Tag Archives: creative

#435634 Robot Made of Clay Can Sculpt Its Own ...

We’re very familiar with a wide variety of transforming robots—whether for submarines or drones, transformation is a way of making a single robot adaptable to different environments or tasks. Usually, these robots are restricted to a discrete number of configurations—perhaps two or three different forms—because of the constraints imposed by the rigid structures that robots are typically made of.

Soft robotics has the potential to change all this, with robots that don’t have fixed forms but instead can transform themselves into whatever shape will enable them to do what they need to do. At ICRA in Montreal earlier this year, researchers from Yale University demonstrated a creative approach toward a transforming robot powered by string and air, with a body made primarily out of clay.

Photo: Evan Ackerman

The robot is actuated by two different kinds of “skin,” one layered on top of another. There’s a locomotion skin, made of a pattern of pneumatic bladders that can roll the robot forward or backward when the bladders are inflated sequentially. On top of that is the morphing skin, which is cable-driven, and can sculpt the underlying material into a variety of shapes, including spheres, cylinders, and dumbbells. The robot itself consists of both of those skins wrapped around a chunk of clay, with the actuators driven by offboard power and control. Here it is in action:

The Yale researchers have been experimenting with morphing robots that use foams and tensegrity structures for their bodies, but that stuff provides a “restoring force,” springing back into its original shape once the actuation stops. Clay is different because it holds whatever shape it’s formed into, making the robot more energy efficient. And if the dumbbell shape stops being useful, the morphing layer can just squeeze it back into a cylinder or a sphere.

While this robot, and the sample transformation shown in the video, are relatively simplistic, the researchers suggest some ways in which a more complex version could be used in the future:

Photo: IEEE Xplore

This robot’s morphing skin sculpts its clay body into different shapes.

Applications where morphing and locomotion might serve as complementary functions are abundant. For the example skins presented in this work, a search-and-rescue operation could use the clay as a medium to hold a payload such as sensors or transmitters. More broadly, applications include resource-limited conditions where supply chains for materiel are sparse. For example, the morphing sequence shown in Fig. 4 [above] could be used to transform from a rolling sphere to a pseudo-jointed robotic arm. With such a morphing system, it would be possible to robotically morph matter into different forms to perform different functions.

Read this article for free on IEEE Xplore until 5 September 2019

Morphing Robots Using Robotic Skins That Sculpt Clay, by Dylan S. Shah, Michelle C. Yuen, Liana G. Tilton, Ellen J. Yang, and Rebecca Kramer-Bottiglio from Yale University, was presented at ICRA 2019 in Montreal.

[ Yale Faboratory ]

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#435579 RoMeLa’s Newest Robot Is a ...

A few years ago, we wrote about NABiRoS, a bipedal robot from Dennis Hong’s Robotics & Mechanisms Laboratory (RoMeLa) at UCLA. Unlike pretty much any other biped we’d ever seen, NABiRoS had a unique kinematic configuration that had it using its two legs to walk sideways, which offered some surprising advantages.

As it turns out, bipeds aren’t the only robots that can potentially benefit from a bit of a kinematic rethink. RoMeLa has redesigned quadrupedal robots too—rather than model them after a quadrupedal animal like a dog or a horse, RoMeLa’s ALPHRED robots use four legs arranged symmetrically around the body of the robot, allowing it to walk, run, hop, and jump, as well as manipulate and carry objects, karate chop through boards, and even roller skate on its butt. This robot can do it all.

Impressive, right? This is ALPHRED 2, and its predecessor, the original ALPHRED, was introduced at IROS 2018. Both ALPHREDs are axisymmetric about the vertical axis, meaning that they don’t have a front or a back and are perfectly happy to walk in any direction you like. Traditional quadrupeds like Spot or Laikago can also move sideways and backwards, but their leg arrangement makes them more efficient at moving in one particular direction, and also results in some curious compromises like a preference for going down stairs backwards. ANYmal is a bit more flexible in that it can reverse its knees, but it’s still got that traditional quadrupedal two-by-two configuration.

ALPHRED 2’s four symmetrical limbs can be used for a whole bunch of stuff. It can do quadrupedal walking and running, and it’s able to reach stable speeds of up to 1.5 m/s. If you want bipedal walking, it can do that NABiRoS-style, although it’s still a bit fragile at the moment. Using two legs for walking leaves two legs free, and those legs can turn into arms. A tripedal compromise configuration, with three legs and one arm, is more stable and allows the robot to do things like push buttons, open doors, and destroy property. And thanks to passive wheels under its body, ALPHRED 2 can use its limbs to quickly and efficiently skate around:

The impressive performance of the robot comes courtesy of a custom actuator that RoMeLa designed specifically for dynamic legged locomotion. They call it BEAR, or Back-Drivable Electromechanical Actuator for Robots. These are optionally liquid-cooled motors capable of proprioceptive sensing, consisting of a DC motor, a single stage 10:1 planetary gearbox, and channels through the back of the housing that coolant can be pumped through. The actuators have a peak torque of 32 Nm, and a continuous torque of about 8 Nm with passive air cooling. With liquid cooling, the continuous torque jumps to about 21 Nm. And in the videos above, ALPHRED 2 isn’t even running the liquid cooling system, suggesting that it’s capable of much higher sustained performance.

Photo: RoMeLa

Using two legs for walking leaves two legs free, and those legs can turn into arms.

RoMeLa has produced a bunch of very creative robots, and we appreciate that they also seem to produce a bunch of very creative demos showing why their unusual approaches are in fact (at least in some specific cases) somewhat practical. With the recent interest in highly dynamic robots that can be reliably useful in environments infested with humans, we can’t wait to see what kinds of exciting tricks the next (presumably liquid-cooled) version will be able to do.

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#435530 How Robotics Teams Are Solving the ...

Supporting long-range communications inside of a mine is extremely difficult, so DARPA SubT teams are trying out some creative approaches Continue reading

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#435308 Brain-Machine Interfaces Are Getting ...

Elon Musk grabbed a lot of attention with his July 16 announcement that his company Neuralink plans to implant electrodes into the brains of people with paralysis by next year. Their first goal is to create assistive technology to help people who can’t move or are unable to communicate.

If you haven’t been paying attention, brain-machine interfaces (BMIs) that allow people to control robotic arms with their thoughts might sound like science fiction. But science and engineering efforts have already turned it into reality.

In a few research labs around the world, scientists and physicians have been implanting devices into the brains of people who have lost the ability to control their arms or hands for over a decade. In our own research group at the University of Pittsburgh, we’ve enabled people with paralyzed arms and hands to control robotic arms that allow them to grasp and move objects with relative ease. They can even experience touch-like sensations from their own hand when the robot grasps objects.

At its core, a BMI is pretty straightforward. In your brain, microscopic cells called neurons are sending signals back and forth to each other all the time. Everything you think, do and feel as you interact with the world around you is the result of the activity of these 80 billion or so neurons.

If you implant a tiny wire very close to one of these neurons, you can record the electrical activity it generates and send it to a computer. Record enough of these signals from the right area of the brain and it becomes possible to control computers, robots, or anything else you might want, simply by thinking about moving. But doing this comes with tremendous technical challenges, especially if you want to record from hundreds or thousands of neurons.

What Neuralink Is Bringing to the Table
Elon Musk founded Neuralink in 2017, aiming to address these challenges and raise the bar for implanted neural interfaces.

Perhaps the most impressive aspect of Neuralink’s system is the breadth and depth of their approach. Building a BMI is inherently interdisciplinary, requiring expertise in electrode design and microfabrication, implantable materials, surgical methods, electronics, packaging, neuroscience, algorithms, medicine, regulatory issues, and more. Neuralink has created a team that spans most, if not all, of these areas.

With all of this expertise, Neuralink is undoubtedly moving the field forward, and improving their technology rapidly. Individually, many of the components of their system represent significant progress along predictable paths. For example, their electrodes, that they call threads, are very small and flexible; many researchers have tried to harness those properties to minimize the chance the brain’s immune response would reject the electrodes after insertion. Neuralink has also developed high-performance miniature electronics, another focus area for labs working on BMIs.

Often overlooked in academic settings, however, is how an entire system would be efficiently implanted in a brain.

Neuralink’s BMI requires brain surgery. This is because implanted electrodes that are in intimate contact with neurons will always outperform non-invasive electrodes where neurons are far away from the electrodes sitting outside the skull. So, a critical question becomes how to minimize the surgical challenges around getting the device into a brain.

Maybe the most impressive aspect of Neuralink’s announcement was that they created a 3,000-electrode neural interface where electrodes could be implanted at a rate of between 30 and 200 per minute. Each thread of electrodes is implanted by a sophisticated surgical robot that essentially acts like a sewing machine. This all happens while specifically avoiding blood vessels that blanket the surface of the brain. The robotics and imaging that enable this feat, with tight integration to the entire device, is striking.

Neuralink has thought through the challenge of developing a clinically viable BMI from beginning to end in a way that few groups have done, though they acknowledge that many challenges remain as they work towards getting this technology into human patients in the clinic.

Figuring Out What More Electrodes Gets You
The quest for implantable devices with thousands of electrodes is not only the domain of private companies. DARPA, the NIH BRAIN Initiative, and international consortiums are working on neurotechnologies for recording and stimulating in the brain with goals of tens of thousands of electrodes. But what might scientists do with the information from 1,000, 3,000, or maybe even 100,000 neurons?

At some level, devices with more electrodes might not actually be necessary to have a meaningful impact in people’s lives. Effective control of computers for access and communication, of robotic limbs to grasp and move objects as well as of paralyzed muscles is already happening—in people. And it has been for a number of years.

Since the 1990s, the Utah Array, which has just 100 electrodes and is manufactured by Blackrock Microsystems, has been a critical device in neuroscience and clinical research. This electrode array is FDA-cleared for temporary neural recording. Several research groups, including our own, have implanted Utah Arrays in people that lasted multiple years.

Currently, the biggest constraints are related to connectors, electronics, and system-level engineering, not the implanted electrode itself—although increasing the electrodes’ lifespan to more than five years would represent a significant advance. As those technical capabilities improve, it might turn out that the ability to accurately control computers and robots is limited more by scientists’ understanding of what the neurons are saying—that is, the neural code—than by the number of electrodes on the device.

Even the most capable implanted system, and maybe the most capable devices researchers can reasonably imagine, might fall short of the goal of actually augmenting skilled human performance. Nevertheless, Neuralink’s goal of creating better BMIs has the potential to improve the lives of people who can’t move or are unable to communicate. Right now, Musk’s vision of using BMIs to meld physical brains and intelligence with artificial ones is no more than a dream.

So, what does the future look like for Neuralink and other groups creating implantable BMIs? Devices with more electrodes that last longer and are connected to smaller and more powerful wireless electronics are essential. Better devices themselves, however, are insufficient. Continued public and private investment in companies and academic research labs, as well as innovative ways for these groups to work together to share technologies and data, will be necessary to truly advance scientists’ understanding of the brain and deliver on the promise of BMIs to improve peoples’ lives.

While researchers need to keep the future societal implications of advanced neurotechnologies in mind—there’s an essential role for ethicists and regulation—BMIs could be truly transformative as they help more people overcome limitations caused by injury or disease in the brain and body.

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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#435199 The Rise of AI Art—and What It Means ...

Artificially intelligent systems are slowly taking over tasks previously done by humans, and many processes involving repetitive, simple movements have already been fully automated. In the meantime, humans continue to be superior when it comes to abstract and creative tasks.

However, it seems like even when it comes to creativity, we’re now being challenged by our own creations.

In the last few years, we’ve seen the emergence of hundreds of “AI artists.” These complex algorithms are creating unique (and sometimes eerie) works of art. They’re generating stunning visuals, profound poetry, transcendent music, and even realistic movie scripts. The works of these AI artists are raising questions about the nature of art and the role of human creativity in future societies.

Here are a few works of art created by non-human entities.

Unsecured Futures
by Ai.Da

Ai-Da Robot with Painting. Image Credit: Ai-Da portraits by Nicky Johnston. Published with permission from Midas Public Relations.
Earlier this month we saw the announcement of Ai.Da, considered the first ultra-realistic drawing robot artist. Her mechanical abilities, combined with AI-based algorithms, allow her to draw, paint, and even sculpt. She is able to draw people using her artificial eye and a pencil in her hand. Ai.Da’s artwork and first solo exhibition, Unsecured Futures, will be showcased at Oxford University in July.

Ai-Da Cartesian Painting. Image Credit: Ai-Da Artworks. Published with permission from Midas Public Relations.
Obviously Ai.Da has no true consciousness, thoughts, or feelings. Despite that, the (human) organizers of the exhibition believe that Ai.Da serves as a basis for crucial conversations about the ethics of emerging technologies. The exhibition will serve as a stimulant for engaging with critical questions about what kind of future we ought to create via such technologies.

The exhibition’s creators wrote, “Humans are confident in their position as the most powerful species on the planet, but how far do we actually want to take this power? To a Brave New World (Nightmare)? And if we use new technologies to enhance the power of the few, we had better start safeguarding the future of the many.”

Google’s PoemPortraits
Our transcendence adorns,
That society of the stars seem to be the secret.

The two lines of poetry above aren’t like any poetry you’ve come across before. They are generated by an algorithm that was trained via deep learning neural networks trained on 20 million words of 19th-century poetry.

Google’s latest art project, named PoemPortraits, takes a word of your suggestion and generates a unique poem (once again, a collaboration of man and machine). You can even add a selfie in the final “PoemPortrait.” Artist Es Devlin, the project’s creator, explains that the AI “doesn’t copy or rework existing phrases, but uses its training material to build a complex statistical model. As a result, the algorithm generates original phrases emulating the style of what it’s been trained on.”

The generated poetry can sometimes be profound, and sometimes completely meaningless.But what makes the PoemPortraits project even more interesting is that it’s a collaborative project. All of the generated lines of poetry are combined to form a consistently growing collective poem, which you can view after your lines are generated. In many ways, the final collective poem is a collaboration of people from around the world working with algorithms.

Faceless Portraits Transcending Time
AICAN + Ahmed Elgammal

Image Credit: AICAN + Ahmed Elgammal | Faceless Portrait #2 (2019) | Artsy.
In March of this year, an AI artist called AICAN and its creator Ahmed Elgammal took over a New York gallery. The exhibition at HG Commentary showed two series of canvas works portraying harrowing, dream-like faceless portraits.

The exhibition was not simply credited to a machine, but rather attributed to the collaboration between a human and machine. Ahmed Elgammal is the founder and director of the Art and Artificial Intelligence Laboratory at Rutgers University. He considers AICAN to not only be an autonomous AI artist, but also a collaborator for artistic endeavors.

How did AICAN create these eerie faceless portraits? The system was presented with 100,000 photos of Western art from over five centuries, allowing it to learn the aesthetics of art via machine learning. It then drew from this historical knowledge and the mandate to create something new to create an artwork without human intervention.

Genesis
by AIVA Technologies

Listen to the score above. While you do, reflect on the fact that it was generated by an AI.

AIVA is an AI that composes soundtrack music for movies, commercials, games, and trailers. Its creative works span a wide range of emotions and moods. The scores it generates are indistinguishable from those created by the most talented human composers.

The AIVA music engine allows users to generate original scores in multiple ways. One is to upload an existing human-generated score and select the temp track to base the composition process on. Another method involves using preset algorithms to compose music in pre-defined styles, including everything from classical to Middle Eastern.

Currently, the platform is promoted as an opportunity for filmmakers and producers. But in the future, perhaps every individual will have personalized music generated for them based on their interests, tastes, and evolving moods. We already have algorithms on streaming websites recommending novel music to us based on our interests and history. Soon, algorithms may be used to generate music and other works of art that are tailored to impact our unique psyches.

The Future of Art: Pushing Our Creative Limitations
These works of art are just a glimpse into the breadth of the creative works being generated by algorithms and machines. Many of us will rightly fear these developments. We have to ask ourselves what our role will be in an era where machines are able to perform what we consider complex, abstract, creative tasks. The implications on the future of work, education, and human societies are profound.

At the same time, some of these works demonstrate that AI artists may not necessarily represent a threat to human artists, but rather an opportunity for us to push our creative boundaries. The most exciting artistic creations involve collaborations between humans and machines.

We have always used our technological scaffolding to push ourselves beyond our biological limitations. We use the telescope to extend our line of sight, planes to fly, and smartphones to connect with others. Our machines are not always working against us, but rather working as an extension of our minds. Similarly, we could use our machines to expand on our creativity and push the boundaries of art.

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