Tag Archives: film
It’s the end of a long day in your apartment in the early 2040s. You decide your work is done for the day, stand up from your desk, and yawn. “Time for a film!” you say. The house responds to your cues. The desk splits into hundreds of tiny pieces, which flow behind you and take on shape again as a couch. The computer screen you were working on flows up the wall and expands into a flat projection screen. You relax into the couch and, after a few seconds, a remote control surfaces from one of its arms.
In a few seconds flat, you’ve gone from a neatly-equipped office to a home cinema…all within the same four walls. Who needs more than one room?
This is the dream of those who work on “programmable matter.”
In his recent book about AI, Max Tegmark makes a distinction between three different levels of computational sophistication for organisms. Life 1.0 is single-celled organisms like bacteria; here, hardware is indistinguishable from software. The behavior of the bacteria is encoded into its DNA; it cannot learn new things.
Life 2.0 is where humans live on the spectrum. We are more or less stuck with our hardware, but we can change our software by choosing to learn different things, say, Spanish instead of Italian. Much like managing space on your smartphone, your brain’s hardware will allow you to download only a certain number of packages, but, at least theoretically, you can learn new behaviors without changing your underlying genetic code.
Life 3.0 marks a step-change from this: creatures that can change both their hardware and software in something like a feedback loop. This is what Tegmark views as a true artificial intelligence—one that can learn to change its own base code, leading to an explosion in intelligence. Perhaps, with CRISPR and other gene-editing techniques, we could be using our “software” to doctor our “hardware” before too long.
Programmable matter extends this analogy to the things in our world: what if your sofa could “learn” how to become a writing desk? What if, instead of a Swiss Army knife with dozens of tool attachments, you just had a single tool that “knew” how to become any other tool you could require, on command? In the crowded cities of the future, could houses be replaced by single, OmniRoom apartments? It would save space, and perhaps resources too.
Such are the dreams, anyway.
But when engineering and manufacturing individual gadgets is such a complex process, you can imagine that making stuff that can turn into many different items can be extremely complicated. Professor Skylar Tibbits at MIT referred to it as 4D printing in a TED Talk, and the website for his research group, the Self-Assembly Lab, excitedly claims, “We have also identified the key ingredients for self-assembly as a simple set of responsive building blocks, energy and interactions that can be designed within nearly every material and machining process available. Self-assembly promises to enable breakthroughs across many disciplines, from biology to material science, software, robotics, manufacturing, transportation, infrastructure, construction, the arts, and even space exploration.”
Naturally, their projects are still in the early stages, but the Self-Assembly Lab and others are genuinely exploring just the kind of science fiction applications we mooted.
For example, there’s the cell-phone self-assembly project, which brings to mind eerie, 24/7 factories where mobile phones assemble themselves from 3D printed kits without human or robotic intervention. Okay, so the phones they’re making are hardly going to fly off the shelves as fashion items, but if all you want is something that works, it could cut manufacturing costs substantially and automate even more of the process.
One of the major hurdles to overcome in making programmable matter a reality is choosing the right fundamental building blocks. There’s a very important balance to strike. To create fine details, you need to have things that aren’t too big, so as to keep your rearranged matter from being too lumpy. This might make the building blocks useless for certain applications—for example, if you wanted to make tools for fine manipulation. With big pieces, it might be difficult to simulate a range of textures. On the other hand, if the pieces are too small, different problems can arise.
Imagine a setup where each piece is a small robot. You have to contain the robot’s power source and its brain, or at least some kind of signal-generator and signal-processor, all in the same compact unit. Perhaps you can imagine that one might be able to simulate a range of textures and strengths by changing the strength of the “bond” between individual units—your desk might need to be a little bit more firm than your bed, which might be nicer with a little more give.
Early steps toward creating this kind of matter have been taken by those who are developing modular robots. There are plenty of different groups working on this, including MIT, Lausanne, and the University of Brussels.
In the latter configuration, one individual robot acts as a centralized decision-maker, referred to as the brain unit, but additional robots can autonomously join the brain unit as and when needed to change the shape and structure of the overall system. Although the system is only ten units at present, it’s a proof-of-concept that control can be orchestrated over a modular system of robots; perhaps in the future, smaller versions of the same thing could be the components of Stuff 3.0.
You can imagine that with machine learning algorithms, such swarms of robots might be able to negotiate obstacles and respond to a changing environment more easily than an individual robot (those of you with techno-fear may read “respond to a changing environment” and imagine a robot seamlessly rearranging itself to allow a bullet to pass straight through without harm).
Speaking of robotics, the form of an ideal robot has been a subject of much debate. In fact, one of the major recent robotics competitions—DARPA’s Robotics Challenge—was won by a robot that could adapt, beating Boston Dynamics’ infamous ATLAS humanoid with the simple addition of a wheel that allowed it to drive as well as walk.
Rather than building robots into a humanoid shape (only sometimes useful), allowing them to evolve and discover the ideal form for performing whatever you’ve tasked them to do could prove far more useful. This is particularly true in disaster response, where expensive robots can still be more valuable than humans, but conditions can be very unpredictable and adaptability is key.
Further afield, many futurists imagine “foglets” as the tiny nanobots that will be capable of constructing anything from raw materials, somewhat like the “Santa Claus machine.” But you don’t necessarily need anything quite so indistinguishable from magic to be useful. Programmable matter that can respond and adapt to its surroundings could be used in all kinds of industrial applications. How about a pipe that can strengthen or weaken at will, or divert its direction on command?
We’re some way off from being able to order our beds to turn into bicycles. As with many tech ideas, it may turn out that the traditional low-tech solution is far more practical and cost-effective, even as we can imagine alternatives. But as the march to put a chip in every conceivable object goes on, it seems certain that inanimate objects are about to get a lot more animated.
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“The Six Ds are a chain reaction of technological progression, a road map of rapid development that always leads to enormous upheaval and opportunity.”
–Peter Diamandis and Steven Kotler, Bold
We live in incredible times. News travels the globe in an instant. Music, movies, games, communication, and knowledge are ever-available on always-connected devices. From biotechnology to artificial intelligence, powerful technologies that were once only available to huge organizations and governments are becoming more accessible and affordable thanks to digitization.
The potential for entrepreneurs to disrupt industries and corporate behemoths to unexpectedly go extinct has never been greater.
One hundred or fifty or even twenty years ago, disruption meant coming up with a product or service people needed but didn’t have yet, then finding a way to produce it with higher quality and lower costs than your competitors. This entailed hiring hundreds or thousands of employees, having a large physical space to put them in, and waiting years or even decades for hard work to pay off and products to come to fruition.
“Technology is disrupting traditional industrial processes, and they’re never going back.”
But thanks to digital technologies developing at exponential rates of change, the landscape of 21st-century business has taken on a dramatically different look and feel.
The structure of organizations is changing. Instead of thousands of employees and large physical plants, modern start-ups are small organizations focused on information technologies. They dematerialize what was once physical and create new products and revenue streams in months, sometimes weeks.
It no longer takes a huge corporation to have a huge impact.
Technology is disrupting traditional industrial processes, and they’re never going back. This disruption is filled with opportunity for forward-thinking entrepreneurs.
The secret to positively impacting the lives of millions of people is understanding and internalizing the growth cycle of digital technologies. This growth cycle takes place in six key steps, which Peter Diamandis calls the Six Ds of Exponentials: digitization, deception, disruption, demonetization, dematerialization, and democratization.
According to Diamandis, cofounder and chairman of Singularity University and founder and executive chairman of XPRIZE, when something is digitized it begins to behave like an information technology.
Newly digitized products develop at an exponential pace instead of a linear one, fooling onlookers at first before going on to disrupt companies and whole industries. Before you know it, something that was once expensive and physical is an app that costs a buck.
Newspapers and CDs are two obvious recent examples. The entertainment and media industries are still dealing with the aftermath of digitization as they attempt to transform and update old practices tailored to a bygone era. But it won’t end with digital media. As more of the economy is digitized—from medicine to manufacturing—industries will hop on an exponential curve and be similarly disrupted.
Diamandis’s 6 Ds are critical to understanding and planning for this disruption.
The 6 Ds of Exponential Organizations are Digitized, Deceptive, Disruptive, Demonetized, Dematerialized, and Democratized.
Diamandis uses the contrasting fates of Kodak and Instagram to illustrate the power of the six Ds and exponential thinking.
Kodak invented the digital camera in 1975, but didn’t invest heavily in the new technology, instead sticking with what had always worked: traditional cameras and film. In 1996, Kodak had a $28 billion market capitalization with 95,000 employees.
But the company didn’t pay enough attention to how digitization of their core business was changing it; people were no longer taking pictures in the same way and for the same reasons as before.
After a downward spiral, Kodak went bankrupt in 2012. That same year, Facebook acquired Instagram, a digital photo sharing app, which at the time was a startup with 13 employees. The acquisition’s price tag? $1 billion. And Instagram had been founded only 18 months earlier.
The most ironic piece of this story is that Kodak invented the digital camera; they took the first step toward overhauling the photography industry and ushering it into the modern age, but they were unwilling to disrupt their existing business by taking a risk in what was then uncharted territory. So others did it instead.
The same can happen with any technology that’s just getting off the ground. It’s easy to stop pursuing it in the early part of the exponential curve, when development appears to be moving slowly. But failing to follow through only gives someone else the chance to do it instead.
The Six Ds are a road map showing what can happen when an exponential technology is born. Not every phase is easy, but the results give even small teams the power to change the world in a faster and more impactful way than traditional business ever could.
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Bitcoin Is a Delusion That Could Conquer the WorldDerek Thompson | The Atlantic“What seems most certain is that the future of money will test our conventional definitions—of currencies, of bubbles, and of initial offerings. What’s happening this month with bitcoin feels like an unsustainable paroxysm. But it’s foolish to try to develop rational models for when such a market will correct itself. Prices, like currencies, are collective illusions.”
This Engineer Is Building a DIY Mars Habitat in His BackyardDaniel Oberhaus | Motherboard“For over a year, Raymond and his wife have been running a fully operational, self-sustaining ‘Mars habitat’ in their backyard. They’ve personally sunk around $200,000 into the project and anticipate spending several thousand more before they’re finished. The habitat is the subject of a popularYouTube channel maintained by Raymond, where he essentiallyLARPs the 2015 Matt Damon film The Martian for an audience of over 20,000 loyal followers.”
The FCC Just Voted to Repeal Its Net Neutrality Rules, in a Sweeping Act of DeregulationBrian Fung | The Washington Post“The 3-2 vote, which was along party lines, enabled the FCC’s Republican chairman, AjitPai, to follow through on his promise to repeal the government’s 2015 net neutrality rules, which required Internet providers to treat all websites, large and small, equally.”
Sexism’s National Reckoning and the Tech Women Who Blazed the TrailTekla S. Perry | IEEE Spectrum“Cassidy and other women in tech who spoke during the one-day event stressed that the watershed came not because women finally broke the silence about sexual harassment, whatever Time’s editors may believe. The change came because the women were finally listened to and the bad actors faced repercussions.”
These Technologies Will Shape the Future, According to One of Silicon Valley’s Top VC FirmsDaniel Terdiman | Fast Company“The question then, is what are the technologies that are going to drive the future. At Andreessen Horowitz, a picture of that future, at least the next 10 years or so, is coming into focus.During a recent firm summit, Evans laid out his vision for the most significant tech opportunities of the next decade.On the surface, the four areas he identifies–autonomy, mixed-reality, cryptocurrencies, and artificial intelligence–aren’t entirely surprises.”
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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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