Will you consider this brief example of semantic interpretation? Wil with AI website
I know that it is hard to believe that the human mind can be viewed in tangible terms, a necessary step in producing a universal fixed domain AI, but if I may, I'd like to show a brief example of the method of semantic interpretation presented in the book (towards the end of the book there are a few examples of semantic interpretation). The following semantic breakdown is from the movie “As Good As it Gets,” starring Jack Nicholson and Helen Hunt. This was part of a demonstration that I had given on several occasions to a few friends, some computer programming students, and a few teachers at a local community college. This scene is near the beginning of the movie when Greg Kinnear's character, Simon, knocks on the door of Jack Nicholson's character, Melvin. Cuba Gooding Jr's character, the art dealer, is also in the hallway, participating quietly in the scene. The dialogue here is approximately 2 minutes long, and comprises approximately 285 discrete, definable human actions.
Let us consider, hypothetically, that an AI is present in the hallway, observing the conversation. The AI is not acquainted with any of these three humans.
“Yes!” Melvin says in a loud and angered way. The AI records the word “yes” as being uttered with anger because the word “yes” is stated with a louder than normal volume (relatively); this human's eyes are squinted slightly with brows turned inward; the lips are pouted slightly with the corners turned down; the door is swung open quickly (relative to other door openings), and the human moves forward quickly from the interior of the apartment (relative to other humans moving into position for conversation).
Simon does not respond right away, he shifts his chin out slightly as his upper torso moves to the left and rocks both sideways and then backward. The AI records this hesitation as a sign of submission, fear. (Melvin's emotion of anger is recorded as a tangible emotion, of a measurable quantity, and Simon's exhibition of fear is recorded as a tangible emotion, of a measurable quantity. Please bear with me.)
Melvin's head tilts back and then comes down with a quick short nod as recognition of Simon's submission in the conversation.
“Maybe this can wait.” Simon says, in reference to this greeting and the ensuing conversational problems to be solved. The tones across this phrase step down on every other syllable to the lowest tone on “wait” making this phrase a concluding phrase to the current conversational topic, “the purpose of the visit.” Melvin nods and then glances to his right in acknowledgement that there are no other particular problems to be solved in the hallway. Melvin turns to re-enter the apartment.
“I, I found uh, I found Verdell Mr. Udahl.” Simon says. The first “I” is stated articulately and with assertive volume and tone, and then Simon hesitates before repeating “I” with its beginning predicate word, “found.” The word “uh” follows as a logic breaking utterance to signify a submissive relativity to the current conversational problem. Then Simon repeats and completes the thought, “I found Verdell, Mr. Udahl.” When Simon states the complete sentence, it is with slightly subdued volume and subdued tone variation (relatively). “Found” is said with a peaked tone and the word contains its own tone variation, signifying the importance of this action/word/fact/topic relative to the other information being delivered in the sentence. “Verdell” is also stated with a tone variation, making this word a sub-topic/sub-problem of the superior topic/superior conversational problem of “finding Verdell.”
The AI now knows the name of one of these three humans, Mr. Udahl (Melvin). It also knows of another entity mentioned in the conversation, Verdell. It is aware of the anger of Melvin and the fear of the human in the hallway (this human is still unknown). It has detected the purpose of the visit, the “finding,” and the main topic of this conversation.
Melvin turns slowly with his chin tilted back. This is likely a gesture signifying the acknowledgement and processing of Simon's proposed topic. Some gestures have definitions to be verified with an observance of their repeated use (regardless this ambiguity will not affect the AI's comprehension of the scene). Melvin states “Well, that's a load off.” In between “well” and ”that” his head turns to the right, down, and back to a relative center while his right eyebrow turns up temporarily. This gesture, and its accompanying phrase, is in reference to that successful conclusion of that problem of “the missing Verdell,” the apparent superior topic of “finding Verdell.” The tones of the phrase begin high with “well” and “that” and hit a bottom tone with “load” before rising slightly with the word “off.” This signifies the importance of the “load” or the pressing problem of the “missing Verdell.” The topic, “the finding,” is still treated as the prevalent superior topic because a conclding low tone is not presented by Melvin in this phrase.
Simon replies, “Uhuh (affirmative). Did you uh, did you do something to him.” The “uhuh” is said quickly, articulately and assertively, as an acknowledgement of Melvin's statement, and also as an acknowledgement of this expected, inconsequential response from Melvin. He hesitates before the word “do” and then states it with a slight high tone compared to the other words, signifying the importance of the alleged action of Melvin. The topic has now shifted to the new topic of “the alleged action of Melvin.” The tones rise on the end because this is a question.
“Do you realize that I work at home?” Melvin states. “Realize” has a tone variation within its utterance and it is sustained for a longer than usual amount of time (relatively) signifying it as an important sub-topic. “Work” is given a low tone compared to the other tones, and it is sustained for a longer than usual amount of time (relatively). This marks the word “work” as the newly proposed topic/fact/problem. During the phrase, his eyebrows are raised three times for emphasis.
The conversational problems being attempted by these social members has shifted three times. The first proposed topic, “the finding of Verdell” was simply a means of transferring information to determine a reaction of the other social member. Melvin contributed one sub-topic under this superior topic- “the load off.” The emphasized “do” of Simon's next question proposed the topic of “an alleged action of Melvin.” Then Melvin's use of the low toned word “work” proposes a new topic of “Melvin's work.”
“Uh, no I wasn't aware.” Simon says with subdued volume. “No” is said with a tone variation across the word signifying it as an important sub-fact, sub-topic to this new, current conversational problem. This tone variation also permits the shift in topics- Simon is submitting to Melvin's intimidating demeanor and accepting this new topic/conversational problem.
“Do you like to be interrupted when you're nancing around in your little garden?” Melvin asks while his body rocks from side to side, with tilting, rocking shoulders, to emphasize the various sub-facts of the communication. He begins with high tones and hits a low tone within the word “nancing” to emphasis this derogatory adjective. His head also moves in a circular motion during this word for added effect. “Nancing” is presented as an important sub-topic because it is an example of Simon's “work.” Tones are raised near the end to make this clause a question (in addition to the grammatical structure). The high tones at the end of the question do not exceed the high tones at the beginning, exemplifying Melvin's belief that Simon's answer to the question is irrelevant. Also, due to its grammatical placement (being an object of the predicate), and due to its mid-range tone variation within the word, “interruption” is presented as a sub-topic of “work.”
Simon's eyes fixate on empty space and his lips motion twice to speak while he looks to form a response. “No, no, I actually will turn the ringer off on my phone and sometimes put a piece of cardboard . . . ” Simon states submissively. “No” is stated twice for emphasis before he presents an example of how he sometimes solves the problem of preventing interruption. The phrase is stated in lower tones signifying the thought (in this case) as being an example of “preventing interruption,” the sub-topic of “work.” With eyebrow movement and a slight smile, Simon seeks to emphasis the humorous aspect of his example- a means to shift the conversation towards a more pleasant demeanor.
“Well, I work all the time, so never, never, interrupt me. Okay? . . .” The tones of this phrase descend to a very low tone on the words “interrupt me,” making this the new superior topic. Yet, it is not only a low tone of this phrase, but the entire series of phrases during this exchange, making it the predominant topic/problem/fact of the conversation, according to Melvin.
“. . .Not if there's a fire. Not even if you hear the sound of a thud from my home and one week later there is a smell coming from there that can only be a decaying human body and you have to hold a hankie to your face because the stench is so thick that you think you're going to faint. Even then, don't come knocking.” He states. This series has numerous tone variations with low tones on “home,” “there,” “body,” “faint,” and “knocking.” Because these low tones are still higher than the previous low tone on “interrupt me” these sub-facts and sub-topics are still subordinate to the main topic of “interrupt me.”
“. . .Or, if it's election night and you're excited and you want to celebrate because some fudge packer that you date has been elected the first queer president of the United States and he's going to have you down to camp David and you want someone to share the moment with. Even then, don't knock. Not on this door. Not for any reason. Do you get me sweetheart?” He states. Throughout these phrases there are words given low tones- “election night,” “celebrate” (the last syllable), “president,” “States,” “you down,” “with,” “then,” “knock” “reason,” and “me sweetheart” to signify them as being important sub-facts and sub-topics. “Interrupt me” is still the superior topic because its low tone has not been surpassed. During this exchange a myriad of facial expressions and body movements are exhibited for emphasis. The series ends with the lowest tone on “sweetheart” signifying a conclusion to this topic of “interruption.”
vDuring Melvin's statements, Simon's head rocks and his eyebrows move inward to follow Melvin's thoughts. At one point Simon glances at the art dealer for a communication of reactions. When Melvin states the word “hankie,” his volume increases as his hand motions quickly in a manner to simulate the use of a hankie and Simon reacts with a flinch. During the example of the “queer president scenario,” Simon's shoulders shift to his left as a hint (probably) of hoping to conclude the conversation, while his facial expression exemplifies thoughts of disbelief.
“Yes, It's not a subtle point you're making.” Simon states.
“Okay then.” Melvin states and then closes the door.
In the book, I propose that all human actions are produced for the solving of only four possible problems- consumption, reproduction, peripheral problems (distinct genetically transferred problems or problem solving procedures with distant connections to consumption and reproduction), and positive emotion problems. The first topic/conversational problem of this exchange (besides the greeting, “yes”) is “the finding of Verdell.” This has no other real purpose but to relay information to Melvin so as to observe a reaction and segway to the next topic of “the alleged action of Melvin that caused Verdell to become missing.” Simon maintains a social bond with Verdell for the sake of achieving positive emotion. This positive emotion from bonding is a side effect of human beings grouping together to solve the many problems of life (consumption, reproduction, peripheral problems, and positive emotion problems). The second topic/conversational problem is “Melvin's work.” Working solves the reource problems of consumption and reproduction, as well as peripheral problems (which in turn distantly connect humans to consumption and reproduction) and positive emotions (associated with the satisfaction of resource and peripheral problems). The third topic, “interruption,” solves the problem of removing an obstacle to work, resources, peripheral and positive emotion problems.
Do you see where the logarithms of humans are clear and unambiguous? Do you see how the logarithm of an AI can be produced to work in unison with the logarithms of humans? This semantic interpretation may not be perfect. I may have made a mistake or two, but I'm telling you, an AI of the future will observe this scene without fail and to make such a machine programmers must have the ability to breakdown a conversation into these elemental parts. Programmers must be able to do this, or at least something similar to this.
Anyway, I am forever grateful at whatever attention you may give to this idea, even if it is criticism, and I don't blame you for being skeptical. Thanks, Wil. . . www.universalartificialintelligence.com