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#432331 $10 million XPRIZE Aims for Robot ...
Ever wished you could be in two places at the same time? The XPRIZE Foundation wants to make that a reality with a $10 million competition to build robot avatars that can be controlled from at least 100 kilometers away.
The competition was announced by XPRIZE founder Peter Diamandis at the SXSW conference in Austin last week, with an ambitious timeline of awarding the grand prize by October 2021. Teams have until October 31st to sign up, and they need to submit detailed plans to a panel of judges by the end of next January.
The prize, sponsored by Japanese airline ANA, has given contestants little guidance on how they expect them to solve the challenge other than saying their solutions need to let users see, hear, feel, and interact with the robot’s environment as well as the people in it.
XPRIZE has also not revealed details of what kind of tasks the robots will be expected to complete, though they’ve said tasks will range from “simple” to “complex,” and it should be possible for an untrained operator to use them.
That’s a hugely ambitious goal that’s likely to require teams to combine multiple emerging technologies, from humanoid robotics to virtual reality high-bandwidth communications and high-resolution haptics.
If any of the teams succeed, the technology could have myriad applications, from letting emergency responders enter areas too hazardous for humans to helping people care for relatives who live far away or even just allowing tourists to visit other parts of the world without the jet lag.
“Our ability to physically experience another geographic location, or to provide on-the-ground assistance where needed, is limited by cost and the simple availability of time,” Diamandis said in a statement.
“The ANA Avatar XPRIZE can enable creation of an audacious alternative that could bypass these limitations, allowing us to more rapidly and efficiently distribute skill and hands-on expertise to distant geographic locations where they are needed, bridging the gap between distance, time, and cultures,” he added.
Interestingly, the technology may help bypass an enduring hand break on the widespread use of robotics: autonomy. By having a human in the loop, you don’t need nearly as much artificial intelligence analyzing sensory input and making decisions.
Robotics software is doing a lot more than just high-level planning and strategizing, though. While a human moves their limbs instinctively without consciously thinking about which muscles to activate, controlling and coordinating a robot’s components requires sophisticated algorithms.
The DARPA Robotics Challenge demonstrated just how hard it was to get human-shaped robots to do tasks humans would find simple, such as opening doors, climbing steps, and even just walking. These robots were supposedly semi-autonomous, but on many tasks they were essentially tele-operated, and the results suggested autonomy isn’t the only problem.
There’s also the issue of powering these devices. You may have noticed that in a lot of the slick web videos of humanoid robots doing cool things, the machine is attached to the roof by a large cable. That’s because they suck up huge amounts of power.
Possibly the most advanced humanoid robot—Boston Dynamics’ Atlas—has a battery, but it can only run for about an hour. That might be fine for some applications, but you don’t want it running out of juice halfway through rescuing someone from a mine shaft.
When it comes to the link between the robot and its human user, some of the technology is probably not that much of a stretch. Virtual reality headsets can create immersive audio-visual environments, and a number of companies are working on advanced haptic suits that will let people “feel” virtual environments.
Motion tracking technology may be more complicated. While even consumer-grade devices can track peoples’ movements with high accuracy, you will probably need to don something more like an exoskeleton that can both pick up motion and provide mechanical resistance, so that when the robot bumps into an immovable object, the user stops dead too.
How hard all of this will be is also dependent on how the competition ultimately defines subjective terms like “feel” and “interact.” Will the user need to be able to feel a gentle breeze on the robot’s cheek or be able to paint a watercolor? Or will simply having the ability to distinguish a hard object from a soft one or shake someone’s hand be enough?
Whatever the fidelity they decide on, the approach will require huge amounts of sensory and control data to be transmitted over large distances, most likely wirelessly, in a way that’s fast and reliable enough that there’s no lag or interruptions. Fortunately 5G is launching this year, with a speed of 10 gigabits per second and very low latency, so this problem should be solved by 2021.
And it’s worth remembering there have already been some tentative attempts at building robotic avatars. Telepresence robots have solved the seeing, hearing, and some of the interacting problems, and MIT has already used virtual reality to control robots to carry out complex manipulation tasks.
South Korean company Hankook Mirae Technology has also unveiled a 13-foot-tall robotic suit straight out of a sci-fi movie that appears to have made some headway with the motion tracking problem, albeit with a human inside the robot. Toyota’s T-HR3 does the same, but with the human controlling the robot from a “Master Maneuvering System” that marries motion tracking with VR.
Combining all of these capabilities into a single machine will certainly prove challenging. But if one of the teams pulls it off, you may be able to tick off trips to the Seven Wonders of the World without ever leaving your house.
Image Credit: ANA Avatar XPRIZE Continue reading
#431920 If We Could Engineer Animals to Be as ...
Advances in neural implants and genetic engineering suggest that in the not–too–distant future we may be able to boost human intelligence. If that’s true, could we—and should we—bring our animal cousins along for the ride?
Human brain augmentation made headlines last year after several tech firms announced ambitious efforts to build neural implant technology. Duke University neuroscientist Mikhail Lebedev told me in July it could be decades before these devices have applications beyond the strictly medical.
But he said the technology, as well as other pharmacological and genetic engineering approaches, will almost certainly allow us to boost our mental capacities at some point in the next few decades.
Whether this kind of cognitive enhancement is a good idea or not, and how we should regulate it, are matters of heated debate among philosophers, futurists, and bioethicists, but for some it has raised the question of whether we could do the same for animals.
There’s already tantalizing evidence of the idea’s feasibility. As detailed in BBC Future, a group from MIT found that mice that were genetically engineered to express the human FOXP2 gene linked to learning and speech processing picked up maze routes faster. Another group at Wake Forest University studying Alzheimer’s found that neural implants could boost rhesus monkeys’ scores on intelligence tests.
The concept of “animal uplift” is most famously depicted in the Planet of the Apes movie series, whose planet–conquering protagonists are likely to put most people off the idea. But proponents are less pessimistic about the outcomes.
Science fiction author David Brin popularized the concept in his “Uplift” series of novels, in which humans share the world with various other intelligent animals that all bring their own unique skills, perspectives, and innovations to the table. “The benefits, after a few hundred years, could be amazing,” he told Scientific American.
Others, like George Dvorsky, the director of the Rights of Non-Human Persons program at the Institute for Ethics and Emerging Technologies, go further and claim there is a moral imperative. He told the Boston Globe that denying augmentation technology to animals would be just as unethical as excluding certain groups of humans.
Others are less convinced. Forbes’ Alex Knapp points out that developing the technology to uplift animals will likely require lots of very invasive animal research that will cause huge suffering to the animals it purports to help. This is problematic enough with normal animals, but could be even more morally dubious when applied to ones whose cognitive capacities have been enhanced.
The whole concept could also be based on a fundamental misunderstanding of the nature of intelligence. Humans are prone to seeing intelligence as a single, self-contained metric that progresses in a linear way with humans at the pinnacle.
In an opinion piece in Wired arguing against the likelihood of superhuman artificial intelligence, Kevin Kelly points out that science has no such single dimension with which to rank the intelligence of different species. Each one combines a bundle of cognitive capabilities, some of which are well below our own capabilities and others which are superhuman. He uses the example of the squirrel, which can remember the precise location of thousands of acorns for years.
Uplift efforts may end up being less about boosting intelligence and more about making animals more human-like. That represents “a kind of benevolent colonialism” that assumes being more human-like is a good thing, Paul Graham Raven, a futures researcher at the University of Sheffield in the United Kingdom, told the Boston Globe. There’s scant evidence that’s the case, and it’s easy to see how a chimpanzee with the mind of a human might struggle to adjust.
There are also fundamental barriers that may make it difficult to achieve human-level cognitive capabilities in animals, no matter how advanced brain augmentation technology gets. In 2013 Swedish researchers selectively bred small fish called guppies for bigger brains. This made them smarter, but growing the energy-intensive organ meant the guppies developed smaller guts and produced fewer offspring to compensate.
This highlights the fact that uplifting animals may require more than just changes to their brains, possibly a complete rewiring of their physiology that could prove far more technically challenging than human brain augmentation.
Our intelligence is intimately tied to our evolutionary history—our brains are bigger than other animals’; opposable thumbs allow us to use tools; our vocal chords make complex communication possible. No matter how much you augment a cow’s brain, it still couldn’t use a screwdriver or talk to you in English because it simply doesn’t have the machinery.
Finally, from a purely selfish point of view, even if it does become possible to create a level playing field between us and other animals, it may not be a smart move for humanity. There’s no reason to assume animals would be any more benevolent than we are, having evolved in the same ‘survival of the fittest’ crucible that we have. And given our already endless capacity to divide ourselves along national, religious, or ethnic lines, conflict between species seems inevitable.
We’re already likely to face considerable competition from smart machines in the coming decades if you believe the hype around AI. So maybe adding a few more intelligent species to the mix isn’t the best idea.
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#431592 Reactive Content Will Get to Know You ...
The best storytellers react to their audience. They look for smiles, signs of awe, or boredom; they simultaneously and skillfully read both the story and their sitters. Kevin Brooks, a seasoned storyteller working for Motorola’s Human Interface Labs, explains, “As the storyteller begins, they must tune in to… the audience’s energy. Based on this energy, the storyteller will adjust their timing, their posture, their characterizations, and sometimes even the events of the story. There is a dialog between audience and storyteller.”
Shortly after I read the script to Melita, the latest virtual reality experience from Madrid-based immersive storytelling company Future Lighthouse, CEO Nicolas Alcalá explained to me that the piece is an example of “reactive content,” a concept he’s been working on since his days at Singularity University.
For the first time in history, we have access to technology that can merge the reactive and affective elements of oral storytelling with the affordances of digital media, weaving stunning visuals, rich soundtracks, and complex meta-narratives in a story arena that has the capability to know you more intimately than any conventional storyteller could.
It’s no understatement to say that the storytelling potential here is phenomenal.
In short, we can refer to content as reactive if it reads and reacts to users based on their body rhythms, emotions, preferences, and data points. Artificial intelligence is used to analyze users’ behavior or preferences to sculpt unique storylines and narratives, essentially allowing for a story that changes in real time based on who you are and how you feel.
The development of reactive content will allow those working in the industry to go one step further than simply translating the essence of oral storytelling into VR. Rather than having a narrative experience with a digital storyteller who can read you, reactive content has the potential to create an experience with a storyteller who knows you.
This means being able to subtly insert minor personal details that have a specific meaning to the viewer. When we talk to our friends we often use experiences we’ve shared in the past or knowledge of our audience to give our story as much resonance as possible. Targeting personal memories and aspects of our lives is a highly effective way to elicit emotions and aid in visualizing narratives. When you can do this with the addition of visuals, music, and characters—all lifted from someone’s past—you have the potential for overwhelmingly engaging and emotionally-charged content.
Future Lighthouse inform me that for now, reactive content will rely primarily on biometric feedback technology such as breathing, heartbeat, and eye tracking sensors. A simple example would be a story in which parts of the environment or soundscape change in sync with the user’s heartbeat and breathing, or characters who call you out for not paying attention.
The next step would be characters and situations that react to the user’s emotions, wherein algorithms analyze biometric information to make inferences about states of emotional arousal (“why are you so nervous?” etc.). Another example would be implementing the use of “arousal parameters,” where the audience can choose what level of “fear” they want from a VR horror story before algorithms modulate the experience using information from biometric feedback devices.
The company’s long-term goal is to gather research on storytelling conventions and produce a catalogue of story “wireframes.” This entails distilling the basic formula to different genres so they can then be fleshed out with visuals, character traits, and soundtracks that are tailored for individual users based on their deep data, preferences, and biometric information.
The development of reactive content will go hand in hand with a renewed exploration of diverging, dynamic storylines, and multi-narratives, a concept that hasn’t had much impact in the movie world thus far. In theory, the idea of having a story that changes and mutates is captivating largely because of our love affair with serendipity and unpredictability, a cultural condition theorist Arthur Kroker refers to as the “hypertextual imagination.” This feeling of stepping into the unknown with the possibility of deviation from the habitual translates as a comforting reminder that our own lives can take exciting and unexpected turns at any moment.
The inception of the concept into mainstream culture dates to the classic Choose Your Own Adventure book series that launched in the late 70s, which in its literary form had great success. However, filmic takes on the theme have made somewhat less of an impression. DVDs like I’m Your Man (1998) and Switching (2003) both use scene selection tools to determine the direction of the storyline.
A more recent example comes from Kino Industries, who claim to have developed the technology to allow filmmakers to produce interactive films in which viewers can use smartphones to quickly vote on which direction the narrative takes at numerous decision points throughout the film.
The main problem with diverging narrative films has been the stop-start nature of the interactive element: when I’m immersed in a story I don’t want to have to pick up a controller or remote to select what’s going to happen next. Every time the audience is given the option to take a new path (“press this button”, “vote on X, Y, Z”) the narrative— and immersion within that narrative—is temporarily halted, and it takes the mind a while to get back into this state of immersion.
Reactive content has the potential to resolve these issues by enabling passive interactivity—that is, input and output without having to pause and actively make decisions or engage with the hardware. This will result in diverging, dynamic narratives that will unfold seamlessly while being dependent on and unique to the specific user and their emotions. Passive interactivity will also remove the game feel that can often be a symptom of interactive experiences and put a viewer somewhere in the middle: still firmly ensconced in an interactive dynamic narrative, but in a much subtler way.
While reading the Melita script I was particularly struck by a scene in which the characters start to engage with the user and there’s a synchronicity between the user’s heartbeat and objects in the virtual world. As the narrative unwinds and the words of Melita’s character get more profound, parts of the landscape, which seemed to be flashing and pulsating at random, come together and start to mimic the user’s heartbeat.
In 2013, Jane Aspell of Anglia Ruskin University (UK) and Lukas Heydrich of the Swiss Federal Institute of Technology proved that a user’s sense of presence and identification with a virtual avatar could be dramatically increased by syncing the on-screen character with the heartbeat of the user. The relationship between bio-digital synchronicity, immersion, and emotional engagement is something that will surely have revolutionary narrative and storytelling potential.
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