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What exactly do we mean by an "enhanced" human? When this possibility is brought up, what is generally being referred to is the addition of human and machine-based performances (expanding on the figure of the cyborg popularised by science fiction). But enhanced in relation to what? According to which reference values and criteria? How, for example, can happiness be measured? A good life? Sensations, like smells or touch which connect us to the world? How happy we feel when we are working? All these dimensions that make life worth living. We must be careful here not to give in to the magic of figures. A plus can hide a minus; something gained may conceal something lost. What is gained or lost, however, is difficult to identify as it is neither quantifiable nor measurable. Continue reading
Millions of years of evolution have allowed animals to develop some elegant and highly efficient solutions to problems like locomotion, flight, and dexterity. As Boston Dynamics unveils its latest mechanical animals, here’s a rundown of nine recent robots that borrow from nature and why.
SpotMini – Boston Dynamics
Starting with BigDog in 2005, the US company has built a whole stable of four-legged robots in recent years. Their first product was designed to be a robotic packhorse for soldiers that borrowed the quadrupedal locomotion of animals to travel over terrain too rough for conventional vehicles.
The US Army ultimately rejected the robot for being too noisy, according to the Guardian, but since then the company has scaled down its design, first to the Spot, then a first edition of the SpotMini that came out last year.
The latter came with a robotic arm where its head should be and was touted as a domestic helper, but a sleeker second edition without the arm was released earlier this month. There’s little detail on what the new robot is designed for, but the more polished design suggests a more consumer-focused purpose.
OctopusGripper – Festo
Festo has released a long line of animal-inspired machines over the years, from a mechanical kangaroo to robotic butterflies. Its latest creation isn’t a full animal—instead it’s a gripper based on an octopus tentacle that can be attached to the end of a robotic arm.
The pneumatically-powered device is made of soft silicone and features two rows of suction cups on its inner edge. By applying compressed air the tentacle can wrap around a wide variety of differently shaped objects, just like its natural counterpart, and a vacuum can be applied to the larger suction cups to grip the object securely. Because it’s soft, it holds promise for robots required to operate safely in collaboration with humans.
CRAM – University of California, Berkeley
Cockroaches are renowned for their hardiness and ability to disappear down cracks that seem far too small for them. Researchers at UC Berkeley decided these capabilities could be useful for search and rescue missions and so set about experimenting on the insects to find out their secrets.
They found the bugs can squeeze into gaps a fifth of their normal standing height by splaying their legs out to the side without significantly slowing themselves down. So they built a palm-sized robot with a jointed plastic shell that could do the same to squeeze into crevices half its normal height.
Snake Robot – Carnegie Mellon University
Search and rescue missions are a common theme for animal-inspired robots, but the snake robot built by CMU researchers is one of the first to be tested in a real disaster.
A team of roboticists from the university helped Mexican Red Cross workers search collapsed buildings for survivors after the 7.1-magnitude earthquake that struck Mexico City in September. The snake design provides a small diameter and the ability to move in almost any direction, which makes the robot ideal for accessing tight spaces, though the team was unable to locate any survivors.
The snake currently features a camera on the front, but researchers told IEEE Spectrum that the experience helped them realize they should also add a microphone to listen for people trapped under the rubble.
Bio-Hybrid Stingray – Harvard University
Taking more than just inspiration from the animal kingdom, a group from Harvard built a robotic stingray out of silicone and rat heart muscle cells.
The robot uses the same synchronized undulations along the edge of its fins to propel itself as a ray does. But while a ray has two sets of muscles to pull the fins up and down, the new device has only one that pulls them down, with a springy gold skeleton that pulls them back up again. The cells are also genetically modified to be activated by flashes of light.
The project’s leader eventually hopes to engineer a human heart, and both his stingray and an earlier jellyfish bio-robot are primarily aimed at better understanding how that organ works.
Bat Bot – Caltech
Most recent advances in drone technology have come from quadcopters, but Caltech engineers think rigid devices with rapidly spinning propellers are probably not ideal for use in close quarters with humans.
That’s why they turned to soft-winged bats for inspiration. That’s no easy feat, though, considering bats use more than 40 joints with each flap of their wings, so the team had to optimize down to nine joints to avoid it becoming too bulky. The simplified bat can’t ascend yet, but its onboard computer and sensors let it autonomously carry out glides, turns, and dives.
Salto – UC Berkeley
While even the most advanced robots tend to plod around, tree-dwelling animals have the ability to spring from branch to branch to clear obstacles and climb quickly. This could prove invaluable for search and rescue robots by allowing them to quickly traverse disordered rubble.
UC Berkeley engineers turned to the Senegal bush baby for inspiration after determining it scored highest in “vertical jumping agility”—a combination of how high and how frequently an animal can jump. They recreated its ability to get into a super-low crouch that stores energy in its tendons to create a robot that could carry out parkour-style double jumps off walls to quickly gain height.
Pleurobot – École Polytechnique Fédérale de Lausanne
Normally robots are masters of air, land, or sea, but the robotic salamander built by researchers at EPFL can both walk and swim.
Its designers used X-ray videos to carefully study how the amphibians move before using this to build a true-to-life robotic version using 3D printed bones, motorized joints, and a synthetic nervous system made up of electronic circuitry.
The robot’s low center of mass and segmented legs make it great at navigating rough terrain without losing balance, and the ability to swim gives added versatility. They also hope it will help paleontologists gain a better understanding of the movements of the first tetrapods to transition from water to land, which salamanders are the best living analog of.
Eelume – Eelume
A snakelike body isn’t only useful on land—eels are living proof it’s an efficient way to travel underwater, too. Norwegian robotics company Eelume has borrowed these principles to build a robot capable of sub-sea inspection, maintenance, and repair.
The modular design allows operators to put together their own favored configuration of joints and payloads such as sensors and tools. And while an early version of the robot used the same method of locomotion as an eel, the latest version undergoing sea trials has added a variety of thrusters for greater speeds and more maneuverability.
Image Credit: Boston Dynamics / YouTube Continue reading
The best storytellers react to their audience. They look for smiles, signs of awe, or boredom; they simultaneously and skillfully read both the story and their sitters. Kevin Brooks, a seasoned storyteller working for Motorola’s Human Interface Labs, explains, “As the storyteller begins, they must tune in to… the audience’s energy. Based on this energy, the storyteller will adjust their timing, their posture, their characterizations, and sometimes even the events of the story. There is a dialog between audience and storyteller.”
Shortly after I read the script to Melita, the latest virtual reality experience from Madrid-based immersive storytelling company Future Lighthouse, CEO Nicolas Alcalá explained to me that the piece is an example of “reactive content,” a concept he’s been working on since his days at Singularity University.
For the first time in history, we have access to technology that can merge the reactive and affective elements of oral storytelling with the affordances of digital media, weaving stunning visuals, rich soundtracks, and complex meta-narratives in a story arena that has the capability to know you more intimately than any conventional storyteller could.
It’s no understatement to say that the storytelling potential here is phenomenal.
In short, we can refer to content as reactive if it reads and reacts to users based on their body rhythms, emotions, preferences, and data points. Artificial intelligence is used to analyze users’ behavior or preferences to sculpt unique storylines and narratives, essentially allowing for a story that changes in real time based on who you are and how you feel.
The development of reactive content will allow those working in the industry to go one step further than simply translating the essence of oral storytelling into VR. Rather than having a narrative experience with a digital storyteller who can read you, reactive content has the potential to create an experience with a storyteller who knows you.
This means being able to subtly insert minor personal details that have a specific meaning to the viewer. When we talk to our friends we often use experiences we’ve shared in the past or knowledge of our audience to give our story as much resonance as possible. Targeting personal memories and aspects of our lives is a highly effective way to elicit emotions and aid in visualizing narratives. When you can do this with the addition of visuals, music, and characters—all lifted from someone’s past—you have the potential for overwhelmingly engaging and emotionally-charged content.
Future Lighthouse inform me that for now, reactive content will rely primarily on biometric feedback technology such as breathing, heartbeat, and eye tracking sensors. A simple example would be a story in which parts of the environment or soundscape change in sync with the user’s heartbeat and breathing, or characters who call you out for not paying attention.
The next step would be characters and situations that react to the user’s emotions, wherein algorithms analyze biometric information to make inferences about states of emotional arousal (“why are you so nervous?” etc.). Another example would be implementing the use of “arousal parameters,” where the audience can choose what level of “fear” they want from a VR horror story before algorithms modulate the experience using information from biometric feedback devices.
The company’s long-term goal is to gather research on storytelling conventions and produce a catalogue of story “wireframes.” This entails distilling the basic formula to different genres so they can then be fleshed out with visuals, character traits, and soundtracks that are tailored for individual users based on their deep data, preferences, and biometric information.
The development of reactive content will go hand in hand with a renewed exploration of diverging, dynamic storylines, and multi-narratives, a concept that hasn’t had much impact in the movie world thus far. In theory, the idea of having a story that changes and mutates is captivating largely because of our love affair with serendipity and unpredictability, a cultural condition theorist Arthur Kroker refers to as the “hypertextual imagination.” This feeling of stepping into the unknown with the possibility of deviation from the habitual translates as a comforting reminder that our own lives can take exciting and unexpected turns at any moment.
The inception of the concept into mainstream culture dates to the classic Choose Your Own Adventure book series that launched in the late 70s, which in its literary form had great success. However, filmic takes on the theme have made somewhat less of an impression. DVDs like I’m Your Man (1998) and Switching (2003) both use scene selection tools to determine the direction of the storyline.
A more recent example comes from Kino Industries, who claim to have developed the technology to allow filmmakers to produce interactive films in which viewers can use smartphones to quickly vote on which direction the narrative takes at numerous decision points throughout the film.
The main problem with diverging narrative films has been the stop-start nature of the interactive element: when I’m immersed in a story I don’t want to have to pick up a controller or remote to select what’s going to happen next. Every time the audience is given the option to take a new path (“press this button”, “vote on X, Y, Z”) the narrative— and immersion within that narrative—is temporarily halted, and it takes the mind a while to get back into this state of immersion.
Reactive content has the potential to resolve these issues by enabling passive interactivity—that is, input and output without having to pause and actively make decisions or engage with the hardware. This will result in diverging, dynamic narratives that will unfold seamlessly while being dependent on and unique to the specific user and their emotions. Passive interactivity will also remove the game feel that can often be a symptom of interactive experiences and put a viewer somewhere in the middle: still firmly ensconced in an interactive dynamic narrative, but in a much subtler way.
While reading the Melita script I was particularly struck by a scene in which the characters start to engage with the user and there’s a synchronicity between the user’s heartbeat and objects in the virtual world. As the narrative unwinds and the words of Melita’s character get more profound, parts of the landscape, which seemed to be flashing and pulsating at random, come together and start to mimic the user’s heartbeat.
In 2013, Jane Aspell of Anglia Ruskin University (UK) and Lukas Heydrich of the Swiss Federal Institute of Technology proved that a user’s sense of presence and identification with a virtual avatar could be dramatically increased by syncing the on-screen character with the heartbeat of the user. The relationship between bio-digital synchronicity, immersion, and emotional engagement is something that will surely have revolutionary narrative and storytelling potential.
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On a dark night, away from city lights, the stars of the Milky Way can seem uncountable. Yet from any given location no more than 4,500 are visible to the naked eye. Meanwhile, our galaxy has 100–400 billion stars, and there are even more galaxies in the universe.
The numbers of the night sky are humbling. And they give us a deep perspective…on drugs.
Yes, this includes wow-the-stars-are-freaking-amazing-tonight drugs, but also the kinds of drugs that make us well again when we’re sick. The number of possible organic compounds with “drug-like” properties dwarfs the number of stars in the universe by over 30 orders of magnitude.
Next to this multiverse of possibility, the chemical configurations scientists have made into actual medicines are like the smattering of stars you’d glimpse downtown.
But for good reason.
Exploring all that potential drug-space is as humanly impossible as exploring all of physical space, and even if we could, most of what we’d find wouldn’t fit our purposes. Still, the idea that wonder drugs must surely lurk amid the multitudes is too tantalizing to ignore.
Which is why, Alex Zhavoronkov said at Singularity University’s Exponential Medicine in San Diego last week, we should use artificial intelligence to do more of the legwork and speed discovery. This, he said, could be one of the next big medical applications for AI.
Dogs, Diagnosis, and Drugs
Zhavoronkov is CEO of Insilico Medicine and CSO of the Biogerontology Research Foundation. Insilico is one of a number of AI startups aiming to accelerate drug discovery with AI.
In recent years, Zhavoronkov said, the now-famous machine learning technique, deep learning, has made progress on a number of fronts. Algorithms that can teach themselves to play games—like DeepMind’s AlphaGo Zero or Carnegie Mellon’s poker playing AI—are perhaps the most headline-grabbing of the bunch. But pattern recognition was the thing that kicked deep learning into overdrive early on, when machine learning algorithms went from struggling to tell dogs and cats apart to outperforming their peers and then their makers in quick succession.
[Watch this video for an AI update from Neil Jacobstein, chair of Artificial Intelligence and Robotics at Singularity University.]
In medicine, deep learning algorithms trained on databases of medical images can spot life-threatening disease with equal or greater accuracy than human professionals. There’s even speculation that AI, if we learn to trust it, could be invaluable in diagnosing disease. And, as Zhavoronkov noted, with more applications and a longer track record that trust is coming.
“Tesla is already putting cars on the street,” Zhavoronkov said. “Three-year, four-year-old technology is already carrying passengers from point A to point B, at 100 miles an hour, and one mistake and you’re dead. But people are trusting their lives to this technology.”
“So, why don’t we do it in pharma?”
Trial and Error and Try Again
AI wouldn’t drive the car in pharmaceutical research. It’d be an assistant that, when paired with a chemist or two, could fast-track discovery by screening more possibilities for better candidates.
There’s plenty of room to make things more efficient, according to Zhavoronkov.
Drug discovery is arduous and expensive. Chemists sift tens of thousands of candidate compounds for the most promising to synthesize. Of these, a handful will go on to further research, fewer will make it to human clinical trials, and a fraction of those will be approved.
The whole process can take many years and cost hundreds of millions of dollars.
This is a big data problem if ever there was one, and deep learning thrives on big data. Early applications have shown their worth unearthing subtle patterns in huge training databases. Although drug-makers already use software to sift compounds, such software requires explicit rules written by chemists. AI’s allure is its ability to learn and improve on its own.
“There are two strategies for AI-driven innovation in pharma to ensure you get better molecules and much faster approvals,” Zhavoronkov said. “One is looking for the needle in the haystack, and another one is creating a new needle.”
To find the needle in the haystack, algorithms are trained on large databases of molecules. Then they go looking for molecules with attractive properties. But creating a new needle? That’s a possibility enabled by the generative adversarial networks Zhavoronkov specializes in.
Such algorithms pit two neural networks against each other. One generates meaningful output while the other judges whether this output is true or false, Zhavoronkov said. Together, the networks generate new objects like text, images, or in this case, molecular structures.
“We started employing this particular technology to make deep neural networks imagine new molecules, to make it perfect right from the start. So, to come up with really perfect needles,” Zhavoronkov said. “[You] can essentially go to this [generative adversarial network] and ask it to create molecules that inhibit protein X at concentration Y, with the highest viability, specific characteristics, and minimal side effects.”
Zhavoronkov believes AI can find or fabricate more needles from the array of molecular possibilities, freeing human chemists to focus on synthesizing only the most promising. If it works, he hopes we can increase hits, minimize misses, and generally speed the process up.
Proof’s in the Pudding
Insilico isn’t alone on its drug-discovery quest, nor is it a brand new area of interest.
Last year, a Harvard group published a paper on an AI that similarly suggests drug candidates. The software trained on 250,000 drug-like molecules and used its experience to generate new molecules that blended existing drugs and made suggestions based on desired properties.
An MIT Technology Review article on the subject highlighted a few of the challenges such systems may still face. The results returned aren’t always meaningful or easy to synthesize in the lab, and the quality of these results, as always, is only as good as the data dined upon.
Stanford chemistry professor and Andreesen Horowitz partner, Vijay Pande, said that images, speech, and text—three of the areas deep learning’s made quick strides in—have better, cleaner data. Chemical data, on the other hand, is still being optimized for deep learning. Also, while there are public databases, much data still lives behind closed doors at private companies.
To overcome the challenges and prove their worth, Zhavoronkov said, his company is very focused on validating the tech. But this year, skepticism in the pharmaceutical industry seems to be easing into interest and investment.
AI drug discovery startup Exscientia inked a deal with Sanofi for $280 million and GlaxoSmithKline for $42 million. Insilico is also partnering with GlaxoSmithKline, and Numerate is working with Takeda Pharmaceutical. Even Google may jump in. According to an article in Nature outlining the field, the firm’s deep learning project, Google Brain, is growing its biosciences team, and industry watchers wouldn’t be surprised to see them target drug discovery.
With AI and the hardware running it advancing rapidly, the greatest potential may yet be ahead. Perhaps, one day, all 1060 molecules in drug-space will be at our disposal. “You should take all the data you have, build n new models, and search as much of that 1060 as possible” before every decision you make, Brandon Allgood, CTO at Numerate, told Nature.
Today’s projects need to live up to their promises, of course, but Zhavoronkov believes AI will have a big impact in the coming years, and now’s the time to integrate it. “If you are working for a pharma company, and you’re still thinking, ‘Okay, where is the proof?’ Once there is a proof, and once you can see it to believe it—it’s going to be too late,” he said.
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