What paleontology has to do with stop-motion animation and kindergartners.
They Might Be Giants are among the most iconic and revolutionary alt-rock bands of our time. They’ve founded one of the first artist-owned online music stores, stunned critics with an unorthodox children’s project, performed at TED, and consistently challenged the conventions of the music industry. Oh, and they’ve won a few Grammys along the way.
This month, TMBG have released the latest installment in their critically acclaimed Here Comes children’s series. The Here Comes Science 2-disc CD/DVD album is a bundle of creativity and entertainment, tied with a ribbon of education. Although aimed at the K-5 set, the playful lyrics and brilliantly animated videos are an absolute treat for musicologists and design junkies alike — we can attest.
From the charming illustration in this Amazon-exclusive video, to the wonderful paper-cutout stop-motion animation in Electric Car, to the infographic ode to the periodic table in Meet The Elements, the album is a testament to the transformational power of a fresh approach to a stale subject.
What makes us particularly enamored with this project is that it addresses of the sore need for creativity in education, the lack of which is often a dealbreaker in kids’ engagement in the learning process. As Sir Ken Robinson so bluntly yet fairly pointed out in his TED talk, today’s schools may well be killing creativity.
Check out Here Comes Science for 19 unexpected takes on paleontology, evolution, astronomy, photosynthesis, anatomy and other delightfully geeky curiosities that you probably slept through in school.
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What roller coasters have to do with German opera and Martin Scorsese.
Philip Glass is easily our greatest living composer. His operas — like Einstein on the Beach, Satyagraha, and The Voyage — have gotten a multitude of standing ovations throughout the world’s leading houses. Sometimes controversial, often revolutionary, and always extraordinary, he has collaborated with cultural legends like Woody Allen and David Bowie and scored critic darlings like Notes on a Scandal, The Hours, The Truman Show and Martin Scorsese’s Kundun, influencing the musical and intellectual currents of our time.
In 2005, filmmaker Scott Hicks (Shine) began shooting a documentary in honor of Glass’ 70th birthday in 2007. So, over the next 18 months, he followed the iconic composer across 3 continents, with unprecedented access to every corner of his life.
The result, GLASS: A Portrait of Philip in Twelve Parts, is a fascinating film revealing the most intimate and complex layers of the man’s remarkable character. From his annual ride on the Coney Island Cyclone roller coaster to the grand premiere of his new opera in Germany, the film treks the intricate intersection between the personal and the professional, an inextricable parallel of passions so fundamental to genius.
The film is structured in 12 chapters, each exploring a different facet of Glass’ life and work. It offers a portal into his history and past, the elements that shaped his work, all filtered through the present-day experience.
What makes GLASS so powerful is precisely this intimacy of perspective that captures who Glass is in everyday life — it’s as close as we can get to understanding genius, the mosaic of character and personal passions and quirks and eccentricities that shapes the creative output of an exceptional artist.
See the brilliant film on DVD or, for the budget-impeded, on YouTube video of questionable quality. [UPDATE: The video is no longer available and now links to something completely different. Boo.]
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.
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.
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.
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.
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.
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.
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.
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