Biased ART: A Neural Architecture that Shifts Attention Toward Previously Disregarded Features Following an Incorrect Prediction

Memories in Adaptive Resonance Theory (ART) networks are based on matched patterns that focus attention on those portions of bottom-up inputs that match active top-down expectations. While this learning strategy has proved successful for both brain models and applications, computational examples show that attention to early critical features may later distort memory representations during online fast learning. For supervised learning, biased ARTMAP (bARTMAP) solves the problem of over-emphasis on early critical features by directing attention away from previously attended features after the system makes a predictive error. Small-scale, hand-computed analog and binary examples illustrate key model dynamics. Twodimensional simulation examples demonstrate the evolution of bARTMAP memories as they are learned online. Benchmark simulations show that featural biasing also improves performance on large-scale examples. One example, which predicts movie genres and is based, in part, on the Netflix Prize database, was developed for this project. Both first principles and consistent performance improvements on all simulation studies suggest that featural biasing should be incorporated by default in all ARTMAP systems. Benchmark datasets and bARTMAP code are available from the CNS Technology Lab Website: http://techlab.bu.edu/bART/.

Fuzzy ART

Adaptive Resonance Theory (ART) models are real-time neural networks for category learning, pattern recognition, and prediction. Unsupervised fuzzy ART and supervised fuzzy ARTMAP synthesize fuzzy logic and ART networks by exploiting the formal similarity between the computations of fuzzy subsethood and the dynamics of ART category choice, search, and learning. Fuzzy ART self-organizes stable recognition categories in response to arbitrary sequences of analog or binary input patterns. It generalizes the binary ART 1 model, replacing the set-theoretic: intersection (∩) with the fuzzy intersection (∧), or component-wise minimum. A normalization procedure called complement coding leads to a symmetric: theory in which the fuzzy inter:>ec:tion and the fuzzy union (∨), or component-wise maximum, play complementary roles. Complement coding preserves individual feature amplitudes while normalizing the input vector, and prevents a potential category proliferation problem. Adaptive weights :otart equal to one and can only decrease in time. A geometric interpretation of fuzzy AHT represents each category as a box that increases in size as weights decrease. A matching criterion controls search, determining how close an input and a learned representation must be for a category to accept the input as a new exemplar. A vigilance parameter (p) sets the matching criterion and determines how finely or coarsely an ART system will partition inputs. High vigilance creates fine categories, represented by small boxes. Learning stops when boxes cover the input space. With fast learning, fixed vigilance, and an arbitrary input set, learning stabilizes after just one presentation of each input. A fast-commit slow-recode option allows rapid learning of rare events yet buffers memories against recoding by noisy inputs. Fuzzy ARTMAP unites two fuzzy ART networks to solve supervised learning and prediction problems. A Minimax Learning Rule controls ARTMAP category structure, conjointly minimizing predictive error and maximizing code compression. Low vigilance maximizes compression but may therefore cause very different inputs to make the same prediction. When this coarse grouping strategy causes a predictive error, an internal match tracking control process increases vigilance just enough to correct the error. ARTMAP automatically constructs a minimal number of recognition categories, or "hidden units," to meet accuracy criteria. An ARTMAP voting strategy improves prediction by training the system several times using different orderings of the input set. Voting assigns confidence estimates to competing predictions given small, noisy, or incomplete training sets. ARPA benchmark simulations illustrate fuzzy ARTMAP dynamics. The chapter also compares fuzzy ARTMAP to Salzberg's Nested Generalized Exemplar (NGE) and to Simpson's Fuzzy Min-Max Classifier (FMMC); and concludes with a summary of ART and ARTMAP applications.

The Art of Seeing and Painting

The human urge to represent the three-dimensional world using two-dimensional pictorial representations dates back at least to Paleolithic times. Artists from ancient to modern times have struggled to understand how a few contours or color patches on a flat surface can induce mental representations of a three-dimensional scene. This article summarizes some of the recent breakthroughs in scientifically understanding how the brain sees that shed light on these struggles. These breakthroughs illustrate how various artists have intuitively understand paradoxical properties about how the brain sees, and have used that understanding to create great art. These paradoxical properties arise from how the brain forms the units of conscious visual perception; namely, representations of three-dimensional boundaries and surfaces. Boundaries and surfaces are computed in parallel cortical processing streams that obey computationally complementary properties. These streams interact at multiple levels to overcome their complementary weaknesses and to transform their complementary properties into consistent percepts. The article describes how properties of complementary consistency have guided the creation of many great works of art.