Intrinsic Motivation Systems for Autonomous Mental Development

Exploratory activities seem to be intrinsically rewarding for children and crucial for their cognitive development. Can a machine be endowed with such an intrinsic motivation system? This is the question we study in this paper, presenting a number of computational systems that try to capture this drive towards novel or curious situations. After discussing related research coming from developmental psychology, neuroscience, developmental robotics, and active learning, this paper presents the mechanism of Intelligent Adaptive Curiosity, an intrinsic motivation system which pushes a robot towards situations in which it maximizes its learning progress. This drive makes the robot focus on situations which are neither too predictable nor too unpredictable, thus permitting autonomous mental development.The complexity of the robot’s activities autonomously increases and complex developmental sequences self-organize without being constructed in a supervised manner. Two experiments are presented illustrating the stage-like organization emerging with this mechanism. In one of them, a physical robot is placed on a baby play mat with objects that it can learn to manipulate. Experimental results show that the robot first spends time in situations which are easy to learn, then shifts its attention progressively to situations of increasing difficulty, avoiding situations in which nothing can be learned. Finally, these various results are discussed in relation to more complex forms of behavioral organization and data coming from developmental psychology. Key words: Active learning, autonomy, behavior, complexity, curiosity, development, developmental trajectory, epigenetic robotics, intrinsic motivation, learning, reinforcement learning, values

Learning object relationships which determine the outcome of actions

Peer reviewedPublisher PD

Visuality and the haptic qualities of the line in generative art

The line has an important and particular relationship with the generative artwork distinct from other elements such as the ‘pixel’, ‘voxel’ or the ‘points’ that make up point clouds. The line has a dual nature as both continuous and discrete which makes it perhaps uniquely placed to straddle the analog and digital worlds. It has a haptic or felt quality as well as an inherent ambiguity that promotes a relatively active interpretive role for the audience. There is an extensive history of the line in generative systems and artworks, taking both analog and digital forms. That it continues to play an important role, alongside other more photographically inspired ‘perceptual schemas’, may be a testament to its enduring usefulness and unique character. This paper considers the particular affordances and the ‘visuality’ of the line in relation to generative artworks. This includes asking how we might account for the felt quality of lines and the socially and culturally constructed aspects that shape our relationship with them. It asks whether, in what has been described as a ‘post digital’ or even ‘post post digital’ world, the line may offer a way to re-emphasise a more human scale and a materiality that can push back, gently, against other more dominant perceptual schemas. It also asks what generative art can learn from drawing theory, many of the concerns of which parallel and intersect with those of generative art

Coordinating visualizations of polysemous action: Values added for grounding proportion

We contribute to research on visualization as an epistemic learning tool by inquiring into the didactical potential of having students visualize one phenomenon in accord with two different partial meanings of the same concept. 22 Grade 4-6 students participated in a design study that investigated the emergence of proportional-equivalence notions from mediated perceptuomotor schemas. Working as individuals or pairs in tutorial clinical interviews, students solved non-symbolic interaction problems that utilized remote-sensing technology. Next, they used symbolic artifacts interpolated into the problem space as semiotic means to objectify in mathematical register a variety of both additive and multiplicative solution strategies. Finally, they reflected on tensions between these competing visualizations of the space. Micro-ethnographic analyses of episodes from three paradigmatic case studies suggest that students reconciled semiotic conflicts by generating heuristic logico-mathematical inferences that integrated competing meanings into cohesive conceptual networks. These inferences hinged on revisualizing additive elements multiplicatively. Implications are drawn for rethinking didactical design for proportions. © 2013 FIZ Karlsruhe

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Sensemaking reconsidered : towards a broader understanding through phenomenology

We develop a typology of sensemaking in organizations that reconsiders existing sensemaking research by providing a more coherent and integrative conceptualization of what defines sensemaking and how it is connected with organizing. Drawing on existential phenomenology, we make the following core claims: (1) sensemaking is not a singular phenomenon but comprises four major types: immanent, involved-deliberate, detached-deliberate, and representational sensemaking; (2) all types of sensemaking originate and take place within specific practice worlds; (3) the core constituents of sensemaking within a practice world (sense–action nexus, temporality, embodiment, and language) are played out differently in each type of sensemaking. Furthermore, we elaborate the links between sensemaking and organizing, focusing especially on the connections between types and levels of sensemaking, and the consequences of sensemaking outcomes for organizing. Finally, we discuss how the typology contributes to the existing sensemaking perspective, outline methodological implications, and suggest ways of advancing sensemaking research