Tag Archives: Isaac Asimov

Art project (autonomous bot purchases illegal goods) seized by Swiss law enforcement

Having just attended a talk on Robotics and Rehabilitation which included a segment on Robo Ethics, news of an art project where an autonomous bot (robot) is set loose on the darknet to purchase goods (not all of them illegal) was fascinating in itself (it was part of an art exhibition which also displayed the proceeds of the darknet activity). But things got more interesting when the exhibit attracted legal scrutiny in the UK and occasioned legal action in Switzerland.

Here’s more from a Jan. 23, 2015 article by Mike Masnick for Techdirt (Note: A link has been removed),

… some London-based Swiss artists, !Mediengruppe Bitnik [(Carmen Weisskopf and Domagoj Smoljo)], presented an exhibition in Zurich of The Darknet: From Memes to Onionland. Specifically, they had programmed a bot with some Bitcoin to randomly buy $100 worth of things each week via a darknet market, like Silk Road (in this case, it was actually Agora). The artists’ focus was more about the nature of dark markets, and whether or not it makes sense to make them illegal:

The pair see parallels between copyright law and drug laws: “You can enforce laws, but what does that mean for society? Trading is something people have always done without regulation, but today it is regulated,” says ays [sic] Weiskopff.

“There have always been darkmarkets in cities, online or offline. These questions need to be explored. But what systems do we have to explore them in? Post Snowden, space for free-thinking online has become limited, and offline is not a lot better.”

Interestingly the bot got excellent service as Mike Power wrote in his Dec. 5, 2014 review of the show. Power also highlights some of the legal, ethical, and moral implications,

The gallery is next door to a police station, but the artists say they are not afraid of legal repercussions of their bot buying illegal goods.

“We are the legal owner of the drugs [the bot purchased 10 ecstasy pills along with a baseball cap, a pair of sneaker/runners/trainers among other items] – we are responsible for everything the bot does, as we executed the code, says Smoljo. “But our lawyer and the Swiss constitution says art in the public interest is allowed to be free.”

The project also aims to explore the ways that trust is built between anonymous participants in a commercial transaction for possibly illegal goods. Perhaps most surprisingly, not one of the 12 deals the robot has made has ended in a scam.

“The markets copied procedures from Amazon and eBay – their rating and feedback system is so interesting,” adds Smojlo. “With such simple tools you can gain trust. The service level was impressive – we had 12 items and everything arrived.”

“There has been no scam, no rip-off, nothing,” says Weiskopff. “One guy could not deliver a handbag the bot ordered, but he then returned the bitcoins to us.”

The exhibition scheduled from Oct. 18, 2014 – Jan. 11, 2015 enjoyed an uninterrupted run but there were concerns in the UK (from the Power article),

A spokesman for the National Crime Agency, which incorporates the National Cyber Crime Unit, was less philosophical, acknowledging that the question of criminal culpability in the case of a randomised software agent making a purchase of an illegal drug was “very unusual”.

“If the purchase is made in Switzerland, then it’s of course potentially subject to Swiss law, on which we couldn’t comment,” said the NCA. “In the UK, it’s obviously illegal to purchase a prohibited drug (such as ecstasy), but any criminal liability would need to assessed on a case-by-case basis.”

Masnick describes the followup,

Apparently, that [case-by[case] assessment has concluded in this case, because right after the exhibit closed in Switzerland, law enforcement showed up to seize stuff …

!Mediengruppe Bitnik  issued a Jan. 15, 2015 press release (Note: Links have been removed),

«Can a robot, or a piece of software, be jailed if it commits a crime? Where does legal culpability lie if code is criminal by design or default? What if a robot buys drugs, weapons, or hacking equipment and has them sent to you, and police intercept the package?» These are some of the questions Mike Power asked when he reviewed the work «Random Darknet Shopper» in The Guardian. The work was part of the exhibition «The Darknet – From Memes to Onionland. An Exploration» in the Kunst Halle St. Gallen, which closed on Sunday, January 11, 2015. For the duration of the exhibition, !Mediengruppe Bitnik sent a software bot on a shopping spree in the Deepweb. Random Darknet Shopper had a budget of $100 in Bitcoins weekly, which it spent on a randomly chosen item from the deepweb shop Agora. The work and the exhibition received wide attention from the public and the press. The exhibition was well-attended and was discussed in a wide range of local and international press from Saiten to Vice, Arte, Libération, CNN, Forbes. «There’s just one problem», The Washington Post wrote in January about the work, «recently, it bought 10 ecstasy pills».

What does it mean for a society, when there are robots which act autonomously? Who is liable, when a robot breaks the law on its own initiative? These were some of the main questions the work Random Darknet Shopper posed. Global questions, which will now be negotiated locally.

On the morning of January 12, the day after the three-month exhibition was closed, the public prosecutor’s office of St. Gallen seized and sealed our work. It seems, the purpose of the confiscation is to impede an endangerment of third parties through the drugs exhibited by destroying them. This is what we know at present. We believe that the confiscation is an unjustified intervention into freedom of art. We’d also like to thank Kunst Halle St. Gallen for their ongoing support and the wonderful collaboration. Furthermore, we are convinced, that it is an objective of art to shed light on the fringes of society and to pose fundamental contemporary questions.

This project brings to mind Isaac Asimov’s three laws of robotics and a question (from the Wikipedia entry; Note: Links have been removed),

The Three Laws of Robotics (often shortened to The Three Laws or Three Laws, also known as Asimov’s Laws) are a set of rules devised by the science fiction author Isaac Asimov. The rules were introduced in his 1942 short story “Runaround”, although they had been foreshadowed in a few earlier stories. The Three Laws are:

A robot may not injure a human being or, through inaction, allow a human being to come to harm.
A robot must obey the orders given it by human beings, except where such orders would conflict with the First Law.
A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

Here’s my question, how do you programme a robot to know what would injure a human being? For example, if a human ingests an ecstasy pill the bot purchased, would that be covered in the first law?

Getting back to the robot ethics talk I recently attended, it was given by Ajung Moon (Ph.D. student at the University of British Columbia [Vancouver, Canada] studying Human-Robot Interaction and Roboethics. Mechatronics engineer with a sprinkle of Philosophy background). She has a blog,  Roboethic info DataBase where you can read more on robots and ethics.

I strongly recommend reading both Masnick’s post (he positions this action in a larger context) and Power’s article (more details and images from the exhibit).

What about the heart? and the quest to make androids lifelike

Japanese scientist Hiroshi Ishiguro has been mentioned here several times in the context of ‘lifelike’ robots. Accordingly, it’s no surprise to see Ishiguro’s name in a June 24, 2014 news item about uncannily lifelike robotic tour guides in a Tokyo museum (CBC (Canadian Broadcasting Corporation) News online),

The new robot guides at a Tokyo museum look so eerily human and speak so smoothly they almost outdo people — almost.

Japanese robotics expert Hiroshi Ishiguro, an Osaka University professor, says they will be useful for research on how people interact with robots and on what differentiates the person from the machine.

“Making androids is about exploring what it means to be human,” he told reporters Tuesday [June 23, 2014], “examining the question of what is emotion, what is awareness, what is thinking.”

In a demonstration, the remote-controlled machines moved their pink lips in time to a voice-over, twitched their eyebrows, blinked and swayed their heads from side to side. They stay seated but can move their hands.

Ishiguro and his robots were also mentioned in a May 29, 2014 article by Carey Dunne for Fast Company. The article concerned a photographic project of Luisa Whitton’s.

In her series “What About the Heart?,” British photographer Luisa Whitton documents one of the creepiest niches of the Japanese robotics industry--androids. Here, an eerily lifelike face made for a robot. [dowloaded from http://www.fastcodesign.com/3031125/exposure/japans-uncanny-quest-to-humanize-robots?partner=rss]

In her series “What About the Heart?,” British photographer Luisa Whitton documents one of the creepiest niches of the Japanese robotics industry–androids. Here, an eerily lifelike face made for a robot. [dowloaded from http://www.fastcodesign.com/3031125/exposure/japans-uncanny-quest-to-humanize-robots?partner=rss]

From Dunne’s May 29, 2014 article (Note: Links have been removed),

We’re one step closer to a robot takeover. At least, that’s one interpretation of “What About the Heart?” a new series by British photographer Luisa Whitton. In 17 photos, Whitton documents one of the creepiest niches of the Japanese robotics industry–androids. These are the result of a growing group of scientists trying to make robots look like living, breathing people. Their efforts pose a question that’s becoming more relevant as Siri and her robot friends evolve: what does it mean to be human as technology progresses?

Whitton spent several months in Japan working with Hiroshi Ishiguro, a scientist who has constructed a robotic copy of himself. Ishiguro’s research focused on whether his robotic double could somehow possess his “Sonzai-Kan,” a Japanese term that translates to the “presence” or “spirit” of a person. It’s work that blurs the line between technology, philosophy, psychology, and art, using real-world studies to examine existential issues once reserved for speculation by the likes of Philip K. Dick or Sigmund Freud. And if this sounds like a sequel to Blade Runner, it gets weirder: after Ishiguro aged, he had plastic surgery so that his face still matched that of his younger, mechanical doppelganger.

I profiled Ishiguro’s robots (then called Geminoids) in a March 10, 2011 posting which featured a Danish philosopher, Henrik Scharfe, who’d commissioned a Geminoid identical to himself for research purposes. He doesn’t seem to have published any papers about his experience but there is this interview of Scharfe and his Geminoid twin by Aldith Hunkar (she’s very good) at a 2011 TEDxAmsterdam,

Mary King’s 2007 research project notes a contrast, Robots and AI in Japan and The West and provides an excellent primer (Note: A link has been removed),

The Japanese scientific approach and expectations of robots and AI are far more down to earth than those of their Western counterparts. Certainly, future predictions made by Japanese scientists are far less confrontational or sci-fi-like. In an interview via email, Canadian technology journalist Tim N. Hornyak described the Japanese attitude towards robots as being “that of the craftsman, not the philosopher” and cited this as the reason for “so many rosy imaginings of a future Japan in which robots are a part of people’s everyday lives.”

Hornyak, who is author of “Loving the Machine: The Art and Science of Japanese Robots,” acknowledges that apocalyptic visions do appear in manga and anime, but emphasizes that such forecasts do not exist in government circles or within Japanese companies. Hornyak also added that while AI has for many years taken a back seat to robot development in Japan, this situation is now changing. Honda, for example, is working on giving better brains to Asimo, which is already the world’s most advanced humanoid robot. Japan is also already legislating early versions of Asimov’s laws by introducing design requirements for next-generation mobile robots.

It does seem there might be more interest in the philosophical issues in Japan these days or possibly it’s a reflection of Ishiguro’s own current concerns (from Dunne’s May 29, 2014 article),

The project’s title derives from a discussion with Ishiguro about what it means to be human. “The definition of human will be more complicated,” Ishiguro said.

Dunne reproduces a portion of Whitton’s statement describing her purpose for these photographs,

Through Ishiguro, Whitton got in touch with a number of other scientists working on androids. “In the photographs, I am trying to subvert the traditional formula of portraiture and allure the audience into a debate on the boundaries that determine the dichotomy of the human/not human,” she writes in her artist statement. “The photographs become documents of objects that sit between scientific tool and horrid simulacrum.”

I’m not sure what she means by “horrid simulacrum” but she seems to be touching on the concept of the ‘uncanny valley’. Here’s a description I provided in a May 31, 2013 posting about animator Chris Landreth and his explorations of that valley within the context of his animated film, Subconscious Password,,

Landreth also discusses the ‘uncanny valley’ and how he deliberately cast his film into that valley. For anyone who’s unfamiliar with the ‘uncanny valley’ I wrote about it in a Mar. 10, 2011 posting concerning Geminoid robots,

It seems that researchers believe that the ‘uncanny valley’ doesn’t necessarily have to exist forever and at some point, people will accept humanoid robots without hesitation. In the meantime, here’s a diagram of the ‘uncanny valley’,

From the article on Android Science by Masahiro Mori (translated by Karl F. MacDorman and Takashi Minato)

Here’s what Mori (the person who coined the term) had to say about the ‘uncanny valley’ (from Android Science),

Recently there are many industrial robots, and as we know the robots do not have a face or legs, and just rotate or extend or contract their arms, and they bear no resemblance to human beings. Certainly the policy for designing these kinds of robots is based on functionality. From this standpoint, the robots must perform functions similar to those of human factory workers, but their appearance is not evaluated. If we plot these industrial robots on a graph of familiarity versus appearance, they lie near the origin (see Figure 1 [above]). So they bear little resemblance to a human being, and in general people do not find them to be familiar. But if the designer of a toy robot puts importance on a robot’s appearance rather than its function, the robot will have a somewhat humanlike appearance with a face, two arms, two legs, and a torso. This design lets children enjoy a sense of familiarity with the humanoid toy. So the toy robot is approaching the top of the first peak.

Of course, human beings themselves lie at the final goal of robotics, which is why we make an effort to build humanlike robots. For example, a robot’s arms may be composed of a metal cylinder with many bolts, but to achieve a more humanlike appearance, we paint over the metal in skin tones. These cosmetic efforts cause a resultant increase in our sense of the robot’s familiarity. Some readers may have felt sympathy for handicapped people they have seen who attach a prosthetic arm or leg to replace a missing limb. But recently prosthetic hands have improved greatly, and we cannot distinguish them from real hands at a glance. Some prosthetic hands attempt to simulate veins, muscles, tendons, finger nails, and finger prints, and their color resembles human pigmentation. So maybe the prosthetic arm has achieved a degree of human verisimilitude on par with false teeth. But this kind of prosthetic hand is too real and when we notice it is prosthetic, we have a sense of strangeness. So if we shake the hand, we are surprised by the lack of soft tissue and cold temperature. In this case, there is no longer a sense of familiarity. It is uncanny. In mathematical terms, strangeness can be represented by negative familiarity, so the prosthetic hand is at the bottom of the valley. So in this case, the appearance is quite human like, but the familiarity is negative. This is the uncanny valley.

[keep scrolling, I’m having trouble getting rid of this extra space below]

It seems that Mori is suggesting that as the differences between the original and the simulacrum become fewer and fewer, the ‘uncanny valley’ will disappear. It’s possible but I suspect before that day occurs those of us who were brought up in a world without synthetic humans (androids) may experience an intensification of the feelings aroused by an encounter with the uncanny valley even as it disappears. For those who’d like a preview, check out Luisa Whitton’s What About The Heart? project.

The importance of science fiction for the future

I started this post in March (2013) but haven’t had time till now (May 7, 2013) to flesh it out. It was a Mar. 28, 2013 posting by Jessica Bland and Lydia Nicholas for the UK Guardian science blogs which inspired me (Note: Links have been removed),

Science fiction and real-world innovation have always fed off each other. The history of the electronic book shows us things are more complicated than fiction predicting fact [.]

Imagine a new future. No, not that tired old vision of hoverboards and robot butlers: something really new and truly strange. It’s hard. It’s harder still to invent the new things that will fill this entirely new world. New ideas that do not fit or that come from unfamiliar places are often ignored. Hedy Lemarr [a major movie sex symbol in her day] and George Antheil’s [musician] frequency-hopping patent was ignored for 20 years because the US Navy could not believe that Hollywood artists could invent a method of secure communication. Many of Nikola Tesla’s inventions and his passionate belief in the importance of renewable energy were ignored by a world that could not imagine a need for them.

Stories open our eyes to the opportunities and hazards of new technologies. By articulating our fears and desires for the future, stories help shape what is to come – informing public debate, influencing regulation and inspiring inventors. And this makes it important that we do not just listen to the loudest voices.

Of course it isn’t as simple as mining mountains of pulp sci-fi for the schematics of the next rocket or the algorithms of the next Google. Arthur C. Clarke, often attributed with the invention of the communication satellite, firmly believed that these satellites would require crews. The pervasive connectivity that defines our world today would never have existed if every satellite needed to be manned.

The Guardian posting was occasioned by the publication of two research papers produced for NESTA. It’s an organization which is not similar to any in Canada or the US (as far as I know). Here’s a little more about NESTA from their FAQs page,

Nesta is an independent charity with a mission to help people and organisations bring great ideas to life. We do this by providing investments and grants and mobilising research, networks and skills.

Nesta backs innovation to help bring great ideas to life. We do this by providing investments and grants and mobilising research, networks and skills.

Nesta receives funds from The Nesta Trust, which received the National Lottery endowment from the National Endowment for Science, Technology and the Arts.

The interest from this endowment is used to fund our activities. These activities must be used to promote the charitable objects of both the Nesta Trust and the Nesta charity. We also use the returns from Nesta investments, and income from working in partnership with others, to fund our work.

We don’t receive any ongoing general government funds to support our work.

On 1st April 2012 Nesta ceased being a Non-Departmental Public Body (NDPB) and became a charity (charity number 1144091).

We maintain our mission to carry out research into innovation and to further education, science, technology, the arts, public services, the voluntary sector and enterprise in various areas by encouraging and supporting innovation.

Nesta’s objectives are now set out in our ‘charitable objects’ which can be viewed here.

Nesta continues to operate at no cost to the Government or the taxpayer using return from the Nesta Trust.

In any event, NESTA commissioned two papers:

Imagining technology
Jon Turney
Nesta Working Paper 13/06
Issued: March 2013

Better Made Up: The Mutual Influence of Science fiction and Innovation
Caroline Bassett, Ed Steinmueller, Georgina Voss
Nesta Working Paper 13/07
Issued: March 2013

For anyone who does not have time to read the NESTA papers, the Guardian’s post by Bland and Nicholas provides a good overview of the thinking which links science fiction with real innovation.

Around the same time I stumbled across the Bland/Nicholas post I also stumbled on a science fiction conference that is regularly held at the University of California Riverside.

The Eaton Science Fiction Conference was held Apr. 11 – 14, 2013 and the theme was “Science Fiction Media. It’s a little late for this year but perhaps you want to start planning for next year.  Here’s the Eaton Science Fiction Conference website. For those who’d like to get a feel for this conference, here’s a little more from the Mar. 27, 2013 news release by Bettye Miller,

… the 2013 conference will be largest in the 34-year history of the conference, said Melissa Conway, head of Special Collections and Archives of the UCR Libraries and conference co-organizer. It also is the first time the UCR Libraries and College of Humanities, Arts and Social Sciences have partnered with the Science Fiction Research Association, the largest and most prestigious scholarly organization in the field, to present the event.

Among the science fiction writers who will be presenting on different panels are: Larry Niven, author of “Ringworld” and a five-time winner of the Hugo Award and a Nebula; Gregory Benford, astrophysicist and winner of a Nebula Award and a United Nations Medal in Literature; David Brin, astrophysicist and two-time winner of the Hugo Award; Audre Bormanis, writer/producer for “Star Trek: Enterprise,” “Threshold,” “Eleventh Hour,” “Legend of the Seeker” and “Tron: Uprising”; Kevin Grazier, science adviser for “Battlestar Galactica,” “Defiance,” “Eureka” and “Falling Skies”; and James Gunn, winner of a Hugo Award and the 2007 Damon Knight Memorial Grand Master, presented for lifetime achievement as a writer of science fiction and/or fantasy by the Science Fiction and Fantasy Writers of America.

As for the impetus for this conference in Riverside, California, from the news release,

UCR is the home of the Eaton Collection of Science Fiction and Fantasy, the largest publicly accessible collection of its kind in the world. The collection embraces every branch of science fiction, fantasy, horror and utopian/dystopian fiction.

The collection, which attracts scholars from around the world, holds more than 300,000 items including English-language science fiction, fantasy and horror published in the 20th century and a wide range of works in Spanish, French, Russian, Chinese, Japanese, German, and a dozen other languages; fanzines; comic books; anime; manga; science fiction films and television series; shooting scripts; archives of science fiction writers; and science fiction collectibles and memorabilia.

In one of those odd coincidences we all experience from time to time, Ray Harryhausen, creator of a type of stop-motion model animation known as Dynamation and well loved for his work in special effects and who was recognized with a life time achievement at the 2013 conference, died today (May 7, 2013; Wikipedia essay).

The item which moved me to publish today (May 7, 2013), Can Science Fiction Writers Inspire The World To Save Itself?, by Ariel Schwartz concerns the Hieroglyph project at Arizona State University,

Humanity’s lack of a positive vision for the future can be blamed in part on an engineering culture that’s more focused on incrementalism (and VC funding) than big ideas. But maybe science fiction writers should share some of the blame. That’s the idea that came out of a conversation in 2011 between science fiction author Neal Stephenson and Michael Crow, the president of Arizona State University.

If science fiction inspires scientists and engineers to create new things–Stephenson believes it can–then more visionary, realistic sci-fi stories can help create a better future. Hence the Hieroglyph experiment, launched this month as a collaborative website for researchers and writers. Many of the stories created on the platform will go into a HarperCollins anthology of fiction and non-fiction, set to be published in 2014.

Here’s more about the Hieroglyph project from the About page,

Inspiration is a small but essential part of innovation, and science fiction stories have been a seminal source of inspiration for innovators over many decades. In his article entitled “Innovation Starvation,” Neal Stephenson calls for a return to inspiration in contemporary science fiction. That call resonated with so many and so deeply that Project Hieroglyph was born shortly thereafter.

The name of Project Hieroglyph comes from the notion that certain iconic inventions in science fiction stories serve as modern “hieroglyphs” – Arthur Clarke’s communications satellite, Robert Heinlein’s rocket ship that lands on its fins, Issac Asimov’s robot, and so on. Jim Karkanias of Microsoft Research described hieroglyphs as simple, recognizable symbols on whose significance everyone agrees.

While the mission of Project Hieroglyph begins with creative inspiration, our hope is that many of us will be genuinely inspired towards realization.

This project is an initiative of Arizona State University’s Center for Science and Imagination.

It’s great seeing this confluence of thinking about science fiction, innovation, and science. I’m pretty sure we knew this in the 19th century (and probably before that too) and I just hope we don’t forget it again.