Tag Archives: speaking

#439023 In ‘Klara and the Sun,’ We Glimpse ...

Posted on March 25, 2021 by Android

In a store in the center of an unnamed city, humanoid robots are displayed alongside housewares and magazines. They watch the fast-moving world outside the window, anxiously awaiting the arrival of customers who might buy them and take them home. Among them is Klara, a particularly astute robot who loves the sun and wants to learn as much as possible about humans and the world they live in.

So begins Kazuo Ishiguro’s new novel Klara and the Sun, published earlier this month. The book, told from Klara’s perspective, portrays an eerie future society in which intelligent machines and other advanced technologies have been integrated into daily life, but not everyone is happy about it.

Technological unemployment, the progress of artificial intelligence, inequality, the safety and ethics of gene editing, increasing loneliness and isolation—all of which we’re grappling with today—show up in Ishiguro’s world. It’s like he hit a fast-forward button, mirroring back to us how things might play out if we don’t approach these technologies with caution and foresight.

The wealthy genetically edit or “lift” their children to set them up for success, while the poor have to make do with the regular old brains and bodies bequeathed them by evolution. Lifted and unlifted kids generally don’t mix, and this is just one of many sinister delineations between a new breed of haves and have-nots.

There’s anger about robots’ steady infiltration into everyday life, and questions about how similar their rights should be to those of humans. “First they take the jobs. Then they take the seats at the theater?” one woman fumes.

References to “changes” and “substitutions” allude to an economy where automation has eliminated millions of jobs. While “post-employed” people squat in abandoned buildings and fringe communities arm themselves in preparation for conflict, those whose livelihoods haven’t been destroyed can afford to have live-in housekeepers and buy Artificial Friends (or AFs) for their lonely children.

“The old traditional model that we still live with now—where most of us can get some kind of paid work in exchange for our services or the goods we make—has broken down,” Ishiguro said in a podcast discussion of the novel. “We’re not talking just about the difference between rich and poor getting bigger. We’re talking about a gap appearing between people who participate in society in an obvious way and people who do not.”

He has a point; as much as techno-optimists claim that the economic changes brought by automation and AI will give us all more free time, let us work less, and devote time to our passion projects, how would that actually play out? What would millions of “post-employed” people receiving basic income actually do with their time and energy?

In the novel, we don’t get much of a glimpse of this side of the equation, but we do see how the wealthy live. After a long wait, just as the store manager seems ready to give up on selling her, Klara is chosen by a 14-year-old girl named Josie, the daughter of a woman who wears “high-rank clothes” and lives in a large, sunny home outside the city. Cheerful and kind, Josie suffers from an unspecified illness that periodically flares up and leaves her confined to her bed for days at a time.

Her life seems somewhat bleak, the need for an AF clear. In this future world, the children of the wealthy no longer go to school together, instead studying alone at home on their digital devices. “Interaction meetings” are set up for them to learn to socialize, their parents carefully eavesdropping from the next room and trying not to intervene when there’s conflict or hurt feelings.

Klara does her best to be a friend, aide, and confidante to Josie while continuing to learn about the world around her and decode the mysteries of human behavior. We surmise that she was programmed with a basic ability to understand emotions, which evolves along with her other types of intelligence. “I believe I have many feelings. The more I observe, the more feelings become available to me,” she explains to one character.

Ishiguro does an excellent job of representing Klara’s mind: a blend of pre-determined programming, observation, and continuous learning. Her narration has qualities both robotic and human; we can tell when something has been programmed in—she “Gives Privacy” to the humans around her when that’s appropriate, for example—and when she’s figured something out for herself.

But the author maintains some mystery around Klara’s inner emotional life. “Does she actually understand human emotions, or is she just observing human emotions and simulating them within herself?” he said. “I suppose the question comes back to, what are our emotions as human beings? What do they amount to?”

Klara is particularly attuned to human loneliness, since she essentially was made to help prevent it. It is, in her view, peoples’ biggest fear, and something they’ll go to great lengths to avoid, yet can never fully escape. “Perhaps all humans are lonely,” she says.

Warding off loneliness through technology isn’t a futuristic idea, it’s something we’ve been doing for a long time, with the technologies at hand growing more and more sophisticated. Products like AFs already exist. There’s XiaoIce, a chatbot that uses “sentiment analysis” to keep its 660 million users engaged, and Azuma Hikari, a character-based AI designed to “bring comfort” to users whose lives lack emotional connection with other humans.

The mere existence of these tools would be sinister if it wasn’t for their widespread adoption; when millions of people use AIs to fill a void in their lives, it raises deeper questions about our ability to connect with each other and whether technology is building it up or tearing it down.

This isn’t the only big question the novel tackles. An overarching theme is one we’ve been increasingly contemplating as computers start to acquire more complex capabilities, like the beginnings of creativity or emotional awareness: What is it that truly makes us human?

“Do you believe in the human heart?” one character asks. “I don’t mean simply the organ, obviously. I’m speaking in the poetic sense. The human heart. Do you think there is such a thing? Something that makes each of us special and individual?”

The alternative, at least in the story, is that people don’t have a unique essence, but rather we’re all a blend of traits and personalities that can be reduced to strings of code. Our understanding of the brain is still elementary, but at some level, doesn’t all human experience boil down to the firing of billions of neurons between our ears? Will we one day—in a future beyond that painted by Ishiguro, but certainly foreshadowed by it—be able to “decode” our humanity to the point that there’s nothing mysterious left about it? “A human heart is bound to be complex,” Klara says. “But it must be limited.”

Whether or not you agree, Klara and the Sun is worth the read. It’s both a marvelous, engaging story about what it means to love and be human, and a prescient warning to approach technological change with caution and nuance. We’re already living in a world where AI keeps us company, influences our behavior, and is wreaking various forms of havoc. Ishiguro’s novel is a snapshot of one of our possible futures, told through the eyes of a robot who keeps you rooting for her to the end.

Image Credit: Marion Wellmann from Pixabay Continue reading →

Posted in Human Robots

#437940 How Boston Dynamics Taught Its Robots to ...

Posted on January 7, 2021 by Android

A week ago, Boston Dynamics posted a video of Atlas, Spot, and Handle dancing to “Do You Love Me.” It was, according to the video description, a way “to celebrate the start of what we hope will be a happier year.” As of today the video has been viewed nearly 24 million times, and the popularity is no surprise, considering the compelling mix of technical prowess and creativity on display.

Strictly speaking, the stuff going on in the video isn’t groundbreaking, in the sense that we’re not seeing any of the robots demonstrate fundamentally new capabilities, but that shouldn’t take away from how impressive it is—you’re seeing state-of-the-art in humanoid robotics, quadrupedal robotics, and whatever-the-heck-Handle-is robotics.

What is unique about this video from Boston Dynamics is the artistic component. We know that Atlas can do some practical tasks, and we know it can do some gymnastics and some parkour, but dancing is certainly something new. To learn more about what it took to make these dancing robots happen (and it’s much more complicated than it might seem), we spoke with Aaron Saunders, Boston Dynamics’ VP of Engineering.

Saunders started at Boston Dynamics in 2003, meaning that he’s been a fundamental part of a huge number of Boston Dynamics’ robots, even the ones you may have forgotten about. Remember LittleDog, for example? A team of two designed and built that adorable little quadruped, and Saunders was one of them.

While he’s been part of the Atlas project since the beginning (and had a hand in just about everything else that Boston Dynamics works on), Saunders has spent the last few years leading the Atlas team specifically, and he was kind enough to answer our questions about their dancing robots.

IEEE Spectrum: What’s your sense of how the Internet has been reacting to the video?

Aaron Saunders: We have different expectations for the videos that we make; this one was definitely anchored in fun for us. The response on YouTube was record-setting for us: We received hundreds of emails and calls with people expressing their enthusiasm, and also sharing their ideas for what we should do next, what about this song, what about this dance move, so that was really fun. My favorite reaction was one that I got from my 94-year-old grandma, who watched the video on YouTube and then sent a message through the family asking if I’d taught the robot those sweet moves. I think this video connected with a broader audience, because it mixed the old-school music with new technology.

We haven’t seen Atlas move like this before—can you talk about how you made it happen?

We started by working with dancers and a choreographer to create an initial concept for the dance by composing and assembling a routine. One of the challenges, and probably the core challenge for Atlas in particular, was adjusting human dance moves so that they could be performed on the robot. To do that, we used simulation to rapidly iterate through movement concepts while soliciting feedback from the choreographer to reach behaviors that Atlas had the strength and speed to execute. It was very iterative—they would literally dance out what they wanted us to do, and the engineers would look at the screen and go “that would be easy” or “that would be hard” or “that scares me.” And then we’d have a discussion, try different things in simulation, and make adjustments to find a compatible set of moves that we could execute on Atlas.

Throughout the project, the time frame for creating those new dance moves got shorter and shorter as we built tools, and as an example, eventually we were able to use that toolchain to create one of Atlas’ ballet moves in just one day, the day before we filmed, and it worked. So it’s not hand-scripted or hand-coded, it’s about having a pipeline that lets you take a diverse set of motions, that you can describe through a variety of different inputs, and push them through and onto the robot.

Image: Boston Dynamics

Were there some things that were particularly difficult to translate from human dancers to Atlas? Or, things that Atlas could do better than humans?

Some of the spinning turns in the ballet parts took more iterations to get to work, because they were the furthest from leaping and running and some of the other things that we have more experience with, so they challenged both the machine and the software in new ways. We definitely learned not to underestimate how flexible and strong dancers are—when you take elite athletes and you try to do what they do but with a robot, it’s a hard problem. It’s humbling. Fundamentally, I don’t think that Atlas has the range of motion or power that these athletes do, although we continue developing our robots towards that, because we believe that in order to broadly deploy these kinds of robots commercially, and eventually in a home, we think they need to have this level of performance.

One thing that robots are really good at is doing something over and over again the exact same way. So once we dialed in what we wanted to do, the robots could just do it again and again as we played with different camera angles.

I can understand how you could use human dancers to help you put together a routine with Atlas, but how did that work with Spot, and particularly with Handle?

I think the people we worked with actually had a lot of talent for thinking about motion, and thinking about how to express themselves through motion. And our robots do motion really well—they’re dynamic, they’re exciting, they balance. So I think what we found was that the dancers connected with the way the robots moved, and then shaped that into a story, and it didn’t matter whether there were two legs or four legs. When you don’t necessarily have a template of animal motion or human behavior, you just have to think a little harder about how to go about doing something, and that’s true for more pragmatic commercial behaviors as well.

“We used simulation to rapidly iterate through movement concepts while soliciting feedback from the choreographer to reach behaviors that Atlas had the strength and speed to execute. It was very iterative—they would literally dance out what they wanted us to do, and the engineers would look at the screen and go ‘that would be easy’ or ‘that would be hard’ or ‘that scares me.’”
—Aaron Saunders, Boston Dynamics

How does the experience that you get teaching robots to dance, or to do gymnastics or parkour, inform your approach to robotics for commercial applications?

We think that the skills inherent in dance and parkour, like agility, balance, and perception, are fundamental to a wide variety of robot applications. Maybe more importantly, finding that intersection between building a new robot capability and having fun has been Boston Dynamics’ recipe for robotics—it’s a great way to advance.

One good example is how when you push limits by asking your robots to do these dynamic motions over a period of several days, you learn a lot about the robustness of your hardware. Spot, through its productization, has become incredibly robust, and required almost no maintenance—it could just dance all day long once you taught it to. And the reason it’s so robust today is because of all those lessons we learned from previous things that may have just seemed weird and fun. You’ve got to go into uncharted territory to even know what you don’t know.

Image: Boston Dynamics

It’s often hard to tell from watching videos like these how much time it took to make things work the way you wanted them to, and how representative they are of the actual capabilities of the robots. Can you talk about that?

Let me try to answer in the context of this video, but I think the same is true for all of the videos that we post. We work hard to make something, and once it works, it works. For Atlas, most of the robot control existed from our previous work, like the work that we’ve done on parkour, which sent us down a path of using model predictive controllers that account for dynamics and balance. We used those to run on the robot a set of dance steps that we’d designed offline with the dancers and choreographer. So, a lot of time, months, we spent thinking about the dance and composing the motions and iterating in simulation.

Dancing required a lot of strength and speed, so we even upgraded some of Atlas’ hardware to give it more power. Dance might be the highest power thing we’ve done to date—even though you might think parkour looks way more explosive, the amount of motion and speed that you have in dance is incredible. That also took a lot of time over the course of months; creating the capability in the machine to go along with the capability in the algorithms.

Once we had the final sequence that you see in the video, we only filmed for two days. Much of that time was spent figuring out how to move the camera through a scene with a bunch of robots in it to capture one continuous two-minute shot, and while we ran and filmed the dance routine multiple times, we could repeat it quite reliably. There was no cutting or splicing in that opening two-minute shot.

There were definitely some failures in the hardware that required maintenance, and our robots stumbled and fell down sometimes. These behaviors are not meant to be productized and to be a 100 percent reliable, but they’re definitely repeatable. We try to be honest with showing things that we can do, not a snippet of something that we did once. I think there’s an honesty required in saying that you’ve achieved something, and that’s definitely important for us.

You mentioned that Spot is now robust enough to dance all day. How about Atlas? If you kept on replacing its batteries, could it dance all day, too?

Atlas, as a machine, is still, you know… there are only a handful of them in the world, they’re complicated, and reliability was not a main focus. We would definitely break the robot from time to time. But the robustness of the hardware, in the context of what we were trying to do, was really great. And without that robustness, we wouldn’t have been able to make the video at all. I think Atlas is a little more like a helicopter, where there’s a higher ratio between the time you spend doing maintenance and the time you spend operating. Whereas with Spot, the expectation is that it’s more like a car, where you can run it for a long time before you have to touch it.

When you’re teaching Atlas to do new things, is it using any kind of machine learning? And if not, why not?

As a company, we’ve explored a lot of things, but Atlas is not using a learning controller right now. I expect that a day will come when we will. Atlas’ current dance performance uses a mixture of what we like to call reflexive control, which is a combination of reacting to forces, online and offline trajectory optimization, and model predictive control. We leverage these techniques because they’re a reliable way of unlocking really high performance stuff, and we understand how to wield these tools really well. We haven’t found the end of the road in terms of what we can do with them.

We plan on using learning to extend and build on the foundation of software and hardware that we’ve developed, but I think that we, along with the community, are still trying to figure out where the right places to apply these tools are. I think you’ll see that as part of our natural progression.

Image: Boston Dynamics

Much of Atlas’ dynamic motion comes from its lower body at the moment, but parkour makes use of upper body strength and agility as well, and we’ve seen some recent concept images showing Atlas doing vaults and pullups. Can you tell us more?

Humans and animals do amazing things using their legs, but they do even more amazing things when they use their whole bodies. I think parkour provides a fantastic framework that allows us to progress towards whole body mobility. Walking and running was just the start of that journey. We’re progressing through more complex dynamic behaviors like jumping and spinning, that’s what we’ve been working on for the last couple of years. And the next step is to explore how using arms to push and pull on the world could extend that agility.

One of the missions that I’ve given to the Atlas team is to start working on leveraging the arms as much as we leverage the legs to enhance and extend our mobility, and I’m really excited about what we’re going to be working on over the next couple of years, because it’s going to open up a lot more opportunities for us to do exciting stuff with Atlas.

What’s your perspective on hydraulic versus electric actuators for highly dynamic robots?

Across my career at Boston Dynamics, I’ve felt passionately connected to so many different types of technology, but I’ve settled into a place where I really don’t think this is an either-or conversation anymore. I think the selection of actuator technology really depends on the size of the robot that you’re building, what you want that robot to do, where you want it to go, and many other factors. Ultimately, it’s good to have both kinds of actuators in your toolbox, and I love having access to both—and we’ve used both with great success to make really impressive dynamic machines.

I think the only delineation between hydraulic and electric actuators that appears to be distinct for me is probably in scale. It’s really challenging to make tiny hydraulic things because the industry just doesn’t do a lot of that, and the reciprocal is that the industry also doesn’t tend to make massive electrical things. So, you may find that to be a natural division between these two technologies.

Besides what you’re working on at Boston Dynamics, what recent robotics research are you most excited about?

For us as a company, we really love to follow advances in sensing, computer vision, terrain perception, these are all things where the better they get, the more we can do. For me personally, one of the things I like to follow is manipulation research, and in particular manipulation research that advances our understanding of complex, friction-based interactions like sliding and pushing, or moving compliant things like ropes.

We’re seeing a shift from just pinching things, lifting them, moving them, and dropping them, to much more meaningful interactions with the environment. Research in that type of manipulation I think is going to unlock the potential for mobile manipulators, and I think it’s really going to open up the ability for robots to interact with the world in a rich way.

Is there anything else you’d like people to take away from this video?

For me personally, and I think it’s because I spend so much of my time immersed in robotics and have a deep appreciation for what a robot is and what its capabilities and limitations are, one of my strong desires is for more people to spend more time with robots. We see a lot of opinions and ideas from people looking at our videos on YouTube, and it seems to me that if more people had opportunities to think about and learn about and spend time with robots, that new level of understanding could help them imagine new ways in which robots could be useful in our daily lives. I think the possibilities are really exciting, and I just want more people to be able to take that journey. Continue reading →

Posted in Human Robots

#437859 We Can Do Better Than Human-Like Hands ...

Posted on December 2, 2020 by Android

One strategy for designing robots that are capable in anthropomorphic environments is to make the robots themselves as anthropomorphic as possible. It makes sense—for example, there are stairs all over the place because humans have legs, and legs are good at stairs, so if we give robots legs like humans, they’ll be good at stairs too, right? We also see this tendency when it comes to robotic grippers, because robots need to grip things that have been optimized for human hands.

Despite some amazing robotic hands inspired by the biology of our own human hands, there are also opportunities for creativity in gripper designs that do things human hands are not physically capable of. At ICRA 2020, researchers from Stanford University presented a paper on the design of a robotic hand that has fingers made of actuated rollers, allowing it to manipulate objects in ways that would tie your fingers into knots.

While it’s got a couple fingers, this prototype “roller grasper” hand tosses anthropomorphic design out the window in favor of unique methods of in-hand manipulation. The roller grasper does share some features with other grippers designed for in-hand manipulation using active surfaces (like conveyor belts embedded in fingers), but what’s new and exciting here is that those articulated active roller fingertips (or whatever non-anthropomorphic name you want to give them) provide active surfaces that are steerable. This means that the hand can grasp objects and rotate them without having to resort to complex sequences of finger repositioning, which is how humans do it.

Photo: Stanford University

Things like picking something flat off of a table, always tricky for robotic hands (and sometimes for human hands as well), is a breeze thanks to the fingertip rollers.

Each of the hand’s fingers has three actuated degrees of freedom, which result in several different ways in which objects can be grasped and manipulated. Things like picking something flat off of a table, always tricky for robotic hands (and sometimes for human hands as well), is a breeze thanks to the fingertip rollers. The motion of an object in this gripper isn’t quite holonomic, meaning that it can’t arbitrarily reorient things without sometimes going through other intermediate steps. And it’s also not compliant in the way that many other grippers are, limiting some types of grasps. This particular design probably won’t replace every gripper out there, but it’s particularly skilled at some specific kinds of manipulations in a way that makes it unique.

We should be clear that it’s not the intent of this paper (or of this article!) to belittle five-fingered robotic hands—the point is that there are lots of things that you can do with totally different hand designs, and just because humans use one kind of hand doesn’t mean that robots need to do the same if they want to match (or exceed) some specific human capabilities. If we could make robotic hands with five fingers that had all of the actuation and sensing and control that our own hands do, that would be amazing, but it’s probably decades away. In the meantime, there are plenty of different designs to explore.

And speaking of exploring different designs, these same folks are already at work on version two of their hand, which replaces the fingertip rollers with fingertip balls:

For more on this new version of the hand (among other things), we spoke with lead author Shenli Yuan via email. And the ICRA page is here if you have questions of your own.

IEEE Spectrum: Human hands are often seen as the standard for manipulation. When adding degrees of freedom that human hands don’t have (as in your work) can make robotic hands more capable than ours in many ways, do you think we should still think of human hands as something to try and emulate?

Shenli Yuan: Yes, definitely. Not only because human hands have great manipulation capability, but because we’re constantly surrounded by objects that were designed and built specifically to be manipulated by the human hand. Anthropomorphic robot hands are still worth investigating, and still have a long way to go before they truly match the dexterity of a human hand. The design we came up with is an exploration of what unique capabilities may be achieved if we are not bound by the constraints of anthropomorphism, and what a biologically impossible mechanism may achieve in robotic manipulation. In addition, for lots of tasks, it isn’t necessarily optimal to try and emulate the human hand. Perhaps in 20 to 50 years when robot manipulators are much better, they won’t look like the human hand that much. The design constraints for robotics and biology have points in common (like mechanical wear, finite tendons stiffness) but also major differences (like continuous rotation for robots and less heat dissipation problems for humans).

“For lots of tasks, it isn’t necessarily optimal to try and emulate the human hand. Perhaps in 20 to 50 years when robot manipulators are much better, they won’t look like the human hand that much.”
—Shenli Yuan, Stanford University

What are some manipulation capabilities of human hands that are the most difficult to replicate with your system?

There are a few things that come to mind. It cannot perform a power grasp (using the whole hand for grasping as opposed to pinch grasp that uses only fingertips), which is something that can be easily done by human hands. It cannot move or rotate objects instantaneously in arbitrary directions or about arbitrary axes, though the human hand is somewhat limited in this respect as well. It also cannot perform gaiting. That being said, these limitations exist largely because this grasper only has 9 degrees of freedom, as opposed to the human hand which has more than 20. We don’t think of this grasper as a replacement for anthropomorphic hands, but rather as a way to provide unique capabilities without all of the complexity associated with a highly actuated, humanlike hand.

What’s the most surprising or impressive thing that your hand is able to do?

The most impressive feature is that it can rotate objects continuously, which is typically difficult or inefficient for humanlike robot hands. Something really surprising was that we put most of our energy into the design and analysis of the grasper, and the control strategy we implemented for demonstrations is very simple. This simple control strategy works surprisingly well with very little tuning or trial-and-error.

With this many degrees of freedom, how complicated is it to get the hand to do what you want it to do?

The number of degrees of freedom is actually not what makes controlling it difficult. Most of the difficulties we encountered were actually due to the rolling contact between the rollers and the object during manipulation. The rolling behavior can be viewed as constantly breaking and re-establishing contacts between the rollers and objects, this very dynamic behavior introduces uncertainties in controlling our grasper. Specifically, it was difficult estimating the velocity of each contact point with the object, which changes based on object and finger position, object shape (especially curvature), and slip/no slip.

What more can you tell us about Roller Grasper V2?

Roller Grasper V2 has spherical rollers, while the V1 has cylindrical rollers. We realized that cylindrical rollers are very good at manipulating objects when the rollers and the object form line contacts, but it can be unstable when the grasp geometry doesn’t allow for a line contact between each roller and the grasped object. Spherical rollers solve that problem by allowing predictable points of contact regardless of how a surface is oriented.

The parallelogram mechanism of Roller Grasper V1 makes the pivot axis offset a bit from the center of the roller, which made our control and analysis more challenging. The kinematics of the Roller Grasper V2 is simpler. The base joint intersects with the finger, which intersects with the pivot joint, and the pivot joint intersects with the roller joint. It’s symmetrical design and simpler kinematics make our control and analysis a lot more straightforward. Roller Grasper V2 also has a larger pivot range of 180 degrees, while V1 is limited to 90 degrees.

In terms of control, we implemented more sophisticated control strategies (including a hand-crafted control strategy and an imitation learning based strategy) for the grasper to perform autonomous in-hand manipulation.

“Design of a Roller-Based Dexterous Hand for Object Grasping and Within-Hand Manipulation,” by Shenli Yuan, Austin D. Epps, Jerome B. Nowak, and J. Kenneth Salisbury from Stanford University is being presented at ICRA 2020.

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Posted in Human Robots

#437579 Disney Research Makes Robotic Gaze ...

Posted on November 19, 2020 by Android

While it’s not totally clear to what extent human-like robots are better than conventional robots for most applications, one area I’m personally comfortable with them is entertainment. The folks over at Disney Research, who are all about entertainment, have been working on this sort of thing for a very long time, and some of their animatronic attractions are actually quite impressive.

The next step for Disney is to make its animatronic figures, which currently feature scripted behaviors, to perform in an interactive manner with visitors. The challenge is that this is where you start to get into potential Uncanny Valley territory, which is what happens when you try to create “the illusion of life,” which is what Disney (they explicitly say) is trying to do.

In a paper presented at IROS this month, a team from Disney Research, Caltech, University of Illinois at Urbana-Champaign, and Walt Disney Imagineering is trying to nail that illusion of life with a single, and perhaps most important, social cue: eye gaze.

Before you watch this video, keep in mind that you’re watching a specific character, as Disney describes:

The robot character plays an elderly man reading a book, perhaps in a library or on a park bench. He has difficulty hearing and his eyesight is in decline. Even so, he is constantly distracted from reading by people passing by or coming up to greet him. Most times, he glances at people moving quickly in the distance, but as people encroach into his personal space, he will stare with disapproval for the interruption, or provide those that are familiar to him with friendly acknowledgment.

What, exactly, does “lifelike” mean in the context of robotic gaze? The paper abstract describes the goal as “[seeking] to create an interaction which demonstrates the illusion of life.” I suppose you could think of it like a sort of old-fashioned Turing test focused on gaze: If the gaze of this robot cannot be distinguished from the gaze of a human, then victory, that’s lifelike. And critically, we’re talking about mutual gaze here—not just a robot gazing off into the distance, but you looking deep into the eyes of this robot and it looking right back at you just like a human would. Or, just like some humans would.

The approach that Disney is using is more animation-y than biology-y or psychology-y. In other words, they’re not trying to figure out what’s going on in our brains to make our eyes move the way that they do when we’re looking at other people and basing their control system on that, but instead, Disney just wants it to look right. This “visual appeal” approach is totally fine, and there’s been an enormous amount of human-robot interaction (HRI) research behind it already, albeit usually with less explicitly human-like platforms. And speaking of human-like platforms, the hardware is a “custom Walt Disney Imagineering Audio-Animatronics bust,” which has DoFs that include neck, eyes, eyelids, and eyebrows.

In order to decide on gaze motions, the system first identifies a person to target with its attention using an RGB-D camera. If more than one person is visible, the system calculates a curiosity score for each, currently simplified to be based on how much motion it sees. Depending on which person that the robot can see has the highest curiosity score, the system will choose from a variety of high level gaze behavior states, including:

Read: The Read state can be considered the “default” state of the character. When not executing another state, the robot character will return to the Read state. Here, the character will appear to read a book located at torso level.

Glance: A transition to the Glance state from the Read or Engage states occurs when the attention engine indicates that there is a stimuli with a curiosity score […] above a certain threshold.

Engage: The Engage state occurs when the attention engine indicates that there is a stimuli […] to meet a threshold and can be triggered from both Read and Glance states. This state causes the robot to gaze at the person-of-interest with both the eyes and head.

Acknowledge: The Acknowledge state is triggered from either Engage or Glance states when the person-of-interest is deemed to be familiar to the robot.

Running underneath these higher level behavior states are lower level motion behaviors like breathing, small head movements, eye blinking, and saccades (the quick eye movements that occur when people, or robots, look between two different focal points). The term for this hierarchical behavioral state layering is a subsumption architecture, which goes all the way back to Rodney Brooks’ work on robots like Genghis in the 1980s and Cog and Kismet in the ’90s, and it provides a way for more complex behaviors to emerge from a set of simple, decentralized low-level behaviors.

“25 years on Disney is using my subsumption architecture for humanoid eye control, better and smoother now than our 1995 implementations on Cog and Kismet.”
—Rodney Brooks, MIT emeritus professor

Brooks, an emeritus professor at MIT and, most recently, cofounder and CTO of Robust.ai, tweeted about the Disney project, saying: “People underestimate how long it takes to get from academic paper to real world robotics. 25 years on Disney is using my subsumption architecture for humanoid eye control, better and smoother now than our 1995 implementations on Cog and Kismet.”

From the paper:

Although originally intended for control of mobile robots, we find that the subsumption architecture, as presented in [17], lends itself as a framework for organizing animatronic behaviors. This is due to the analogous use of subsumption in human behavior: human psychomotor behavior can be intuitively modeled as layered behaviors with incoming sensory inputs, where higher behavioral levels are able to subsume lower behaviors. At the lowest level, we have involuntary movements such as heartbeats, breathing and blinking. However, higher behavioral responses can take over and control lower level behaviors, e.g., fight-or-flight response can induce faster heart rate and breathing. As our robot character is modeled after human morphology, mimicking biological behaviors through the use of a bottom-up approach is straightforward.

The result, as the video shows, appears to be quite good, although it’s hard to tell how it would all come together if the robot had more of, you know, a face. But it seems like you don’t necessarily need to have a lifelike humanoid robot to take advantage of this architecture in an HRI context—any robot that wants to make a gaze-based connection with a human could benefit from doing it in a more human-like way.

“Realistic and Interactive Robot Gaze,” by Matthew K.X.J. Pan, Sungjoon Choi, James Kennedy, Kyna McIntosh, Daniel Campos Zamora, Gunter Niemeyer, Joohyung Kim, Alexis Wieland, and David Christensen from Disney Research, California Institute of Technology, University of Illinois at Urbana-Champaign, and Walt Disney Imagineering, was presented at IROS 2020. You can find the full paper, along with a 13-minute video presentation, on the IROS on-demand conference website.

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#436977 The Top 100 AI Startups Out There Now, ...

Posted on March 30, 2020 by Android

New drug therapies for a range of chronic diseases. Defenses against various cyber attacks. Technologies to make cities work smarter. Weather and wildfire forecasts that boost safety and reduce risk. And commercial efforts to monetize so-called deepfakes.

What do all these disparate efforts have in common? They’re some of the solutions that the world’s most promising artificial intelligence startups are pursuing.

Data research firm CB Insights released its much-anticipated fourth annual list of the top 100 AI startups earlier this month. The New York-based company has become one of the go-to sources for emerging technology trends, especially in the startup scene.

About 10 years ago, it developed its own algorithm to assess the health of private companies using publicly-available information and non-traditional signals (think social media sentiment, for example) thanks to more than $1 million in grants from the National Science Foundation.

It uses that algorithm-generated data from what it calls a company’s Mosaic score—pulling together information on market trends, money, and momentum—along with other details ranging from patent activity to the latest news analysis to identify the best of the best.

“Our final list of companies is a mix of startups at various stages of R&D and product commercialization,” said Deepashri Varadharajanis, a lead analyst at CB Insights, during a recent presentation on the most prominent trends among the 2020 AI 100 startups.

About 10 companies on the list are among the world’s most valuable AI startups. For instance, there’s San Francisco-based Faire, which has raised at least $266 million since it was founded just three years ago. The company offers a wholesale marketplace that uses machine learning to match local retailers with goods that are predicted to sell well in their specific location.

Image courtesy of CB Insights
Funding for AI in Healthcare
Another startup valued at more than $1 billion, referred to as a unicorn in venture capital speak, is Butterfly Network, a company on the East Coast that has figured out a way to turn a smartphone phone into an ultrasound machine. Backed by $350 million in private investments, Butterfly Network uses AI to power the platform’s diagnostics. A more modestly funded San Francisco startup called Eko is doing something similar for stethoscopes.

In fact, there are more than a dozen AI healthcare startups on this year’s AI 100 list, representing the most companies of any industry on the list. In total, investors poured about $4 billion into AI healthcare startups last year, according to CB Insights, out of a record $26.6 billion raised by all private AI companies in 2019. Since 2014, more than 4,300 AI startups in 80 countries have raised about $83 billion.

One of the most intensive areas remains drug discovery, where companies unleash algorithms to screen potential drug candidates at an unprecedented speed and breadth that was impossible just a few years ago. It has led to the discovery of a new antibiotic to fight superbugs. There’s even a chance AI could help fight the coronavirus pandemic.

There are several AI drug discovery startups among the AI 100: San Francisco-based Atomwise claims its deep convolutional neural network, AtomNet, screens more than 100 million compounds each day. Cyclica is an AI drug discovery company in Toronto that just announced it would apply its platform to identify and develop novel cannabinoid-inspired drugs for neuropsychiatric conditions such as bipolar disorder and anxiety.

And then there’s OWKIN out of New York City, a startup that uses a type of machine learning called federated learning. Backed by Google, the company’s AI platform helps train algorithms without sharing the necessary patient data required to provide the sort of valuable insights researchers need for designing new drugs or even selecting the right populations for clinical trials.

Keeping Cyber Networks Healthy
Privacy and data security are the focus of a number of AI cybersecurity startups, as hackers attempt to leverage artificial intelligence to launch sophisticated attacks while also trying to fool the AI-powered systems rapidly coming online.

“I think this is an interesting field because it’s a bit of a cat and mouse game,” noted Varadharajanis. “As your cyber defenses get smarter, your cyber attacks get even smarter, and so it’s a constant game of who’s going to match the other in terms of tech capabilities.”

Few AI cybersecurity startups match Silicon Valley-based SentinelOne in terms of private capital. The company has raised more than $400 million, with a valuation of $1.1 billion following a $200 million Series E earlier this year. The company’s platform automates what’s called endpoint security, referring to laptops, phones, and other devices at the “end” of a centralized network.

Fellow AI 100 cybersecurity companies include Blue Hexagon, which protects the “edge” of the network against malware, and Abnormal Security, which stops targeted email attacks, both out of San Francisco. Just down the coast in Los Angeles is Obsidian Security, a startup offering cybersecurity for cloud services.

Deepfakes Get a Friendly Makeover
Deepfakes of videos and other types of AI-manipulated media where faces or voices are synthesized in order to fool viewers or listeners has been a different type of ongoing cybersecurity risk. However, some firms are swapping malicious intent for benign marketing and entertainment purposes.

Now anyone can be a supermodel thanks to Superpersonal, a London-based AI startup that has figured out a way to seamlessly swap a user’s face onto a fashionista modeling the latest threads on the catwalk. The most obvious use case is for shoppers to see how they will look in a particular outfit before taking the plunge on a plunging neckline.

Another British company called Synthesia helps users create videos where a talking head will deliver a customized speech or even talk in a different language. The startup’s claim to fame was releasing a campaign video for the NGO Malaria Must Die showing soccer star David Becham speak in nine different languages.

There’s also a Seattle-based company, Wellsaid Labs, which uses AI to produce voice-over narration where users can choose from a library of digital voices with human pitch, emphasis, and intonation. Because every narrator sounds just a little bit smarter with a British accent.

AI Helps Make Smart Cities Smarter
Speaking of smarter: A handful of AI 100 startups are helping create the smart city of the future, where a digital web of sensors, devices, and cloud-based analytics ensure that nobody is ever stuck in traffic again or without an umbrella at the wrong time. At least that’s the dream.

A couple of them are directly connected to Google subsidiary Sidewalk Labs, which focuses on tech solutions to improve urban design. A company called Replica was spun out just last year. It’s sort of SimCity for urban planning. The San Francisco startup uses location data from mobile phones to understand how people behave and travel throughout a typical day in the city. Those insights can then help city governments, for example, make better decisions about infrastructure development.

Denver-area startup AMP Robotics gets into the nitty gritty details of recycling by training robots on how to recycle trash, since humans have largely failed to do the job. The U.S. Environmental Protection Agency estimates that only about 30 percent of waste is recycled.

Some people might complain that weather forecasters don’t even do that well when trying to predict the weather. An Israeli AI startup, ClimaCell, claims it can forecast rain block by block. While the company taps the usual satellite and ground-based sources to create weather models, it has developed algorithms to analyze how precipitation and other conditions affect signals in cellular networks. By analyzing changes in microwave signals between cellular towers, the platform can predict the type and intensity of the precipitation down to street level.

And those are just some of the highlights of what some of the world’s most promising AI startups are doing.

“You have companies optimizing mining operations, warehouse logistics, insurance, workflows, and even working on bringing AI solutions to designing printed circuit boards,” Varadharajanis said. “So a lot of creative ways in which companies are applying AI to solve different issues in different industries.”

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