73 research outputs found

    Turn-Taking Mechanisms in Imitative Interaction: Robotic Social Interaction Based on the Free Energy Principle

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    This study explains how the leader-follower relationship and turn-taking could develop in a dyadic imitative interaction by conducting robotic simulation experiments based on the free energy principle. Our prior study showed that introducing a parameter during the model training phase can determine leader and follower roles for subsequent imitative interactions. The parameter is defined as , the so-called meta-prior, and is a weighting factor used to regulate the complexity term versus the accuracy term when minimizing the free energy. This can be read as sensory attenuation, in which the robot’s prior beliefs about action are less sensitive to sensory evidence. The current extended study examines the possibility that the leader-follower relationship shifts depending on changes in during the interaction phase. We identified a phase space structure with three distinct types of behavioral coordination using comprehensive simulation experiments with sweeps of of both robots during the interaction. Ignoring behavior in which the robots follow their own intention was observed in the region in which both s were set to large values. One robot leading, followed by the other robot was observed when one was set larger and the other was set smaller. Spontaneous, random turn-taking between the leader and the follower was observed when both s were set at smaller or intermediate values. Finally, we examined a case of slowly oscillating in anti-phase between the two agents during the interaction. The simulation experiment resulted in turn-taking in which the leader-follower relationship switched during determined sequences, accompanied by periodic shifts of s. An analysis using transfer entropy found that the direction of information flow between the two agents also shifted along with turn-taking. Herein, we discuss qualitative differences between random/spontaneous turn-taking and agreed-upon sequential turn-taking by reviewing both synthetic and empirical studies.journal articl

    ORGANIZATIONAL SEQUENCE, TURN-TAKING, AND ROLE-SWITCHING IN A HUMAN-ROBOT COMMUNICATION

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    Research on artificial intelligence has developed rapidly since the last fifteen years. Social studies and humanities scholars including linguists has put much attention on the relation between human-robot communications from wider and multidiscipline perspectives. Nonetheless, there is only a dearth of research investigating turn, sequence, and role-switching in humanoid interaction. Focusing on Sophia, the humanoid robot, the present study aims to examine three elements of dialogic- communication related to conversation. The present study applies a descriptive qualitative approach to investigate the research subject. Data consists of forms of utterances taken from two Sophia’s video that will be categorized into a sequence of organization, turn-taking, and role-switching functions. The results  of present study show that Sophia is able to perform human-like interactional features in terms of providing adequate adjacency pairs, turn-taking, and a sequence of organizations. The present study shows that Sophia is not able to interrupt a conversation because it needs a brief moment of silence before replying. &nbsp

    KEER2022

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    AvanttĂ­tol: KEER2022. DiversitiesDescripciĂł del recurs: 25 juliol 202

    The evolution of language: Proceedings of the Joint Conference on Language Evolution (JCoLE)

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    Proceedings of the 19th Sound and Music Computing Conference

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    Proceedings of the 19th Sound and Music Computing Conference - June 5-12, 2022 - Saint-Étienne (France). https://smc22.grame.f

    Pop/Art: The Birth of Underground Music and the British Art School, 1960–1980

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    “Pop/Art: The Birth of Underground Music and the British Art School, 1960-1980” argues that the British art school became a training ground for underground musicians in the 1960s and the 1970s because of changes in art school pedagogy and policy in the post-war period. New educational philosophies propagated during the late 1950s and 1960s, above all Basic Design and Behaviorism, redefined the artist as an intermedial experimenter, collapsed distinctions between fine art and design, and theorized the art object as a dynamic and interactive matrix between the maker and viewer. These initiatives, which evolved from art school reforms that began in the nineteenth century, intended to prepare students for a fast-paced postwar consumer economy in which advertising, communication, information, and new technologies defined creative labor. Postwar British art schools thus generated a new model of the artist: a creator engaged with contemporary culture as much as with art history, who was familiar with a variety of media and able to work across a broad spectrum of creative practices, from fine art to design. For this reason, art students like Pete Townshend, Bryan Ferry, and Brian Eno, who gravitated towards popular music, did not see any distinction between their work as musicians and the new role for art and the artist laid out by these pedagogical reforms. This generation of underground musician-artists—born in the late 1940s and 1950s—came to artistic consciousness amid a booming postwar consumer culture in which teenagers became a particularly vital part of the economy, spending their expendable income on entertainment and fashion. Pop music and its stars were central to the formation of their personal and collective identity, and thus music became a vital medium for their own creative artistic expression. While schools underwent rapid changes in the 1960s, a parallel space of commerce and consumption emerged, which mirrored mass culture but did not follow the logic of capitalist exchange. This underground culture used existing channels of distribution to spread and incite aesthetic activity rather than generate profits. It comprised a network of alternative organizations, including bookshops, newspapers, arts labs, nightclubs, performance venues, and unorthodox educational initiatives. This dissertation argues that this alternative cultural system also served a pedagogical role, providing young self-designated artists like Genesis P-Orridge an extra-institutional and informal education free of the regulations of standardized curricula and assessment. In this milieu, consumption (of music, performance, events) had the potential to be transformative and enlightening, not just extractive. Underground events and happenings thus shared a similar ethos to the most radical educational theories in the UK. Both aimed to shake up existing preconceptions ideas about art and culture and felt that retraining perception was the first step in reforming society. However, the student protests that erupted across Europe in the late 1960s questioned the educational system’s commitment to change and young artists began to seek creative outlets outside the art school. By the mid-1970s, the network of distributors and record shops established in the 1960s formed the backbone of the punk movement, allowing this community of D.I.Y. (“do it yourself”) practitioners, many of whom were art school students (e.g., Green Gartside, Gina Birch), to forge alternative models of artistic and commercial exchange. As this dissertation seeks to demonstrate, there is no singular relationship between art education—defined broadly—and the formation of underground music in the UK. Rather it is a dynamic and complex history in which art schools nurtured the artistic practices of some young musicians while serving as a foil to the development of alternative underground networks of art making and distribution in the 1960s and 1970s
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