Towards an interactive framework for robot dancing applications

Estágio realizado no INESC-Porto e orientado pelo Prof. Doutor Fabien GouyonTese de mestrado integrado. Engenharia Electrotécnica e de Computadores - Major Telecomunicações. Faculdade de Engenharia. Universidade do Porto. 200

The Project IM-CLeVeR - Intrinsically Motivated Cumulative Learning Versatile Robots: A Tool-box for Research on Intrinsic Motivations and Cumulative Learning

The goal of this paper is to furnish a tool-box for research on intrinsic motivations and cumulative learning based on the main ideas produced within the Integrated Project "IM-CLeVeR - Intrinsically Motivated Cumulative Learning Versatile Robots". IM-CLeVeR is a project funded by the European Commission under the 7th Framework Programme (FP7/2007-2013), \u27\u27Challenge 2 - Cognitive Systems, Interaction, Robotics\u27\u27, grant agreement No. ICTIP- 231722

Music, computing and health: A roadmap for the current and future roles of music technology for health care and well-being.

Health and self-regulatio

A Subsumption Agent for Collaborative Free Improvisation

This paper discusses the design and evaluation of an artificial agent for collaborative musical free improvisation. The agent provides a means to investigate the underpinnings of improvisational interaction. In connection with this general goal, the system is also used here to explore the implementation of a collaborative musical agent using a specific robotics architecture, Subsumption. The architecture of the system is explained, and its evaluation in an empirical study with expert improvisors is discussed. A follow-up study using a second iteration of the system is also presented. The system design and connected studies bring together Subsumption robotics, ecological psychology, and musical improvisation, and contribute to an empirical grounding of an ecological theory of improvisation

Temporal Cognition: A Key Ingredient of Intelligent Systems

Experiencing the flow of time is an important capacity of biological systems that is involved in many ways in the daily activities of humans and animals. However, in the field of robotics, the key role of time in cognition is not adequately considered in contemporary research, with artificial agents focusing mainly on the spatial extent of sensory information, almost always neglecting its temporal dimension. This fact significantly obstructs the development of high-level robotic cognitive skills, as well as the autonomous and seamless operation of artificial agents in human environments. Taking inspiration from biological cognition, the present work puts forward time perception as a vital capacity of artificial intelligent systems and contemplates the research path for incorporating temporal cognition in the repertoire of robotic skills

Towards a learning framework for dancing robots

How can we make robots learn how to dance? How do humans learn to dance? An emerging culture of dancing robots is becoming more prominent in the research community with more emphasis on how we can show of our own creativity rather than allowing the robots to develop their own cognitive and psychological behaviours to the music being played. There are many different types of music and indeed, many different robots and many ways, in which they can dance to music however, much of the work carried out in this field concern limiting robots to dance in particular ways to a specific music and no adaptive behaviour implemented in them to be able to respond intuitively to music in general. We propose in this paper, a way in which such a problem can begin to be looked into, by introducing fundamental things that should be learnt that are necessary for dancing. We programmed a virtual robot to learn to dance to the beat as well as recognise the downbeat of any time-signature and tailor its movements to the loudness of music, using the Sarsa and the Sarsa(lambda) algorithms from reinforcement learning as the learning framework. Experimental results show that it is possible to make robots learn to dance to these fundamental rhythmic features of music

Investigating the cognitive foundations of collaborative musical free improvisation: Experimental case studies using a novel application of the subsumption architecture

This thesis investigates the cognitive foundations of collaborative musical free improvisation. To explore the cognitive underpinnings of the collaborative process, a series of experimental case studies was undertaken in which expert improvisors performed with an artificial agent. The research connects ecological musicology and subsumption robotics, and builds upon insights from empirical psychology pertaining to the attribution of intentionality. A distinguishing characteristic of free improvisation is that no over-arching framework of formal musical conventions defines it, and it cannot be positively identified by sound alone, which poses difficulties for traditional musicology. Current musicological research has begun to focus on the social dimension of music, including improvisation. Ecological psychology, which focuses on the relation of cognition to agent–environment dynamics using the notion of affordances, has been shown to be a promising approach to understanding musical improvisation. This ecological approach to musicology makes it possible to address the subjective and social aspects of improvised music, as opposed to the common treatment of music as objective and neutral. The subjective dimension of musical listening has been highlighted in music cognition studies of cue abstraction, whereby listeners perceive emergent structures while listening to certain forms of music when no structures are identified in advance. These considerations informed the design of the artificial agent, Odessa, used for this study. In contrast to traditional artificial intelligence (AI), which tends to view the world as objective and neutral, behaviour-based robotics historically developed around ideas similar to those of ecological psychology, focused on agent–environment dynamics and the ability to deal with potentially rapidly changing environments. Behaviour-based systems that are designed using the subsumption architecture are robust and flexible in virtue of their modular, decentralised design comprised of simple interactions between simple mechanisms. The competence of such agents is demonstrated on the basis of their interaction with the environment and ability to cope with unknown and dynamic conditions, which suggests the concept of improvisation. This thesis documents a parsimonious subsumption design for an agent that performs musical free improvisation with human co-performers, as well as the experimental studies conducted with this agent. The empirical component examines the human experience of collaborating with the agent and, more generally, the cognitive psychology of collaborative improvisation. The design was ultimately successful, and yielded insights about cognition in collaborative improvisation, in particular, concerning the central relationship between perceived intentionality and affordances. As a novel application of the subsumption architecture, this research contributes to AI/robotics and to research on interactive improvisation systems. It also contributes to music psychology and cognition, as well as improvisation studies, through its empirical grounding of an ecological model of musical interaction