La capacidad de la IA para modelar la mente humana se deriva de conceptos de ingeniería de mediados del siglo XX que incorporaron deliberadamente la irracionalidad para permitir el pensamiento de las máquinas.
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Generative artificial intelligence models are rooted in ideas of mid-20th century engineers who thought some amount of irrationality was essential for a machine that could think like a human, contends Benjamin Lindquist, an assistant professor in the MIT History Section, who holds an MIT Schwarzman College of Computing shared position with the Department of Electrical Engineering and Computer Science (EECS) and is a principal investigator in the Laboratory for Information and Decision Systems. To mimic creative thinking, these AI pioneers intentionally injected randomness into algorithms designed to deterministically solve problems, Lindquist writes in a new paper that appears in the journal Past and Present. In the paper, he traces the origins of AI hallucinations back to this early research and suggests there will be inevitable tradeoffs between creativity and predictability when trying to build machines that mimic human behavior. MIT News spoke with Lindquist about these ideas.Q: Why did early computer engineers believe they needed to inject randomness and irrationality into AI systems designed for logic and calculation? A: There is a long history of many figures in the world of science and art theorizing that chance plays an important part in discovery and creativity — in the ability to originate ideas. They equated creativity with unexpected leaps of logic, or even a dream-like state that allows you to think about things from a new perspective. In the early 1950s, one popular idea from John Pierce, who was a prominent electrical engineer at Bell Labs, was about math being valuable in the world of art. The idea was shared by a lot of people working in early computing. When we think of artwork that includes math, we may think of something very orderly and precise, but Pierce came to the opposite conclusion. He concluded that the utility of math is that it could remove order from art. Then in a very calculated way, math could add a burst of the unexpected as a mea
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