Tag Archives: animation

#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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Posted in Human Robots

#437136 Researchers develop real-time physics ...

Posted on May 12, 2020 by Android

Motion picture animation and video games are impressively lifelike nowadays, capturing a wisp of hair falling across a heroine's eyes or a canvas sail snapping crisply in the wind. Collaborators from the University of California, Los Angeles (UCLA) and Carnegie Mellon University have adapted this sophisticated computer graphics technology to simulate the movements of soft, limbed robots for the first time. Continue reading →

Posted in Human Robots

#436207 This Week’s Awesome Tech Stories From ...

Posted on November 23, 2019 by Android

COMPUTING
A Giant Superfast AI Chip Is Being Used to Find Better Cancer Drugs
Karen Hao | MIT Technology Review
“Thus far, Cerebras’s computer has checked all the boxes. Thanks to its chip size—it is larger than an iPad and has 1.2 trillion transistors for making calculations—it isn’t necessary to hook multiple smaller processors together, which can slow down model training. In testing, it has already shrunk the training time of models from weeks to hours.”

MEDICINE
Humans Put Into Suspended Animation for First Time
Ian Sample | The Guardian
“The process involves rapidly cooling the brain to less than 10C by replacing the patient’s blood with ice-cold saline solution. Typically the solution is pumped directly into the aorta, the main artery that carries blood away from the heart to the rest of the body.”

DRONES
This Transforming Drone Can Be Fired Straight Out of a Cannon
James Vincent | The Verge
“Drones are incredibly useful machines in the air, but getting them up and flying can be tricky, especially in crowded, windy, or emergency scenarios when speed is a factor. But a group of researchers from Caltech university and NASA’s Jet Propulsion Laboratory have come up with an elegant and oh-so-fun solution: fire the damn thing out of a cannon.”

ROBOTICS
Alphabet’s Dream of an ‘Everyday Robot’ Is Just Out of Reach
Tom Simonite | Wired
“Sorting trash was chosen as a convenient challenge to test the project’s approach to creating more capable robots. It’s using artificial intelligence software developed in collaboration with Google to make robots that learn complex tasks through on-the-job experience. The hope is to make robots less reliant on human coding for their skills, and capable of adapting quickly to complex new tasks and environments.”

ENVIRONMENT
The Electric Car Revolution May Take a Lot Longer Than Expected
James Temple | MIT Technology Review
“A new report from the MIT Energy Initiative warns that EVs may never reach the same sticker price so long as they rely on lithium-ion batteries, the energy storage technology that powers most of today’s consumer electronics. In fact, it’s likely to take another decade just to eliminate the difference in the lifetime costs between the vehicle categories, which factors in the higher fuel and maintenance expenses of standard cars and trucks.”

SPACE
How Two Intruders From Interstellar Space Are Upending Astronomy
Alexandra Witze | Nature
“From the tallest peak in Hawaii to a high plateau in the Andes, some of the biggest telescopes on Earth will point towards a faint smudge of light over the next few weeks. …What they’re looking for is a rare visitor that is about to make its closest approach to the Sun. After that, they have just months to grab as much information as they can from the object before it disappears forever into the blackness of space.”

Image Credit: Simone Hutsch / Unsplash Continue reading →

Posted in Human Robots

#436190 What Is the Uncanny Valley?

Posted on November 21, 2019 by Android

Have you ever encountered a lifelike humanoid robot or a realistic computer-generated face that seem a bit off or unsettling, though you can’t quite explain why?

Take for instance AVA, one of the “digital humans” created by New Zealand tech startup Soul Machines as an on-screen avatar for Autodesk. Watching a lifelike digital being such as AVA can be both fascinating and disconcerting. AVA expresses empathy through her demeanor and movements: slightly raised brows, a tilt of the head, a nod.

By meticulously rendering every lash and line in its avatars, Soul Machines aimed to create a digital human that is virtually undistinguishable from a real one. But to many, rather than looking natural, AVA actually looks creepy. There’s something about it being almost human but not quite that can make people uneasy.

Like AVA, many other ultra-realistic avatars, androids, and animated characters appear stuck in a disturbing in-between world: They are so lifelike and yet they are not “right.” This void of strangeness is known as the uncanny valley.

Uncanny Valley: Definition and History
The uncanny valley is a concept first introduced in the 1970s by Masahiro Mori, then a professor at the Tokyo Institute of Technology. The term describes Mori’s observation that as robots appear more humanlike, they become more appealing—but only up to a certain point. Upon reaching the uncanny valley, our affinity descends into a feeling of strangeness, a sense of unease, and a tendency to be scared or freaked out.

Image: Masahiro Mori

The uncanny valley as depicted in Masahiro Mori’s original graph: As a robot’s human likeness [horizontal axis] increases, our affinity towards the robot [vertical axis] increases too, but only up to a certain point. For some lifelike robots, our response to them plunges, and they appear repulsive or creepy. That’s the uncanny valley.

In his seminal essay for Japanese journal Energy, Mori wrote:

I have noticed that, in climbing toward the goal of making robots appear human, our affinity for them increases until we come to a valley, which I call the uncanny valley.

Later in the essay, Mori describes the uncanny valley by using an example—the first prosthetic hands:

One might say that the prosthetic hand has achieved a degree of resemblance to the human form, perhaps on a par with false teeth. However, when we realize the hand, which at first site looked real, is in fact artificial, we experience an eerie sensation. For example, we could be startled during a handshake by its limp boneless grip together with its texture and coldness. When this happens, we lose our sense of affinity, and the hand becomes uncanny.

In an interview with IEEE Spectrum, Mori explained how he came up with the idea for the uncanny valley:

“Since I was a child, I have never liked looking at wax figures. They looked somewhat creepy to me. At that time, electronic prosthetic hands were being developed, and they triggered in me the same kind of sensation. These experiences had made me start thinking about robots in general, which led me to write that essay. The uncanny valley was my intuition. It was one of my ideas.”

Uncanny Valley Examples
To better illustrate how the uncanny valley works, here are some examples of the phenomenon. Prepare to be freaked out.

1. Telenoid

Photo: Hiroshi Ishiguro/Osaka University/ATR

Taking the top spot in the “creepiest” rankings of IEEE Spectrum’s Robots Guide, Telenoid is a robotic communication device designed by Japanese roboticist Hiroshi Ishiguro. Its bald head, lifeless face, and lack of limbs make it seem more alien than human.

2. Diego-san

Photo: Andrew Oh/Javier Movellan/Calit2

Engineers and roboticists at the University of California San Diego’s Machine Perception Lab developed this robot baby to help parents better communicate with their infants. At 1.2 meters (4 feet) tall and weighing 30 kilograms (66 pounds), Diego-san is a big baby—bigger than an average 1-year-old child.

“Even though the facial expression is sophisticated and intuitive in this infant robot, I still perceive a false smile when I’m expecting the baby to appear happy,” says Angela Tinwell, a senior lecturer at the University of Bolton in the U.K. and author of The Uncanny Valley in Games and Animation. “This, along with a lack of detail in the eyes and forehead, can make the baby appear vacant and creepy, so I would want to avoid those ‘dead eyes’ rather than interacting with Diego-san.”

​3. Geminoid HI

Photo: Osaka University/ATR/Kokoro

Another one of Ishiguro’s creations, Geminoid HI is his android replica. He even took hair from his own scalp to put onto his robot twin. Ishiguro says he created Geminoid HI to better understand what it means to be human.

4. Sophia

Photo: Mikhail Tereshchenko/TASS/Getty Images

Designed by David Hanson of Hanson Robotics, Sophia is one of the most famous humanoid robots. Like Soul Machines’ AVA, Sophia displays a range of emotional expressions and is equipped with natural language processing capabilities.

5. Anthropomorphized felines

The uncanny valley doesn’t only happen with robots that adopt a human form. The 2019 live-action versions of the animated film The Lion King and the musical Cats brought the uncanny valley to the forefront of pop culture. To some fans, the photorealistic computer animations of talking lions and singing cats that mimic human movements were just creepy.

Are you feeling that eerie sensation yet?

Uncanny Valley: Science or Pseudoscience?
Despite our continued fascination with the uncanny valley, its validity as a scientific concept is highly debated. The uncanny valley wasn’t actually proposed as a scientific concept, yet has often been criticized in that light.

Mori himself said in his IEEE Spectrum interview that he didn’t explore the concept from a rigorous scientific perspective but as more of a guideline for robot designers:

Pointing out the existence of the uncanny valley was more of a piece of advice from me to people who design robots rather than a scientific statement.

Karl MacDorman, an associate professor of human-computer interaction at Indiana University who has long studied the uncanny valley, interprets the classic graph not as expressing Mori’s theory but as a heuristic for learning the concept and organizing observations.

“I believe his theory is instead expressed by his examples, which show that a mismatch in the human likeness of appearance and touch or appearance and motion can elicit a feeling of eeriness,” MacDorman says. “In my own experiments, I have consistently reproduced this effect within and across sense modalities. For example, a mismatch in the human realism of the features of a face heightens eeriness; a robot with a human voice or a human with a robotic voice is eerie.”

How to Avoid the Uncanny Valley
Unless you intend to create creepy characters or evoke a feeling of unease, you can follow certain design principles to avoid the uncanny valley. “The effect can be reduced by not creating robots or computer-animated characters that combine features on different sides of a boundary—for example, human and nonhuman, living and nonliving, or real and artificial,” MacDorman says.

To make a robot or avatar more realistic and move it beyond the valley, Tinwell says to ensure that a character’s facial expressions match its emotive tones of speech, and that its body movements are responsive and reflect its hypothetical emotional state. Special attention must also be paid to facial elements such as the forehead, eyes, and mouth, which depict the complexities of emotion and thought. “The mouth must be modeled and animated correctly so the character doesn’t appear aggressive or portray a ‘false smile’ when they should be genuinely happy,” she says.

For Christoph Bartneck, an associate professor at the University of Canterbury in New Zealand, the goal is not to avoid the uncanny valley, but to avoid bad character animations or behaviors, stressing the importance of matching the appearance of a robot with its ability. “We’re trained to spot even the slightest divergence from ‘normal’ human movements or behavior,” he says. “Hence, we often fail in creating highly realistic, humanlike characters.”

But he warns that the uncanny valley appears to be more of an uncanny cliff. “We find the likability to increase and then crash once robots become humanlike,” he says. “But we have never observed them ever coming out of the valley. You fall off and that’s it.” Continue reading →

Posted in Human Robots

#435196 Avatar Love? New ‘Black Mirror’ ...

Posted on June 17, 2019 by Android

This week, the widely-anticipated fifth season of the dystopian series Black Mirror was released on Netflix. The storylines this season are less focused on far-out scenarios and increasingly aligned with current issues. With only three episodes, this season raises more questions than it answers, often leaving audiences bewildered.

The episode Smithereens explores our society’s crippling addiction to social media platforms and the monopoly they hold over our data. In Rachel, Jack and Ashley Too, we see the disruptive impact of technologies on the music and entertainment industry, and the price of fame for artists in the digital world. Like most Black Mirror episodes, these explore the sometimes disturbing implications of tech advancements on humanity.

But once again, in the midst of all the doom and gloom, the creators of the series leave us with a glimmer of hope. Aligned with Pride month, the episode Striking Vipers explores the impact of virtual reality on love, relationships, and sexual fluidity.

*The review contains a few spoilers.*

Striking Vipers
The first episode of the season, Striking Vipers may be one of the most thought-provoking episodes in Black Mirror history. Reminiscent of previous episodes San Junipero and Hang the DJ, the writers explore the potential for technology to transform human intimacy.

The episode tells the story of two old friends, Danny and Karl, whose friendship is reignited in an unconventional way. Karl unexpectedly appears at Danny’s 38th birthday and reintroduces him to the VR version of a game they used to play years before. In the game Striking Vipers X, each of the players is represented by an avatar of their choice in an uncanny digital reality. Following old tradition, Karl chooses to become the female fighter, Roxanne, and Danny takes on the role of the male fighter, Lance. The state-of-the-art VR headsets appear to use an advanced form of brain-machine interface to allow each player to be fully immersed in the virtual world, emulating all physical sensations.

To their surprise (and confusion), Danny and Karl find themselves transitioning from fist-fighting to kissing. Over the course of many games, they continue to explore a sexual and romantic relationship in the virtual world, leaving them confused and distant in the real world. The virtual and physical realities begin to blur, and so do the identities of the players with their avatars. Danny, who is married (in a heterosexual relationship) and is a father, begins to carry guilt and confusion in the real world. They both wonder if there would be any spark between them in real life.

The brain-machine interface (BMI) depicted in the episode is still science fiction, but that hasn’t stopped innovators from pushing the technology forward. Experts today are designing more intricate BMI systems while programming better algorithms to interpret the neural signals they capture. Scientists have already succeeded in enabling paralyzed patients to type with their minds, and are even allowing people to communicate with one another purely through brainwaves.

The convergence of BMIs with virtual reality and artificial intelligence could make the experience of such immersive digital realities possible. Virtual reality, too, is decreasing exponentially in cost and increasing in quality.

The narrative provides meaningful commentary on another tech area—gaming. It highlights video games not necessarily as addictive distractions, but rather as a platform for connecting with others in a deeper way. This is already very relevant. Video games like Final Fantasy are often a tool for meaningful digital connections for their players.

The Implications of Virtual Reality on Love and Relationships
The narrative of Striking Vipers raises many novel questions about the implications of immersive technologies on relationships: could the virtual world allow us a safe space to explore suppressed desires? Can virtual avatars make it easier for us to show affection to those we care about? Can a sexual or romantic encounter in the digital world be considered infidelity?

Above all, the episode explores the therapeutic possibilities of such technologies. While many fears about virtual reality had been raised in previous seasons of Black Mirror, this episode was focused on its potential. This includes the potential of immersive technology to be a source of liberation, meaningful connections, and self-exploration, as well as a tool for realizing our true identities and desires.

Once again, this is aligned with emerging trends in VR. We are seeing the rise of social VR applications and platforms that allow you to hang out with your friends and family as avatars in the virtual space. The technology is allowing for animation movies, such as Coco VR, to become an increasingly social and interactive experience. Considering that meaningful social interaction can alleviate depression and anxiety, such applications could contribute to well-being.

Techno-philosopher and National Geographic host Jason Silva points out that immersive media technologies can be “engines of empathy.” VR allows us to enter virtual spaces that mimic someone else’s state of mind, allowing us to empathize with the way they view the world. Silva said, “Imagine the intimacy that becomes possible when people meet and they say, ‘Hey, do you want to come visit my world? Do you want to see what it’s like to be inside my head?’”

What is most fascinating about Striking Vipers is that it explores how we may redefine love with virtual reality; we are introduced to love between virtual avatars. While this kind of love may seem confusing to audiences, it may be one of the complex implications of virtual reality on human relationships.

In many ways, the title Black Mirror couldn’t be more appropriate, as each episode serves as a mirror to the most disturbing aspects of our psyches as they get amplified through technology. However, what we see in uplifting and thought-provoking plots like Striking Vipers, San Junipero, and Hang The DJ is that technology could also amplify the most positive aspects of our humanity. This includes our powerful capacity to love.

Image Credit: Arsgera / Shutterstock.com Continue reading →

Posted in Human Robots