Brain Pickings

Robots In Our Image

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How a biblical creation myth replays itself from bone and muscle to jazz improvisation.

In labs around the world, a new breed is arising. A friendly breed of intelligent machines designed to look like us, move like us, behave like us, and interact with us in ways that seem less and less distinguishable from the human ways.

Cutting-edge AI projects aim, with an impressive degree of success, to embed human social and cognitive skills in intelligent machines that will eventually be able to seamlessly integrate into our social and cultural fabric. These machines will soon be able to read and understand our mental and emotional states and respond to them. They will be able to engage with us, to learn, adapt and share, challenging us to redefine our very conception of human identity and essence.

Here are 6 compelling beacons.

ASIMO

Robots walking amongst us has been a science fiction dream for many years. Recently, however, science is rapidly catching up in bringing this dream into reality. Japan’s technological giant Honda has been building an experimental anthropomorphic robot since the 80′s — ASIMO. His name stands for Advanced Step In Innovative Motion, but it’s hard to avoid associating it with Asimov, the iconic science-fiction author who envisioned intelligent humanoid robots in his stories and was the first to lay down the then-fictional 3 laws of robotics, regulating human-machine interactions.

Since as early as 2000, ASIMO’s advanced models have been capable, among other things, of demonstrating complex body movements, navigating complex environments, recognizing objects and faces, reacting to human postures, gestures and voice commands, and much more. ASIMO can safely conduct himself among us (not bumping into people) and perform an impressive set of complex tasks, like taking and order and serving coffee. Recent models even have limited autonomous learning capabilities.

KISMET

Social interaction, usually taken for granted in our everyday life, is a very complex system of signaling. We all use such signaling to share our rich mental and emotional inner lives. It includes voice, language production and understanding, facial expressions and many additional cues such as gesturing, eye contact, conversational distance, synchronization and more.

The Sociable Machine project at MIT has been exploring this complex system with Kismet, a “sociable machine” that engages people in natural and expressive face-to-face interaction.

The project integrates theories and concepts from infant social development, psychology, ethology and evolution that enable Kismet to enter into natural and intuitive social interaction.

The most significant achievement with Kismet is its ability to learn by direct interaction the way infants learn from their parents — previously a skill inherent only to biological species, and thus a major paradigm shift in robotics.

NEXI

Developed at MIT Media Lab’s Personal Robots Group, Nexi combines ASIMO’s mobility with Kismet’s social interactivity skills. Nexi presents itself as an MDS robot, which stands for Mobile, Dexterous, and Social.

The purpose of this platform is to support research and education goals in human-robot interaction, teaming, and social learning. In particular, the small footprint of the robot (roughly the size of a 3 year old child) allows multiple robots to operate safely within a typical laboratory floor space.

Nexi’s design adds advanced mobility and object manipulation skills to Kismet’s social interactivity. Nexi’s facial expressions, though basic, are engaging and rather convincing. It’s also hard to overlook the “cute” factor at play, reminiscent of human babies.

While still slow and very machine-like in appearance, Nexi demonstrates today what was science fiction just a few years ago.

HANSON ROBOTICS

Hardly anything is more essential to the recognition of humanity than facial expressions, which modulate our communication with cues about our feelings and emotional states. Hanson Robotics combines art with cutting-edge materials and technologies to create extremely realistic robotic faces capable of mimicking human emotional expressions, conversing quite naturally, recognizing and responding to faces, and following eye contact.

We feel that these devices can serve to help to investigate what it means to be human, both scientifically and artistically.

Jules, a Conversational Character Robot designed by David Hanson, has a remarkably expressive face and is equipped with natural language artificial intelligence that realistically simulates human conversational intelligence. This, together with his/her rich nonverbal interaction skills, offers a glimpse of how fast robots are becoming virtually indistinguishable from us — social, interactive, eerily affective.

The team is also working on a futuristic project aiming to develop machine empathy and machine value system based on human culture and ethics that will allow robots to bond with people.

ECCEROBOT

In the quest to create machines in our image, of particular interest is ECCEROBOT — a collaborative project coordinated and funded by the EU Seventh Framework Programme.

ECCE stands for Embodied Cognition in a Compliantly Engineered Robot. Simply put, it means that while other humanoid robots are currently designed to mimic human form but not its anatomy and physiological mechanisms, ECCEROBOT is anthropomimetic — specifically designed to replicate human bone, joint and muscle structure and their complex movement mechanism.

The project leaders believe that human-like cognition and social interaction are intimately connected to the robot’s embodiment. A robot designed according to a human body plan should thus engage more fluently and naturally in human-like behavior and interaction. Such an embodiment would also help researches build robots that learn to engage with their physical environment the way humans do — an interesting concept that brings us a step closer to creating human-like robotic companions.

SHIMON

Music, many of us believe, makes us distinctively human — playing music together, especially improvising, is perhaps one of the most impressive and complex demonstrations of human collaborative intelligence where the whole becomes much more than the sum of its parts.

But extraordinarily skillful music-playing robots are already challenging this very belief. Earlier this year, we saw the stage debut of Shimon — a robotic marimba artist developed at the The Georgia Tech Center for Music Technology. Shimon doesn’t look the least bit human, entirely lacks mobility and affective social skills, but is capable of something definitely considered exclusively human — playing real-time jazz improvisation with a human partner.

Shimon isn’t merely playing a pre-programmed set of notes, but is capable to intelligently respond to fellow human players and collaborate with them, producing surprising variations on the played theme. The robot’s head (not on video), currently implemented in software animation, provides fellow musicians with visual cues that represent social-musical elements, from beat detection and tonality to attention and spatial interaction.

Spaceweaver is a thinker, futurist and writer living in future tense, mostly on the web. Check out his blogs at Space Collective and K21st, and follow him on Friendfeed and Twitter.

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Valentino: The Last Emperor

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Quirk, glamor, and what six pugs have to do with the epic battle of art versus commerce.

The world of fashion — you either love it or hate it. But regardless of where you may fall on the spectrum, it’s hard not to love Valentino: The Last Emperor — an incredibly engaging and entertaining documentary-but-oh-so-much-more about the legendary designer. Because it’s not a story about fashion, it’s a story about passion and love and the charming, stubborn, heartfelt quirk of genius.

Earlier this year, the film swept the independent film festival circuit with phenomenal critical acclaim. From director Matt Tyrnauer, it offers a unique behind-the-scenes look at Valentino’s half-century reign as a true emperor of fashion, focusing on the years between his 70th birthday and his dramatic final couture show. It bespeaks the epic struggle of art against commerce, as the label is forced into a corporate takeover and Valentino has to reconcile his passion for style with the urgency of figures.

But putting all the glamor (he dressed Jackie Kennedy), eccentricity (his six pugs ride in private jets) and grandeur (the Alpine mountain house is astounding) aside, perhaps what makes the film most fascinating is the candid and touching human story between Valentino and his one-time life partner and now business partner, Giancarlo Giammetti.

In this excellent interview, Tyrnauer talks about the incredible world that unfolded before him as he peeled apart Valentino in 270 hours of footage shot over 2 years.

Valentino: The Last Emperor is out today on DVD.

via VSL

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Graphic Novel Granddaddy: Lynd Ward’s Woodcuts

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Iconic engravings, or what The Great Depression has to do with the art of light and darkness.

For many, last year’s mega-hit Watchmen validated the notion of the graphic novel as a formidable creative genre. But perhaps the most compelling, aesthetically and conceptually innovative work in that genre was done more than seven decades ago.

In the 1930′s, American illustrator and storyteller Lynd Ward “invented” the genre when he created a series of wordless graphic novels in woodcuts, using dramatic wood engravings to create a style that was part Art Deco, part Expressionism, part something else entirely.

At the dawn of the stock market crash in 1929, he released his first novel, God’s Man — a masterfully illustrated, articulate, and thought-provoking semi-autobiographical story about struggles of self and life.

Ambiguous and abstract, these visual narratives lend themselves to the reader’s own interpretation, which makes them all the more engaging and powerful.

The woodblock, whether cut with a knife or engraved, develops its image by bringing details out of darkness into the light. This seems to give it an advantage over ways of working that start with an empty white area. In a sense, what is happening is already there in the darkness, and cutting the block involves letting only enough light into the field of vision to reveal what is going on.

Ward followed up with Mad Man’s Drum (1930), Wild Pilgrimage (1932), Prelude to a Million Years (1933), and Song Without Words (1936).

These last two are so rare and precious they are only available as collectors’ editions, with astounding pricetags upwards of $500 — a hard-fact indication of just how iconic Ward’s work is.

It has always been a matter of some surprise to me that this process can go on for a considerable period and all take place silently. I hear no sound; there is never a word spoken.

His last graphic novel, Vertigo (1937), was an absolute masterpiece, a pinnacle of this unique art of contrast, of light and darkness, both literally and metaphorically.

Brimming with powerful Depression-era images, it is also ironically relevant today, illustrating this same urgency unrest in the context of our contemporary economic downturn.

Get yourself a copy (while it’s still priced at the measly $11.53) and indulge in the real heritage and art of the graphic novel.

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