Tag Archives: character

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Image Credit: Marion Wellmann from Pixabay Continue reading

Posted in Human Robots

#437721 Video Friday: Child Robot Learning to ...

Video Friday is your weekly selection of awesome robotics videos, collected by your Automaton bloggers. We’ll also be posting a weekly calendar of upcoming robotics events for the next few months; here’s what we have so far (send us your events!):

CLAWAR 2020 – August 24-26, 2020 – [Online Conference]
ICUAS 2020 – September 1-4, 2020 – Athens, Greece
ICRES 2020 – September 28-29, 2020 – Taipei, Taiwan
AUVSI EXPONENTIAL 2020 – October 5-8, 2020 – [Online Conference]
IROS 2020 – October 25-29, 2020 – Las Vegas, Nev., USA
CYBATHLON 2020 – November 13-14, 2020 – [Online Event]
ICSR 2020 – November 14-16, 2020 – Golden, Colo., USA
Let us know if you have suggestions for next week, and enjoy today’s videos.

We first met Ibuki, Hiroshi Ishiguro’s latest humanoid robot, a couple of years ago. A recent video shows how Ishiguro and his team are teaching the robot to express its emotional state through gait and body posture while moving.

This paper presents a subjective evaluation of the emotions of a wheeled mobile humanoid robot expressing emotions during movement by replicating human gait-induced upper body motion. For this purpose, we proposed the robot equipped with a vertical oscillation mechanism that generates such motion by focusing on human center-of-mass trajectory. In the experiment, participants watched videos of the robot’s different emotional gait-induced upper body motions, and assess the type of emotion shown, and their confidence level in their answer.

[ Hiroshi Ishiguro Lab ] via [ RobotStart ]

ICYMI: This is a zinc-air battery made partly of Kevlar that can be used to support weight, not just add to it.

Like biological fat reserves store energy in animals, a new rechargeable zinc battery integrates into the structure of a robot to provide much more energy, a team led by the University of Michigan has shown.

The new battery works by passing hydroxide ions between a zinc electrode and the air side through an electrolyte membrane. That membrane is partly a network of aramid nanofibers—the carbon-based fibers found in Kevlar vests—and a new water-based polymer gel. The gel helps shuttle the hydroxide ions between the electrodes. Made with cheap, abundant and largely nontoxic materials, the battery is more environmentally friendly than those currently in use. The gel and aramid nanofibers will not catch fire if the battery is damaged, unlike the flammable electrolyte in lithium ion batteries. The aramid nanofibers could be upcycled from retired body armor.

[ University of Michigan ]

In what they say is the first large-scale study of the interactions between sound and robotic action, researchers at CMU’s Robotics Institute found that sounds could help a robot differentiate between objects, such as a metal screwdriver and a metal wrench. Hearing also could help robots determine what type of action caused a sound and help them use sounds to predict the physical properties of new objects.

[ CMU ]

Captured on Aug. 11 during the second rehearsal of the OSIRIS-REx mission’s sample collection event, this series of images shows the SamCam imager’s field of view as the NASA spacecraft approaches asteroid Bennu’s surface. The rehearsal brought the spacecraft through the first three maneuvers of the sampling sequence to a point approximately 131 feet (40 meters) above the surface, after which the spacecraft performed a back-away burn.

These images were captured over a 13.5-minute period. The imaging sequence begins at approximately 420 feet (128 meters) above the surface – before the spacecraft executes the “Checkpoint” maneuver – and runs through to the “Matchpoint” maneuver, with the last image taken approximately 144 feet (44 meters) above the surface of Bennu.

[ NASA ]

The DARPA AlphaDogfight Trials Final Event took place yesterday; the livestream is like 5 hours long, but you can skip ahead to 4:39 ish to see the AI winner take on a human F-16 pilot in simulation.

Some things to keep in mind about the result: The AI had perfect situational knowledge while the human pilot had to use eyeballs, and in particular, the AI did very well at lining up its (virtual) gun with the human during fast passing maneuvers, which is the sort of thing that autonomous systems excel at but is not necessarily reflective of better strategy.

[ DARPA ]

Coming soon from Clearpath Robotics!

[ Clearpath ]

This video introduces Preferred Networks’ Hand type A, a tendon-driven robot gripper with passively switchable underactuated surface.

[ Preferred Networks ]

CYBATHLON 2020 will take place on 13 – 14 November 2020 – at the teams’ home bases. They will set up their infrastructure for the competition and film their races. Instead of starting directly next to each other, the pilots will start individually and under the supervision of CYBATHLON officials. From Zurich, the competitions will be broadcast through a new platform in a unique live programme.

[ Cybathlon ]

In this project, we consider the task of autonomous car racing in the top-selling car racing game Gran Turismo Sport. Gran Turismo Sport is known for its detailed physics simulation of various cars and tracks. Our approach makes use of maximum-entropy deep reinforcement learning and a new reward design to train a sensorimotor policy to complete a given race track as fast as possible. We evaluate our approach in three different time trial settings with different cars and tracks. Our results show that the obtained controllers not only beat the built-in non-player character of Gran Turismo Sport, but also outperform the fastest known times in a dataset of personal best lap times of over 50,000 human drivers.

[ UZH ]

With the help of the software pitasc from Fraunhofer IPA, an assembly task is no longer programmed point by point, but workpiece-related. Thus, pitasc adapts the assembly process itself for new product variants with the help of updated parameters.

[ Fraunhofer ]

In this video, a multi-material robot simulator is used to design a shape-changing robot, which is then transferred to physical hardware. The simulated and real robots can use shape change to switch between rolling gaits and inchworm gaits, to locomote in multiple environments.

[ Yale ]

This work presents a novel loco-manipulation control framework for the execution of complex tasks with kinodynamic constraints using mobile manipulators. As a representative example, we consider the handling and re-positioning of pallet jacks in unstructured environments. While these results reveal with a proof-of- concept the effectiveness of the proposed framework, they also demonstrate the high potential of mobile manipulators for relieving human workers from such repetitive and labor intensive tasks. We believe that this extended functionality can contribute to increasing the usability of mobile manipulators in different application scenarios.

[ Paper ] via [ IIT ]

I don’t know why this dinosaur ice cream serving robot needs to blow smoke out of its nose, but I like it.

[ Connected Robotics ] via [ RobotStart ]

Guardian S remote visual inspection and surveillance robots make laying cable runs in confined or hard to reach spaces easy. With advanced maneuverability and the ability to climb vertical, ferrous surfaces, the robot reaches areas that are not always easily accessible.

[ Sarcos ]

Looks like the company that bought Anki is working on an add-on to let cars charge while they drive.

[ Digital Dream Labs ]

Chris Atkeson gives a brief talk for the CMU Robotics Institute orientation.

[ CMU RI ]

A UofT Robotics Seminar, featuring Russ Tedrake from MIT and TRI on “Feedback Control for Manipulation.”

Control theory has an answer for just about everything, but seems to fall short when it comes to closing a feedback loop using a camera, dealing with the dynamics of contact, and reasoning about robustness over the distribution of tasks one might find in the kitchen. Recent examples from RL and imitation learning demonstrate great promise, but don’t leverage the rigorous tools from systems theory. I’d like to discuss why, and describe some recent results of closing feedback loops from pixels for “category-level” robot manipulation.

[ UofT ] Continue reading

Posted in Human Robots

#437579 Disney Research Makes Robotic Gaze ...

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.

< Back to IEEE Journal Watch Continue reading

Posted in Human Robots

#437120 The New Indiana Jones? AI. Here’s How ...

Archaeologists have uncovered scores of long-abandoned settlements along coastal Madagascar that reveal environmental connections to modern-day communities. They have detected the nearly indiscernible bumps of earthen mounds left behind by prehistoric North American cultures. Still other researchers have mapped Bronze Age river systems in the Indus Valley, one of the cradles of civilization.

All of these recent discoveries are examples of landscape archaeology. They’re also examples of how artificial intelligence is helping scientists hunt for new archaeological digs on a scale and at a pace unimaginable even a decade ago.

“AI in archaeology has been increasing substantially over the past few years,” said Dylan Davis, a PhD candidate in the Department of Anthropology at Penn State University. “One of the major uses of AI in archaeology is for the detection of new archaeological sites.”

The near-ubiquitous availability of satellite data and other types of aerial imagery for many parts of the world has been both a boon and a bane to archaeologists. They can cover far more ground, but the job of manually mowing their way across digitized landscapes is still time-consuming and laborious. Machine learning algorithms offer a way to parse through complex data far more quickly.

AI Gives Archaeologists a Bird’s Eye View
Davis developed an automated algorithm for identifying large earthen and shell mounds built by native populations long before Europeans arrived with far-off visions of skyscrapers and superhighways in their eyes. The sites still hidden in places like the South Carolina wilderness contain a wealth of information about how people lived, even what they ate, and the ways they interacted with the local environment and other cultures.

In this particular case, the imagery comes from LiDAR, which uses light pulses that can penetrate tree canopies to map forest floors. The team taught the computer the shape, size, and texture characteristics of the mounds so it could identify potential sites from the digital 3D datasets that it analyzed.

“The process resulted in several thousand possible features that my colleagues and I checked by hand,” Davis told Singularity Hub. “While not entirely automated, this saved the equivalent of years of manual labor that would have been required for analyzing the whole LiDAR image by hand.”

In Madagascar—where Davis is studying human settlement history across the world’s fourth largest island over a timescale of millennia—he developed a predictive algorithm to help locate archaeological sites using freely available satellite imagery. His team was able to survey and identify more than 70 new archaeological sites—and potentially hundreds more—across an area of more than 1,000 square kilometers during the course of about a year.

Machines Learning From the Past Prepare Us for the Future
One impetus behind the rapid identification of archaeological sites is that many are under threat from climate change, such as coastal erosion from sea level rise, or other human impacts. Meanwhile, traditional archaeological approaches are expensive and laborious—serious handicaps in a race against time.

“It is imperative to record as many archaeological sites as we can in a short period of time. That is why AI and machine learning are useful for my research,” Davis said.

Studying the rise and fall of past civilizations can also teach modern humans a thing or two about how to grapple with these current challenges.

Researchers at the Institut Català d’Arqueologia Clàssica (ICAC) turned to machine-learning algorithms to reconstruct more than 20,000 kilometers of paleo-rivers along the Indus Valley civilization of what is now part of modern Pakistan and India. Such AI-powered mapping techniques wouldn’t be possible using satellite images alone.

That effort helped locate many previously unknown archaeological sites and unlocked new insights into those Bronze Age cultures. However, the analytics can also assist governments with important water resource management today, according to Hèctor A. Orengo Romeu, co-director of the Landscape Archaeology Research Group at ICAC.

“Our analyses can contribute to the forecasts of the evolution of aquifers in the area and provide valuable information on aspects such as the variability of agricultural productivity or the influence of climate change on the expansion of the Thar desert, in addition to providing cultural management tools to the government,” he said.

Leveraging AI for Language and Lots More
While landscape archaeology is one major application of AI in archaeology, it’s far from the only one. In 2000, only about a half-dozen scientific papers referred to the use of AI, according to the Web of Science, reputedly the world’s largest global citation database. Last year, more than 65 papers were published concerning the use of machine intelligence technologies in archaeology, with a significant uptick beginning in 2015.

AI methods, for instance, are being used to understand the chemical makeup of artifacts like pottery and ceramics, according to Davis. “This can help identify where these materials were made and how far they were transported. It can also help us to understand the extent of past trading networks.”

Linguistic anthropologists have also used machine intelligence methods to trace the evolution of different languages, Davis said. “Using AI, we can learn when and where languages emerged around the world.”

In other cases, AI has helped reconstruct or decipher ancient texts. Last year, researchers at Google’s DeepMind used a deep neural network called PYTHIA to recreate missing inscriptions in ancient Greek from damaged surfaces of objects made of stone or ceramics.

Named after the Oracle at Delphi, PYTHIA “takes a sequence of damaged text as input, and is trained to predict character sequences comprising hypothesised restorations of ancient Greek inscriptions,” the researchers reported.

In a similar fashion, Chinese scientists applied a convolutional neural network (CNN) to untangle another ancient tongue once found on turtle shells and ox bones. The CNN managed to classify oracle bone morphology in order to piece together fragments of these divination objects, some with inscriptions that represent the earliest evidence of China’s recorded history.

“Differentiating the materials of oracle bones is one of the most basic steps for oracle bone morphology—we need to first make sure we don’t assemble pieces of ox bones with tortoise shells,” lead author of the study, associate professor Shanxiong Chen at China’s Southwest University, told Synced, an online tech publication in China.

AI Helps Archaeologists Get the Scoop…
And then there are applications of AI in archaeology that are simply … interesting. Just last month, researchers published a paper about a machine learning method trained to differentiate between human and canine paleofeces.

The algorithm, dubbed CoproID, compares the gut microbiome DNA found in the ancient material with DNA found in modern feces, enabling it to get the scoop on the origin of the poop.

Also known as coprolites, paleo-feces from humans and dogs are often found in the same archaeological sites. Scientists need to know which is which if they’re trying to understand something like past diets or disease.

“CoproID is the first line of identification in coprolite analysis to confirm that what we’re looking for is actually human, or a dog if we’re interested in dogs,” Maxime Borry, a bioinformatics PhD student at the Max Planck Institute for the Science of Human History, told Vice.

…But Machine Intelligence Is Just Another Tool
There is obviously quite a bit of work that can be automated through AI. But there’s no reason for archaeologists to hit the unemployment line any time soon. There are also plenty of instances where machines can’t yet match humans in identifying objects or patterns. At other times, it’s just faster doing the analysis yourself, Davis noted.

“For ‘big data’ tasks like detecting archaeological materials over a continental scale, AI is useful,” he said. “But for some tasks, it is sometimes more time-consuming to train an entire computer algorithm to complete a task that you can do on your own in an hour.”

Still, there’s no telling what the future will hold for studying the past using artificial intelligence.

“We have already started to see real improvements in the accuracy and reliability of these approaches, but there is a lot more to do,” Davis said. “Hopefully, we start to see these methods being directly applied to a variety of interesting questions around the world, as these methods can produce datasets that would have been impossible a few decades ago.”

Image Credit: James Wheeler from Pixabay Continue reading

Posted in Human Robots

#436190 What Is the Uncanny Valley?

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

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