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#439089 Ingenuity’s Chief Pilot Explains How ...

Posted on April 9, 2021 by Android

On April 11, the Mars helicopter Ingenuity will take to the skies of Mars for the first time. It will do so fully autonomously, out of necessity—the time delay between Ingenuity’s pilots at the Jet Propulsion Laboratory and Jezero Crater on Mars makes manual or even supervisory control impossible. So the best that the folks at JPL can do is practice as much as they can in simulation, and then hope that the helicopter can handle everything on its own.

Here on Earth, simulation is a critical tool for many robotics applications, because it doesn’t rely on access to expensive hardware, is non-destructive, and can be run in parallel and at faster-than-real-time speeds to focus on solving specific problems. Once you think you’ve gotten everything figured out in simulation, you can always give it a try on the real robot and see how close you came. If it works in real life, great! And if not, well, you can tweak some stuff in the simulation and try again.

For the Mars helicopter, simulation is much more important, and much higher stakes. Testing the Mars helicopter under conditions matching what it’ll find on Mars is not physically possible on Earth. JPL has flown engineering models in Martian atmospheric conditions, and they’ve used an actuated tether to mimic Mars gravity, but there’s just no way to know what it’ll be like flying on Mars until they’ve actually flown on Mars. With that in mind, the Ingenuity team has been relying heavily on simulation, since that’s one of the best tools they have to prepare for their Martian flights. We talk with Ingenuity’s Chief Pilot, Håvard Grip, to learn how it all works.

Ingenuity Facts:
Body Size: a box of tissues

Brains: Qualcomm Snapdragon 801

Weight: 1.8 kilograms

Propulsion: Two 1.2m carbon fiber rotors

Navigation sensors: VGA camera, laser altimeter, inclinometer

Ingenuity is scheduled to make its first flight no earlier than April 11. Before liftoff, the Ingenuity team will conduct a variety of pre-flight checks, including verifying the responsiveness of the control system and spinning the blades up to full speed (2,537 rpm) without lifting off. If everything looks good, the first flight will consist of a 1 meter per second climb to 3 meters, 30 seconds of hover at 3 meters while rotating in place a bit, and then a descent to landing. If Ingenuity pulls this off, that will have made its entire mission a success. There will be more flights over the next few weeks, but all it takes is one to prove that autonomous helicopter flight on Mars is possible.

Last month, we spoke with Mars Helicopter Operations Lead Tim Canham about Ingenuity’s hardware, software, and autonomy, but we wanted to know more about how the Ingenuity team has been using simulation for everything from vehicle design to flight planning. To answer our questions, we talked with JPL’s Håvard Grip, who led the development of Ingenuity’s navigation and flight control systems. Grip also has the title of Ingenuity Chief Pilot, which is pretty awesome. He summarizes this role as “operating the flight control system to make the helicopter do what we want it to do.”

IEEE Spectrum: Can you tell me about the simulation environment that JPL uses for Ingenuity’s flight planning?

Håvard Grip: We developed a Mars helicopter simulation ourselves at JPL, based on a multi-body simulation framework that’s also developed at JPL, called DARTS/DSHELL. That's a system that has been in development at JPL for about 30 years now, and it's been used in a number of missions. And so we took that multibody simulation framework, and based on it we built our own Mars helicopter simulation, put together our own rotor model, our own aerodynamics models, and everything else that's needed in order to simulate a helicopter. We also had a lot of help from the rotorcraft experts at NASA Ames and NASA Langley.

Image: NASA/JPL

Ingenuity in JPL’s flight simulator.

Without being able to test on Mars, how much validation are you able to do of what you’re seeing in simulation?

We can do a fair amount, but it requires a lot of planning. When we made our first real prototype (with a full-size rotor that looked like what we were thinking of putting on Mars) we first spent a lot of time designing it and using simulation tools to guide that design, and when we were sufficiently confident that we were close enough, and that we understood enough about it, then we actually built the thing and designed a whole suite of tests in a vacuum chamber where where we could replicate Mars atmospheric conditions. And those tests were before we tried to fly the helicopter—they were specifically targeted at what we call system identification, which has to do with figuring out what the true properties, the true dynamics of a system are, compared to what we assumed in our models. So then we got to see how well our models did, and in the places where they needed adjustment, we could go back and do that.

The simulation work that we really started after that very first initial lift test, that’s what allowed us to unlock all of the secrets to building a helicopter that can fly on Mars.
—Håvard Grip, Ingenuity Chief Pilot

We did a lot of this kind of testing. It was a big campaign, in several stages. But there are of course things that you can't fully replicate, and you do depend on simulation to tie things together. For example, we can't truly replicate Martian gravity on Earth. We can replicate the atmosphere, but not the gravity, and so we have to do various things when we fly—either make the helicopter very light, or we have to help it a little bit by pulling up on it with a string to offload some of the weight. These things don't fully replicate what it will be like on Mars. We also can't simultaneously replicate the Mars aerodynamic environment and the physical and visual surroundings that the helicopter will be flying in. These are places where simulation tools definitely come in handy, with the ability to do full flight tests from A to B, with the helicopter taking off from the ground, running the flight software that it will be running on board, simulating the images that the navigation camera takes of the ground below as it flies, feeding that back into the flight software, and then controlling it.

To what extent can simulation really compensate for the kinds of physical testing that you can’t do on Earth?

It gives you a few different possibilities. We can take certain tests on Earth where we replicate key elements of the environment, like the atmosphere or the visual surroundings for example, and you can validate your simulation on those parameters that you can test on Earth. Then, you can combine those things in simulation, which gives you the ability to set up arbitrary scenarios and do lots and lots of tests. We can Monte Carlo things, we can do a flight a thousand times in a row, with small perturbations of various parameters and tease out what our sensitivities are to those things. And those are the kinds of things that you can't do with physical tests, both because you can't fully replicate the environment and also because of the resources that would be required to do the same thing a thousand times in a row.

Because there are limits to the physical testing we can do on Earth, there are elements where we know there's more uncertainty. On those aspects where the uncertainty is high, we tried to build in enough margin that we can handle a range of things. And simulation gives you the ability to then maybe play with those parameters, and put them at their outer limits, and test them beyond where the real parameters are going to be to make sure that you have robustness even in those extreme cases.

How do you make sure you’re not relying on simulation too much, especially since in some ways it’s your only option?

It’s about anchoring it in real data, and we’ve done a lot of that with our physical testing. I think what you’re referring to is making your simulation too perfect, and we’re careful to model the things that matter. For example, the simulated sensors that we use have realistic levels of simulated noise and bias in them, the navigation camera images have realistic levels of degradation, we have realistic disturbances from wind gusts. If you don’t properly account for those things, then you’re missing important details. So, we try to be as accurate as we can, and to capture that by overbounding in areas where we have a high degree of uncertainty.

What kinds of simulated challenges have you put the Mars helicopter through, and how do you decide how far to push those challenges?

One example is that we can simulate going over rougher terrain. We can push that, and see how far we can go and still have the helicopter behave the way that we want it to. Or we can inject levels of noise that maybe the real sensors don't see, but you want to just see how far you can push things and make sure that it's still robust.

Where we put the limits on this and what we consider to be realistic is often a challenge. We consider this on a case by case basis—if you have a sensor that you're dealing with, you try to do testing with it to characterize it and understand its performance as much as possible, and you build a level of confidence in it that allows you to find the proper balance.

When it comes to things like terrain roughness, it's a little bit of a different thing, because we're actually picking where we're flying the helicopter. We have made that choice, and we know what the terrain looks like around us, so we don’t have to wonder about that anymore.

Image: NASA/JPL-Caltech/University of Arizona

Satellite image of the Ingenuity flight area.

The way that we’re trying to approach this operationally is that we should be done with the engineering at this point. We’re not depending on going back and resimulating things, other than a few checks here and there.

Are there any examples of things you learned as part of the simulation process that resulted in changes to the hardware or mission?

You know, it’s been a journey. One of the early things that we discovered as part of modeling the helicopter was that the rotor dynamics were quite different for a helicopter on Mars, in particular with respect to how the rotor responds to the up and down bending of the blades because they’re not perfectly rigid. That motion is a very important influence on the overall flight dynamics of the helicopter, and what we discovered as we started modeling was that this motion is damped much less on Mars. Under-damped oscillatory things like that, you kind of figure might pose a control issue, and that is the case here: if you just naively design it as you might a helicopter on Earth, without taking this into account, you could have a system where the response to control inputs becomes very sluggish. So that required changes to the vehicle design from some of the very early concepts, and it led us to make a rotor that’s extremely light and rigid.

The design cycle for the Mars helicopter—it’s not like we could just build something and take it out to the back yard and try it and then come back and tweak it if it doesn’t work. It’s a much bigger effort to build something and develop a test program where you have to use a vacuum chamber to test it. So you really want to get as close as possible up front, on your first iteration, and not have to go back to the drawing board on the basic things.

So how close were you able to get on your first iteration of the helicopter design?

[This video shows] a very early demo which was done more or less just assuming that things were going to behave as they would on Earth, and that we’d be able to fly in a Martian atmosphere just spinning the rotor faster and having a very light helicopter. We were basically just trying to demonstrate that we could produce enough lift. You can see the helicopter hopping around, with someone trying to joystick it, but it turned out to be very hard to control. This was prior to doing any of the modeling that I talked about earlier. But once we started seriously focusing on the modeling and simulation, we then went on to build a prototype vehicle which had a full-size rotor that’s very close to the rotor that will be flying on Mars. One difference is that prototype had cyclic control only on the lower rotor, and later we added cyclic control on the upper rotor as well, and that decision was informed in large part by the work we did in simulation—we’d put in the kinds of disturbances that we thought we might see on Mars, and decided that we needed to have the extra control authority.

How much room do you think there is for improvement in simulation, and how could that help you in the future?

The tools that we have were definitely sufficient for doing the job that we needed to do in terms of building a helicopter that can fly on Mars. But simulation is a compute-intensive thing, and so I think there’s definitely room for higher fidelity simulation if you have the compute power to do so. For a future Mars helicopter, you could get some benefits by more closely coupling together high-fidelity aerodynamic models with larger multi-body models, and doing that in a fast way, where you can iterate quickly. There’s certainly more potential for optimizing things.

Photo: NASA/JPL-Caltech

Ingenuity preparing for flight.

Watching Ingenuity’s first flight take place will likely be much like watching the Perseverance landing—we’ll be able to follow along with the Ingenuity team while they send commands to the helicopter and receive data back, although the time delay will mean that any kind of direct control won’t be possible. If everything goes the way it’s supposed to, there will hopefully be some preliminary telemetry from Ingenuity saying so, but it sounds like we’ll likely have to wait until April 12 before we get pictures or video of the flight itself.

Because Mars doesn’t care what time it is on Earth, the flight will actually be taking place very early on April 12, with the JPL Mission Control livestream starting at 3:30 a.m. EDT (12:30 a.m. PDT). Details are here. Continue reading →

Posted in Human Robots

#439081 Classify This Robot-Woven Sneaker With ...

Posted on April 7, 2021 by Android

For athletes trying to run fast, the right shoe can be essential to achieving peak performance. For athletes trying to run fast as humanly possible, a runner’s shoe can also become a work of individually customized engineering.

This is why Adidas has married 3D printing with robotic automation in a mass-market footwear project it’s called Futurecraft.Strung, expected to be available for purchase as soon as later this year. Using a customized, 3D-printed sole, a Futurecraft.Strung manufacturing robot can place some 2,000 threads from up to 10 different sneaker yarns in one upper section of the shoe.

Skylar Tibbits, founder and co-director of the Self-Assembly Lab and associate professor in MIT's Department of Architecture, says that because of its small scale, footwear has been an area of focus for 3D printing and additive manufacturing, which involves adding material bit by bit.

“There are really interesting complex geometry problems,” he says. “It’s pretty well suited.”

Photo: Adidas

Beginning with a 3D-printed sole, Adidas robots weave together some 2000 threads from up to 10 different sneaker yarns to make one Futurecraft.Strung shoe—expected on the marketplace later this year or sometime in 2022.

Adidas began working on the Futurecraft.Strung project in 2016. Then two years later, Adidas Futurecraft, the company’s innovation incubator, began collaborating with digital design studio Kram/Weisshaar. In less than a year the team built the software and hardware for the upper part of the shoe, called Strung uppers.

“Most 3D printing in the footwear space has been focused on the midsole or outsole, like the bottom of the shoe,” Tibbits explains. But now, he says, Adidas is bringing robotics and a threaded design to the upper part of the shoe. The company bases its Futurecraft.Strung design on high-resolution scans of how runners’ feet move as they travel.

This more flexible design can benefit athletes in multiple sports, according to an Adidas blog post. It will be able to use motion capture of an athlete’s foot and feedback from the athlete to make the design specific to the athlete’s specific gait. Adidas customizes the weaving of the shoe’s “fabric” (really more like an elaborate woven string figure, a cat’s cradle to fit the foot) to achieve a close and comfortable fit, the company says.

What they call their “4D sole” consists of a design combining 3D printing with materials that can change their shape and properties over time. In fact, Tibbits coined the term 4D printing to describe this process in 2013. The company takes customized data from the Adidas Athlete Intelligent Engine to make the shoe, according to Kram/Weisshaar’s website.

Photo: Adidas

Closeup of the weaving process behind a Futurecraft.Strung shoe

“With Strung for the first time, we can program single threads in any direction, where each thread has a different property or strength,” Fionn Corcoran-Tadd, an innovation designer at Adidas’ Futurecraft lab, said in a company video. Each thread serves a purpose, the video noted. “This is like customized string art for your feet,” Tibbits says.

Although the robotics technology the company uses has been around for many years, what Adidas’s robotic weavers can achieve with thread is a matter of elaborate geometry. “It’s more just like a really elegant way to build up material combining robotics and the fibers and yarns into these intricate and complex patterns,” he says.

Robots can of course create patterns with more precision than if someone wound it by hand, as well as rapidly and reliably changing the yarn and color of the fabric pattern. Adidas says it can make a single upper in 45 minutes and a pair of sneakers in 1 hour and 30 minutes. It plans to reduce this time down to minutes in the months ahead, the company said.

An Adidas spokesperson says sneakers incorporating the Futurecraft.Strung uppers design are a prototype, but the company plans to bring a Strung shoe to market in late 2021 or 2022. However, Adidas Futurecraft sneakers are currently available with a 3D-printed midsole.
Adidas plans to continue gathering data from athletes to customize the uppers of sneakers. “We’re building up a library of knowledge and it will get more interesting as we aggregate data of testing and from different athletes and sports,” the Adidas Futurecraft team writes in a blog post. “The more we understand about how data can become design code, the more we can take that and apply it to new Strung textiles. It’s a continuous evolution.” Continue reading →

Posted in Human Robots

#439077 How Scientists Grew Human Muscles in Pig ...

Posted on April 7, 2021 by Android

The little pigs bouncing around the lab looked exceedingly normal. Yet their adorable exterior hid a remarkable secret: each piglet carried two different sets of genes. For now, both sets came from their own species. But one day, one of those sets may be human.

The piglets are chimeras—creatures with intermingled sets of genes, as if multiple entities were seamlessly mashed together. Named after the Greek lion-goat-serpent monsters, chimeras may hold the key to an endless supply of human organs and tissues for transplant. The crux is growing these human parts in another animal—one close enough in size and function to our own.

Last week, a team from the University of Minnesota unveiled two mind-bending chimeras. One was joyous little piglets, each propelled by muscles grown from a different pig. Another was pig embryos, transplanted into surrogate pigs, that developed human muscles for more than 20 days.

The study, led by Drs. Mary and Daniel Garry at the University of Minnesota, had a therapeutic point: engineering a brilliant way to replace muscle loss, especially for the muscles around our skeletons that allow us to move and navigate the world. Trauma and injury, such as from firearm wounds or car crashes, can damage muscle tissue beyond the point of repair. Unfortunately, muscles are also stubborn in that donor tissue from cadavers doesn’t usually “take” at the injury site. For now, there are no effective treatments for severe muscle death, called volumetric muscle loss.

The new human-pig hybrids are designed to tackle this problem. Muscle wasting aside, the study also points to a clever “hack” that increases the amount of human tissue inside a growing pig embryo.

If further improved, the technology could “provide an unlimited supply of organs for transplantation,” said Dr. Mary Garry to Inverse. What’s more, because the human tissue can be sourced from patients themselves, the risk of rejection by the immune system is relatively low—even when grown inside a pig.

“The shortage of organs for heart transplantation, vascular grafting, and skeletal muscle is staggering,” said Garry. Human-animal chimeras could have a “seismic impact” that transforms organ transplantation and helps solve the organ shortage crisis.

That is, if society accepts the idea of a semi-humanoid pig.

Wait…But How?
The new study took a page from previous chimera recipes.

The main ingredients and steps go like this: first, you need an embryo that lacks the ability to develop a tissue or organ. This leaves an “empty slot” of sorts that you can fill with another set of genes—pig, human, or even monkey.

Second, you need to fine-tune the recipe so that the embryos “take” the new genes, incorporating them into their bodies as if they were their own. Third, the new genes activate to instruct the growing embryo to make the necessary tissue or organs without harming the overall animal. Finally, the foreign genes need to stay put, without cells migrating to another body part—say, the brain.

Not exactly straightforward, eh? The piglets are technological wonders that mix cutting-edge gene editing with cloning technologies.

The team went for two chimeras: one with two sets of pig genes, the other with a pig and human mix. Both started with a pig embryo that can’t make its own skeletal muscles (those are the muscles surrounding your bones). Using CRISPR, the gene-editing Swiss Army Knife, they snipped out three genes that are absolutely necessary for those muscles to develop. Like hitting a bullseye with three arrows simultaneously, it’s already a technological feat.

Here’s the really clever part: the muscles around your bones have a slightly different genetic makeup than the ones that line your blood vessels or the ones that pump your heart. While the resulting pig embryos had severe muscle deformities as they developed, their hearts beat as normal. This means the gene editing cut only impacted skeletal muscles.

Then came step two: replacing the missing genes. Using a microneedle, the team injected a fertilized and slightly developed pig egg—called a blastomere—into the embryo. If left on its natural course, a blastomere eventually develops into another embryo. This step “smashes” the two sets of genes together, with the newcomer filling the muscle void. The hybrid embryo was then placed into a surrogate, and roughly four months later, chimeric piglets were born.

Equipped with foreign DNA, the little guys nevertheless seemed totally normal, nosing around the lab and running everywhere without obvious clumsy stumbles. Under the microscope, their “xenomorph” muscles were indistinguishable from run-of-the-mill average muscle tissue—no signs of damage or inflammation, and as stretchy and tough as muscles usually are. What’s more, the foreign DNA seemed to have only developed into muscles, even though they were prevalent across the body. Extensive fishing experiments found no trace of the injected set of genes inside blood vessels or the brain.

A Better Human-Pig Hybrid
Confident in their recipe, the team next repeated the experiment with human cells, with a twist. Instead of using controversial human embryonic stem cells, which are obtained from aborted fetuses, they relied on induced pluripotent stem cells (iPSCs). These are skin cells that have been reverted back into a stem cell state.

Unlike previous attempts at making human chimeras, the team then scoured the genetic landscape of how pig and human embryos develop to find any genetic “brakes” that could derail the process. One gene, TP53, stood out, which was then promptly eliminated with CRISPR.

This approach provides a way for future studies to similarly increase the efficiency of interspecies chimeras, the team said.

The human-pig embryos were then carefully grown inside surrogate pigs for less than a month, and extensively analyzed. By day 20, the hybrids had already grown detectable human skeletal muscle. Similar to the pig-pig chimeras, the team didn’t detect any signs that the human genes had sprouted cells that would eventually become neurons or other non-muscle cells.

For now, human-animal chimeras are not allowed to grow to term, in part to stem the theoretical possibility of engineering humanoid hybrid animals (shudder). However, a sentient human-pig chimera is something that the team specifically addressed. Through multiple experiments, they found no trace of human genes in the embryos’ brain stem cells 20 and 27 days into development. Similarly, human donor genes were absent in cells that would become the hybrid embryos’ reproductive cells.

Despite bioethical quandaries and legal restrictions, human-animal chimeras have taken off, both as a source of insight into human brain development and a well of personalized organs and tissues for transplant. In 2019, Japan lifted its ban on developing human brain cells inside animal embryos, as well as the term limit—to global controversy. There’s also the question of animal welfare, given that hybrid clones will essentially become involuntary organ donors.

As the debates rage on, scientists are nevertheless pushing the limits of human-animal chimeras, while treading as carefully as possible.

“Our data…support the feasibility of the generation of these interspecies chimeras, which will serve as a model for translational research or, one day, as a source for xenotransplantation,” the team said.

Image Credit: Christopher Carson on Unsplash Continue reading →

Posted in Human Robots

#439073 There’s a ‘New’ Nirvana Song Out, ...

Posted on April 7, 2021 by Android

One of the primary capabilities separating human intelligence from artificial intelligence is our ability to be creative—to use nothing but the world around us, our experiences, and our brains to create art. At present, AI needs to be extensively trained on human-made works of art in order to produce new work, so we’ve still got a leg up. That said, neural networks like OpenAI’s GPT-3 and Russian designer Nikolay Ironov have been able to create content indistinguishable from human-made work.

Now there’s another example of AI artistry that’s hard to tell apart from the real thing, and it’s sure to excite 90s alternative rock fans the world over: a brand-new, never-heard-before Nirvana song. Or, more accurately, a song written by a neural network that was trained on Nirvana’s music.

The song is called “Drowned in the Sun,” and it does have a pretty Nirvana-esque ring to it. The neural network that wrote it is Magenta, which was launched by Google in 2016 with the goal of training machines to create art—or as the tool’s website puts it, exploring the role of machine learning as a tool in the creative process. Magenta was built using TensorFlow, Google’s massive open-source software library focused on deep learning applications.

The song was written as part of an album called Lost Tapes of the 27 Club, a project carried out by a Toronto-based organization called Over the Bridge focused on mental health in the music industry.

Here’s how a computer was able to write a song in the unique style of a deceased musician. Music, 20 to 30 tracks, was fed into Magenta’s neural network in the form of MIDI files. MIDI stands for Musical Instrument Digital Interface, and the format contains the details of a song written in code that represents musical parameters like pitch and tempo. Components of each song, like vocal melody or rhythm guitar, were fed in one at a time.

The neural network found patterns in these different components, and got enough of a handle on them that when given a few notes to start from, it could use those patterns to predict what would come next; in this case, chords and melodies that sound like they could’ve been written by Kurt Cobain.

To be clear, Magenta didn’t spit out a ready-to-go song complete with lyrics. The AI wrote the music, but a different neural network wrote the lyrics (using essentially the same process as Magenta), and the team then sifted through “pages and pages” of output to find lyrics that fit the melodies Magenta created.

Eric Hogan, a singer for a Nirvana tribute band who the Over the Bridge team hired to sing “Drowned in the Sun,” felt that the lyrics were spot-on. “The song is saying, ‘I’m a weirdo, but I like it,’” he said. “That is total Kurt Cobain right there. The sentiment is exactly what he would have said.”

Cobain isn’t the only musician the Lost Tapes project tried to emulate; songs in the styles of Jimi Hendrix, Jim Morrison, and Amy Winehouse were also included. What all these artists have in common is that they died by suicide at the age of 27.

The project is meant to raise awareness around mental health, particularly among music industry professionals. It’s not hard to think of great artists of all persuasions—musicians, painters, writers, actors—whose lives are cut short due to severe depression and other mental health issues for which it can be hard to get help. These issues are sometimes romanticized, as suffering does tend to create art that’s meaningful, relatable, and timeless. But according to the Lost Tapes website, suicide attempts among music industry workers are more than double that of the general population.

How many more hit songs would these artists have written if they were still alive? We’ll never know, but hopefully Lost Tapes of the 27 Club and projects like it will raise awareness of mental health issues, both in the music industry and in general, and help people in need find the right resources. Because no matter how good computers eventually get at creating music, writing, or other art, as Lost Tapes’ website pointedly says, “Even AI will never replace the real thing.”

Image Credit: Edward Xu on Unsplash Continue reading →

Posted in Human Robots

#439070 Are Digital Humans the Next Step in ...

Posted on April 6, 2021 by Android

In the fictional worlds of film and TV, artificial intelligence has been depicted as so advanced that it is indistinguishable from humans. But what if we’re actually getting closer to a world where AI is capable of thinking and feeling?

Tech company UneeQ is embarking on that journey with its “digital humans.” These avatars act as visual interfaces for customer service chatbots, virtual assistants, and other applications. UneeQ’s digital humans appear lifelike not only in terms of language and tone of voice, but also because of facial movements: raised eyebrows, a tilt of the head, a smile, even a wink. They transform a transaction into an interaction: creepy yet astonishing, human, but not quite.

What lies beneath UneeQ’s digital humans? Their 3D faces are modeled on actual human features. Speech recognition enables the avatar to understand what a person is saying, and natural language processing is used to craft a response. Before the avatar utters a word, specific emotions and facial expressions are encoded within the response.

UneeQ may be part of a larger trend towards humanizing computing. ObEN’s digital avatars serve as virtual identities for celebrities, influencers, gaming characters, and other entities in the media and entertainment industry. Meanwhile, Soul Machines is taking a more biological approach, with a “digital brain” that simulates aspects of the human brain to modulate the emotions “felt” and “expressed” by its “digital people.” Amelia is employing a similar methodology in building its “digital employees.” It emulates parts of the brain involved with memory to respond to queries and, with each interaction, learns to deliver more engaging and personalized experiences.

Shiwali Mohan, an AI systems scientist at the Palo Alto Research Center, is skeptical of these digital beings. “They’re humanlike in their looks and the way they sound, but that in itself is not being human,” she says. “Being human is also how you think, how you approach problems, and how you break them down; and that takes a lot of algorithmic design. Designing for human-level intelligence is a different endeavor than designing graphics that behave like humans. If you think about the problems we’re trying to design these avatars for, we might not need something that looks like a human—it may not even be the right solution path.”

And even if these avatars appear near-human, they still evoke an uncanny valley feeling. “If something looks like a human, we have high expectations of them, but they might behave differently in ways that humans just instinctively know how other humans react. These differences give rise to the uncanny valley feeling,” says Mohan.

Yet the demand is there, with Amelia seeing high adoption of its digital employees across the financial, health care, and retail sectors. “We find that banks and insurance companies, which are so risk-averse, are leading the adoption of such disruptive technologies because they understand that the risk of non-adoption is much greater than the risk of early adoption,” says Chetan Dube, Amelia’s CEO. “Unless they innovate their business models and make them much more efficient digitally, they might be left behind.” Dube adds that the COVID-19 pandemic has accelerated adoption of digital employees in health care and retail as well.

Amelia, Soul Machines, and UneeQ are taking their digital beings a step further, enabling organizations to create avatars themselves using low-code or no-code platforms: Digital Employee Builder for Amelia, Creator for UneeQ, and Digital DNA Studio for Soul Machines. Unreal Engine, a game engine developed by Epic Games, is doing the same with MetaHuman Creator, a tool that allows anyone to create photorealistic digital humans. “The biggest motivation for Digital Employee Builder is to democratize AI,” Dube says.

Mohan is cautious about this approach. “AI has problems with bias creeping in from data sets and into the way it speaks. The AI community is still trying to figure out how to measure and counter that bias,” she says. “[Companies] have to have an AI expert on board that can recommend the right things to build for.”

Despite being wary of the technology, Mohan supports the purpose behind these virtual beings and is optimistic about where they’re headed. “We do need these tools that support humans in different kinds of things. I think the vision is the pro, and I’m behind that vision,” she says. “As we develop more sophisticated AI technology, we would then have to implement novel ways of interacting with that technology. Hopefully, all of that is designed to support humans in their goals.” Continue reading →

Posted in Human Robots