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Long before coronavirus appeared and shattered our pre-existing “normal,” the future of work was a widely discussed and debated topic. We’ve watched automation slowly but surely expand its capabilities and take over more jobs, and we’ve wondered what artificial intelligence will eventually be capable of.
The pandemic swiftly turned the working world on its head, putting millions of people out of a job and forcing millions more to work remotely. But essential questions remain largely unchanged: we still want to make sure we’re not replaced, we want to add value, and we want an equitable society where different types of work are valued fairly.
To address these issues—as well as how the pandemic has impacted them—this week Singularity University held a digital summit on the future of work. Forty-three speakers from multiple backgrounds, countries, and sectors of the economy shared their expertise on everything from work in developing markets to why we shouldn’t want to go back to the old normal.
Gary Bolles, SU’s chair for the Future of Work, kicked off the discussion with his thoughts on a future of work that’s human-centric, including why it matters and how to build it.
What Is Work?
“Work” seems like a straightforward concept to define, but since it’s constantly shifting shape over time, let’s make sure we’re on the same page. Bolles defined work, very basically, as human skills applied to problems.
“It doesn’t matter if it’s a dirty floor or a complex market entry strategy or a major challenge in the world,” he said. “We as humans create value by applying our skills to solve problems in the world.” You can think of the problems that need solving as the demand and human skills as the supply, and the two are in constant oscillation, including, every few decades or centuries, a massive shift.
We’re in the midst of one of those shifts right now (and we already were, long before the pandemic). Skills that have long been in demand are declining. The World Economic Forum’s 2018 Future of Jobs report listed things like manual dexterity, management of financial and material resources, and quality control and safety awareness as declining skills. Meanwhile, skills the next generation will need include analytical thinking and innovation, emotional intelligence, creativity, and systems analysis.
Along Came a Pandemic
With the outbreak of coronavirus and its spread around the world, the demand side of work shrunk; all the problems that needed solving gave way to the much bigger, more immediate problem of keeping people alive. But as a result, tens of millions of people around the world are out of work—and those are just the ones that are being counted, and they’re a fraction of the true total. There are additional millions in seasonal or gig jobs or who work in informal economies now without work, too.
“This is our opportunity to focus,” Bolles said. “How do we help people re-engage with work? And make it better work, a better economy, and a better set of design heuristics for a world that we all want?”
Bolles posed five key questions—some spurred by impact of the pandemic—on which future of work conversations should focus to make sure it’s a human-centric future.
1. What does an inclusive world of work look like? Rather than seeing our current systems of work as immutable, we need to actually understand those systems and how we want to change them.
2. How can we increase the value of human work? We know that robots and software are going to be fine in the future—but for humans to be fine, we need to design for that very intentionally.
3. How can entrepreneurship help create a better world of work? In many economies the new value that’s created often comes from younger companies; how do we nurture entrepreneurship?
4. What will the intersection of workplace and geography look like? A large percentage of the global workforce is now working from home; what could some of the outcomes of that be? How does gig work fit in?
5. How can we ensure a healthy evolution of work and life? The health and the protection of those at risk is why we shut down our economies, but we need to find a balance that allows people to work while keeping them safe.
Problem-Solving Doesn’t End
The end result these questions are driving towards, and our overarching goal, is maximizing human potential. “If we come up with ways we can continue to do that, we’ll have a much more beneficial future of work,” Bolles said. “We should all be talking about where we can have an impact.”
One small silver lining? We had plenty of problems to solve in the world before ever hearing about coronavirus, and now we have even more. Is the pace of automation accelerating due to the virus? Yes. Are companies finding more ways to automate their processes in order to keep people from getting sick? They are.
But we have a slew of new problems on our hands, and we’re not going to stop needing human skills to solve them (not to mention the new problems that will surely emerge as second- and third-order effects of the shutdowns). If Bolles’ definition of work holds up, we’ve got ours cut out for us.
In an article from April titled The Great Reset, Bolles outlined three phases of the unemployment slump (we’re currently still in the first phase) and what we should be doing to minimize the damage. “The evolution of work is not about what will happen 10 to 20 years from now,” he said. “It’s about what we could be doing differently today.”
Watch Bolles’ talk and those of dozens of other experts for more insights into building a human-centric future of work here.
Image Credit: www_slon_pics from Pixabay Continue reading
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.
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.
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.
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