Tuesday, June 10, 2014

Intelligent machines that can pass for humans have long been dreamed of



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(Getty Images)
Intelligent machines that can pass for humans have long been dreamed of, but as Chris Baraniuk argues, they’re already among us.
Sometimes it’s the promise of sex that fools you. Sometimes it’s because they seem wise, friendly or just funny. The bots don’t really care how they trick you – their only objective is to make you think they’re human. In fact, if you use social media or spend any time online, it’s quite possible you’ve already been a victim.
This week, a controversial claim was made that a ‘chatbot’ passed the Turing test at an event at the Royal Society in London. During a series of text-based conversations, a computer program named Eugene Goostman persuaded judges it was a 13-year-old Ukrainian boy, thus passing a benchmark for artificial intelligence proposed years ago by the computer scientist Alan Turing.
So does this announcement mark the era of human-like AI, as has been claimed? Not really. Turing’s test stopped being important for AI research years ago, and many scientists see the contests as flawed because they can be won with trickery – such as pretending to be a non-native English speaker.
However, what chatbots are fully capable of in everyday life is far more interesting. We’re already surrounded by bots capable of tricking us into thinking they are real people, and they don’t enter competitions. Some are sophisticated enough to infiltrate social networks and perhaps even influence public opinion.
There are certainly plenty of them out there. Although most people think of the web as a place primarily frequented by humans, the reality turns out to be quite different. A recent report found that 61.5% of internet traffic is generated by automated programs called bots.
Honey trap
The bots most likely to fool us employ colourful trickery, explains Richard Wallace of Pandorabots, which makes chatbots for customer service and other uses. Wallace is the creator of a bot called Alice, which on three occasions has won the Loebner Prize – a Turing-like contest in which chatbots vie to convince judges that they are human.
“The people who are the most skilful authors of these bots are not people who are computer programmers, they are people who work in a creative field,” says Wallace. “That’s really the key to creating a believable chatbot – writing responses which are believable, entertaining and engaging.”
Scammers are well aware of this phenomenon. Security research firm Cloudmark has documented the rise of a flirtatious bot called “TextGirlie”. After obtaining a victim’s name and telephone number from their social media profile, TextGirlie would send the victim a personalised message asking them to continue the conversation in an online chatroom. A few coquettish exchanges later and the victim would be asked to click on a link to an adult dating or web cam site.
Cloudmark estimates that as many as 15 million initial TextGirlie text messages could have been sent to mobile phones and they confirm that the scam operated for several months. According to Andrew Conway, a research analyst at the firm, this is a good indication that the attack was in some measure successful.
Automated deceit
People are more likely to be fooled by a bot in a situation where they’d expect odd behaviour or broken English. Back in 1971, for example, psychiatrist Kenneth Colby was able to convince a few fellow practitioners that they were talking to a patient via a computer terminal. In fact, Colby had simply set up sessions with a program that simulated the speech of a paranoid schizophrenic.
And more recently, in 2006, psychologist Robert Epstein was fooled by a cleverly programmed computer which wore the guise of a Russian woman who said she was falling in love with him. Lately, bots have been turning up on online dating networks in droves, potentially ensnaring more hapless singletons in a web of automated deceit.
Sometimes, bots can even trick the web-savvy. Birdie Jaworski knows what it feels like. Jaworski is a seasoned contributor to Reddit and fan of the digital currency called dogecoin, a playful alternative to Bitcoin. On the Reddit forum for dogecoin aficionados, a user called “wise_shibe” emerged recently, posting witty remarks in the style of ancient proverbs. “He would reply to you with a fortune cookie style response,” remembers Jaworski. “It would sound like something Confucius might say.”
These comments even started making wise_shibe money, since the forum allows users to send small digital currency ‘tips’ to each other if they like a comment that’s been made. The wise_shibe rejoinders were popular, so were showered with tips. But things soon started to look suspicious: the account was active at all hours and eventually started repeating itself. When wise_shibe was unmasked as a bot, therevelation divided members of the forum. Some were incensed, while others said they didn’t mind. Jaworski was amused, but also felt cheated. “All of sudden you realise this little robot is collecting all of these tips,” she says.
Phantom tweeters
If a bot’s presence and interactions appear natural enough, it seems to be the case that we are unlikely to even question its legitimacy – we simply assume from the outset that it’s human. For Fabricio Benevenuto, this phenomenon has become the subject of serious research. Recently he and three other academics published a paper which explains just how easy it is to infiltrate Twitter with socialbots so long as they look and act like real Twitter users.
Benevenuto and his colleagues created 120 bot accounts, making sure each one had a convincing profile complete with picture and attributes such as gender. After a month, they found that almost 70% of the bots were left untouched by Twitter’s bot detection mechanisms. What’s more, the bots were pre-programmed to interact with other users and quickly attracted a healthy band of followers, 4,999 in total.
The implications of this are not trivial. “If socialbots could be created in large numbers, they can potentially be used to bias public opinion, for example, by writing large amounts of fake messages and dishonestly improve or damage the public perception about a topic,” the paper notes.
It’s a problem known as ‘astroturfing’, in which a seemingly authentic swell of grass-root opinion is in fact manufactured by a battalion of opinionated bots. The potential for astroturfing to influence elections has already raised concerns, with a Reuters op-ed in January calling for a ban on candidates’ use of botsin the run-up to polls.
'More sophisticated'
The ramifications of astroturfing are in fact so serious that the US Department of Defense has jointly funded research into software which can determine whether a Twitter account is run by a bot. The application, called BotOrNot, is available publicly online and provides a predictive analysis based on account activity and tweet semantics which suggest whether the account operator is likely to be a human or a bot.
But Emilio Ferrara, a lead researcher on the project, admits that the system may already be outdated. Trained on Twitter data which is now three years old, it’s possible that today’s best bots could still evade detection.
“Now bots are more sophisticated,” he says. “They are better at disguising their identity and looking more like humans. Therefore the task becomes harder and harder – we don’t even know the accuracy of the system in detecting the most recent and most advanced bots out there.”
And so the rise of bots only looks set to continue – with or without Turing test approval. For Fritz Kunze of Pandorabots, the hope is that people will get better at questioning innocent-looking users who contact them online so that they’re not so easily duped. But he is also acutely aware of how hard a task that will be in the near future.
“It’s going to be a big shock to most people,” he says. “And these bots are going to be really, really good – they’re going to be good at fooling people.”
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Buildings are increasingly affected by technology and globalisation



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The high-tech Russian Pavilion at the Venice Architecture Biennale (i-City)
Buildings are increasingly affected by technology and globalisation – but what do they mean for architecture’s future? Jonathan Glancey investigates.
Take a look at the skyline of any developing or redeveloping city centre anywhere in the world. What you see is a vast, fluorescent-lit and air-conditioned backdrop of extravagant new office towers, apartment blocks, hotels and galleries, with – increasingly – these various functions housed in single “multi-use” buildings designed to grab the attention like giant posters of pouting fashion models.
Equally, and within the shadows of these ‘look-at-me’ skyscrapers and other bombastic buildings, you will find acres of banal new developments, most looking as if they have been produced by a secret global building factory turning out apologies for modern architecture as fast as you can say ‘real estate’.
“Over the past few years”, says Paolo Baratta, president of the Venice Biennale, “our choices of curators and themes have been based on the awareness of the gap between the ‘spectacularisation’ of architecture on the one hand, and the waning capacity of society to express its demands and its needs on the other. Architects are called upon to create awe-inspiring buildings [while] the “ordinary” is going astray, towards banality if not squalor: a modernity lived bad[ly]”.
The 14th Venice Architecture Biennale, which opened on 7 June, has been curated by the Dutch architect, Rem Koolhaas, whose Office for Metropolitan Architecture (OMA), founded in Rotterdam in 1975, is a powerhouse for both new ideas and many remarkable buildings, from Porto’s meteorite-like Casa da Música to the structural bravura of the powerful China Central Television Building in Beijing. Koolhaas’s team has spent two years researching and curating the latest Venice Biennale. If you want to understand how modern architecture has come to be what it is around the world over the past century, the exhibition halls of Venice’s Arsenale and Giardini delle Biennale are the places to be over the next six months.
Control rooms
What Koolhaas aims to show us is how the world embraced Modernism. And, as 65 countries are represented in the latest Architecture Biennale, there are many stories to tell – even if the final chapters read as if they were written by a single author. Global design appears to have superceded every last local national, regional or city style.
Cleverly, and unexpectedly, Koolhaas and his team of architects, historians and curators have chosen to tell this big story neither through a conventional presentation of models, photographs and drawings of famous, influential or otherwise memorable buildings, nor through the lives and works of celebrated Modern architects. Instead, the principal exhibition at Venice, Elements of Architecture, is a painstaking study of the ways in which building components and details have changed over millennia as architecture has been transformed from a practical art form expressing beliefs, desires and cultures into a universal assembly of machine-age elements: from huge, sealed office window`s to banks of escalators and elevators where once there were beautiful staircases.
Koolhaas asks visitors to look at windows, walls and even WCs to watch this historic transformation in action. “But, it’s only a long beginning”, he tells me. “Architectural theory, architectural historians haven’t yet caught up with this process of change.” Now, says the architect, “we live in an era of constant data flowing into buildings.” The idea, of course, is that we will be able to control our architectural surroundings – offices, hotels, hospitals, homes – in ever greater detail, although as Koolhaas warns, with a knowing grin, “one day your home might betray you.”
Local heroes
Koolhaas, though believes that we are not doomed to live in a globalised world of banal, digitised and automated buildings shaped from universal components. “Architects”, he says, “can re-think building types”, so that we can, at least, expect some degree of variety and architectural surprise into the future. What, though, you can also find at this fascinating and polemical Architecture Biennale are ways in which modern architecture might yet reconnect with and re-interpret local cultures around the world and, in doing so, produce “fusion” buildings much like young New Zealand chefs have done over the past twenty years, mixing Asian and Kiwi cuisines and turning them into something fresh and enticing.
I mention New Zealand because this is the first time the country has shown at the Venice Biennale, and it has a story to tell about how architects can connect old, new, local and global cultures and elements and produce something new and special. In their show at Venice, New Zealand’s architects and curators will focus on, among other designs, the beautiful Futuna Chapel at Karori, Wellington, dating from 1961, designed by the architect John Scott and the sculptor Jim Allen and built by the brothers of the Society of Mary.
The Futuna Chapel at Karori in Wellington, New Zealand blends Maori, medieval and modern elements (Friends of Futuna Charitable Trust)
Nick Bevin, a Wellington architect and chair of the Friends of Futuna Charitable Trust, took me to see this deeply moving chapel a fortnight before the opening of the Venice Biennale. Bevin and fellow Trust members talk of this striking concrete, timber and Perspex chapel in the same breath as they do Le Corbusier’s world-famous French pilgrimage chapel at Ronchamp (1954) and Matisse’s painterly La Chapelle du Rosaire at Vence (1951). The genius of the chapel, abandoned by the Society of Mary in 2000, is that it fuses ideas, and even elements, from Le Corbusier with structural ideas and symbolism drawn from Maori culture. So, here is a chapel – open to all faiths and people of no faith – resounding with subtle echoes of traditional Maori meeting halls and architectural scores drawn from Ronchamp and Vence.
The interior is beautifully lit by the sun illuminating magnificent coloured Perpsex windows – cheaper than glass at the time; this was not an expensive building – while its roof structure is a mixture of Maori, medieval and modern elements. Today, the chapel stands alone in a tide of resolutely banal new developers’ housing, a reminder of just how precious and rare such intelligent architecture is. Even in its elements – modern as well as time-honoured building materials – the Futuna Chapel shows how a new architecture could have developed, and still might develop, in parts of the world not yet given over head, heart and soul to all-consuming globalism.
This has been done before and elsewhere. Look, for example, at Alvar Aalto’s modestly brilliant Saynatsalo town hall (1951), capturing the atmosphere and the elements of Finnish lakes and forests in its design and setting. Look, too, at Renzo Piano’s romantic and gently compelling Jean-Marie Tjibaou Cultural Centre near Noumea in New Caledonia (1998) celebrating the culture of the indigenous Kanak people as well as expressing modern Genoese and international technical and environmental know-how.
If though, Futuna is a revelation – both for real, and as represented the by the NZ team in Venice – Rem Koolhaas’s 2014 Architecture Biennale is a warning shot across all our bows, whether we live in Lagos or London, New York or New Caledonia, to be truly careful for what we appear to wish for, an intensely materialistic global way of life, that is, leading to Baratta’s “modernism lived badly” and Koolhaas’s homes that, one day may might well betray us all.

Monday, June 2, 2014

NSA 'collects facial-recognition photos from the the net'



NSA 'collects facial-recognition photos from the the net'

US cyber-spies have collected millions of photos of people's faces from the net for use in facial-recognition programmes, according to reports.
The New York Times says leaked National Security Agency documents show in 2011 it intercepted about 55,000 "facial-recognition-quality images" every day.
The leaks suggested the photos had been harvested from emails, text messages, social media and video chats, it says.
The NYT added the images were then cross-referenced with other databases.
These are said to include photographs of airline passengers, and pictures taken from other countries' national identity-card schemes.
The NSA has said that it does not have access to photos taken for US passports or US driving licences, but declined to comment about photos submitted by foreigners applying for visas to the country.
"We would not be doing our job if we didn't seek ways to continuously improve the precision of signals intelligence activities - aiming to counteract the efforts of valid foreign intelligence targets to disguise themselves or conceal plans to harm the United States and its allies," Vanee Vines, an NSA spokeswoman said.
Hits and misses
The allegations are the latest to result from documents released by Edward Snowden, who gathered the material while working at the NSA's regional centre in Hawaii.
The papers themselves highlight the limitations of relying on face-matching technology.
The NYT reported that Tundra Freeze - the codename for the NSA's main in-house facial-recognition effort - had returned several obvious mismatches when it had tried to identify a photo of a young bearded man with dark hair, according to a report dated 2011.
The paper said the software had also returned inaccurate results when agents had queried it about a photograph of Osama Bin Laden.
However, the NYT added that a leaked Powerpoint presentation had also provided an example where the software had successfully matched a photo of a bald man taken at a water park with another picture of the same person taken when he had hair, was wearing different clothes, and was at a different location.
Campaign group Privacy International said it was concerned about the security agencies' use of such facial-recognition tech.
"Though it's perceived as a sophisticated technique, even the NSA admits in its own presentation how prone to error it is," spokesman Mike Rispoli told the BBC.
"Not only is our most personal of information being collected, stored, and analysed, it's being done through faulty systems where there are no legal frameworks or safeguards.
"This latest revelation shows that intelligence agencies want to see everything and identify everyone.
"Their attacks on identity databases around the world shows just how right the UK was right to abandon the national ID [card]. Any national database is now a treasure trove for intelligence agencies, both domestic and foreign."
This is not the first of Edward Snowden's leaks to involve facial images.
In February, the Guardian reported British spy agency GCHQ had intercepted webcam images from millions of Yahoo users around the world.

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