Artificial general intelligence: Proceedings of the Second Conference on Artificial General Intelligence, AGI 2009, Arlington, Virginia, USA, March 6-9, 2009

Artificial General Intelligence (AGI) research focuses on the original and ultimate goal of AI – to create broad human-like and transhuman intelligence, by exploring all available paths, including theoretical and experimental computer science, cognitive science, neuroscience, and innovative interdisciplinary methodologies. Due to the difficulty of this task, for the last few decades the majority of AI researchers have focused on what has been called narrow AI – the production of AI systems displaying intelligence regarding specific, highly constrained tasks. In recent years, however, more and more researchers have recognized the necessity – and feasibility – of returning to the original goals of the field. Increasingly, there is a call for a transition back to confronting the more difficult issues of human level intelligence and more broadly artificial general intelligence

THE REALISM OF ALGORITHMIC HUMAN FIGURES A Study of Selected Examples 1964 to 2001

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized hu-man pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. This thesis develops two main strands of research by the interpreting a selection of examples. Firstly, in the computer graphics context, over the forty years, it documents the development of the creation of the naturalistic appearance of images (usually called photorealism ). In particular, it de-scribes and reviews the impact of key algorithms in the course of the journey of the algorithmic human figures towards realism . Secondly, taking a historical perspective, this work provides an analysis of computer graphics in relation to the concept of realism. A comparison of realistic images of human figures throughout history with their algorithmically-generated counterparts allows us to see that computer graphics has both learned from previous and contemporary art movements such as photorealism but also taken out-of-context elements, symbols and properties from these art movements with a questionable naivety. Therefore, this work also offers a critique of the justification of the use of their typical conceptualization in computer graphics. Although the astounding technical achievements in the field of algorithmically-generated human figures are paralleled by an equally astounding disregard for the history of visual culture, from the beginning 1964 till the breakthrough 2001, in the period of the digital information processing machine, a new approach has emerged to meet the apparently incessant desire of humans to create artificial counterparts of themselves. Conversely, the theories of traditional realism have to be extended to include new problems that those active algorithmic human figures present

Use-driven concept formation

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.Cataloged from PDF version of thesis.Includes bibliographical references (p. 161-165).When faced with a complex task, humans often identify domain-specific concepts that make the task more tractable. In this thesis, I investigate the formation of domain-specific concepts of this sort. I propose a set of principles for formulating domain-specific concepts, including a new inductive bias that I call the equivalence class principle. I then use the domain of two-player, perfect-information games to test and refine those principles. I show how the principles can be applied in a semiautomated fashion to identify strategically-important visual concepts, discover highlevel structure in a game's state space, create human-interpretable descriptions of tactics, and uncover both offensive and defensive strategies within five deterministic, perfect-information games that have up to forty-two million states apiece. I introduce a visualization technique for networks that discovers a new strategy for exploiting an opponent's mistakes in lose tic-tac-toe; discovers the optimal defensive strategies in five and six men's morris; discovers the optimal offensive strategies in pong hau k'i, tic-tac-toe, and lose tic-tac-toe; simplifies state spaces by up to two orders of magnitude; and creates a hierarchical depiction of a game's state space that allows the user to explore the space at multiple levels of granularity. I also introduce the equivalence class principle, an inductive bias that identifies concepts by building connections between two representations in the same domain. I demonstrate how this principle can be used to rediscover visual concepts that would help a person learn to play a game, propose a procedure for using such concepts to create succinct, human-interpretable descriptions of offensive and defensive tactics, and show that these tactics can compress important information in the five men's morris state space by two orders of magnitude.by Jennifer M. Roberts.Ph.D

Artificial intelligence and its application in architectural design

No abstract available.No abstract available

Understanding computer game culture: the cultural shaping of a new medium

In the past few decades, video games have developed from a marginal technological experiment into a mainstream medium. During this period they have gone through several transformations, from arcade machines offering a few minutes of solitary fun for a quarter to monthly subscription-based online MMOs in which thousands of players spend hundreds or even thousands of hours and lead a significant part of their social life as a fantasy character. But what is it that has driven video games? development? Is it technology? Indeed, with every new generation of hardware, game designers were given a broader set of tools for evoking exhilarating experiences. But is not culture at least as important? What would games look like if Tolkien never had written Lord of the Rings, or if Nintendo had not brought Japanese manga drawing styles to the new medium? This book looks at the theoretical challenges and foundations on which to base a cultural shaping approach towards the evolution of video games and proposes a set of concepts for analyzing and describing this process