Can a computer tell a good story? A tale by Rafael Pérez y Pérez

Cartoon image depicting a Mexica (Aztec) warrior such as a Jaguar Knight

by Rafael Pérez y Pérez of the Universidad Autónoma Metropolitana, México

Cartoon image depicting a Mexica (Aztec) warrior such as a Jaguar Knight
Image by OpenClipart-Vectors from Pixabay

What’s your favourite story? Perhaps it’s from a brilliant book you’ve read: a classic like Pride and Prejudice or maybe Twilight, His Dark Materials or a Percy Jackson story? Maybe it’s a creepy tale you heard round a campfire, or a favourite bedtime story from when you were a toddler? Could your favourite story have actually been written by a machine?

Stories are important to people everywhere, whatever the culture. They aren’t just for entertainment though. For millennia, people have used storytelling to pass on their ancestral wisdom. Religions use stories to explain things like how God created the world. Aesop used fables to teach moral lessons. Tales can even be used to teach computing! I even wrote a short story called ‘A Godlike Heart‘ about a kidnapped princess to help my students understand things like bits.

It’s clear that stories are important for humans. That’s why scientists like me are studying how we create them. I use computers to help. Why? Because they give a way to model human experiences as programs and that includes storytelling. You can’t open up a human’s brain as they create a story to see how it’s done. You can analyse in detail what happens inside a computer while it is generating one, though. This kind of ‘computational modelling’ gives a way to explore what is and isn’t going on when humans do it.

So, how to create a program that writes a story? A first step is to look at theories of how humans do it. I started with a book by Open University Professor Mike Sharples. He suggests it’s a continuous cycle between engagement and reflection. During engagement a storyteller links sequences of actions without thinking too much (a bit like daydreaming). During reflection they check what they have written so far, and if needed modify it. In doing so they create rules that limit what they can do during future rounds of engagement. According to him, stories emerge from a constant interplay between engagement and reflection.

What knowledge would you need to write a story about the last football World Cup?

With this in mind I wrote a program called MEXICA that generates stories about the ancient inhabitants of Mexico City (they are often wrongly called the Aztecs – their real name is the Mexicas). MEXICA simulates these engagement-reflection cycles. However, to write a program like this you need to solve lots of problems. For instance, what type of knowledge does the program need to create a story? It’s more complicated than you might think. What knowledge would you need to write a story about the last football World Cup? You would need facts about Brazilian culture, the teams that played, the game’s rules… Similarly, to write a story about the Mexicas you need to know about the ancient cultures of Mexico, their religion, their traditions, and so on. Figuring out the amount and type of knowledge that a system needs to generate a story is a key problem a computer scientist trying to develop a computerised storyteller needs to solve. Whatever the story you need to know something about human emotions. MEXICA uses its knowledge of them to keep track of the emotional links between the characters using them to decide sensible actions that then might follow.

By now you are probably wondering what MEXICA’s stories look like. Here’s an example:

“Jaguar Knight made fun of and laughed at Trader. This situation made Trader really angry! Trader thoroughly observed Jaguar Knight. Then, Trader took a dagger, jumped towards Jaguar Knight and attacked Jaguar Knight. Jaguar Knight’s state of mind was very volatile and without thinking about it Jaguar Knight charged against Trader. In a fast movement, Trader wounded Jaguar Knight. An intense haemorrhage aroused which weakened Jaguar Knight. Trader knew that Jaguar Knight could die and that Trader had to do something about it. Trader went in search of some medical plants and cured Jaguar Knight. As a result, Jaguar Knight was very grateful towards Trader. Jaguar Knight was emotionally tied to Trader but Jaguar Knight could not accept Trader’s behaviour. What could Jaguar Knight do? Trader thought that Trader overreacted; so, Trader got angry with Trader. In this way, Trader – after consulting a Shaman – decided to exile Trader.”

As you can see it isn’t able to write stories as well as a human yet! The way it phrases things is a bit odd, like “Trader got angry with Trader” rather than “Trader got angry with himself”. It’s missing another area of knowledge: how to write English naturally! Even so, the narratives it produces are interesting and tell us something about what does and doesn’t make a good story. And that’s the point. Programs like MEXICA help us better understand the processes and knowledge needed to generate novel, interesting tales. If one day we create a program that can write stories as well as the best writers we will know we really do understand how humans do it. Your own favourite story might not be written by a machine, but in the future, you might find your grandchildren’s favourite ones were!

If you like to write stories, then why not learn to program too then you could try writing a storytelling program yourself. Could you improve on MEXICA?

 


This article was originally published on the CS4FN website and a copy can be found on pages 8-9 in Issue 18 of the CS4FN magazine “Machines that are creative” which you can download as a free PDF, along with all of our other free material.

 

 

Sophie Wilson: Where would feeding cows take you?

Chip design that changed the world

by Paul Curzon, Queen Mary University of London

(Updated from the archive)

cows grazing
Image by Christian B. from Pixabay 

Some people’s innovations are so amazing it is hard to know where to start. Sophie Wilson is like that. She helped kick start the original 80’s BBC micro computer craze, then went on to help design the chips in virtually every smartphone ever made. Her more recent innovations are the backbone that is keeping broadband infrastructure going. The amount of money her innovations have made easily runs into tens of billions of dollars, and the companies she helped succeed make hundreds of billions of dollars. It all started with her feeding cows!

While still a student Sophie spent a summer designing a system that could automatically feed cows. It was powered by a microcomputer called the MOS 6502: one of the first really cheap chips. As a result Sophie gained experience in both programming using the 6502’s set of instructions but also embedded computers: the idea that computers can disappear into other everyday objects. After university she quickly got a job as a lead designer at Acorn Computers and extended their version of the BASIC language, adding, for example, a way to name procedures so that it was easier to write large programs by breaking them up into smaller, manageable parts.

Acorn needed a new version of their microcomputer, based on the 6502 processor, to bid for a contract with the BBC for a project to inspire people about the fun of coding. Her boss challenged her to design it and get it working, all in only a week. He also told her someone else in the team had already said they could do it. Taking up the challenge she built the hardware in a few days, soldering while watching the Royal Wedding of Charles and Diana on TV. With a day to go there were still bugs in the software, so she worked through the night debugging. She succeeded and within the week of her taking up the challenge it worked! As a result Acorn won a contract from the BBC, the BBC micro was born and a whole generation were subsequently inspired to code. Many computer scientists, still remember the BBC micro fondly 30 years later.

That would be an amazing lifetime achievement for anyone. Sophie went on to even greater things. Acorn morphed into the company ARM on the back of more of her innovations. Ultimately this was about returning to the idea of embedded computers. The Acorn team realised that embedded computers were the future. As ARM they have done more than anyone to make embedded computing a ubiquitous reality. They set about designing a new chip based on the idea of Reduced Instruction Set Computing (RISC). The trend up to that point was to add ever more complex instructions to the set of programming instructions that computer architectures supported. The result was bloated systems that were hungry for power. The idea behind RISC chips was to do the opposite and design a chip with a small but powerful instruction set. Sophie’s colleague Steve Furber set to work designing the chip’s architecture – essentially the hardware. Sophie herself designed the instructions it had to support – its lowest level programming language. The problem was to come up with the right set of instructions so that each could be executed really, really quickly – getting as much work done in as few clock cycles as possible. Those instructions also had to be versatile enough so that when sequenced together they could do more complicated things quickly too. Other teams from big companies had been struggling to do this well despite all their clout, money and powerful computer mainframes to work on the problem. Sophie did it in her head. She wrote a simulator for it in her BBC BASIC running on the BBC Micro. The resulting architecture and its descendants took over the world, with ARM’s RISC chips running 95% of all smartphones. If you have a smartphone you are probably using an ARM chip. They are also used in game controllers and tablets, drones, televisions, smart cars and homes, smartwatches and fitness trackers. All these applications, and embedded computers generally, need chips that combine speed with low energy needs. That is what RISC delivered allowing the revolution to start.

If you want to thank anyone for your personal mobile devices, not to mention the way our cars, homes, streets and work are now full of helpful gadgets, start by thanking Sophie…and she’s not finished yet!


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This blog is funded by UKRI, through grant EP/W033615/1.

Diamond Dogs: Bowie’s algorithmic creativity

by Paul Curzon, Queen Mary University of London

(Updated from the archive)

Bowie black and white portrait
Image by Cristian Ferronato from Pixabay

Rock star David Bowie co-wrote a program that generated lyric ideas. It gave him inspiration for some of his most famous songs. It generated sentences at random based on something called the ‘cut-up’ technique: an algorithm for writing lyrics that he was already doing by hand. You take sentences from completely different places, cut them into bits and combine them in new ways. The randomness in the algorithm creates strange combinations of ideas and he would use ones that caught his attention, sometimes building whole songs around the ideas they expressed.

Tools for creativity

Rather than being an algorithm that is creative in itself, it is perhaps more a tool to help people (or perhaps other algorithms) be more creative. Both kinds of algorithm are of course useful. It does help highlight an issue with any “creative algorithm”, whether creating new art, music or writing. If the algorithm produces lots of output and a human then chooses the ones to keep (and show others), then where is the creativity? In the algorithm or in the person? That selection process of knowing what to keep and what to discard (or keep working on) seems to be a key part of creativity. Any truly creative program should therefore include a module to do such vetting of its work!

All that, aside, an algorithm is certainly part of the reason Bowie’s song lyrics were often so surreal and intriguing!


Write a cut-up technique program

Why not try and write your own cut-up technique program to produce lyrics. You will likely need to use String processing libraries of whatever language you choose. You could feed it things like the text of webpages or news reports. If you don’t program yet, do it by hand cutting up magazines, shuffling the part sentences before gluing them back together.


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This blog is funded by UKRI, through grant EP/W033615/1.

The algorithm that could not speak its name

by Paul Curzon, Queen Mary University of London

(Updated from the archive)

Image by PIRO4D from Pixabay 

The first program that was actually creative was probably written by Christopher Strachey, in 1952. It wrote love letters…possibly gay ones.

The letters themselves weren’t particularly special. They wouldn’t make your heart skip a beat if they were written to you, though they are kind of quaint. They actually have the feel of someone learning English doing their best but struggling with the right words! It’s the way the algorithm works that was special. It would be simple to write a program that ‘wrote’ love letters thought up and then pre-programmed by the programmer. Strachey’s program could do much more than that though – it could write letters he never envisaged. It did this using a few simple rules that despite their simplicity gave it the power to write a vast number of different letters. It was based on lists of different kinds of words chosen to be suitable for love letters. There was a list of nouns (like ‘affection’, ‘ardour’, …), a list of adjectives (like ‘tender’, ‘loving’, …), and so on.

It then just chose words from the appropriate list at random and plugged them into place in template sentences, a bit like slotting the last pieces into a jigsaw. It only used a few kinds of sentences as its basic rules such as: “You are my < adjective > < noun >”. That rule could generate, for example, “You are my tender affection.” or “You are my loving heart”, substituting in different combinations of its adjectives and nouns. It then combined several similar rules about different kinds of sentences to give a different love letter every time.

Strachey knew Alan Turing, who was a key figure in the creation of the first computers, and they may have worked on the ideas behind the program together. As both were gay it is entirely possible that the program was actually written to generate gay love letters. Oddly, the one word the program never uses is the word ‘love’ – a sentiment that at the time gay people just could not openly express. It was a love letter algorithm that just could not speak its name!

You can try out Strachey’s program [EXTERNAL] and the Twitter Bot loveletter_txt is based on it [EXTERNAL] Better still why not write your own version. It’s not too hard.

Here is one of the offerings from my attempt to write a love letter writing program:

Beloved Little Cabbage,

I cling to your anxious fervour. I want to hold you forever. You are my fondest craving. You are my fondest enthusiasm. My affection lovingly yearns for your loveable passion.

Yours, keenly Q

The template I used was:

salutation1 + ” ” + salutation2 + “,”

“I ” + verb + ” your ” + adjective + ” ” + noun + “.”

“You are my ” + noun + “.”

“I want ” + verb + ” you forever.”

“I ” + verb + ” your ” + adjective + ” ” + noun + “.”

“My ” + noun1 + ” ” + adverb + ” ” + verb  + ” your ” + adjective + ” ” + noun2 + “.”

“Yours, ” + adverb + ” Q”

Here characters in double quotes stay the same, whereas those that are not in quotes are variables: place holders for a word from the word associated word list.

Experiment with different templates and different word lists and create your own unique version. If you can’t program yet, you can do it on paper by writing out the template and putting the different word lists on different coloured small post-it notes. Number them and use dice to choose one at random.

Of course, you don’t have to write love poems. Perhaps, you could use the same idea for a post card writing program this summer holiday…


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This blog is funded by UKRI, through grant EP/W033615/1.