Imitating human motion using humanoid upper body models

Includes abstract.Includes bibliographical references.This thesis investigates human motion imitation of five different humanoid upper bodies (comprised of the torso and upper limbs) using human dance motion as a case study. The humanoid models are based on five existing humanoids, namely, ARMAR, HRP-2, SURALP, WABIAN-2, and WE-4RII. These humanoids are chosen for their different structures and range of joint motion

Characteristics and Performance of CAUTO (CAssino hUmanoid TOrso) Prototype

An artificial torso is a fundamental part of a humanoid robot for imitating human actions. In this paper, a prototype of CAUTO (CAssino hUmanoid TOrso) is presented. Its design is characterized by artificial vertebras actuated by cable-driven parallel manipulators. The design was conceived by looking at the complex system and functioning of the human torso, in order to develop a solution for basic human-like behavior. The requirements and kinematic structure are introduced to explain the peculiarities of the proposed mechanical design. A prototype is presented, and built with low-cost and high-performance features. Tests results are reported to show the feasibility and the characteristics in replicating human torso motions. In addition, the power consumption has been measured during the tests to prove the efficiency of the Li-Po battery supply, employed for a fully portable solution of the designed torso

Gait-Behavior Optimization Considering Arm Swing and Toe Mechanisms for Biped Robot on Rough Road

芝浦工業大学2019年

Exploring robust, intuitive and emergent physical human-robot interaction with the humanoid Acroban

International audienceWe present how a humanoid robot, called Acroban, allows whole-body robust, natural and intuitive physical interac- tion with both adults and children. These physical human-robot interaction are made possible through the combination of several properties of Acroban: 1) it is whole-body compliant thanks to variable impedance control and also thanks to the use of elastics and springs; 2) it has a bio-inspired vertebral column allowing more flexibility in postural and equilibrium control; 3) it is light- weight; 4) it has simple low-level controllers that leverage the first three properties. Moreover, the capabilities for physical human- robot interaction that we show are not using a model of the human, and in this sense are "model free": 1) the capability of the robot to keep its equilibrium while being manipulated or pushed by humans is a result of the intrinsic capability of the whole body to absorb unpredicted external perturbations; 2) the capability of leading Acroban by the hand is an emergent human-robot interface made possible by the self-organizing properties of the body and its low-level controllers and was observed a posteriori only after the robot was conceived and without any initial plan to make this possible. Finally, an originality of Acroban is that is is made with relatively low-cost components which lack of precision is counterbalanced with the robustness due to global geometry and compliance

Sentient Matter: Towards Affective Human-Architecture Interaction

Interactive design has been embedded into every aspect of our lives. Ranging from handy devices to architecturally scaled environments, these designs have not only shifted the way we facilitate interaction with other people, but they also actively reconfigure themselves in response to human stimuli. Following in the wake of interactive experimentation, sentient matter, the idea that matter embodies the capacity to perceive and respond to stimuli, attempts to engage in a challenging arena that few architects and architectural researchers have ventured into. In particular, the creation and simulation of emotive types of interaction between the architectural environment and its inhabitants. This ambition is made possible by the collaboration of multiple disciplines. Cybernetics, specifically the legacy of Pask’s conversation theory, inspires this thesis with the question of why emotion is needed in facilitating human–architecture communication; why emotion appraisal theory (P. Desmet) within psychology supports the feasibility of an architectural environment to elicit emotional changes on its participant as well as the possibility of generating a next-step response by having the participant’s emotive behaviors observed; and why movement notation systems, especially Laban Movement Analysis (a movement rating scale system), helps us to understand how emotions can be identified by motion elements that signify emotive behavior. Through the process of decomposing movement into several qualitative and quantitative factors such as velocity, openness, and smoothness, emotions embodied in motion can be detected and even manipulated by altering those movement factors. Moreover, with the employment of a Kinect sensor, live performance can be analyzed in real time. Based on the above research and inspired by the Kinetic sculptures of Margolin, the final product of this thesis is the development of a prototype that translates human movements that are expressive of emotion into continuous surface transformations, thus making evident how such emotive states might be transcoded into an architectural form. In this process, four typical emotive architectural expressions—joy, anger, excited, and sadness—are researched. This thesis also documents three virtual scenarios in order to examine the effect of this interactive system. Different contexts, kinetic types, and behavioral strategies are presented so that we may explore their potential applications. Sentient matter outlines a framework of syntheses, which is built upon the convergence of embedded computation (intelligence) and physical counterpart (kinetics). In the entire process, it considers people’s participation as materials that fuel the generation of legible emotional behaviors within an architectural environment. Consequently, there is potential for an architectural learning capacity coupled with an evolving data library of human behavioral knowledge. This opens doors for futuristic designs where the paradigm shifts from “What is that building?” to “What is that building doing?

Machine Performers: Agents in a Multiple Ontological State

In this thesis, the author explores and develops new attributes for machine performers and merges the trans-disciplinary fields of the performing arts and artificial intelligence. The main aim is to redefine the term “embodiment” for robots on the stage and to demonstrate that this term requires broadening in various fields of research. This redefining has required a multifaceted theoretical analysis of embodiment in the field of artificial intelligence (e.g. the uncanny valley), as well as the construction of new robots for the stage by the author. It is hoped that these practical experimental examples will generate more research by others in similar fields. Even though the historical lineage of robotics is engraved with theatrical strategies and dramaturgy, further application of constructive principles from the performing arts and evidence from psychology and neurology can shift the perception of robotic agents both on stage and in other cultural environments. In this light, the relation between representation, movement and behaviour of bodies has been further explored to establish links between constructed bodies (as in artificial intelligence) and perceived bodies (as performers on the theatrical stage). In the course of this research, several practical works have been designed and built, and subsequently presented to live audiences and research communities. Audience reactions have been analysed with surveys and discussions. Interviews have also been conducted with choreographers, curators and scientists about the value of machine performers. The main conclusions from this study are that fakery and mystification can be used as persuasive elements to enhance agency. Morphologies can also be applied that tightly couple brain and sensorimotor actions and lead to a stronger stage presence. In fact, if this lack of presence is left out of human replicants, it causes an “uncanny” lack of agency. Furthermore, the addition of stage presence leads to stronger identification from audiences, even for bodies dissimilar to their own. The author demonstrates that audience reactions are enhanced by building these effects into machine body structures: rather than identification through mimicry, this causes them to have more unambiguously biological associations. Alongside these traits, atmospheres such as those created by a cast of machine performers tend to cause even more intensely visceral responses. In this thesis, “embodiment” has emerged as a paradigm shift – as well as within this shift – and morphological computing has been explored as a method to deepen this visceral immersion. Therefore, this dissertation considers and builds machine performers as “true” performers for the stage, rather than mere objects with an aura. Their singular and customized embodiment can enable the development of non-anthropocentric performances that encompass the abstract and conceptual patterns in motion and generate – as from human performers – empathy, identification and experiential reactions in live audiences