will not be killing an artificial individual or a person. The system itself will always be “alive”, but if disconnected from a power source, it will just pause its process until reconnected.

Almost all the engineers and computer scientists involved in machine consciousness take a more or less conventional computational or neurally inspired approach, concentrating on the functions associated with machine consciousness. In his introductory texts, Holland (2003:2) talks about Rodney Cotterill’s project, CyberChild. In his approach, he brings together many recent methods to the problem of MC by the computer simulation of the brain, body and environment of a very young infant. His architecture of the child’s brain is a close neural model of what he has identified as the relevant parts of the mammalian nervous system. What is interesting about his approach is that it is developmental and interactive as the simulated child has to signal its needs to the experimenter, such as crying appropriately, and he must respond. Furthermore the agent has simulated metabolism, along with its brain and body, making it able to learn to deal with the environment with the risk of life and death.

If consciousness is achieved with this method, this kind of virtual simulation in theory can be run on portable devices such as smartphones, to create a virtual pet. It will be able to simulate all things that a real-life pet would do, so the owner will have to take care of its needs. This sort (but of course not conscious) has been developed in Japan in 1996 and is known as Tamagotchi. As of 2010, 76 Tamagotchis have been sold world-wide. An obvious ethical issue is faced here, as every pet would be an equivalent to a real animal, it cannot be allowed to be treated by anyone because it can die. The solution to this would be if the consciousness which deals with the simulation of all the personal “Tamagotchis” is hosted in a central place and then every user will connect over internet for example to access their pet and even if the pet dies, it will just be a virtual simulation powered by the MC system.

Holland explains that Cotterill’s approach is very open minded as it is looking for any answers in the field of consciousness that his MC project could discover. In contrast to Cotterill’s MMC is Professor Alexander Stoichev’s approach which is being conducted in Iowa State University, whose team has created a robot at the infant stages of learning (Robots Become Human). Their robot is performing not pre-programmed functions, by learning about its environment and objects around it. By observing and testing it comes to a conclusion about the behaviour of the items it deals with. It is a physical robot, unlike the CyberChild, which can perform simple tasks like picking objects up, shaking, scribbling and listening. Combining those tasks, it can perform certain actions, first of which is acoustic object recognition. By performing five exploratory behaviours, similar to what a child would do, it will come to understanding how the object sounds. Another feature concerning visual cognition is to try and scribble with the object. One of the goals is to make the robot identify which set of actions to perform in order to understand and discriminate the object.

If the robot made in Iowa State University continues to develop, at certain point as a physical agent it will have to follow a set of laws so the living beings it interacts with are protected and the robot to be protected as well. Also it is really important that the robot follows certain rules to protect itself from developing in an irreversible state or destroying itself. According to Jacques (2010:183), in 1941 Isaac Asimov introduced his laws of robotics, which were initially three, but were later updated with a zeroth law. The laws are:

“0. A robot may not harm humanity, or, by inaction, allow humanity to come to harm.
1. a robot may not injure a human being or, through inaction, allow a human being to come to harm;
2. a robot must obey orders given to it by human beings, except where such orders would conflict with the first law;
3. a robot must protect its own existence as long as such protection does not conflict with the first or second law. “ (Jacques 2010:183)

Jacques (2010:184) further describes that only those laws are not sufficient as there is too much self-neutralisation of them. For example this can lead to a serious drift, as in the film “I, Robot”, where a robot wants to control mankind to protect men against their greatest enemy: man. To overcome this, as described by Jacques (2010), Weld and Etzioni come up with two primitive actions which use the concept of “harm”. The first action is “don’t-disturb”, its only argument being a part of the state of the world. In particular, if it has received the order “don’t-disturb File-X”, the system will reject any instructions that could lead to modification or destruction of the file X. The second command is “restore”, which is less strict and it means that the robot can modify or even delete the provided file in the argument, but at the end it can restore it to its initial state. With those two orders, one can indicate to a system objects which are crucial: it can use them, but it must not destroy them.

Further research described by Alexander (2012:93), is a project done by Pentti Haikonen of the Nokia Company in Helsinki, Finland. He has created an architectural model that captures consciousness by having a comprehensive set of cognitive competencies. This relies on the ability of recursive or re-entrant neural networks to memorise and retrieve mental states. His neurologically focused research, operates in the same way a brain cell does, by creating artificial neurons that can receive an input signal and “learn” how to output an appropriate response. By connecting all neurons together, the system is able to reconstruct a learnt image by observing only parts of it. The architecture allows the system to represent both sensory input and inner reconstructions of meaningful states in the absence of input. Furthermore, it is capable of associating, for example the visual representation of a bike with the word “bike”. This working on a multi-level scale, it can associate certain states with words which can then make use of the word “I” in a meaningful way.

This system can be used in videogames as a consulting assistant of your experience in the game. Let’s say that a player starts playing a sophisticated game with a lot of variables and possible options, such as having a lot of skills, possible locations, dialog and explanations and huge variety of items. When the player is in the middle of the game progress, it is likely to forget all the things that the player has seen or learnt during his experience. Computer games are simulating 3D environment by rendering it as a 2D image, it is an image that could be remembered by the system and associated with the appropriate key words, phrases, colours and specific to the game details (location, chapter, stage). At any time in the game, the player will be able to ask the virtual assistant with any information and be given back a relevant result, for example to find a symbol or a sign that he or she has seen previously in the and be given the exact location, time and state where they have seen it.

Since we are not certain what constitutes consciousness, it is hard to know whether or not machines can possess it. There is no reason why human consciousness should be the only kind; indeed, as Geraci (2010: 112) argued, as robots become more complex, it would seem that there must be something that it is like to be a robot. Therefore, if this consciousness, achieved in a computer simulation or a physical robot, should be treated as a biological being.

Apocalyptic AI is a study of the aspect of machine consciousness which looks into the possibility of transferring oneself into a machine, where he or she can continue living, free of physical constitution. Predictions on the subject have garnered so much attention that—in combination with rapidly progressing robotic technology—widespread public attention has focused upon how human beings and robots should and will relate to one another as machines get smarter. Debates over robotic consciousness transition smoothly into what kinds of legal rights and personal ethics are at stake in the rise of intelligent robots. In response to the movement, philosophers, lawyers and governments, and theologians have all reconsidered their own positions. Geraci (2010) quotes the Scottish AI researcher David Levy on the subject, who argues

“we are in sight of the technologies that will endow robots with consciousness, making them as deserving of human-like rights as we are; robots who will be governed by ethical constraints and laws, just as we are; robots who love, and who welcome being loved, and who make love, just as we do; and robots who can reproduce. This is not fantasy—it is how the world will be, as the possibilities of Artificial Intelligence are revealed to be almost without limit”
(Geraci 2010:118)

Artificial beings, except for robots, are made of programs and data, exactly as a game program, a text processor or an operating system: to clone it, it is sufficient to copy their files. Thus, cloning an artificial being is a cheap and fast operation, which can be performed a large number of times, possibly generating billion of clones for an acceptable cost (Jacques 2010:57).

In many circumstances, we have to make choices which are difficult to evaluate. For instance, if we want to learn to play chess, we can use several methods: we can try to play as often as possible, to read many theoretical books, to play against very strong players and etc. Whatever our choice, we may wonder if another choice would not have been better. To come to the best conclusion, the exact circumstances will have to be replicated and another route taken in order to find out which one was better. According to Jacques (2010) to answer such questions, psychologists take several people, each one using a different learning method, and observe their progress. If at the exact moment when a virtual agent has to make a choice, a clone of that instance is made at the exact time and force it to use another method, making it able for the program to take multiple decisions and allowing only the better one to progress, deleting the previous one, will create a system which will be able to improve, resulting in the “perfect” agent. This is known as genetic algorithm and is vital to most MC research.


If introduced in gaming, the generic algorithm can help improve the knowledge of enemies. For example in a single player shooting game, the system will construct the best plan to fight back against the player. After the player neutralises an enemy, the consciousness of the game will update the intelligence of all the other artificial players so in a way they are learning from their experience and will remain a challenge to the user. In a massively multiplayer online role-playing game (MMORPG) where multiple users are fighting cooperatively against enemies. The main characters that have to be defeated will again learn from the players attacks and react and adopt every time accordingly to bring greater challenge, making the game more immersive.



Conclusion




Since Descartes and his phrase “Cogito ergo sum” (“I think therefore I am”) the subject of consciousness (human or artificial) has been lively debated by philosophers, psychologists, scientists, roboticists and many other in that sphere of knowledge. It has transcended from religious beliefs or science fiction writings to a vital figure in modern science. Disciplines like artificial intelligence, machine learning, robotics, neuroscience, machine consciousness and many more would not be present if consciousness was not such a crucial part to understanding the mind. The notion of consciousness has tantalised the minds of theorists because of its intrinsic link to our sense self and our perception of our existence in the world. Thanks to developments in the fields discussed in this dissertation, this seemingly mystical concept has now become a highly developed area with potential in discovering the very process of the biological phenomenology. If machine consciousness is achieved, it would change the way we perceive existence, the way we experience games, dictate new ways of describing mental states and make possible numerous new experiments. Not to mention requiring entire new paradigms of philosophical, ethical and moral thought. The great Isaac Newton lends this investigation an appropriate closing statement - “What we know is a drop, what we don't know is an ocean.”











Bibliography:



Books:


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Haikonen, P. (2003), The Cognitive Approach to Conscious Machines, Exeter, UK: Imprint Academic


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Wright, J. Talmadge (2010) Utopic Dreams and Apocalyptic Fantasies. Playmoth: Lexington Books. Available at: http://herts.eblib.com/patron/FullRecord.aspx?p=634254 [last accessed 22/01/2013]


Nordlinger, J., Cuddy, L. (2009) World of Warcraft and Philosophy. USA: Carus Publishing Company. Available at: http://www.herts.eblib.com/patron/FullRecord.aspx?p=547560 [last accessed 16/01/2013]


Lewis, M., Weber, R., Bowman, N. (2008 ) ‘They May be Pixels, but They’re MY Pixels’: Developing a Metric of Character Attachment in Role-Playing Video Games.


Meadows, Mark S.(2007) ‘I, Avatar: The Culture and Consequences of Having a Second Life’. Available at: http://proquest.safaribooksonline.com/book/web-applications-and-services/9780321550231 [last accessed 15/12/2012]


Edward Castronova, (2006) ‘Synthetic Worlds: The Business and Culture of Online Games’


Pitrat, Jacques (2010) ‘Artificial Beings: The conscience of a Conscious Machine’. Available at: http://herts.eblib.com/patron/FullRecord.aspx?p=477697 [last accessed 19/11/2012]


Holland, O. (ed. 2003), ‘Editorial introduction’, Journal of Consciousness Studies, 12 (4–5), Special issue on Machine Consciousness, pp.1–6.


Clowes, R., Torrance, S., Chrisley, R. (2007), ‘Machine Consciousness’, Embodiment and Imagination, Journal of Consciousness Studies, 14 (7), pp.1–6.


Haikonen, Pentti Olavi Antero (2012), Consciousness and Robot Sentience, e-book, accessed 18 March 2013, [Available at: http://HERTS.eblib.com/patron/FullRecord.aspx?p=1069824]


Block, Ned (1997), On a confusion about a function of consciousness in Block, Flanagan and Guzeldere (eds.) The Nature of Consciousness: Philosophical Debates, MIT Press


Raiko, T., Haikonen, P., Väyrynen, J. (2008) AI and Machine Consciousness. Espoo: Multiprint oy. Available at: http://www.stes.fi/step2008/proceedings/step2008proceedings.pdf [Accessed 15 February 2013]



Velmans, Max; Schneider, Susan (2008), The Blackwell Companion to Consciousness, e-book, accessed 18 March 2013, [Available at: http://HERTS.eblib.com/patron/FullRecord.aspx?p=351498]




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Aleksander, I. (1995) Artificial Neuroconsciousness An Update. Available at: http://web.archive.org/web/20050408042834/http://www.ee.ic.ac.uk/research/neural/publications/iwann.html [last accessed 10/01/2013]


Buttazzo, G. (2001) Artificial Consciousness: Utopia or Real Possibility? Available at: http://retis.sssup.it/~giorgio/paps/2001/ieeecm01.pdf [last accessed 05/01/2013]


EPOC Neuroheadset, Available at: http://www.emotiv.com/apps/epoc/299/ [last accessed 22/12/2012]


Wright, P. (2010) Emochat: emotional Instant Messaging with the Epoc Headset, Available at: http://www.slideshare.net/fwrigh2/emochat-emotional-instant-messaging-with-the-epoc-headset [last accessed 22/01/2013]


Gonzalez-Sanchez, J.; Chavez-Echeagaray, M.E.; Atkinson, R.; Burleson, W.; , "ABE: An Agent-Based Software Architecture for a Multimodal Emotion Recognition Framework," Software Architecture (WICSA), 2011 9th Working IEEE/IFIP Conference on , vol., no., pp.187-193, 20-24 June 2011, Available at: http://ieeexplore.ieee.org/stamp/stamp.jsp?tp=&arnumber=5959690&isnumber=5959683 [last accessed 10/12/2012]


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Appendix


Ivan Phillips – 31st October 2012
    Individual tutorial in which I was helped with the selection of my proposed enquiry. The meeting helped me choose a topic which was most relevant to my course and in which I was most interested in. I was advised that I had to look into the topic with the relation to games and that the subject is concerning complex philosophical area. This consisted of careful literature search, sharp scoping of topic and clear, well-structured question. I was provided with a couple of books, which I found to be very closely related to my research. The books were Ed Castronova Synthetic Worlds, Steven Meadows I, Avatar and Erik Davis Techgnosis.

Mark Broughton – 16th March 2013
    Feedback from “Mapping the Field”. This was really helpful as it helped me to focus my research in a specific area and strengthen my approach. It further made me aware to clearly define my theoretical approach and choose a focused research question. I was also given hints to be more careful about referencing. I have acknowledged all those notes and found them to be important to achieving better essay structure and research.

Thursday, 31 January 2013

Is Artificial Consciousness possible and could you completely transfer one's self into an engineered artifact and how this can be used in Computer Applications?

         




Methodology and explanation of the topic

My research is going to be looking into the progress that was made in the field of Artificial Consciousness (AC), also known as Machine Consciousness or synthetic consciousness. In its definition, AC aims to synthesize artificial intelligence and cognitive robotics into a programmable computer system, where consciousness can be found. Looking into the most qualified and supported documentation over the last 10 years, I will be looking into the potential and effect of AC in Application Software.

In Computer Games, artificial intelligence (AI) is used for simulating human-like actions such as decision making to produce an illusion of intelligence in the behaviour of non-playable characters (NPC). The player can interact with a NPC in the form of bots as enemies or allies in cooperative gameplay. In different styles of games the game AI is able to deal with a lot of actions which range from decision theory, problem-solving, environment awareness to squad tactics and army control. But the limitations of game AI stretch so far, because achieving something more  complex using this approach like commonsense knowledge, which is known as situated AI, requires enormous amounts of ontological engineering. One way it could be done is to have the computer understand enough concepts so it can learn through sources like the internet. If introduced into gaming, in theory it can enhance the capabilities of a game AI with actions such as abstract thinking, language interpretation, adaptation, awareness, subjective experience and will. Furthermore I will be looking into devices which study the electrical activity along the human scalp, known as Electroencephalography (EEG), and translate that information using computer software to achieve input and control computer applications. My research will be focused at how much of this is possible and what innovations could this bring to casual gaming or training and theoretical simulations.

In theoretical debates about the plausibility of AC there are many solid arguments on both sides and taking an agnostic view will allow me to examine and evaluate all ideas and possibilities for how much is known about AC. Theorists that are skeptical of AC hold that consciousness can only be realized in a physical environment as it has properties which necessarily depend on physical constitution. On the other hand proponents of AC believe that consciousness can be realised in properly designed and programmed computers. Igor Aleksander (1996) claims that the principles for creating a conscious machine already exist but that it would take forty years to train such a machine to understand language. So I’ll be looking only into project results and supported and approved claims before taking a route in one of the possible oppositions during the research.


There a lot of philosophical theories behind the different types of AC. In philosophical literature consciousness is divided into “cognitive” easy problems such as explaining object discrimination or verbal report and “phenomenal” hard problems which concerns those aspects of experience that seem to defy functional depiction, conceptual thought, qualia and sentience. But since such forms of “cognitive” or weaker AC such as shape recognition have already been achieved by computer software, I will be looking into the hard problems of consciousness.

If consciousness was found in a machine, there will be many ethical implications. If the synthesised being has a human-like consciousness then what rights should it have under law and what protection will it have from the physical conscious world. Because no such discovery has yet been made the subject is still legally considered as theoretical.


Thursday, 26 April 2012

World of MMO Craft



“World of MMO Craft”





The line between the real world and the virtual world has blurred. Perhaps once upon a time we could easily demarcate between fact and fiction, life and games, but online games now challenge the barriers that might have once been solid. The virtual world, though intangible, is now quite real and gaining importance in mainstream techno-culture. The median age of online gamers ranges from mid-twenties to early thirties; these games are not just for kids! The abbreviation MMOG stands for Massively Multiplayer Online ( Game ) and one of the most played and established of the kind for the 21st century is World of Warcraft created by Blizzard Entertainment. Focusing on the history, development and process of the creation of several blockbusters which form the ground rules of the genre, we are exploring the artificial realm for virtual gamers. Through analysing the experience and the purpose that a user finds in these virtual worlds, I will explain what makes one MMORPG good in terms of what users would come to expect from an MMO game in the current technological stage.

The very first computer games, before the home computer revolution took place, were created on expensive computer systems called mainframes; most of those early games were created in universities as programming projects. These mainframe systems were perfect for generating statistical information, but unfortunately they had very limited graphical output and in many cases they would only display text-based characters. The initial games were text-based adventure games and it wasn’t long before they were given a basic level of multiplayer functionality. Many of these adventure games were based on fantasy role-playing games such as Dungeons and Dragons. These computer games were named MUD, which is an abbreviation of multi-user dungeon. The multiplayer aspect of these games was basic by today’s standards and was limited by the internet speed to sending email messages and chatting within the game.

The main factor that requires users to play MMOs is constant internet connection and the process of communicating with other machines over a telephone line was still problematic. It was expensive and unreliable. After the introduction of the World Wide Web and the graphical bowser, the speeds of modems began to increase allowing for a much better online experience. These advances led to a technology and services boom. A number of telephone and computer-based companies began offering easy access to the Internet, one of which was a company called America Online (AOL). Most of AOL’s competitors provided a simple dial-up connection whereby the user would then use a browser to search the Internet for content. AOL provided it all within the same program which contained items such as websites, forum boards, chat rooms, and most importantly games. There was something special included together with all the single player games; it released the first graphical MMO called Neverwinter Nights in 1991.



Neverwinter Nights” (AOL) screenshot: (Source: mmohuts.com, 2009)

Tuesday, 6 December 2011

Following the process of transformation in the movie “Limitless” and analysing the aspects using fashion theory reference and texts.








Following the process of transformation in the movie “Limitless” and analysing the aspects using fashion theory reference and texts.











I will be analysing the transformation process of the character as described by the changes in his costume. The clothing design blend, between the beginning and the end of his transformation, will be discussed with reference to fashion theory as used in similar genres and the film industry worldwide. In the movie ‘Limitless’ the protagonist undergoes the stark transformation from a homeless writer to a senator. The movie takes place in current times, where the specific qualities of fashion items (such as colour, fabric, design and etc.) is of secondary importance, compared to the fact that it is simply on the market. Signifying both body and garment – the main character is followed on his path of complete class and personality metamorphosis. Every step of the process is described through a different costume design, which corresponds to his current level in materialistic modern society in which the branded goods act as a method of distinction and classification. The final version of the character emulates for the many people who see him as an ideal that brings together beauty, self-transformational skills, wealth, business sense and success.
In the Tractatus logico-philosophicus, Wittgenstein proposes a clothing
metaphor for language: [4:5]

Language disguises the thought, so that from the external form of the clothes one
cannot infer the form of the thought they clothe, because the external form of
the clothes is constructed with quite another object than to let the form of the
body be recognized (Wittgenstein, 1922: Proposition 4.002).”


Language, thought and dress are associated in the text. It describes clothing as a form of bodily disguise, just like language is a disguise for thought. Wittgenstein explains how language and dress are sign systems which “speak” without revealing the true inner mind of the source. It can be verbal language or a different dress style. But there is something that Wittgenstein could not take into account at the time. Nowadays people have various ways of signifying information to the spectator, that has become common everywhere and is “speaking” to us in the same way that the other forms of language would. Therefore, like any other language in this sense, clothing functions like syntax to a set of more or less constant rules. These rules allow body covering to signify meaning, weather that is an important social significance in a logo carried through history, or just following the criteria set by the fashion industry.

Tuesday, 29 March 2011

What were the key aspects of Surrealism? Discuss one or more major artist from this art movement and consider how he/she has engaged with the unconscious.



Surrealism is a cultural and artistic movement that began in the early 1920s, and is best known for the visual artworks and writings of the group members. Many surrealists work is an expression of the philosophical movement first and foremost, with the art they create - being an artifact. Presenting this art to the viewers, allows the artist to start a discussion in one’s mind. The key aspects cannot be categorized or listed due to the fact that they can touch on every culture, religion, political view or even personal experience and knowledge. It is well known that every artist has a different way of expressing the deep message carried in every surrealistic piece. This is understood by the viewer’s mind operating well outside the attention of the conscious mind, defined by Sigmund Freud as the unconscious. An example proving that is the work of the American identical twin brothers Stephen and Timothy Quay, better known as the Brothers Quay (or Quay Brothers). They are influential stop-motion surrealist animators.

A way to present the key aspects of surrealism is by looking into André Breton’s work. Two Surrealist Manifestos (Le Manifeste du Surréalisme) were issued by the Surrealist movement. The first was written by him and the second one was done under his supervision in 1924 and 1929, respectively. The first Surrealist manifesto defines Surrealism as:

“Psychic automatism in its pure state, by which one proposes to express -- verbally, by means of the written word, or in any other manner -- the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.”

The text demonstrates many examples of the applications of Surrealism to poetry and literature, but also making it clear that Surrealism can be applied in any circumstance and it is not enclosed by the boundaries of the artistic realm. If surrealism had to be described visually, it would be a machine, which uses the artist’s ideas as input, then scrambles them using a unique algorithm, and as a result produces a visual artwork which can provoke deep contemplation from any viewer.

Tuesday, 14 December 2010

Improvement of technology but constant art?

So in the lecture we talked about how the technology improves, but art continues to stay the same. I personally don't believe that. Lets talk about this graph:

Ok so why is this true? Is art an constant which doesn't change? Are we only following the traditional methods without bringing anything new to it? I don't think that's true and moreover let's add some more factors and examine the next graph.


Technology is being improved every single second, but this unlocks more possibilities for artists and boosts art along with it. But the effort put into the making of the final product has definitely decreased. Over the years technology used in movies has never been so common. It's cheaper than physical effects, it is broader of possibilities, it can create thing that you can never create physically and the lights that you can use to light 3D scenes have abilities which every movie director will kill to have in physical state. With the development of technology, the visual side of movies has never been so beautiful and believable. Blockbusters such as "Inception (2010)", "Alice in wonderland (2010)", "Avatar (2010)" show us what modern CGI can produce, and I think it is quite AMAZING. But there is no doubt that the meaningful side of movies has decreased. What happened to the stories, the mysteries, the shock after realizing the real murderer... I haven't experienced any satisfaction from seeing new high-budget-movies ( there are some exceptions though ). But film giants like Disney and Pixar ( now together ) kept their creativity. It seems like only CGI movies now can actually show some professional storyboarding and unique screenplay. But let'd dig into the past first.

Pixar:



The adventures of Andre and Wally B. (1984)

This animation shows the great improvement of the 3D software that Pixar used, which are:
-motion blur
-particle systems (for the creation of the forest)
-Bending the model (the first type of rigging)

Pixar are and will always be the best animation company in the world. They are the company which shows what 3D can do now, but in stylized way and synthetic style of nature.

"Ideology is the false obviousness of everyday life" Louis Althusser
This quote is so, so true. People set ideals so they can look up to something they can never be. The main factor of development is competition. If we have something to fight for, and believe that reaching it will give us eternal happiness, we will be twice more productive. But something can never be ideal, there will always be imperfection, which makes it believable. But we need ideals so we can always fight for perfection, and know that by following the example set by something perfect, everything will be OK. Human's mind is always curious and hungry for the unknown, which will leads us to too many solutions to a problem, if we don't have the pre set ideal of the goal. These ideals are easily shown by animation. The best example is soviet propaganda art:




Cartoon dominants such as Disney are mentors of modern youth. A lot of kids are brought up following the rules set by Disney animations.


Bambi (1942)

One of the most touching movies I've ever seen...This movie shows to children various of important things. For example the forest is shown in such a beautiful way, synthetic style as a combination of what it is as physical objects and it's beauty as a pure element, not harming anybody and living in peace and joy (well, until humans invade it...). On the technical side, its the first animation that uses anatomy for Bambi's movement, it looks like there is a real deer skeleton inside the main character's body. They had biological specialists in the studio to whom they can refer to at any point. They also used an chinese style for making the elements from the forest to fade in a certain point, so they can fill the point of interest with curiosity. There are places where your imagination can inhabit. Also, this is one of the first cartoons to use multiplaning:

 The 2D way to fake 3D. I have to say that my favourite part of the lecture came with this sentence : "First they become stiff, then they vibrate, and then they melt and become soft...". Bill definitely killed us all with that lol :D . The lecture ended with the expected anime talk. Studio Ghibli is I have to say, the best studio there is. Movies like Spirited Away, Howl's Moving Castle, My Neighbour Totoro and Princess Mononoke have to be seen by everyone. A true piece of art. The interesting part was when the lecturer analysed the scene from My Neighbour Totoro when they planted the seeds and the tree went into bursting metamorphosis. I never knew that this was actually a reference to atomic bombs, or being more exact - in 1945, USA dropped an uranium bomb called "Little Boy" on Hiroshima and 3 days later they dropped an plutonium bomb called "Fat Man" on Nagasaki.

And finally, a quote worth mentioning -
"We are subjects to a result of our experience" by Malcolm Armstrong

Monday, 13 December 2010

Surrealism

Surrealism is a cultural movement that began in the early 1920s, and is best known for the visual artworks and writings of the group members. By members I mean exactly people like the Quay Brothers (or Brothers Quay). Every artist has a different way to express what he needs to say. Some surrealists had different ideas in mind before the final product, but this is due to limitations set by the government. Most of the countries now-a-days don't have restrictions as they once had. It wasn't that easy to show everything you felt, I believe. Surrealism as way of expressing is unique. Followers of the revolutionary movement, like the Quay Brothers, have no meaningful spoken dialogue in their movies, with a very few exceptions. Surrealists transform their message in a way that only few can understand. Their creations are something far more different than the "normal" movies created for the masses. Surrealists use both organic and inorganic elements combined with music (mostly composed by Leszek Jankowski). Jan Švankmajer, for whom they named one of their films (The Cabinet of Jan Švankmajer), is also frequently cited as a major influence, but they actually discovered his work relatively late, in 1983, by which time their characteristic style had been fully formed. Art comes in all shapes and sizes, but this is art itself. The first time I saw their masterpieces was during the lecture, but I've been enjoying surrealism long before that. OK, that's enough for the introduction, let's analyse some examples.





This is one of their most famous shorts - Street of Crocodiles (1987).
"In that city of cheap human material, no insticts can flourish, no dark and unusal passions ca be aroused THE STREET OF CROCODILES was a concession of our city to modernity and metropolitan corruption.The misfortune of that area is that nothing ever succeeds there, nothing can ever reach a definite conclusion. Obviously, we were unable to afford anything better than a cardboard imitation, a photo montage cut out from last year's mouldering newspapers"
They clearly say what their goal was with that short. The whole movie has a dark environment and mechanisms connecting everything. It is one of the most incredible stop-motions that I've ever seen. They bring to life every object in the artificial city. Only the elements in the scene are lit which makes the viewer's eye curious of what is beyond the scene, what lives in the dark corners and the streets of the unknown. It is clear that most of the people who have seen Tim Burton's work will notice the similarity. The camera angles and the pans are amazing, one of the best designs I've ever seen. Let's analyse the environment:
-dark corners
-crisp macro focus
-blurry surroundings
-foggy background
-cold colours
-unreal inhabitants
-unknown mechanics
-freaky dolls
-adoreness of the piece of meat
The message which they bring with that is that the future of the humanity will be like that. The EXACT opposite of NATURE. 1987 is an after war period. Period of government changes and numerous reforms in order to control the mass of people.








Dimensions Of Dialogue and Passionate Dialogue (1982)

Another example of what can be said through unreal motions.Created by Jan Švankmajer (born 4 September 1934 in Prague) is a Czech surrealist artist. His work spans several media. He is known for his surreal animations and features, which have greatly influenced other artists such as Tim Burton, Terry Gilliam, The Brothers Quay and many others. When looking at something like this you have to consider when it was made and where. Svankmajer created this, and many other animations, during the communist rule in Czechoslovakia to comment on the political unrest while trying to stay under the radar by not blatantly coming out and saying his opinions. The technique and subject matter are very deliberate and while it may mean nothing to someone today, it was very clear what this means when this was made. Not all art is good, but this IS. The meaning of the first part - Passionate Dialogue is clearly the intimate love between a woman and a man (sex), and how they abbandon what they found - love. Both of them don't want it, so they start to fight over it and eventually they destroy each other. The second part is about the control set by communism. Work together and you will succeed, don't follow the rules, everything is out of order and you fail. Well, I'm glad I was born after 1989 :D


Meat Love (1989)

Short and simple, the opposite of "The American Dream". We don't care who you are and what you have, you are who you are, a piece of steak, jump in the frying pan. I find this humorous because it is what fairy tales aren't. Realism or pessimism, I don't know but it definitely doesn't say that you are free to do what you want.