A Survey on Artificial Intelligence and Robotics

Today many multi-national companies or organizations are adopting the use of automation. Automation means replacing the human by intelligent robots or machines which are capable to work as human (may be better than human). Artificial intelligence is a way of making machines, robots or software to think like human. As the concept of artificial intelligence is use in robotics, it is necessary to understand the basic functions which are required for robots to think and work like human. These functions are planning, acting, monitoring, perceiving and goal reasoning. These functions help robots to develop its skills and implement it. Since robotics is a rapidly growing field from last decade, it is important to learn and improve the basic functionality of robots and make it more useful and user-friendly

Ethics of Artificial Intelligence

Artificial intelligence (AI) is a digital technology that will be of major importance for the development of humanity in the near future. AI has raised fundamental questions about what we should do with such systems, what the systems themselves should do, what risks they involve and how we can control these. - After the background to the field (1), this article introduces the main debates (2), first on ethical issues that arise with AI systems as objects, i.e. tools made and used by humans; here, the main sections are privacy (2.1), manipulation (2.2), opacity (2.3), bias (2.4), autonomy & responsibility (2.6) and the singularity (2.7). Then we look at AI systems as subjects, i.e. when ethics is for the AI systems themselves in machine ethics (2.8.) and artificial moral agency (2.9). Finally we look at future developments and the concept of AI (3). For each section within these themes, we provide a general explanation of the ethical issues, we outline existing positions and arguments, then we analyse how this plays out with current technologies and finally what policy conse-quences may be drawn

AI in space: Past, present, and possible futures

While artificial intelligence (AI) has become increasingly present in recent space applications, new missions being planned will require even more incorporation of AI techniques. In this paper, we survey some of the progress made to date in implementing such programs, some current directions and issues, and speculate about the future of AI in space scenarios. We also provide examples of how thinkers from the realm of science fiction have envisioned AI's role in various aspects of space exploration

That Does Not Compute: Unpacking the Fembot in American Science Fiction.

M.A. Thesis. University of Hawaiʻi at Mānoa 2017

Extending the Bounded Rationality Model: The Distributed Cognition Approach

The way Simon, and the major part of the scholars, presented and used bounded rationality directly refers to human computational capabilities (or “brute-force”). Despite its broad powers of explanation, some problems arise when taking into account the way the human cognitive system really works. In order to avoid these problems, we present an alternative model of rationality, where computation plays only a part, together with the implemented role of external resources, emotional and other non-strictly-rational variables.bounded rationality, distributed cognition, external resources, decision-making, problem solving, emotions

Artificial Intelligence in Business: A Literature Review and Research Agenda

The rise of artificial intelligence (AI) technologies has created promising research opportunities for the information systems (IS) discipline. Through applying latent semantic analysis, we examine the correspondence between key themes in the academic and practitioner discourses on AI. Our findings suggest that business academic research has predominantly focused on designing and applying early AI technologies, while practitioner interest has been more diverse. We examine these differences in the socio-technical continuum context and relate existing literature on AI to core IS research areas. In doing so, we identify existing research gaps and propose future research directions for IS scholars related to AI and organizations, AI and markets, AI and groups, AI and individuals, and AI development

Apophenoesis & the Origins of Creativity: Virtual Pattern Recognition, Error, Paths to Consciousness & Augmenting the Evolution of Self

Erratum: the name Karl Conrad appears in the metadata abstract and on page 7 and page 19 of the file. This is an error and should read Klaus Conrad. LW (LDS) 20/10/20This research defines apophenoesis as a convergent practical tool that can enhance one’s creative process by introducing deviations from the familiar in such a way to allow new creative pathways to form and result in new innovations. With foundations in Roy Ascott’s technoetics, which is defined as a “convergent field of practice that seeks to explore consciousness and connectivity through digital, telematic, chemical or spiritual means, embracing both interactive and psychoactive technologies, and the creative use of moistmedia” (Ascott, 2008, p. 1), apophenoesis more specifically provides a framework to demonstrate the value of disruption within technoetic art while demonstrating the relationships between creativity and perception. I have conducted an auto-ethnomethodological approach to analyze my own creative practice, which culminated in the following apophenoetic artworks: Gesture's of Change (2013), Dabarithms (2014) and Poseidon's Pull: Revisited (2018). Each artwork represents the wide range of impact apophenoesis has had once integrated into the formation of artistic intent, establishment of the creative process, as well as the content experienced within the work of art by participants and observers. Since apophenoesis has a direct relationship to perception, it can be used both as a tool within the creative process as well as a mechanism within the content of the experience, thereby generating experiences of apophenoesis for participants within each technoetic artwork. In addition to Henri Bergson, who thoroughly models the relationship of perception to one’s reality, and Leonardo DaVinci, who used apophenoesis within his creative practice, a pivotal contributor to this research is the German psychiatrist, Karl Conrad, who discovered the phenomenon and called it apophanie during his clinical analysis of injured soldiers returning from war that exhibited what he then believed to be pre-schizophrenic characteristics. Conrad describes apophanie as phenomenon where one over-attributes significance in reference to patternless stimuli. This research highlights how Conrad’s discovery evolved into the establishment of the apophenoetic model and its relationship to interactive media art practice, culminating in the discovery that these characteristics can be used to define a new category of innovative practice entitled apophenoetic art. Rooted in technoetic arts, this practice-based research will reveal that the disruption introduced in applying apophenoesis to one’s creative practice is a fundamental tool to producing exponential boosts in creative productivity. Since Conrad’s clinical research found detailed evidence of how the mind mistakenly attributes significance via the senses through the perception of actual stimuli, his research regarding apophanie as being characteristic of an illness has been challenged. This introduces the consideration that the phenomenon may actually be a common, naturally occurring experience within the mind of healthy individuals, and often occurs subconsciously as a disruption in perception. How Conrad chose to define apophanie reveal his interest in fostering cross-disciplinary research. When apophenie is used in creative practice, it can be transformed into apophenoesis, or a method for accessing creativity and extending creative practice. Further analysis of apophenoesis reveals essential contributions to understanding the roots of creativity, inspiration, innovative thought, learning and how one’s mind and body work to access creativity

Toward Super-Creativity

What is super creativity? From the simple creation of a meal to the most sophisticated artificial intelligence system, the human brain is capable of responding to the most diverse challenges and problems in increasingly creative and innovative ways. This book is an attempt to define super creativity by examining creativity in humans, machines, and human-machine interactions. Organized into three sections, the volume covers such topics as increasing personal creativity, the impact of artificial intelligence and digital devices, and the interaction of humans and machines in fields such as healthcare and economics

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