Advances in Human-Robot Interaction

Rapid advances in the field of robotics have made it possible to use robots not just in industrial automation but also in entertainment, rehabilitation, and home service. Since robots will likely affect many aspects of human existence, fundamental questions of human-robot interaction must be formulated and, if at all possible, resolved. Some of these questions are addressed in this collection of papers by leading HRI researchers

Designing Sound for Social Robots: Advancing Professional Practice through Design Principles

Sound is one of the core modalities social robots can use to communicate with the humans around them in rich, engaging, and effective ways. While a robot's auditory communication happens predominantly through speech, a growing body of work demonstrates the various ways non-verbal robot sound can affect humans, and researchers have begun to formulate design recommendations that encourage using the medium to its full potential. However, formal strategies for successful robot sound design have so far not emerged, current frameworks and principles are largely untested and no effort has been made to survey creative robot sound design practice. In this dissertation, I combine creative practice, expert interviews, and human-robot interaction studies to advance our understanding of how designers can best ideate, create, and implement robot sound. In a first step, I map out a design space that combines established sound design frameworks with insights from interviews with robot sound design experts. I then systematically traverse this space across three robot sound design explorations, investigating (i) the effect of artificial movement sound on how robots are perceived, (ii) the benefits of applying compositional theory to robot sound design, and (iii) the role and potential of spatially distributed robot sound. Finally, I implement the designs from prior chapters into humanoid robot Diamandini, and deploy it as a case study. Based on a synthesis of the data collection and design practice conducted across the thesis, I argue that the creation of robot sound is best guided by four design perspectives: fiction (sound as a means to convey a narrative), composition (sound as its own separate listening experience), plasticity (sound as something that can vary and adapt over time), and space (spatial distribution of sound as a separate communication channel). The conclusion of the thesis presents these four perspectives and proposes eleven design principles across them which are supported by detailed examples. This work contributes an extensive body of design principles, process models, and techniques providing researchers and designers with new tools to enrich the way robots communicate with humans

Abstraction of representation in live theater

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2009.Cataloged from PDF version of thesis.Includes bibliographical references (p. 151-158).Early in Tod Machover's opera Death and the Powers, the main character, Simon Powers, is subsumed into a technological environment of his own creation. The theatrical set comes alive in the form of robotic, visual, and sonic elements that allow the actor to extend his range and influence across the stage in unique and dynamic ways. The environment must compellingly assume the behavior and expression of the absent Simon. This thesis presents a new approach called Disembodied Performance that adapts ideas from affective psychology, cognitive science, and the theatrical tradition to create a framework for thinking about the translation of stage presence. An implementation of a system informed by this methodology is demonstrated. In order to distill the essence of this character, we recover performance parameters in real-time from physiological sensors, voice, and vision systems. This system allows the offstage actor to express emotion and interact with others onstage. The Disembodied Performance approach takes a new direction in augmented performance by employing a nonrepresentational abstraction of a human presence that fully translates a character into an environment. The technique and theory presented also have broad-reaching applications outside of theater for personal expression, telepresence, and storytelling.Peter Alexander Torpey.S.M

Cognitive-developmental learning for a humanoid robot : a caregiver's gift

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2004.Includes bibliographical references (p. 319-341).(cont.) which are then applied to developmentally acquire new object representations. The humanoid robot therefore sees the world through the caregiver's eyes. Building an artificial humanoid robot's brain, even at an infant's cognitive level, has been a long quest which still lies only in the realm of our imagination. Our efforts towards such a dimly imaginable task are developed according to two alternate and complementary views: cognitive and developmental.The goal of this work is to build a cognitive system for the humanoid robot, Cog, that exploits human caregivers as catalysts to perceive and learn about actions, objects, scenes, people, and the robot itself. This thesis addresses a broad spectrum of machine learning problems across several categorization levels. Actions by embodied agents are used to automatically generate training data for the learning mechanisms, so that the robot develops categorization autonomously. Taking inspiration from the human brain, a framework of algorithms and methodologies was implemented to emulate different cognitive capabilities on the humanoid robot Cog. This framework is effectively applied to a collection of AI, computer vision, and signal processing problems. Cognitive capabilities of the humanoid robot are developmentally created, starting from infant-like abilities for detecting, segmenting, and recognizing percepts over multiple sensing modalities. Human caregivers provide a helping hand for communicating such information to the robot. This is done by actions that create meaningful events (by changing the world in which the robot is situated) thus inducing the "compliant perception" of objects from these human-robot interactions. Self-exploration of the world extends the robot's knowledge concerning object properties. This thesis argues for enculturating humanoid robots using infant development as a metaphor for building a humanoid robot's cognitive abilities. A human caregiver redesigns a humanoid's brain by teaching the humanoid robot as she would teach a child, using children's learning aids such as books, drawing boards, or other cognitive artifacts. Multi-modal object properties are learned using these tools and inserted into several recognition schemes,by Artur Miguel Do Amaral Arsenio.Ph.D

ISMCR 1994: Topical Workshop on Virtual Reality. Proceedings of the Fourth International Symposium on Measurement and Control in Robotics

This symposium on measurement and control in robotics included sessions on: (1) rendering, including tactile perception and applied virtual reality; (2) applications in simulated medical procedures and telerobotics; (3) tracking sensors in a virtual environment; (4) displays for virtual reality applications; (5) sensory feedback including a virtual environment application with partial gravity simulation; and (6) applications in education, entertainment, technical writing, and animation

Friend Me Your Ears: A Musical Approach to Human-Robot Relationships.

PhDA relationship is something that is necessarily built up over time, however, Human-Robot Interaction (HRI) trials are rarely extended beyond a single ses- sion. These studies are insufficient for examining multi-interaction scenarios, which will become commonplace if the robot is situated in a workplace or adopts a role that is part of a human's routine. Long term studies that have been exe- cuted often demonstrate a declining novelty effect. Music, however, provides an opportunity for affective engagement, shared creativity, and social activity. This being said, it is unlikely that a robot best equipped to build sustainable and meaningful relationships with humans will be one that can solely play music. In their day-to-day lives, most humans encounter machines and computer programs capable of executing impressively complex tasks to a high standard that may provide them with hours of engagement. In order to have anything that that could be classed as a social relationship, the human must have the sense that their interactions are taking place with another, a phenomenon known as social presence. In this thesis, we examine whether the addition of simulated social behaviours will improve a sense of believability or social presence, which, along with an engaging musical interaction, will allow us to move towards something that could be called a human-robot relationship. First, we conducted a large online survey to gain insight into relationships based in regular music activ- ity. Using these results, we designed, constructed and programmed Mortimer, a robotic system capable of playing the drums and a responsive composition algorithm to best meet these aims. This robot was then used in a series of studies, one single session and two long-term, testing various simulated social behaviours to compliment the musical improvisation. These experiments and their results address the paucity of long-term studies both speci cally in Social Robotics and in the broader HRI eld, and provide a promising insight into a possible solution to generally poor outcomes in this area. This conclusion is based upon the model of a positive human-robot relationship and the method- ological approach of automated behavioural metrics to evaluate robotic systems in this regard developed and detailed within the thesis.the EPSRC as part of the Media and Arts Tech-nology Doctoral Training Centre, EP/G03723X/2

Humanoid Robots

For many years, the human being has been trying, in all ways, to recreate the complex mechanisms that form the human body. Such task is extremely complicated and the results are not totally satisfactory. However, with increasing technological advances based on theoretical and experimental researches, man gets, in a way, to copy or to imitate some systems of the human body. These researches not only intended to create humanoid robots, great part of them constituting autonomous systems, but also, in some way, to offer a higher knowledge of the systems that form the human body, objectifying possible applications in the technology of rehabilitation of human beings, gathering in a whole studies related not only to Robotics, but also to Biomechanics, Biomimmetics, Cybernetics, among other areas. This book presents a series of researches inspired by this ideal, carried through by various researchers worldwide, looking for to analyze and to discuss diverse subjects related to humanoid robots. The presented contributions explore aspects about robotic hands, learning, language, vision and locomotion

Visions of a "Musical America" in the Radio Age

In the United States during the 1920s and 1930s a loose-knit group of activists promoting what they called good music encountered the rise of commercial radio. Recognizing a tremendous resource, they sought to enlist radio in their cause, and in many ways were successful. However, commercial radio also transformed the activists, subverting an important part of their vision of a musical America: widespread preference for good music in the public at large. Instead, good music became the premium product line of commercial radio and the activists became more nearly realistic about their role in society. Charles Seeger offered a scholarly history of this effort in his 1957 paper, "Music and Class Structure in the United States." This dissertation uses the model of cultural formation from Seeger's essay as a guide to the transformation of those he calls "'make-America-musical' missionaries," between 1918 and 1935. In addition this study uses theories on community presented by Thomas Bender in Community and Social Change in America, and theories on democracy presented by Robert H. Wiebe in Self-Rule: A Cultural History of American Democracy, to further illuminate Seeger's model. Views expressed by representatives of the National Federation of Music Clubs, described by Karen J. Blair as "the largest and most influential organization uniting women's musical societies," and by conductor Walter Damrosch, who served on the NBC Advisory Panel, occupy central places in this study, as does the publication Musical America, an omnibus music periodical founded in 1898 by British émigré John C. Freund for the stated purpose of "development of music in America." Reports in Musical America, together with proceedings of the federation and of Music Teachers National Conference, and a series of books published under the auspices of the federation from 1924-29 to train music club members, function as core sources. These reveal the transformation of these activists from their expansive speculation in the years following the Great War, through a period of resistance to trends in the larger culture that peaks in the middle of the 1920s, to their accommodation and enthusiastic acceptance of commercial radio as a home for good music

KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202