Tag Archives: jumping
#437805 Video Friday: Quadruped Robot HyQ ...
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!):
RSS 2020 – July 12-16, 2020 – [Virtual Conference]
CLAWAR 2020 – August 24-26, 2020 – [Virtual Conference]
ICUAS 2020 – September 1-4, 2020 – Athens, Greece
ICRES 2020 – September 28-29, 2020 – Taipei, Taiwan
IROS 2020 – October 25-29, 2020 – Las Vegas, Nevada
ICSR 2020 – November 14-16, 2020 – Golden, Colorado
Let us know if you have suggestions for next week, and enjoy today’s videos.
Four-legged HyQ balancing on two legs. Nice results from the team at IIT’s Dynamic Legged Systems Lab. And we can’t wait to see the “ninja walk,” currently shown in simulation, implemented with the real robot!
The development of balance controllers for legged robots with point feet remains a challenge when they have to traverse extremely constrained environments. We present a balance controller that has the potential to achieve line walking for quadruped robots. Our initial experiments show the 90-kg robot HyQ balancing on two feet and recovering from external pushes, as well as some changes in posture achieved without losing balance.
[ IIT ]
Thanks Victor!
Ava Robotics’ telepresence robot has been beheaded by MIT, and it now sports a coronavirus-destroying UV array.
UV-C light has proven to be effective at killing viruses and bacteria on surfaces and aerosols, but it’s unsafe for humans to be exposed. Fortunately, Ava’s telepresence robot doesn’t require any human supervision. Instead of the telepresence top, the team subbed in a UV-C array for disinfecting surfaces. Specifically, the array uses short-wavelength ultraviolet light to kill microorganisms and disrupt their DNA in a process called ultraviolet germicidal irradiation. The complete robot system is capable of mapping the space — in this case, GBFB’s warehouse — and navigating between waypoints and other specified areas. In testing the system, the team used a UV-C dosimeter, which confirmed that the robot was delivering the expected dosage of UV-C light predicted by the model.
[ MIT ]
While it’s hard enough to get quadrupedal robots to walk in complex environments, this work from the Robotic Systems Lab at ETH Zurich shows some impressive whole body planning that allows ANYmal to squeeze its body through small or weirdly shaped spaces.
[ RSL ]
Engineering researchers at North Carolina State University and Temple University have developed soft robots inspired by jellyfish that can outswim their real-life counterparts. More practically, the new jellyfish-bots highlight a technique that uses pre-stressed polymers to make soft robots more powerful.
The researchers also used the technique to make a fast-moving robot that resembles a larval insect curling its body, then jumping forward as it quickly releases its stored energy. Lastly, the researchers created a three-pronged gripping robot – with a twist. Most grippers hang open when “relaxed,” and require energy to hold on to their cargo as it is lifted and moved from point A to point B. But this claw’s default position is clenched shut. Energy is required to open the grippers, but once they’re in position, the grippers return to their “resting” mode – holding their cargo tight.
[ NC State ]
As control skills increase, we are more and more impressed by what a Cassie bipedal robot can do. Those who have been following our channel, know that we always show the limitations of our work. So while there is still much to do, you gotta like the direction things are going. Later this year, you will see this controller integrated with our real-time planner and perception system. Autonomy with agility! Watch out for us!
[ University of Michigan ]
GITAI’s S1 arm is a little less exciting than their humanoid torso, but it looks like this one might actually be going to the ISS next year.
Here’s how the humanoid would handle a similar task:
[ GITAI ]
Thanks Fan!
If you need a robot that can lift 250 kg at 10 m/s across a workspace of a thousand cubic meters, here’s your answer.
[ Fraunhofer ]
Penn engineers with funding from the National Science Foundation, have nanocardboard plates able to levitate when bright light is shone on them. This fleet of tiny aircraft could someday explore the skies of other worlds, including Mars. The thinner atmosphere there would give the flyers a boost, enabling them to carry payloads ten times as massive as they are, making them an efficient, light-weight alternative to the Mars helicopter.
[ UPenn ]
Erin Sparks, assistant professor in Plant and Soil Sciences, dreamed of a robot she could use in her research. A perfect partnership was formed when Adam Stager, then a mechanical engineering Ph.D. student, reached out about a robot he had a gut feeling might be useful in agriculture. The pair moved forward with their research with corn at the UD Farm, using the robot to capture dynamic phenotyping information of brace roots over time.
[ Sparks Lab ]
This is a video about robot spy turtles but OMG that bird drone landing gear.
[ PBS ]
If you have a DJI Mavic, you now have something new to worry about.
[ DroGone ]
I was able to spot just one single person in the warehouse footage in this video.
[ Berkshire Grey ]
Flyability has partnered with the ROBINS Project to help fill gaps in the technology used in ship inspections. Watch this video to learn more about the ROBINS project and how Flyability’s drones for confined spaces are helping make inspections on ships safer, cheaper, and more efficient.
[ Flyability ]
In this video, a mission of the Alpha Aerial Scout of Team CERBERUS during the DARPA Subterranean Challenge Urban Circuit event is presented. The Alpha Robot operates inside the Satsop Abandoned Power Plant and performs autonomous exploration. This deployment took place during the 3rd field trial of team CERBERUS during the Urban Circuit event of the DARPA Subterranean Challenge.
[ ARL ]
More excellent talks from the remote Legged Robots ICRA workshop- we’ve posted three here, but there are several other good talks this week as well.
[ ICRA 2020 Legged Robots Workshop ] Continue reading
#437189 Open-source, low-cost, quadruped robot ...
Robots capable of the sophisticated motions that define advanced physical actions like walking, jumping, and navigating terrain can cost $50,000 or more, making real-world experimentation prohibitively expensive for many. Continue reading
#437168 An origami-based robotic structure ...
Researchers at Seoul National University have recently developed a compact and lightweight origami structure inspired by ladybird beetles. In a paper published in Science Robotics they show how this structure can be used to build a winged jump-gliding robot. Jump-gliding is a specific locomotion style that combines gliding and jumping movements. Continue reading
#436484 If Machines Want to Make Art, Will ...
Assuming that the emergence of consciousness in artificial minds is possible, those minds will feel the urge to create art. But will we be able to understand it? To answer this question, we need to consider two subquestions: when does the machine become an author of an artwork? And how can we form an understanding of the art that it makes?
Empathy, we argue, is the force behind our capacity to understand works of art. Think of what happens when you are confronted with an artwork. We maintain that, to understand the piece, you use your own conscious experience to ask what could possibly motivate you to make such an artwork yourself—and then you use that first-person perspective to try to come to a plausible explanation that allows you to relate to the artwork. Your interpretation of the work will be personal and could differ significantly from the artist’s own reasons, but if we share sufficient experiences and cultural references, it might be a plausible one, even for the artist. This is why we can relate so differently to a work of art after learning that it is a forgery or imitation: the artist’s intent to deceive or imitate is very different from the attempt to express something original. Gathering contextual information before jumping to conclusions about other people’s actions—in art, as in life—can enable us to relate better to their intentions.
But the artist and you share something far more important than cultural references: you share a similar kind of body and, with it, a similar kind of embodied perspective. Our subjective human experience stems, among many other things, from being born and slowly educated within a society of fellow humans, from fighting the inevitability of our own death, from cherishing memories, from the lonely curiosity of our own mind, from the omnipresence of the needs and quirks of our biological body, and from the way it dictates the space- and time-scales we can grasp. All conscious machines will have embodied experiences of their own, but in bodies that will be entirely alien to us.
We are able to empathize with nonhuman characters or intelligent machines in human-made fiction because they have been conceived by other human beings from the only subjective perspective accessible to us: “What would it be like for a human to behave as x?” In order to understand machinic art as such—and assuming that we stand a chance of even recognizing it in the first place—we would need a way to conceive a first-person experience of what it is like to be that machine. That is something we cannot do even for beings that are much closer to us. It might very well happen that we understand some actions or artifacts created by machines of their own volition as art, but in doing so we will inevitably anthropomorphize the machine’s intentions. Art made by a machine can be meaningfully interpreted in a way that is plausible only from the perspective of that machine, and any coherent anthropomorphized interpretation will be implausibly alien from the machine perspective. As such, it will be a misinterpretation of the artwork.
But what if we grant the machine privileged access to our ways of reasoning, to the peculiarities of our perception apparatus, to endless examples of human culture? Wouldn’t that enable the machine to make art that a human could understand? Our answer is yes, but this would also make the artworks human—not authentically machinic. All examples so far of “art made by machines” are actually just straightforward examples of human art made with computers, with the artists being the computer programmers. It might seem like a strange claim: how can the programmers be the authors of the artwork if, most of the time, they can’t control—or even anticipate—the actual materializations of the artwork? It turns out that this is a long-standing artistic practice.
Suppose that your local orchestra is playing Beethoven’s Symphony No 7 (1812). Even though Beethoven will not be directly responsible for any of the sounds produced there, you would still say that you are listening to Beethoven. Your experience might depend considerably on the interpretation of the performers, the acoustics of the room, the behavior of fellow audience members or your state of mind. Those and other aspects are the result of choices made by specific individuals or of accidents happening to them. But the author of the music? Ludwig van Beethoven. Let’s say that, as a somewhat odd choice for the program, John Cage’s Imaginary Landscape No 4 (March No 2) (1951) is also played, with 24 performers controlling 12 radios according to a musical score. In this case, the responsibility for the sounds being heard should be attributed to unsuspecting radio hosts, or even to electromagnetic fields. Yet, the shaping of sounds over time—the composition—should be credited to Cage. Each performance of this piece will vary immensely in its sonic materialization, but it will always be a performance of Imaginary Landscape No 4.
Why should we change these principles when artists use computers if, in these respects at least, computer art does not bring anything new to the table? The (human) artists might not be in direct control of the final materializations, or even be able to predict them but, despite that, they are the authors of the work. Various materializations of the same idea—in this case formalized as an algorithm—are instantiations of the same work manifesting different contextual conditions. In fact, a common use of computation in the arts is the production of variations of a process, and artists make extensive use of systems that are sensitive to initial conditions, external inputs, or pseudo-randomness to deliberately avoid repetition of outputs. Having a computer executing a procedure to build an artwork, even if using pseudo-random processes or machine-learning algorithms, is no different than throwing dice to arrange a piece of music, or to pursuing innumerable variations of the same formula. After all, the idea of machines that make art has an artistic tradition that long predates the current trend of artworks made by artificial intelligence.
Machinic art is a term that we believe should be reserved for art made by an artificial mind’s own volition, not for that based on (or directed towards) an anthropocentric view of art. From a human point of view, machinic artworks will still be procedural, algorithmic, and computational. They will be generative, because they will be autonomous from a human artist. And they might be interactive, with humans or other systems. But they will not be the result of a human deferring decisions to a machine, because the first of those—the decision to make art—needs to be the result of a machine’s volition, intentions, and decisions. Only then will we no longer have human art made with computers, but proper machinic art.
The problem is not whether machines will or will not develop a sense of self that leads to an eagerness to create art. The problem is that if—or when—they do, they will have such a different Umwelt that we will be completely unable to relate to it from our own subjective, embodied perspective. Machinic art will always lie beyond our ability to understand it because the boundaries of our comprehension—in art, as in life—are those of the human experience.
This article was originally published at Aeon and has been republished under Creative Commons.
Image Credit: Rene Böhmer / Unsplash Continue reading