WEBVTT 00:00:00.564 --> 00:00:05.207 My job is to design, build and study robots that communicate with people. 00:00:05.231 --> 00:00:08.850 But this story doesn't start with robotics at all, it starts with animation. 00:00:08.874 --> 00:00:11.243 When I first saw Pixar's "Luxo Jr.," 00:00:11.267 --> 00:00:13.973 I was amazed by how much emotion they could put 00:00:13.997 --> 00:00:16.825 into something as trivial as a desk lamp. 00:00:17.477 --> 00:00:19.822 I mean, look at them -- at the end of this movie, 00:00:19.846 --> 00:00:22.625 you actually feel something for two pieces of furniture. NOTE Paragraph 00:00:22.649 --> 00:00:23.930 (Laughter) NOTE Paragraph 00:00:23.954 --> 00:00:25.982 And I said, I have to learn how to do this. 00:00:26.006 --> 00:00:28.233 So I made a really bad career decision. NOTE Paragraph 00:00:28.257 --> 00:00:29.451 (Laughter) NOTE Paragraph 00:00:29.475 --> 00:00:31.668 And that's what my mom was like when I did it. NOTE Paragraph 00:00:31.692 --> 00:00:33.833 (Laughter) NOTE Paragraph 00:00:33.857 --> 00:00:37.278 I left a very cozy tech job in Israel at a nice software company 00:00:37.302 --> 00:00:39.594 and I moved to New York to study animation. 00:00:39.618 --> 00:00:40.769 And there I lived 00:00:40.793 --> 00:00:43.611 in a collapsing apartment building in Harlem with roommates. 00:00:43.635 --> 00:00:45.659 I'm not using this phrase metaphorically -- 00:00:45.683 --> 00:00:48.412 the ceiling actually collapsed one day in our living room. 00:00:48.436 --> 00:00:51.678 Whenever they did news stories about building violations in New York, 00:00:51.702 --> 00:00:54.118 they would put the report in front of our building, 00:00:54.142 --> 00:00:56.879 as kind of, like, a backdrop to show how bad things are. NOTE Paragraph 00:00:56.903 --> 00:00:58.840 Anyway, during the day, I went to school 00:00:58.864 --> 00:01:02.291 and at night I would sit and draw frame by frame of pencil animation. 00:01:02.315 --> 00:01:04.500 And I learned two surprising lessons. 00:01:04.524 --> 00:01:09.014 One of them was that when you want to arouse emotions, 00:01:09.038 --> 00:01:11.213 it doesn't matter so much how something looks; 00:01:11.237 --> 00:01:14.435 it's all in the motion, in the timing of how the thing moves. 00:01:14.816 --> 00:01:18.006 And the second was something one of our teachers told us. 00:01:18.030 --> 00:01:20.323 He actually did the weasel in "Ice Age." 00:01:20.662 --> 00:01:24.519 And he said, "As an animator, you're not a director -- you're an actor." 00:01:24.895 --> 00:01:27.918 So, if you want to find the right motion for a character, 00:01:27.942 --> 00:01:30.387 don't think about it -- go use your body to find it. 00:01:30.411 --> 00:01:33.344 Stand in front of a mirror, act it out in front of a camera -- 00:01:33.368 --> 00:01:36.306 whatever you need -- and then put it back in your character. NOTE Paragraph 00:01:36.696 --> 00:01:39.908 A year later I found myself at MIT in the Robotic Life Group. 00:01:39.932 --> 00:01:42.790 It was one of the first groups researching the relationships 00:01:42.814 --> 00:01:44.128 between humans and robots. 00:01:44.152 --> 00:01:48.108 And I still had this dream to make an actual, physical Luxo Jr. lamp. 00:01:48.132 --> 00:01:51.124 But I found that robots didn't move at all in this engaging way 00:01:51.148 --> 00:01:53.323 that I was used to from my animation studies. 00:01:53.347 --> 00:01:55.811 Instead, they were all -- how should I put it -- 00:01:55.835 --> 00:01:57.289 they were all kind of robotic. 00:01:57.313 --> 00:01:59.187 (Laughter) 00:01:59.211 --> 00:02:02.947 And I thought, what if I took whatever I learned in animation school, 00:02:02.971 --> 00:02:05.574 and used that to design my robotic desk lamp. 00:02:05.598 --> 00:02:07.643 So I went and designed frame by frame 00:02:07.667 --> 00:02:11.627 to try to make this robot as graceful and engaging as possible. 00:02:12.199 --> 00:02:15.908 And here when you see the robot interacting with me on a desktop -- 00:02:15.932 --> 00:02:17.968 and I'm actually redesigning the robot, 00:02:17.992 --> 00:02:19.796 so, unbeknownst to itself, 00:02:19.820 --> 00:02:22.395 it's kind of digging its own grave by helping me. NOTE Paragraph 00:02:22.419 --> 00:02:24.425 (Laughter) NOTE Paragraph 00:02:24.449 --> 00:02:27.688 I wanted it to be less of a mechanical structure giving me light, 00:02:27.712 --> 00:02:30.730 and more of a helpful, kind of quiet apprentice 00:02:30.754 --> 00:02:33.923 that's always there when you need it and doesn't really interfere. 00:02:33.947 --> 00:02:37.282 And when, for example, I'm looking for a battery that I can't find, 00:02:37.306 --> 00:02:40.253 in a subtle way, it'll show me where the battery is. 00:02:41.872 --> 00:02:43.705 So you can see my confusion here. 00:02:44.442 --> 00:02:45.654 I'm not an actor. 00:02:48.585 --> 00:02:51.618 And I want you to notice how the same mechanical structure 00:02:51.642 --> 00:02:53.729 can, at one point, just by the way it moves, 00:02:53.753 --> 00:02:55.897 seem gentle and caring and in the other case, 00:02:55.921 --> 00:02:58.292 seem violent and confrontational. 00:02:58.316 --> 00:03:01.163 And it's the same structure, just the motion is different. 00:03:07.419 --> 00:03:11.991 Actor: "You want to know something? Well, you want to know something? 00:03:12.015 --> 00:03:13.904 He was already dead! 00:03:13.928 --> 00:03:17.830 Just laying there, eyes glazed over!" NOTE Paragraph 00:03:17.854 --> 00:03:18.875 (Laughter) NOTE Paragraph 00:03:18.899 --> 00:03:21.955 But, moving in a graceful way is just one building block 00:03:21.979 --> 00:03:24.574 of this whole structure called human-robot interaction. 00:03:24.598 --> 00:03:28.051 I was, at the time, doing my PhD, I was working on human-robot teamwork, 00:03:28.075 --> 00:03:30.137 teams of humans and robots working together. 00:03:30.161 --> 00:03:31.796 I was studying the engineering, 00:03:31.820 --> 00:03:34.352 the psychology, the philosophy of teamwork, 00:03:34.376 --> 00:03:35.527 and at the same time, 00:03:35.551 --> 00:03:38.045 I found myself in my own kind of teamwork situation, 00:03:38.069 --> 00:03:40.321 with a good friend of mine, who's actually here. 00:03:40.345 --> 00:03:42.749 And in that situation, we can easily imagine robots 00:03:42.773 --> 00:03:44.673 in the near future being there with us. 00:03:44.697 --> 00:03:46.387 It was after a Passover Seder. 00:03:46.411 --> 00:03:48.466 We were folding up a lot of folding chairs, 00:03:48.490 --> 00:03:51.148 and I was amazed at how quickly we found our own rhythm. 00:03:51.172 --> 00:03:54.282 Everybody did their own part, we didn't have to divide our tasks. 00:03:54.306 --> 00:03:56.752 We didn't have to communicate verbally about this -- 00:03:56.776 --> 00:03:57.965 it all just happened. NOTE Paragraph 00:03:57.989 --> 00:04:00.869 And I thought, humans and robots don't look at all like this. 00:04:00.893 --> 00:04:04.024 When humans and robots interact, it's much more like a chess game: 00:04:04.048 --> 00:04:07.169 the human does a thing, the robot analyzes whatever the human did, 00:04:07.193 --> 00:04:09.836 the robot decides what to do next, plans it and does it. 00:04:09.860 --> 00:04:12.215 Then the human waits, until it's their turn again. 00:04:12.239 --> 00:04:14.970 So it's much more like a chess game, and that makes sense, 00:04:14.994 --> 00:04:18.105 because chess is great for mathematicians and computer scientists. 00:04:18.129 --> 00:04:21.557 It's all about information, analysis, decision-making and planning. NOTE Paragraph 00:04:21.581 --> 00:04:25.311 But I wanted my robot to be less of a chess player, 00:04:25.335 --> 00:04:27.128 and more like a doer 00:04:27.152 --> 00:04:29.153 that just clicks and works together. 00:04:29.177 --> 00:04:32.546 So I made my second horrible career choice: 00:04:32.570 --> 00:04:35.123 I decided to study acting for a semester. 00:04:35.147 --> 00:04:38.066 I took off from the PhD, I went to acting classes. 00:04:38.090 --> 00:04:40.128 I actually participated in a play -- 00:04:40.152 --> 00:04:42.454 I hope there’s no video of that around still. NOTE Paragraph 00:04:42.478 --> 00:04:43.516 (Laughter) NOTE Paragraph 00:04:43.540 --> 00:04:45.834 And I got every book I could find about acting, 00:04:45.858 --> 00:04:48.987 including one from the 19th century that I got from the library. 00:04:49.011 --> 00:04:52.624 And I was really amazed, because my name was the second name on the list -- 00:04:52.648 --> 00:04:54.648 the previous name was in 1889. NOTE Paragraph 00:04:54.672 --> 00:04:55.687 (Laughter) NOTE Paragraph 00:04:55.711 --> 00:04:57.960 And this book was kind of waiting for 100 years 00:04:57.984 --> 00:05:00.316 to be rediscovered for robotics. 00:05:00.340 --> 00:05:01.916 And this book shows actors 00:05:01.940 --> 00:05:04.178 how to move every muscle in the body 00:05:04.202 --> 00:05:06.918 to match every kind of emotion that they want to express. NOTE Paragraph 00:05:06.942 --> 00:05:09.968 But the real revelation was when I learned about method acting. 00:05:09.992 --> 00:05:12.245 It became very popular in the 20th century. 00:05:12.269 --> 00:05:13.420 And method acting said 00:05:13.444 --> 00:05:15.744 you don't have to plan every muscle in your body; 00:05:15.768 --> 00:05:18.713 instead, you have to use your body to find the right movement. 00:05:18.737 --> 00:05:21.617 You have to use your sense memory to reconstruct the emotions 00:05:21.641 --> 00:05:24.679 and kind of think with your body to find the right expression -- 00:05:24.703 --> 00:05:26.578 improvise, play off your scene partner. 00:05:26.602 --> 00:05:28.047 And this came at the same time 00:05:28.071 --> 00:05:31.177 as I was reading about this trend in cognitive psychology, 00:05:31.201 --> 00:05:34.453 called embodied cognition, which also talks about the same ideas. 00:05:34.477 --> 00:05:35.992 We use our bodies to think; 00:05:36.016 --> 00:05:38.973 we don't just think with our brains and use our bodies to move, 00:05:38.997 --> 00:05:40.915 but our bodies feed back into our brain 00:05:40.939 --> 00:05:43.104 to generate the way that we behave. NOTE Paragraph 00:05:43.128 --> 00:05:44.724 And it was like a lightning bolt. 00:05:44.748 --> 00:05:45.962 I went back to my office, 00:05:45.986 --> 00:05:48.391 I wrote this paper, which I never really published, 00:05:48.415 --> 00:05:50.947 called "Acting Lessons for Artificial Intelligence." 00:05:50.971 --> 00:05:52.352 And I even took another month 00:05:52.376 --> 00:05:54.820 to do what was then the first theater play 00:05:54.844 --> 00:05:56.797 with a human and a robot acting together. 00:05:56.821 --> 00:05:59.214 That's what you saw before with the actors. 00:06:00.564 --> 00:06:01.715 And I thought: 00:06:01.739 --> 00:06:04.676 How can we make an artificial intelligence model -- 00:06:04.700 --> 00:06:06.683 a computer, computational model -- 00:06:06.707 --> 00:06:09.214 that will model some of these ideas of improvisation, 00:06:09.238 --> 00:06:11.068 of taking risks, of taking chances, 00:06:11.092 --> 00:06:12.619 even of making mistakes? 00:06:12.643 --> 00:06:15.256 Maybe it can make for better robotic teammates. 00:06:15.280 --> 00:06:17.884 So I worked for quite a long time on these models 00:06:17.908 --> 00:06:20.303 and I implemented them on a number of robots. NOTE Paragraph 00:06:20.327 --> 00:06:22.628 Here you can see a very early example 00:06:22.652 --> 00:06:26.231 with the robots trying to use this embodied artificial intelligence 00:06:26.255 --> 00:06:28.718 to try to match my movements as closely as possible. 00:06:28.742 --> 00:06:30.205 It's sort of like a game. 00:06:30.530 --> 00:06:31.739 Let's look at it. 00:06:35.652 --> 00:06:39.191 You can see when I psych it out, it gets fooled. 00:06:39.698 --> 00:06:42.293 And it's a little bit like what you might see actors do 00:06:42.317 --> 00:06:43.951 when they try to mirror each other 00:06:43.975 --> 00:06:46.340 to find the right synchrony between them. 00:06:46.364 --> 00:06:48.196 And then, I did another experiment, 00:06:48.220 --> 00:06:52.279 and I got people off the street to use the robotic desk lamp, 00:06:52.303 --> 00:06:55.405 and try out this idea of embodied artificial intelligence. 00:06:55.921 --> 00:07:00.519 So, I actually used two kinds of brains for the same robot. NOTE Paragraph 00:07:00.543 --> 00:07:02.495 The robot is the same lamp that you saw, 00:07:02.519 --> 00:07:03.858 and I put two brains in it. 00:07:03.882 --> 00:07:05.609 For one half of the people, 00:07:05.633 --> 00:07:08.569 I put in a brain that's kind of the traditional, 00:07:08.593 --> 00:07:09.822 calculated robotic brain. 00:07:09.846 --> 00:07:12.486 It waits for its turn, it analyzes everything, it plans. 00:07:12.510 --> 00:07:14.192 Let's call it the calculated brain. 00:07:14.216 --> 00:07:17.463 The other got more the stage actor, risk-taker brain. 00:07:17.487 --> 00:07:19.609 Let's call it the adventurous brain. 00:07:19.633 --> 00:07:22.570 It sometimes acts without knowing everything it has to know. 00:07:22.594 --> 00:07:24.886 It sometimes makes mistakes and corrects them. 00:07:24.910 --> 00:07:28.828 And I had them do this very tedious task that took almost 20 minutes, 00:07:28.852 --> 00:07:30.328 and they had to work together, 00:07:30.352 --> 00:07:32.905 somehow simulating, like, a factory job 00:07:32.929 --> 00:07:35.016 of repetitively doing the same thing. 00:07:35.445 --> 00:07:38.776 What I found is that people actually loved the adventurous robot. 00:07:38.800 --> 00:07:40.577 They thought it was more intelligent, 00:07:40.601 --> 00:07:42.707 more committed, a better member of the team, 00:07:42.731 --> 00:07:44.796 contributed to the success of the team more. 00:07:44.820 --> 00:07:46.528 They even called it "he" and "she," 00:07:46.552 --> 00:07:48.673 whereas people with the calculated brain 00:07:48.697 --> 00:07:51.499 called it "it," and nobody ever called it "he" or "she." 00:07:51.876 --> 00:07:55.169 When they talked about it after the task, with the adventurous brain, 00:07:55.193 --> 00:07:58.976 they said, "By the end, we were good friends and high-fived mentally." 00:07:59.397 --> 00:08:00.690 Whatever that means. NOTE Paragraph 00:08:00.714 --> 00:08:02.620 (Laughter) NOTE Paragraph 00:08:02.644 --> 00:08:03.997 Sounds painful. 00:08:04.021 --> 00:08:06.759 Whereas the people with the calculated brain 00:08:06.783 --> 00:08:09.141 said it was just like a lazy apprentice. 00:08:09.165 --> 00:08:11.910 It only did what it was supposed to do and nothing more, 00:08:11.934 --> 00:08:14.283 which is almost what people expect robots to do, 00:08:14.307 --> 00:08:17.862 so I was surprised that people had higher expectations of robots 00:08:17.886 --> 00:08:21.392 than what anybody in robotics thought robots should be doing. 00:08:22.027 --> 00:08:24.042 And in a way, I thought, maybe it's time -- 00:08:24.066 --> 00:08:27.028 just like method acting changed the way people thought 00:08:27.052 --> 00:08:28.648 about acting in the 19th century, 00:08:28.672 --> 00:08:31.749 from going from the very calculated, planned way of behaving, 00:08:31.773 --> 00:08:35.271 to a more intuitive, risk-taking, embodied way of behaving -- 00:08:35.295 --> 00:08:38.491 maybe it's time for robots to have the same kind of revolution. NOTE Paragraph 00:08:39.994 --> 00:08:43.593 A few years later, I was at my next research job at Georgia Tech in Atlanta, 00:08:43.617 --> 00:08:46.441 and I was working in a group dealing with robotic musicians. 00:08:46.465 --> 00:08:48.825 And I thought, music: that's the perfect place 00:08:48.849 --> 00:08:52.992 to look at teamwork, coordination, timing, improvisation -- 00:08:53.016 --> 00:08:55.459 and we just got this robot playing marimba. 00:08:55.483 --> 00:08:57.739 And the marimba, for everybody like me, 00:08:57.763 --> 00:09:00.502 it was this huge, wooden xylophone. 00:09:00.526 --> 00:09:02.589 And when I was looking at this, 00:09:02.613 --> 00:09:05.611 I looked at other works in human-robot improvisation -- 00:09:05.635 --> 00:09:08.382 yes, there are other works in human-robot improvisation -- 00:09:08.406 --> 00:09:10.755 and they were also a little bit like a chess game. 00:09:10.779 --> 00:09:11.930 The human would play, 00:09:11.954 --> 00:09:14.127 the robot analyzed what was played, 00:09:14.151 --> 00:09:16.230 and would improvise their own part. 00:09:16.254 --> 00:09:19.392 So, this is what musicians called a call-and-response interaction, 00:09:19.416 --> 00:09:23.163 and it also fits very well robots and artificial intelligence. 00:09:23.187 --> 00:09:26.440 But I thought, if I use the same ideas I used in the theater play 00:09:26.464 --> 00:09:28.208 and in the teamwork studies, 00:09:28.232 --> 00:09:31.882 maybe I can make the robots jam together like a band. 00:09:31.906 --> 00:09:36.174 Everybody's riffing off each other, nobody is stopping for a moment. 00:09:36.198 --> 00:09:39.072 And so I tried to do the same things, this time with music, 00:09:39.096 --> 00:09:41.930 where the robot doesn't really know what it's about to play, 00:09:41.954 --> 00:09:44.971 it just sort of moves its body and uses opportunities to play, 00:09:44.995 --> 00:09:47.534 and does what my jazz teacher when I was 17 taught me. 00:09:47.558 --> 00:09:48.955 She said, when you improvise, 00:09:48.979 --> 00:09:51.995 sometimes you don't know what you're doing, and you still do it. 00:09:52.019 --> 00:09:55.345 So I tried to make a robot that doesn't actually know what it's doing, 00:09:55.369 --> 00:09:56.590 but is still doing it. 00:09:56.614 --> 00:09:59.125 So let's look at a few seconds from this performance, 00:09:59.149 --> 00:10:01.276 where the robot listens to the human musician 00:10:01.300 --> 00:10:02.465 and improvises. 00:10:02.489 --> 00:10:05.464 And then, look how the human musician also responds 00:10:05.488 --> 00:10:06.761 to what the robot is doing 00:10:06.785 --> 00:10:09.429 and picking up from its behavior, 00:10:09.453 --> 00:10:13.409 and at some point can even be surprised by what the robot came up with. NOTE Paragraph 00:10:13.433 --> 00:10:15.627 (Music) NOTE Paragraph 00:10:55.618 --> 00:10:57.618 (Music ends) NOTE Paragraph 00:10:59.134 --> 00:11:04.868 (Applause) NOTE Paragraph 00:11:04.892 --> 00:11:07.142 Being a musician is not just about making notes, 00:11:07.166 --> 00:11:09.514 otherwise nobody would ever go see a live show. 00:11:09.538 --> 00:11:11.660 Musicians also communicate with their bodies, 00:11:11.684 --> 00:11:13.701 with other band members, with the audience, 00:11:13.725 --> 00:11:15.739 they use their bodies to express the music. 00:11:15.763 --> 00:11:18.460 And I thought, we already have a robot musician on stage, 00:11:18.484 --> 00:11:20.796 why not make it be a full-fledged musician? 00:11:20.820 --> 00:11:23.494 And I started designing a socially expressive head 00:11:23.518 --> 00:11:24.861 for the robot. 00:11:24.885 --> 00:11:26.955 The head doesn’t actually touch the marimba, 00:11:26.979 --> 00:11:28.938 it just expresses what the music is like. 00:11:28.962 --> 00:11:31.458 These are some napkin sketches from a bar in Atlanta 00:11:31.482 --> 00:11:34.025 that was dangerously located exactly halfway 00:11:34.049 --> 00:11:35.860 between my lab and my home. 00:11:35.884 --> 00:11:39.822 So I spent, I would say, on average, three to four hours a day there. 00:11:39.846 --> 00:11:41.033 I think. NOTE Paragraph 00:11:41.057 --> 00:11:42.584 (Laughter) NOTE Paragraph 00:11:42.917 --> 00:11:45.799 And I went back to my animation tools and tried to figure out 00:11:45.823 --> 00:11:48.193 not just what a robotic musician would look like, 00:11:48.217 --> 00:11:50.842 but especially what a robotic musician would move like, 00:11:50.866 --> 00:11:54.268 to sort of show that it doesn't like what the other person is playing -- 00:11:54.292 --> 00:11:58.117 and maybe show whatever beat it's feeling at the moment. NOTE Paragraph 00:11:58.141 --> 00:12:02.644 So we ended up actually getting the money to build this robot, which was nice. 00:12:02.668 --> 00:12:05.272 I'm going to show you now the same kind of performance, 00:12:05.296 --> 00:12:07.336 this time with a socially expressive head. 00:12:07.360 --> 00:12:09.160 And notice one thing -- 00:12:09.184 --> 00:12:10.855 how the robot is really showing us 00:12:10.879 --> 00:12:12.785 the beat it's picking up from the human, 00:12:12.809 --> 00:12:16.736 while also giving the human a sense that the robot knows what it's doing. 00:12:16.760 --> 00:12:18.680 And also how it changes the way it moves 00:12:18.704 --> 00:12:20.656 as soon as it starts its own solo. NOTE Paragraph 00:12:20.680 --> 00:12:24.576 (Music) NOTE Paragraph 00:12:24.600 --> 00:12:27.620 Now it's looking at me, showing that it's listening. NOTE Paragraph 00:12:27.644 --> 00:12:30.367 (Music) NOTE Paragraph 00:12:49.181 --> 00:12:52.102 Now look at the final chord of the piece again. 00:12:52.126 --> 00:12:55.043 And this time the robot communicates with its body 00:12:55.067 --> 00:12:57.180 when it's busy doing its own thing, 00:12:57.204 --> 00:13:02.055 and when it's ready to coordinate the final chord with me. NOTE Paragraph 00:13:02.079 --> 00:13:04.816 (Music) NOTE Paragraph 00:13:09.783 --> 00:13:11.783 (Music ending) NOTE Paragraph 00:13:14.103 --> 00:13:15.104 (Final chord) NOTE Paragraph 00:13:15.128 --> 00:13:20.882 (Applause) NOTE Paragraph 00:13:20.906 --> 00:13:22.061 Thanks. 00:13:22.085 --> 00:13:23.666 I hope you see 00:13:23.690 --> 00:13:28.086 how much this part of the body that doesn't touch the instrument 00:13:28.110 --> 00:13:30.702 actually helps with the musical performance. 00:13:31.160 --> 00:13:33.169 And at some point -- we are in Atlanta, 00:13:33.193 --> 00:13:36.443 so obviously some rapper will come into our lab at some point -- 00:13:36.467 --> 00:13:41.260 and we had this rapper come in and do a little jam with the robot. 00:13:41.284 --> 00:13:45.332 Here you can see the robot basically responding to the beat. 00:13:45.356 --> 00:13:46.507 Notice two things: 00:13:46.531 --> 00:13:50.140 one, how irresistible it is to join the robot while it's moving its head. 00:13:50.164 --> 00:13:52.767 You kind of want to move your own head when it does it. 00:13:52.791 --> 00:13:56.377 And second, even though the rapper is really focused on his iPhone, 00:13:56.401 --> 00:13:59.511 as soon as the robot turns to him, he turns back. 00:13:59.535 --> 00:14:02.171 So even though it's just in the periphery of his vision, 00:14:02.195 --> 00:14:04.315 in the corner of his eye, it's very powerful. 00:14:04.339 --> 00:14:06.173 And the reason is that we can't ignore 00:14:06.197 --> 00:14:08.221 physical things moving in our environment. 00:14:08.245 --> 00:14:09.415 We are wired for that. 00:14:09.439 --> 00:14:11.083 So if you have a problem -- 00:14:11.107 --> 00:14:15.782 maybe your partner is looking at their iPhone or smartphone too much -- 00:14:15.806 --> 00:14:18.640 you might want to have a robot there to get their attention. NOTE Paragraph 00:14:18.664 --> 00:14:19.665 (Laughter) NOTE Paragraph 00:14:19.689 --> 00:14:21.758 (Music) NOTE Paragraph 00:14:34.113 --> 00:14:36.113 (Music ends) NOTE Paragraph 00:14:38.138 --> 00:14:45.086 (Applause) NOTE Paragraph 00:14:45.633 --> 00:14:49.467 Just to introduce the last robot that we've worked on, 00:14:49.491 --> 00:14:51.841 it came out of something surprising that we found: 00:14:51.865 --> 00:14:55.023 Some point people didn't care about the robot being intelligent, 00:14:55.047 --> 00:14:56.449 able to improvise and listen, 00:14:56.473 --> 00:15:00.879 and do all these embodied intelligence things that I spent years developing. 00:15:00.903 --> 00:15:03.584 They really liked that the robot was enjoying the music. NOTE Paragraph 00:15:03.608 --> 00:15:04.609 (Laughter) NOTE Paragraph 00:15:04.633 --> 00:15:07.178 And they didn't say the robot was moving to the music, 00:15:07.202 --> 00:15:08.690 they said "enjoying" the music. 00:15:08.714 --> 00:15:10.840 And we thought, why don't we take this idea, 00:15:10.864 --> 00:15:13.605 and I designed a new piece of furniture. 00:15:13.629 --> 00:15:16.201 This time it wasn't a desk lamp, it was a speaker dock, 00:15:16.225 --> 00:15:18.865 one of those things you plug your smartphone in. 00:15:18.889 --> 00:15:20.039 And I thought, 00:15:20.063 --> 00:15:23.563 what would happen if your speaker dock didn't just play the music for you, 00:15:23.587 --> 00:15:25.633 but would actually enjoy it, too? 00:15:25.657 --> 00:15:29.818 And so again, here are some animation tests from an early stage. NOTE Paragraph 00:15:29.842 --> 00:15:31.226 (Laughter) NOTE Paragraph 00:15:31.835 --> 00:15:34.706 And this is what the final product looked like. NOTE Paragraph 00:15:46.247 --> 00:15:48.428 (Music) NOTE Paragraph 00:16:06.848 --> 00:16:08.848 (Music ends) NOTE Paragraph 00:16:09.461 --> 00:16:12.081 So, a lot of bobbing heads. NOTE Paragraph 00:16:12.105 --> 00:16:15.716 (Applause) NOTE Paragraph 00:16:15.740 --> 00:16:17.630 A lot of bobbing heads in the audience, 00:16:17.654 --> 00:16:20.362 so we can still see robots influence people. 00:16:20.386 --> 00:16:23.171 And it's not just fun and games. NOTE Paragraph 00:16:23.195 --> 00:16:25.396 I think one of the reasons I care so much 00:16:25.420 --> 00:16:27.653 about robots that use their body to communicate 00:16:27.677 --> 00:16:29.383 and use their body to move is -- 00:16:29.407 --> 00:16:32.797 I'm going to let you in on a little secret we roboticists are hiding -- 00:16:32.821 --> 00:16:35.614 is that every one of you is going to be living with a robot 00:16:35.638 --> 00:16:37.230 at some point in your life. 00:16:37.254 --> 00:16:40.187 Somewhere in your future, there will be a robot in your life. 00:16:40.211 --> 00:16:42.079 If not in yours, your children's lives. 00:16:42.103 --> 00:16:47.093 And I want these robots to be more fluent, more engaging, more graceful 00:16:47.117 --> 00:16:48.846 than currently they seem to be. 00:16:48.870 --> 00:16:52.157 And for that I think maybe robots need to be less like chess players 00:16:52.181 --> 00:16:54.822 and more like stage actors and more like musicians. 00:16:54.846 --> 00:16:57.659 Maybe they should be able to take chances and improvise. 00:16:57.683 --> 00:17:00.707 Maybe they should be able to anticipate what you're about to do. 00:17:00.731 --> 00:17:04.079 Maybe they even need to be able to make mistakes and correct them, 00:17:04.103 --> 00:17:05.991 because in the end, we are human. 00:17:06.015 --> 00:17:09.569 And maybe as humans, robots that are a little less than perfect 00:17:09.593 --> 00:17:11.324 are just perfect for us. NOTE Paragraph 00:17:11.348 --> 00:17:12.507 Thank you. NOTE Paragraph 00:17:12.531 --> 00:17:19.367 (Applause)