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#434311 Understanding the Hidden Bias in ...
Facial recognition technology has progressed to point where it now interprets emotions in facial expressions. This type of analysis is increasingly used in daily life. For example, companies can use facial recognition software to help with hiring decisions. Other programs scan the faces in crowds to identify threats to public safety.
Unfortunately, this technology struggles to interpret the emotions of black faces. My new study, published last month, shows that emotional analysis technology assigns more negative emotions to black men’s faces than white men’s faces.
This isn’t the first time that facial recognition programs have been shown to be biased. Google labeled black faces as gorillas. Cameras identified Asian faces as blinking. Facial recognition programs struggled to correctly identify gender for people with darker skin.
My work contributes to a growing call to better understand the hidden bias in artificial intelligence software.
Measuring Bias
To examine the bias in the facial recognition systems that analyze people’s emotions, I used a data set of 400 NBA player photos from the 2016 to 2017 season, because players are similar in their clothing, athleticism, age and gender. Also, since these are professional portraits, the players look at the camera in the picture.
I ran the images through two well-known types of emotional recognition software. Both assigned black players more negative emotional scores on average, no matter how much they smiled.
For example, consider the official NBA pictures of Darren Collison and Gordon Hayward. Both players are smiling, and, according to the facial recognition and analysis program Face++, Darren Collison and Gordon Hayward have similar smile scores—48.7 and 48.1 out of 100, respectively.
Basketball players Darren Collision (left) and Gordon Hayward (right). basketball-reference.com
However, Face++ rates Hayward’s expression as 59.7 percent happy and 0.13 percent angry and Collison’s expression as 39.2 percent happy and 27 percent angry. Collison is viewed as nearly as angry as he is happy and far angrier than Hayward—despite the facial recognition program itself recognizing that both players are smiling.
In contrast, Microsoft’s Face API viewed both men as happy. Still, Collison is viewed as less happy than Hayward, with 98 and 93 percent happiness scores, respectively. Despite his smile, Collison is even scored with a small amount of contempt, whereas Hayward has none.
Across all the NBA pictures, the same pattern emerges. On average, Face++ rates black faces as twice as angry as white faces. Face API scores black faces as three times more contemptuous than white faces. After matching players based on their smiles, both facial analysis programs are still more likely to assign the negative emotions of anger or contempt to black faces.
Stereotyped by AI
My study shows that facial recognition programs exhibit two distinct types of bias.
First, black faces were consistently scored as angrier than white faces for every smile. Face++ showed this type of bias. Second, black faces were always scored as angrier if there was any ambiguity about their facial expression. Face API displayed this type of disparity. Even if black faces are partially smiling, my analysis showed that the systems assumed more negative emotions as compared to their white counterparts with similar expressions. The average emotional scores were much closer across races, but there were still noticeable differences for black and white faces.
This observation aligns with other research, which suggests that black professionals must amplify positive emotions to receive parity in their workplace performance evaluations. Studies show that people perceive black men as more physically threatening than white men, even when they are the same size.
Some researchers argue that facial recognition technology is more objective than humans. But my study suggests that facial recognition reflects the same biases that people have. Black men’s facial expressions are scored with emotions associated with threatening behaviors more often than white men, even when they are smiling. There is good reason to believe that the use of facial recognition could formalize preexisting stereotypes into algorithms, automatically embedding them into everyday life.
Until facial recognition assesses black and white faces similarly, black people may need to exaggerate their positive facial expressions—essentially smile more—to reduce ambiguity and potentially negative interpretations by the technology.
Although innovative, artificial intelligence can perpetrate and exacerbate existing power dynamics, leading to disparate impact across racial/ethnic groups. Some societal accountability is necessary to ensure fairness to all groups because facial recognition, like most artificial intelligence, is often invisible to the people most affected by its decisions.
Lauren Rhue, Assistant Professor of Information Systems and Analytics, Wake Forest University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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#434303 Making Superhumans Through Radical ...
Imagine trying to read War and Peace one letter at a time. The thought alone feels excruciating. But in many ways, this painful idea holds parallels to how human-machine interfaces (HMI) force us to interact with and process data today.
Designed back in the 1970s at Xerox PARC and later refined during the 1980s by Apple, today’s HMI was originally conceived during fundamentally different times, and specifically, before people and machines were generating so much data. Fast forward to 2019, when humans are estimated to produce 44 zettabytes of data—equal to two stacks of books from here to Pluto—and we are still using the same HMI from the 1970s.
These dated interfaces are not equipped to handle today’s exponential rise in data, which has been ushered in by the rapid dematerialization of many physical products into computers and software.
Breakthroughs in perceptual and cognitive computing, especially machine learning algorithms, are enabling technology to process vast volumes of data, and in doing so, they are dramatically amplifying our brain’s abilities. Yet even with these powerful technologies that at times make us feel superhuman, the interfaces are still crippled with poor ergonomics.
Many interfaces are still designed around the concept that human interaction with technology is secondary, not instantaneous. This means that any time someone uses technology, they are inevitably multitasking, because they must simultaneously perform a task and operate the technology.
If our aim, however, is to create technology that truly extends and amplifies our mental abilities so that we can offload important tasks, the technology that helps us must not also overwhelm us in the process. We must reimagine interfaces to work in coherence with how our minds function in the world so that our brains and these tools can work together seamlessly.
Embodied Cognition
Most technology is designed to serve either the mind or the body. It is a problematic divide, because our brains use our entire body to process the world around us. Said differently, our minds and bodies do not operate distinctly. Our minds are embodied.
Studies using MRI scans have shown that when a person feels an emotion in their gut, blood actually moves to that area of the body. The body and the mind are linked in this way, sharing information back and forth continuously.
Current technology presents data to the brain differently from how the brain processes data. Our brains, for example, use sensory data to continually encode and decipher patterns within the neocortex. Our brains do not create a linguistic label for each item, which is how the majority of machine learning systems operate, nor do our brains have an image associated with each of these labels.
Our bodies move information through us instantaneously, in a sense “computing” at the speed of thought. What if our technology could do the same?
Using Cognitive Ergonomics to Design Better Interfaces
Well-designed physical tools, as philosopher Martin Heidegger once meditated on while using the metaphor of a hammer, seem to disappear into the “hand.” They are designed to amplify a human ability and not get in the way during the process.
The aim of physical ergonomics is to understand the mechanical movement of the human body and then adapt a physical system to amplify the human output in accordance. By understanding the movement of the body, physical ergonomics enables ergonomically sound physical affordances—or conditions—so that the mechanical movement of the body and the mechanical movement of the machine can work together harmoniously.
Cognitive ergonomics applied to HMI design uses this same idea of amplifying output, but rather than focusing on physical output, the focus is on mental output. By understanding the raw materials the brain uses to comprehend information and form an output, cognitive ergonomics allows technologists and designers to create technological affordances so that the brain can work seamlessly with interfaces and remove the interruption costs of our current devices. In doing so, the technology itself “disappears,” and a person’s interaction with technology becomes fluid and primary.
By leveraging cognitive ergonomics in HMI design, we can create a generation of interfaces that can process and present data the same way humans process real-world information, meaning through fully-sensory interfaces.
Several brain-machine interfaces are already on the path to achieving this. AlterEgo, a wearable device developed by MIT researchers, uses electrodes to detect and understand nonverbal prompts, which enables the device to read the user’s mind and act as an extension of the user’s cognition.
Another notable example is the BrainGate neural device, created by researchers at Stanford University. Just two months ago, a study was released showing that this brain implant system allowed paralyzed patients to navigate an Android tablet with their thoughts alone.
These are two extraordinary examples of what is possible for the future of HMI, but there is still a long way to go to bring cognitive ergonomics front and center in interface design.
Disruptive Innovation Happens When You Step Outside Your Existing Users
Most of today’s interfaces are designed by a narrow population, made up predominantly of white, non-disabled men who are prolific in the use of technology (you may recall The New York Times viral article from 2016, Artificial Intelligence’s White Guy Problem). If you ask this population if there is a problem with today’s HMIs, most will say no, and this is because the technology has been designed to serve them.
This lack of diversity means a limited perspective is being brought to interface design, which is problematic if we want HMI to evolve and work seamlessly with the brain. To use cognitive ergonomics in interface design, we must first gain a more holistic understanding of how people with different abilities understand the world and how they interact with technology.
Underserved groups, such as people with physical disabilities, operate on what Clayton Christensen coined in The Innovator’s Dilemma as the fringe segment of a market. Developing solutions that cater to fringe groups can in fact disrupt the larger market by opening a downward, much larger market.
Learning From Underserved Populations
When technology fails to serve a group of people, that group must adapt the technology to meet their needs.
The workarounds created are often ingenious, specifically because they have not been arrived at by preferences, but out of necessity that has forced disadvantaged users to approach the technology from a very different vantage point.
When a designer or technologist begins learning from this new viewpoint and understanding challenges through a different lens, they can bring new perspectives to design—perspectives that otherwise can go unseen.
Designers and technologists can also learn from people with physical disabilities who interact with the world by leveraging other senses that help them compensate for one they may lack. For example, some blind people use echolocation to detect objects in their environments.
The BrainPort device developed by Wicab is an incredible example of technology leveraging one human sense to serve or compliment another. The BrainPort device captures environmental information with a wearable video camera and converts this data into soft electrical stimulation sequences that are sent to a device on the user’s tongue—the most sensitive touch receptor in the body. The user learns how to interpret the patterns felt on their tongue, and in doing so, become able to “see” with their tongue.
Key to the future of HMI design is learning how different user groups navigate the world through senses beyond sight. To make cognitive ergonomics work, we must understand how to leverage the senses so we’re not always solely relying on our visual or verbal interactions.
Radical Inclusion for the Future of HMI
Bringing radical inclusion into HMI design is about gaining a broader lens on technology design at large, so that technology can serve everyone better.
Interestingly, cognitive ergonomics and radical inclusion go hand in hand. We can’t design our interfaces with cognitive ergonomics without bringing radical inclusion into the picture, and we also will not arrive at radical inclusion in technology so long as cognitive ergonomics are not considered.
This new mindset is the only way to usher in an era of technology design that amplifies the collective human ability to create a more inclusive future for all.
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#433852 How Do We Teach Autonomous Cars To Drive ...
Autonomous vehicles can follow the general rules of American roads, recognizing traffic signals and lane markings, noticing crosswalks and other regular features of the streets. But they work only on well-marked roads that are carefully scanned and mapped in advance.
Many paved roads, though, have faded paint, signs obscured behind trees and unusual intersections. In addition, 1.4 million miles of U.S. roads—one-third of the country’s public roadways—are unpaved, with no on-road signals like lane markings or stop-here lines. That doesn’t include miles of private roads, unpaved driveways or off-road trails.
What’s a rule-following autonomous car to do when the rules are unclear or nonexistent? And what are its passengers to do when they discover their vehicle can’t get them where they’re going?
Accounting for the Obscure
Most challenges in developing advanced technologies involve handling infrequent or uncommon situations, or events that require performance beyond a system’s normal capabilities. That’s definitely true for autonomous vehicles. Some on-road examples might be navigating construction zones, encountering a horse and buggy, or seeing graffiti that looks like a stop sign. Off-road, the possibilities include the full variety of the natural world, such as trees down over the road, flooding and large puddles—or even animals blocking the way.
At Mississippi State University’s Center for Advanced Vehicular Systems, we have taken up the challenge of training algorithms to respond to circumstances that almost never happen, are difficult to predict and are complex to create. We seek to put autonomous cars in the hardest possible scenario: driving in an area the car has no prior knowledge of, with no reliable infrastructure like road paint and traffic signs, and in an unknown environment where it’s just as likely to see a cactus as a polar bear.
Our work combines virtual technology and the real world. We create advanced simulations of lifelike outdoor scenes, which we use to train artificial intelligence algorithms to take a camera feed and classify what it sees, labeling trees, sky, open paths and potential obstacles. Then we transfer those algorithms to a purpose-built all-wheel-drive test vehicle and send it out on our dedicated off-road test track, where we can see how our algorithms work and collect more data to feed into our simulations.
Starting Virtual
We have developed a simulator that can create a wide range of realistic outdoor scenes for vehicles to navigate through. The system generates a range of landscapes of different climates, like forests and deserts, and can show how plants, shrubs and trees grow over time. It can also simulate weather changes, sunlight and moonlight, and the accurate locations of 9,000 stars.
The system also simulates the readings of sensors commonly used in autonomous vehicles, such as lidar and cameras. Those virtual sensors collect data that feeds into neural networks as valuable training data.
Simulated desert, meadow and forest environments generated by the Mississippi State University Autonomous Vehicle Simulator. Chris Goodin, Mississippi State University, Author provided.
Building a Test Track
Simulations are only as good as their portrayals of the real world. Mississippi State University has purchased 50 acres of land on which we are developing a test track for off-road autonomous vehicles. The property is excellent for off-road testing, with unusually steep grades for our area of Mississippi—up to 60 percent inclines—and a very diverse population of plants.
We have selected certain natural features of this land that we expect will be particularly challenging for self-driving vehicles, and replicated them exactly in our simulator. That allows us to directly compare results from the simulation and real-life attempts to navigate the actual land. Eventually, we’ll create similar real and virtual pairings of other types of landscapes to improve our vehicle’s capabilities.
A road washout, as seen in real life, left, and in simulation. Chris Goodin, Mississippi State University, Author provided.
Collecting More Data
We have also built a test vehicle, called the Halo Project, which has an electric motor and sensors and computers that can navigate various off-road environments. The Halo Project car has additional sensors to collect detailed data about its actual surroundings, which can help us build virtual environments to run new tests in.
The Halo Project car can collect data about driving and navigating in rugged terrain. Beth Newman Wynn, Mississippi State University, Author provided.
Two of its lidar sensors, for example, are mounted at intersecting angles on the front of the car so their beams sweep across the approaching ground. Together, they can provide information on how rough or smooth the surface is, as well as capturing readings from grass and other plants and items on the ground.
Lidar beams intersect, scanning the ground in front of the vehicle. Chris Goodin, Mississippi State University, Author provided
We’ve seen some exciting early results from our research. For example, we have shown promising preliminary results that machine learning algorithms trained on simulated environments can be useful in the real world. As with most autonomous vehicle research, there is still a long way to go, but our hope is that the technologies we’re developing for extreme cases will also help make autonomous vehicles more functional on today’s roads.
Matthew Doude, Associate Director, Center for Advanced Vehicular Systems; Ph.D. Student in Industrial and Systems Engineering, Mississippi State University; Christopher Goodin, Assistant Research Professor, Center for Advanced Vehicular Systems, Mississippi State University, and Daniel Carruth, Assistant Research Professor and Associate Director for Human Factors and Advanced Vehicle System, Center for Advanced Vehicular Systems, Mississippi State University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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#433799 The First Novel Written by AI Is ...
Last year, a novelist went on a road trip across the USA. The trip was an attempt to emulate Jack Kerouac—to go out on the road and find something essential to write about in the experience. There is, however, a key difference between this writer and anyone else talking your ear off in the bar. This writer is just a microphone, a GPS, and a camera hooked up to a laptop and a whole bunch of linear algebra.
People who are optimistic that artificial intelligence and machine learning won’t put us all out of a job say that human ingenuity and creativity will be difficult to imitate. The classic argument is that, just as machines freed us from repetitive manual tasks, machine learning will free us from repetitive intellectual tasks.
This leaves us free to spend more time on the rewarding aspects of our work, pursuing creative hobbies, spending time with loved ones, and generally being human.
In this worldview, creative works like a great novel or symphony, and the emotions they evoke, cannot be reduced to lines of code. Humans retain a dimension of superiority over algorithms.
But is creativity a fundamentally human phenomenon? Or can it be learned by machines?
And if they learn to understand us better than we understand ourselves, could the great AI novel—tailored, of course, to your own predispositions in fiction—be the best you’ll ever read?
Maybe Not a Beach Read
This is the futurist’s view, of course. The reality, as the jury-rigged contraption in Ross Goodwin’s Cadillac for that road trip can attest, is some way off.
“This is very much an imperfect document, a rapid prototyping project. The output isn’t perfect. I don’t think it’s a human novel, or anywhere near it,” Goodwin said of the novel that his machine created. 1 The Road is currently marketed as the first novel written by AI.
Once the neural network has been trained, it can generate any length of text that the author desires, either at random or working from a specific seed word or phrase. Goodwin used the sights and sounds of the road trip to provide these seeds: the novel is written one sentence at a time, based on images, locations, dialogue from the microphone, and even the computer’s own internal clock.
The results are… mixed.
The novel begins suitably enough, quoting the time: “It was nine seventeen in the morning, and the house was heavy.” Descriptions of locations begin according to the Foursquare dataset fed into the algorithm, but rapidly veer off into the weeds, becoming surreal. While experimentation in literature is a wonderful thing, repeatedly quoting longitude and latitude coordinates verbatim is unlikely to win anyone the Booker Prize.
Data In, Art Out?
Neural networks as creative agents have some advantages. They excel at being trained on large datasets, identifying the patterns in those datasets, and producing output that follows those same rules. Music inspired by or written by AI has become a growing subgenre—there’s even a pop album by human-machine collaborators called the Songularity.
A neural network can “listen to” all of Bach and Mozart in hours, and train itself on the works of Shakespeare to produce passable pseudo-Bard. The idea of artificial creativity has become so widespread that there’s even a meme format about forcibly training neural network ‘bots’ on human writing samples, with hilarious consequences—although the best joke was undoubtedly human in origin.
The AI that roamed from New York to New Orleans was an LSTM (long short-term memory) neural net. By default, information contained in individual neurons is preserved, and only small parts can be “forgotten” or “learned” in an individual timestep, rather than neurons being entirely overwritten.
The LSTM architecture performs better than previous recurrent neural networks at tasks such as handwriting and speech recognition. The neural net—and its programmer—looked further in search of literary influences, ingesting 60 million words (360 MB) of raw literature according to Goodwin’s recipe: one third poetry, one third science fiction, and one third “bleak” literature.
In this way, Goodwin has some creative control over the project; the source material influences the machine’s vocabulary and sentence structuring, and hence the tone of the piece.
The Thoughts Beneath the Words
The problem with artificially intelligent novelists is the same problem with conversational artificial intelligence that computer scientists have been trying to solve from Turing’s day. The machines can understand and reproduce complex patterns increasingly better than humans can, but they have no understanding of what these patterns mean.
Goodwin’s neural network spits out sentences one letter at a time, on a tiny printer hooked up to the laptop. Statistical associations such as those tracked by neural nets can form words from letters, and sentences from words, but they know nothing of character or plot.
When talking to a chatbot, the code has no real understanding of what’s been said before, and there is no dataset large enough to train it through all of the billions of possible conversations.
Unless restricted to a predetermined set of options, it loses the thread of the conversation after a reply or two. In a similar way, the creative neural nets have no real grasp of what they’re writing, and no way to produce anything with any overarching coherence or narrative.
Goodwin’s experiment is an attempt to add some coherent backbone to the AI “novel” by repeatedly grounding it with stimuli from the cameras or microphones—the thematic links and narrative provided by the American landscape the neural network drives through.
Goodwin feels that this approach (the car itself moving through the landscape, as if a character) borrows some continuity and coherence from the journey itself. “Coherent prose is the holy grail of natural-language generation—feeling that I had somehow solved a small part of the problem was exhilarating. And I do think it makes a point about language in time that’s unexpected and interesting.”
AI Is Still No Kerouac
A coherent tone and semantic “style” might be enough to produce some vaguely-convincing teenage poetry, as Google did, and experimental fiction that uses neural networks can have intriguing results. But wading through the surreal AI prose of this era, searching for some meaning or motif beyond novelty value, can be a frustrating experience.
Maybe machines can learn the complexities of the human heart and brain, or how to write evocative or entertaining prose. But they’re a long way off, and somehow “more layers!” or a bigger corpus of data doesn’t feel like enough to bridge that gulf.
Real attempts by machines to write fiction have so far been broadly incoherent, but with flashes of poetry—dreamlike, hallucinatory ramblings.
Neural networks might not be capable of writing intricately-plotted works with charm and wit, like Dickens or Dostoevsky, but there’s still an eeriness to trying to decipher the surreal, Finnegans’ Wake mish-mash.
You might see, in the odd line, the flickering ghost of something like consciousness, a deeper understanding. Or you might just see fragments of meaning thrown into a neural network blender, full of hype and fury, obeying rules in an occasionally striking way, but ultimately signifying nothing. In that sense, at least, the RNN’s grappling with metaphor feels like a metaphor for the hype surrounding the latest AI summer as a whole.
Or, as the human author of On The Road put it: “You guys are going somewhere or just going?”
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#433634 This Robotic Skin Makes Inanimate ...
In Goethe’s poem “The Sorcerer’s Apprentice,” made world-famous by its adaptation in Disney’s Fantasia, a lazy apprentice, left to fetch water, uses magic to bewitch a broom into performing his chores for him. Now, new research from Yale has opened up the possibility of being able to animate—and automate—household objects by fitting them with a robotic skin.
Yale’s Soft Robotics lab, the Faboratory, is led by Professor Rebecca Kramer-Bottiglio, and has long investigated the possibilities associated with new kinds of manufacturing. While the typical image of a robot is hard, cold steel and rigid movements, soft robotics aims to create something more flexible and versatile. After all, the human body is made up of soft, flexible surfaces, and the world is designed for us. Soft, deformable robots could change shape to adapt to different tasks.
When designing a robot, key components are the robot’s sensors, which allow it to perceive its environment, and its actuators, the electrical or pneumatic motors that allow the robot to move and interact with its environment.
Consider your hand, which has temperature and pressure sensors, but also muscles as actuators. The omni-skins, as the Science Robotics paper dubs them, combine sensors and actuators, embedding them into an elastic sheet. The robotic skins are moved by pneumatic actuators or memory alloy that can bounce back into shape. If this is then wrapped around a soft, deformable object, moving the skin with the actuators can allow the object to crawl along a surface.
The key to the design here is flexibility: rather than adding chips, sensors, and motors into every household object to turn them into individual automatons, the same skin can be used for many purposes. “We can take the skins and wrap them around one object to perform a task—locomotion, for example—and then take them off and put them on a different object to perform a different task, such as grasping and moving an object,” said Kramer-Bottiglio. “We can then take those same skins off that object and put them on a shirt to make an active wearable device.”
The task is then to dream up applications for the omni-skins. Initially, you might imagine demanding a stuffed toy to fetch the remote control for you, or animating a sponge to wipe down kitchen surfaces—but this is just the beginning. The scientists attached the skins to a soft tube and camera, creating a worm-like robot that could compress itself and crawl into small spaces for rescue missions. The same skins could then be worn by a person to sense their posture. One could easily imagine this being adapted into a soft exoskeleton for medical or industrial purposes: for example, helping with rehabilitation after an accident or injury.
The initial motivating factor for creating the robots was in an environment where space and weight are at a premium, and humans are forced to improvise with whatever’s at hand: outer space. Kramer-Bottoglio originally began the work after NASA called out for soft robotics systems for use by astronauts. Instead of wasting valuable rocket payload by sending up a heavy metal droid like ATLAS to fetch items or perform repairs, soft robotic skins with modular sensors could be adapted for a range of different uses spontaneously.
By reassembling components in the soft robotic skin, a crumpled ball of paper could provide the chassis for a robot that performs repairs on the spaceship, or explores the lunar surface. The dynamic compression provided by the robotic skin could be used for g-suits to protect astronauts when they rapidly accelerate or decelerate.
“One of the main things I considered was the importance of multi-functionality, especially for deep space exploration where the environment is unpredictable. The question is: How do you prepare for the unknown unknowns? … Given the design-on-the-fly nature of this approach, it’s unlikely that a robot created using robotic skins will perform any one task optimally,” Kramer-Bottiglio said. “However, the goal is not optimization, but rather diversity of applications.”
There are still problems to resolve. Many of the videos of the skins indicate that they can rely on an external power supply. Creating new, smaller batteries that can power wearable devices has been a focus of cutting-edge materials science research for some time. Much of the lab’s expertise is in creating flexible, stretchable electronics that can be deformed by the actuators without breaking the circuitry. In the future, the team hopes to work on streamlining the production process; if the components could be 3D printed, then the skins could be created when needed.
In addition, robotic hardware that’s capable of performing an impressive range of precise motions is quite an advanced technology. The software to control those robots, and enable them to perform a variety of tasks, is quite another challenge. With soft robots, it can become even more complex to design that control software, because the body itself can change shape and deform as the robot moves. The same set of programmed motions, then, can produce different results depending on the environment.
“Let’s say I have a soft robot with four legs that crawls along the ground, and I make it walk up a hard slope,” Dr. David Howard, who works on robotics at CSIRO in Australia, explained to ABC.
“If I make that slope out of gravel and I give it the same control commands, the actual body is going to deform in a different way, and I’m not necessarily going to know what that is.”
Despite these and other challenges, research like that at the Faboratory still hopes to redefine how we think of robots and robotics. Instead of a robot that imitates a human and manipulates objects, the objects themselves will become programmable matter, capable of moving autonomously and carrying out a range of tasks. Futurists speculate about a world where most objects are automated to some degree and can assemble and repair themselves, or are even built entirely of tiny robots.
The tale of the Sorcerer’s Apprentice was first written in 1797, at the dawn of the industrial revolution, over a century before the word “robot” was even coined. Yet more and more roboticists aim to prove Arthur C Clarke’s maxim: any sufficiently advanced technology is indistinguishable from magic.
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