The gesture cost her a moment, put her half a step behind the professor. “Charlie,” hissed the voice again, and she waved her pencil impatiently at the figure peering over her shoulder-her friend Arty-trying to shoo him away. Let’s start by looking at some examples of basic shape recognition.” You must do for your robot what your own mind does for you: create a simplified and organized assembly of information based on what’s relevant. You must design programs that recognize basic shapes, while discarding unimportant information.
You won’t be dealing with a mind that can filter these things out for itself. “Basic artificial intelligence is all about sensory control. Treadwell stepped back from the image, turning to look at it with the class. The screen flashed again, displaying an assortment of mechanical parts and a diagram of an eye. It made the lesson kind of like doing a puzzle. Most of the students in her robotics class found it maddening, but Charlie liked it. It was like she skimmed the text in her head, reading out a few words here and there. Her words seemed to be falling behind as her mind raced on ahead Charlie had realized by the second day of classes that her professor sometimes broke off in the middle of one sentence, only to finish an entirely different one. Treadwell went on, she paced faster, occasionally flinging an arm toward the screen to illustrate her point. She was staring straight ahead at the display at the front of the lecture hall. “Charlie!” An urgent voice whispered her name, inches from her ear. The next time you enter that same house, you’ll already know where you are.”
It’s drawing a floor plan, creating a palette of colors, and saving an inventory of images to draw on later, so you don’t have to go through that exhausting intake every single time. “It’s why when you enter a house for the first time you experience a moment of dizziness. In order for you to function in the world, your mind fills in the spaces of that tree with its own leaves and branches.” A hundred pencils scribbled all at once, filling the lecture hall with a sound like scurrying mice. “If your mind didn’t do this, then simply walking outside and seeing a tree would consume all your mental energy, leaving no resources to do anything else. It fills in colors and trajectories based on what you’ve seen before, and calculates what you should be seeing now.” Another image flashed onto the overhead screen. “Your mind creates motion when there is none. The professor gave a hint of a smile and continued. The class tittered dutifully, then became quiet as the image of another multicolored design flashed onto the screen. You may be quite thankful for this phenomenon, depending on the habits of your roommate.” We see this most easily with olfactory fatigue: your nose ceases to perceive a smell when you’ve been around it for a while. The things we are familiar with are the things we can-for the most part-ignore. It does that based on your experiences, and your expectation of what is normal. At every moment, your senses are receiving far more information than they can process all at once, and your mind is forced to choose which signals to pay attention to. “When I say ‘sensory overload’ I mean that quite literally. “Your eyes deceive you every day, filling in the blanks for you in a world of sensory overload.” An image of dizzying geometric detail lit up the canvas screen behind her. Her steps were slow and even, almost hypnotic. Treadwell walked back and forth across the platform at the front of the auditorium. For information regarding permission, write to Scholastic Inc., Attention: Permissions Department, 557 Broadway, New York, NY 10012.ĭr. No part of this publication may be reproduced, transmitted, downloaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereafter invented, without the express written permission of the publisher. Library of Congress Cataloging-in-Publication Data availableĪll rights reserved under International and Pan-American Copyright Conventions. Names, characters, places, and incidents are either the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. The publisher does not have any control over and does not assume any responsibility for author or third-party websites or their content. SCHOLASTIC and associated logos are trademarks and/or registered trademarks of Scholastic Inc. Published by Scholastic Inc., Publishers since 1920.
0 kommentar(er)
