14. These Random Machines

For my final assessment exam presentation, I was just able to put together the final design. These Random Machines is a random machine that questions peoples interpretations of computational randomness through visual perception. The main researching question was, “What does machine randomness mean to us?”, with subquestions looking into how would interpret this randomness and why is it important? Through my research, I have come to the conclusion that because of the implications of machine agency in a truly random environment, randomness becomes this border between the current and the speculative for both the machine, and us.

These Random Machines Design Mockup
These Random Machines Spatial Mockup

Now, I need to stage the final experience and setup of the design, as well as shoot better documentation of it. The overall construction consisted of designing the electronics and PCBs, assembling the enclosure and programming the random generation code.

I was relatively happy with the final results. The entire design process has been challenging and quite complex at times. The system works, even if its operations are even more random than I initially expected due to the magnetic nature. Hopefully in the future I can improve on the design, form factor and possibly some interactivity or lighting setups.

Since my research is based on our subjective interpretations of these machines, I did not want to force narratives or give too much away. Seeing this machine as an evocation of living entity or just a computational box, is just as interesting to me. Left alone as a digital painting upon a wall, I want it to remain minimal and open to interpretation.

These Random Machines Closeup

13. Design Project: Embodiment & Environment

Inspired by my previous interview with Shanahan, I felt the need to dive deeper into the characteristics of intelligence. We know that human intelligence is dependant on embodiment and environment. If we were to develop an AGI (Artificial General Intelligence), a computational form of intelligence as intelligent as humans, it too would need this dynamic in play. Basically, an AGI agent would need to be stimulated by a physical or virtual environment with some sort of actuation. 

The agent exerts an action within an environment, and the environment influences the agent through stimulation and experiences. The agent would have also have other inputs and characteristics such as ability, goals and knowledge dictating its behaviours and actions.

This sort of action/reaction is seen in reinforcement learning (RL), which is a form of machine learning that uses a reward system to optimise movements or actions. Similarly, an agent acts on the environment, and the environment causes an update of the agents current state and reward incentive. This feedback loop allows the agent to learn as it acts in order to maximise its reward or goal function.

Professor Shanahan had referred me to his latest research paper titled “Artificial Intelligence and the Common Sense of Animals“. The paper argues the development of common sense (defined as intertwined set of fundamental principle and abstract concepts), as possessed by many animals, is based on the basic understanding of concepts of objects, space and causality. This was done through deep reinforcement learning methods within 3D environments.

Some interesting points were made in the paper that resonated with my research. One idea was the notion of relativity when understanding concepts. If a machine (same applies for any living being) was to interpret an object O that undergoes an action A, it would have to have a basic understanding what an object is, what actions are, what sort of motion dictates the specific action A. In effect, the relationship and interaction between the object O and action A requires the understanding of causality, space, motion and the objects that undergo these transformations. It’s all relative.

Unlike humans or animals, motivating an AI to do tasks on its own volition, through basic needs and requirements, doesn’t apply. Machines are typically programmed with predefined tasks from their inception. Putting a machine in a box, and not telling it do anything about the box or escaping, could have it not attempting to do anything. If it was in a typical RL setup, where through trial and error the agent would be able to maximise its reward over time with a final goal to escape, the potential idling or erratic behaviour would be avoided.

With the current state of intelligent AIs, these systems are not data efficient; they need more training examples to execute the same task a human would. They are brittle and are affected by every small change in their environment, and are also limited to tasks that are specific and inflexible. Human intelligence and common sense is built on the idea we can transfer knowledge over various tasks.

Most AI systems are programmed with certain tasks or final goals. Animals and humans don’t follow this pattern. Our existence could be defined as one long task. This could be achieved by creating RL systems where we teach a curriculum of smaller and easier tasks to eventually more complex tasks, all within a single extended framework of existence.

Back to the idea of an agent interpreting an object, action and environment. For an agent to understand that an object is an object, the agent would need to afford a sense of occupancy to the object; it takes up and translates through 3D physical space, and persists through time (also known as object permanence). The object can be moved and investigated; looked through, under or behind to reveal other entities.

Modern RL systems can learn complex tasks in 3D space, but this done at a pixel-level, instead of developing a prior knowledge (common sense) of the environment and spaces these 3D objects occupy. This common sense is purely physics based. Other forms, like social and psychological concepts, would be another problem in its entirety. There are many disparate and simultaneous levels to the construction of an AGI. With the correct environment, frameworks and curriculums, we could potentially fix this common sense problem, and thereafter we would be better equipped to deal with task of language, where things tend to be even more abstract and complex.

12. Design Project: These Random Machines v01

For my final design part of my project, I have decided on creating an electromagnetic machine or display that is driven by randomness. After experimenting quite heavily with programmable electromagnets, ferromagnetic objects, and generally strong magnets, I had developed a good understanding of the material and its complexities. What drew me to the electromagnetic medium, is the invisible and intangible forces they generate, and how they compare to the black-boxed nature of computation, algorithms, and artificial intelligence. Their movement or operations can often appear invisible to us, where we just don’t understand them or think and actuate in a similar manner.

Below are some experiments done with the electromagnets.

Electromagnet Tests

The electromagnets seem to generate a mind of its own when pulsed at different speeds and orientations. The unpredictability is well suited to this idea of randomness in computation, that I have been recently researching.

These Random Machines v01, would be 4 by 6 mechanical display powered by electromagnets. I wanted this ratio to encapsulate the idea of a portrait painting dimensions, ie, similar to the Mona Lisa for instance. I plan on mounting it to a wall, and have an audience view this computational and random machine as they would a painting, where they are also free to interpret its operation as a pseudo-living and breathing entity or merely a computational box.

The design will be much more portable than my previous idea, and does not fully succumb to a speculative narrative of a futuristic machine, but instead, lives here and now in the presence alongside us. The overall construction of it, is rather complex, requiring some tricky PCB coil and electronic design, and a further 3D printed encasing with some programming to generate the random motion.

The first step requires me to design the PCB coils. After doing so I will have to prototype and test the electromagnetic coils and electronics on a breadboard. Thereafter I will have to design an additional board of electronics, and then programme its final motion.

Here is a mockup and rendering of my envisioned idea.

v01 Mockup

The design of the PCB coils will be done in KiCAD, and will be manufactured through JLCPCB. Hopefully, my design is correct the first time, and I can get straight to testing as soon as the third term of campus begins.

I want the work when finished, to be an abstract representation of computation that captures the apparent randomness of machines, that is still able to allow for audiences to question how we understand and perceive these machines, away from speculative narratives and typical anthropomorphic ways. Currently, these machines are programmed with instructions, having different tasks and uses – they aren’t really a collective entity. By speculating we can often undermine the complexities and the art in their creation. By often making more of what they are, we are ironically doing the opposite. These machines are tweaked to give us outputs that are not random. If a truly random machine does exist, where its outputs cannot be determined or predicted by us, then we can say it isn’t programmed or governed by any instructions. In this case, we may have something as amazing as we humans see ourselves.

11. Design Project: These Random Machines v00

My initial idea was to create a computational box that generates random motions, through a polar bot system. Building on my research, I had planned to create a speculative narrative that sets up the machine structure as random machine, where we are unaware of its full potential and current abilities as a computational body:

“Before us lies a computational machine in captivity; uncertain of its potential and its actuations, we interpret it as more than randomness.”

The idea is the our interactions with these machine would form a sort of communication, especially if the system embodies a sense of agency. Below is the full slide presentation:

In summary, communication is the way we share information in these interactions. Transmission of this information can be unidirectional or bidirectional and could potentially be simultaneous. Memory can be interpreted as the storage of this information. The language we use will then structure our communication, with speculative forms implying some sort of hybridisation, subvocalisation, or cognitive interlocutions. The transmission of information, the language we use, and our perception of these machines will be dependant on the future relationship between man and machine.

Heavily inspired by my discussion with Professor Murray Shanahan and his notions that AI is just a form of structured randomness, I set out to prototype the design, in the hope that the structure would make people question the interpretation of it, as a machine and a random computational device with an apparent mind of its own.

Here are some designs, schematics and renderings.

These Random Machines v00

Below are some of the prototyping and material experimentations done.

v00 Prototyping

The motors would drive the motion of the light, creating simple shapes when captured using some long exposure. Overall, the single frame shown above was relatively complex and required a lot of debugging as it would be driven using G-Code commands. I was able to get a successful prototype working to create simple shapes with decent speeds.

After presenting my research and designs, it turned out that the design was not as well-received as I hoped it to be. It came across as too reductive, and tutors questioned what they were actually looking at. To me, that was the point of it all. For viewers to see a computational box and have a sense of bewilderment by its existence and operation, would have achieved what I wanted it to.

Besides from this, I decided to rethink my execution due to numerous other shortcomings. One, it was becoming more complex as I tried to incorporate more frames, and two, it was getting very big and heavy. The latter being quite problematic since at the time of building it, we were unsure of the venue of the final show and whether we would have a physical show at all, due to Covid-19 related issues.

For my next design, I will try to implement something more portable. I am also planning to go back to my non-speculative approach. After my conversation with Murray Shanahan, I feel the urge to go back to an appreciation of these technologies rather than fabricate a speculative narrative that may downplay the beauty in them.

10. Design Project: Machine Artists

There are many artists who work with machine computation and algorithms in their practice, from collaborating with machines to creating kinetic and mathematical systems. These works would either focus on various applications of computation or on how these systems would influence human life.

These machines could be of traditional structural forms like the kinetic and mathematically influenced structures of Daniel Rozin and Reuben Margolin, or could focus on new and emerging forms of technological media, such as machine learning and AI, as seen in the works of Memo Akten and Mario Klingemann. These artists often critique or question these new forms of technology.

Artists like Sougwen Chung collaborate with these machines to question our interactions with them. Similarly, Random International tends to use very technological systems to explore the machine-human dynamic.

With my current work, I have been experimenting with electromagnetism, as it encapsulates the invisibility and intangibility of black-boxed algorithms and computation. Fito Segrera’s “Conversation of Chaos” is an electromagnetic artwork that emphasises the chaotic nature of machines. Whereas Taki’s magnetic sculptures create invisible structures perfectly balanced in space. Both these have influenced my experiments.

The biggest new media digital artist at the moment would arguably be Refik Anadol, who is known for creating large animations that touch on ideas like “machine consciousness”, “machine memories” and “using data as a paintbrush”. The main idea with Refik work’s is the anthropomorphosis of machine workings. He uses poetic terminology to create analogies of computation and AI with human-centric concepts such as human memories. In “Melting Memories”, the organic flowing visuals creates the illusion of a thinking and living entity within the machine. The sheer size and aesthetics of the work creates a sense of awe – but without the actual AI in the artwork, the algorithm and visuals looks the same, and does the same thing, emphasising the idea that how we interpret these machines is way too susceptible to speculative notions, and the over-exaggerations of the art world.

In contrast to Refik’s work, we have the artistic and fun creations of Azumi Maekawa, who is an engineer that uses these algorithms in their purest forms to create machines with advanced AI systems. One creative work, has arbitrary branches moving through reinforcement learning algorithms.

Ruairi Glynn’s “Fearful Symmetry” consists of a suspended robotic light that has the qualities of a living and breathing entity, and questions our hyperawareness of future intelligent or living machines.  Similarly, I want people to question these machines, and the randomness that is generated by these machines, where we look at this repositioning of ourselves with respect to the machine, and don’t force speculation or humanistic analogies, but rather appreciate the beauty and ironic simplicity of computation, whether we truly understand it or not, because to us, they could just be… these random machines. 

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