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#437230 How Drones and Aerial Vehicles Could ...

Drones, personal flying vehicles, and air taxis may be part of our everyday life in the very near future. Drones and air taxis will create new means of mobility and transport routes. Drones will be used for surveillance, delivery, and in the construction sector as it moves towards automation.

The introduction of these aerial craft into cities will require the built environment to change dramatically. Drones and other new aerial vehicles will require landing pads, charging points, and drone ports. They could usher in new styles of building, and lead to more sustainable design.

My research explores the impact of aerial vehicles on urban design, mapping out possible future trajectories.

An Aerial Age
Already, civilian drones can vary widely in size and complexity. They can carry a range of items from high-resolution cameras, delivery mechanisms, and thermal image technology to speakers and scanners. In the public sector, drones are used in disaster response and by the fire service to tackle fires which could endanger firefighters.

During the coronavirus pandemic, drones have been used by the police to enforce lockdown. Drones normally used in agriculture have sprayed disinfectant over cities. In the UK, drone delivery trials are taking place to carry medical items to the Isle of Wight.

Alongside drones, our future cities could also be populated by vertical takeoff and landing craft (VTOL), used as private vehicles and air taxis.

These vehicles are familiar to sci-fi fans. The late Syd Mead’s illustrations of the Spinner VTOL craft in the film Blade Runner captured the popular imagination, and the screens for the Spinners in Blade Runner 2049 created by Territory Studio provided a careful design fiction of the experience of piloting these types of vehicle.

Now, though, these flying vehicles are reality. A number of companies are developing eVTOL with electric multi-rotor jets, and a whole new motorsport is being established around them.

These aircraft have the potential to change our cities. However, they need to be tested extensively in urban airspace. A study conducted by Airbus found that public concerns about VTOL use focused on the safety of those on the ground and noise emissions.

New Cities
The widespread adoption of drones and VTOL will lead to new architecture and infrastructure. Existing buildings will require adaptations: landing pads, solar photovoltaic panels for energy efficiency, charging points for delivery drones, and landscaping to mitigate noise emissions.

A number of companies are already trialing drone delivery services. Existing buildings will need to be adapted to accommodate these new networks, and new design principles will have to be implemented in future ones.

The architect Saúl Ajuria Fernández has developed a design for a delivery drone port hub. This drone port acts like a beehive where drones recharge and collect parcels for distribution. Architectural firm Humphreys & Partners’ Pier 2, a design for a modular apartment building of the future, includes a cantilevered drone port for delivery services.

The Norman Foster Foundation has designed a drone port for delivery of medical supplies and other items for rural communities in Rwanda. The structure is also intended to function as a space for the public to congregate, as well as to receive training in robotics.

Drones may also help the urban environment become more sustainable. Researchers at the University of Stuttgart have developed a re-configurable architectural roof canopy system deployed by drones. By adjusting to follow the direction of the sun, the canopy provides shade and reduces reliance on ventilation systems.

Demand for air taxis and personal flying vehicles will develop where failures in other transport systems take place. The Airbus research found that of the cities surveyed, highest demand for VTOLs was in Los Angeles and Mexico City, urban areas famous for traffic pollution. To accommodate these aerial vehicles, urban space will need to transform to include landing pads, airport-like infrastructure, and recharge points.

Furthermore, this whole logistics system in lower airspace (below 500 feet), or what I term “hover space,” will need an urban traffic management system. One great example of how this hover space could work can be seen in a speculative project from design studio Superflux in their Drone Aviary project. A number of drones with different functions move around an urban area in a network, following different paths at varying heights.

We are at a critical period in urban history, faced by climatic breakdown and pandemic. Drones and aerial vehicles can be part of a profound rethink of the urban environment.

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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#437224 This Week’s Awesome Tech Stories From ...

VIRTUAL REALITY
How Holographic Tech Is Shrinking VR Displays to the Size of Sunglasses
Kyle Orland | Ars Technica
“…researchers at Facebook Reality Labs are using holographic film to create a prototype VR display that looks less like ski goggles and more like lightweight sunglasses. With a total thickness less than 9mm—and without significant compromises on field of view or resolution—these displays could one day make today’s bulky VR headset designs completely obsolete.”

TRANSPORTATION
Stock Surge Makes Tesla the World’s Most Valuable Automaker
Timothy B. Lee | Ars Technica
“It’s a remarkable milestone for a company that sells far fewer cars than its leading rivals. …But Wall Street is apparently very optimistic about Tesla’s prospects for future growth and profits. Many experts expect a global shift to battery electric vehicles over the next decade or two, and Tesla is leading that revolution.”

FUTURE OF FOOD
These Plant-Based Steaks Come Out of a 3D Printer
Adele Peters | Fast Company
“The startup, launched by cofounders who met while developing digital printers at HP, created custom 3D printers that aim to replicate meat by printing layers of what they call ‘alt-muscle,’ ‘alt-fat,’ and ‘alt-blood,’ forming a complex 3D model.”

AUTOMATION
The US Air Force Is Turning Old F-16s Into AI-Powered Fighters
Amit Katwala | Wired UK
“Maverick’s days are numbered. The long-awaited sequel to Top Gun is due to hit cinemas in December, but the virtuoso fighter pilots at its heart could soon be a thing of the past. The trustworthy wingman will soon be replaced by artificial intelligence, built into a drone, or an existing fighter jet with no one in the cockpit.”

ROBOTICS
NASA Wants to Build a Steam-Powered Hopping Robot to Explore Icy Worlds
Georgina Torbet | Digital Trends
“A bouncing, ball-like robot that’s powered by steam sounds like something out of a steampunk fantasy, but it could be the ideal way to explore some of the distant, icy environments of our solar system. …This round robot would be the size of a soccer ball, with instruments held in the center of a metal cage, and it would use steam-powered thrusters to make jumps from one area of terrain to the next.”

FUTURE
Could Teleporting Ever Work?
Daniel Kolitz | Gizmodo
“Have the major airlines spent decades suppressing teleportation research? Have a number of renowned scientists in the field of teleportation studies disappeared under mysterious circumstances? Is there a cork board at the FBI linking Delta Airlines, shady foreign security firms, and dozens of murdered research professors? …No. None of that is the case. Which begs the question: why doesn’t teleportation exist yet?”

ENERGY
Nuclear ‘Power Balls’ Could Make Meltdowns a Thing of the Past
Daniel Oberhaus | Wired
“Not only will these reactors be smaller and more efficient than current nuclear power plants, but their designers claim they’ll be virtually meltdown-proof. Their secret? Millions of submillimeter-size grains of uranium individually wrapped in protective shells. It’s called triso fuel, and it’s like a radioactive gobstopper.”

TECHNOLOGY
A Plan to Redesign the Internet Could Make Apps That No One Controls
Will Douglas Heaven | MIT Techology Review
“[John Perry] Barlow’s ‘home of Mind’ is ruled today by the likes of Google, Facebook, Amazon, Alibaba, Tencent, and Baidu—a small handful of the biggest companies on earth. Yet listening to the mix of computer scientists and tech investors speak at an online event on June 30 hosted by the Dfinity Foundation…it is clear that a desire for revolution is brewing.”

IMPACT
To Save the World, the UN Is Turning It Into a Computer Simulation
Will Bedingfield | Wired
“The UN has now announced its new secret recipe to achieve [its 17 sustainable development goals or SDGs]: a computer simulation called Policy Priority Inference (PPI). …PPI is a budgeting software—it simulates a government and its bureaucrats as they allocate money on projects that might move a country closer to an SDG.”

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#437150 AI Is Getting More Creative. But Who ...

Creativity is a trait that makes humans unique from other species. We alone have the ability to make music and art that speak to our experiences or illuminate truths about our world. But suddenly, humans’ artistic abilities have some competition—and from a decidedly non-human source.

Over the last couple years there have been some remarkable examples of art produced by deep learning algorithms. They have challenged the notion of an elusive definition of creativity and put into perspective how professionals can use artificial intelligence to enhance their abilities and produce beyond the known boundaries.

But when creativity is the result of code written by a programmer, using a format given by a software engineer, featuring private and public datasets, how do we assign ownership of AI-generated content, and particularly that of artwork? McKinsey estimates AI will annually generate value of $3.5 to $5.8 trillion across various sectors.

In 2018, a portrait that was christened Edmond de Belamy was made in a French art collective called Obvious. It used a database with 15,000 portraits from the 1300s to the 1900s to train a deep learning algorithm to produce a unique portrait. The painting sold for $432,500 in a New York auction. Similarly, a program called Aiva, trained on thousands of classical compositions, has released albums whose pieces are being used by ad agencies and movies.

The datasets used by these algorithms were different, but behind both there was a programmer who changed the brush strokes or musical notes into lines of code and a data scientist or engineer who fitted and “curated” the datasets to use for the model. There could also have been user-based input, and the output may be biased towards certain styles or unintentionally infringe on similar pieces of art. This shows that there are many collaborators with distinct roles in producing AI-generated content, and it’s important to discuss how they can protect their proprietary interests.

A perspective article published in Nature Machine Intelligence by Jason K. Eshraghian in March looks into how AI artists and the collaborators involved should assess their ownership, laying out some guiding principles that are “only applicable for as long as AI does not have legal parenthood, the way humans and corporations are accorded.”

Before looking at how collaborators can protect their interests, it’s useful to understand the basic requirements of copyright law. The artwork in question must be an “original work of authorship fixed in a tangible medium.” Given this principle, the author asked whether it’s possible for AI to exercise creativity, skill, or any other indicator of originality. The answer is still straightforward—no—or at least not yet. Currently, AI’s range of creativity doesn’t exceed the standard used by the US Copyright Office, which states that copyright law protects the “fruits of intellectual labor founded in the creative powers of the mind.”

Due to the current limitations of narrow AI, it must have some form of initial input that helps develop its ability to create. At the moment AI is a tool that can be used to produce creative work in the same way that a video camera is a tool used to film creative content. Video producers don’t need to comprehend the inner workings of their cameras; as long as their content shows creativity and originality, they have a proprietary claim over their creations.

The same concept applies to programmers developing a neural network. As long as the dataset they use as input yields an original and creative result, it will be protected by copyright law; they don’t need to understand the high-level mathematics, which in this case are often black box algorithms whose output it’s impossible to analyze.

Will robots and algorithms eventually be treated as creative sources able to own copyrights? The author pointed to the recent patent case of Warner-Lambert Co Ltd versus Generics where Lord Briggs, Justice of the Supreme Court of the UK, determined that “the court is well versed in identifying the governing mind of a corporation and, when the need arises, will no doubt be able to do the same for robots.”

In the meantime, Dr. Eshraghian suggests four guiding principles to allow artists who collaborate with AI to protect themselves.

First, programmers need to document their process through online code repositories like GitHub or BitBucket.

Second, data engineers should also document and catalog their datasets and the process they used to curate their models, indicating selectivity in their criteria as much as possible to demonstrate their involvement and creativity.

Third, in cases where user data is utilized, the engineer should “catalog all runs of the program” to distinguish the data selection process. This could be interpreted as a way of determining whether user-based input has a right to claim the copyright too.

Finally, the output should avoid infringing on others’ content through methods like reverse image searches and version control, as mentioned above.

AI-generated artwork is still a very new concept, and the ambiguous copyright laws around it give a lot of flexibility to AI artists and programmers worldwide. The guiding principles Eshraghian lays out will hopefully shed some light on the legislation we’ll eventually need for this kind of art, and start an important conversation between all the stakeholders involved.

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#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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#436155 This MIT Robot Wants to Use Your ...

MIT researchers have demonstrated a new kind of teleoperation system that allows a two-legged robot to “borrow” a human operator’s physical skills to move with greater agility. The system works a bit like those haptic suits from the Spielberg movie “Ready Player One.” But while the suits in the film were used to connect humans to their VR avatars, the MIT suit connects the operator to a real robot.

The robot is called Little HERMES, and it’s currently just a pair of little legs, about a third the size of an average adult. It can step and jump in place or walk a short distance while supported by a gantry. While that in itself is not very impressive, the researchers say their approach could help bring capable disaster robots closer to reality. They explain that, despite recent advances, building fully autonomous robots with motor and decision-making skills comparable to those of humans remains a challenge. That’s where a more advanced teleoperation system could help.

The researchers, João Ramos, now an assistant professor at the University of Illinois at Urbana-Champaign, and Sangbae Kim, director of MIT’s Biomimetic Robotics Lab, describe the project in this week’s issue of Science Robotics. In the paper, they argue that existing teleoperation systems often can’t effectively match the operator’s motions to that of a robot. In addition, conventional systems provide no physical feedback to the human teleoperator about what the robot is doing. Their new approach addresses these two limitations, and to see how it would work in practice, they built Little HERMES.

Image: Science Robotics

The main components of MIT’s bipedal robot Little HERMES: (A) Custom actuators designed to withstand impact and capable of producing high torque. (B) Lightweight limbs with low inertia and fast leg swing. (C) Impact-robust and lightweight foot sensors with three-axis contact force sensor. (D) Ruggedized IMU to estimates the robot’s torso posture, angular rate, and linear acceleration. (E) Real-time computer sbRIO 9606 from National Instruments for robot control. (F) Two three-cell lithium-polymer batteries in series. (G) Rigid and lightweight frame to minimize the robot mass.

Early this year, the MIT researchers wrote an in-depth article for IEEE Spectrum about the project, which includes Little HERMES and also its big brother, HERMES (for Highly Efficient Robotic Mechanisms and Electromechanical System). In that article, they describe the two main components of the system:

[…] We are building a telerobotic system that has two parts: a humanoid capable of nimble, dynamic behaviors, and a new kind of two-way human-machine interface that sends your motions to the robot and the robot’s motions to you. So if the robot steps on debris and starts to lose its balance, the operator feels the same instability and instinctively reacts to avoid falling. We then capture that physical response and send it back to the robot, which helps it avoid falling, too. Through this human-robot link, the robot can harness the operator’s innate motor skills and split-second reflexes to keep its footing.

You could say we’re putting a human brain inside the machine.

Image: Science Robotics

The human-machine interface built by the MIT researchers for controlling Little HERMES is different from conventional ones in that it relies on the operator’s reflexes to improve the robot’s stability. The researchers call it the balance-feedback interface, or BFI. The main modules of the BFI include: (A) Custom interface attachments for torso and feet designed to capture human motion data at high speed (1 kHz). (B) Two underactuated modules to track the position and orientation of the torso and apply forces to the operator. (C) Each actuation module has three DoFs, one of which is a push/pull rod actuated by a DC brushless motor. (D) A series of linkages with passive joints connected to the operator’s feet and track their spatial translation. (E) Real-time controller cRIO 9082 from National Instruments to close the BFI control loop. (F) Force plate to estimated the operator’s center of pressure position and measure the shear and normal components of the operator’s net contact force.

Here’s more footage of the experiments, showing Little HERMES stepping and jumping in place, walking a few steps forward and backward, and balancing. Watch until the end to see a compilation of unsuccessful stepping experiments. Poor Little HERMES!

In the new Science Robotics paper, the MIT researchers explain how they solved one of the key challenges in making their teleoperation system effective:

The challenge of this strategy lies in properly mapping human body motion to the machine while simultaneously informing the operator how closely the robot is reproducing the movement. Therefore, we propose a solution for this bilateral feedback policy to control a bipedal robot to take steps, jump, and walk in synchrony with a human operator. Such dynamic synchronization was achieved by (i) scaling the core components of human locomotion data to robot proportions in real time and (ii) applying feedback forces to the operator that are proportional to the relative velocity between human and robot.

Little HERMES is now taking its first steps, quite literally, but the researchers say they hope to use robotic legs with similar design as part of a more advanced humanoid. One possibility they’ve envisioned is a fast-moving quadruped robot that could run through various kinds of terrain and then transform into a bipedal robot that would use its hands to perform dexterous manipulations. This could involve merging some of the robots the MIT researchers have built in their lab, possibly creating hybrids between Cheetah and HERMES, or Mini Cheetah and Little HERMES. We can’t wait to see what the resulting robots will look like.

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