WEBVTT 00:00:00.564 --> 00:00:03.086 My job is to design, build and study 00:00:03.086 --> 00:00:05.086 robots that communicate with people. 00:00:05.086 --> 00:00:06.639 But this story doesn't start with robotics at all, 00:00:06.639 --> 00:00:08.531 it starts with animation. 00:00:08.531 --> 00:00:11.117 When I first saw Pixar's "Luxo Jr.," 00:00:11.117 --> 00:00:13.103 I was amazed by how much emotion 00:00:13.103 --> 00:00:14.861 they could put into something 00:00:14.861 --> 00:00:17.452 as trivial as a desk lamp. 00:00:17.452 --> 00:00:19.285 I mean, look at them -- at the end of this movie, 00:00:19.285 --> 00:00:21.789 you actually feel something for two pieces of furniture. 00:00:21.789 --> 00:00:23.617 (Laughter) 00:00:23.617 --> 00:00:25.737 And I said, I have to learn how to do this. 00:00:25.737 --> 00:00:29.271 So I made a really bad career decision. 00:00:29.271 --> 00:00:31.675 And that's what my mom was like when I did it. 00:00:31.675 --> 00:00:33.686 (Laughter) 00:00:33.686 --> 00:00:35.866 I left a very cozy tech job in Israel 00:00:35.866 --> 00:00:38.471 at a nice software company and I moved to New York 00:00:38.471 --> 00:00:39.482 to study animation. 00:00:39.482 --> 00:00:40.639 And there I lived 00:00:40.639 --> 00:00:43.635 in a collapsing apartment building in Harlem with roommates. 00:00:43.635 --> 00:00:45.003 I'm not using this phrase metaphorically, 00:00:45.003 --> 00:00:46.963 the ceiling actually collapsed one day 00:00:46.963 --> 00:00:48.273 in our living room. 00:00:48.273 --> 00:00:50.939 Whenever they did those news stories about building violations in New York, 00:00:50.939 --> 00:00:53.185 they would put the report in front of our building. 00:00:53.185 --> 00:00:56.783 As kind of like a backdrop to show how bad things are. NOTE Paragraph 00:00:56.783 --> 00:00:58.729 Anyway, during the day I went to school and at night 00:00:58.729 --> 00:01:02.251 I would sit and draw frame by frame of pencil animation. 00:01:02.251 --> 00:01:04.525 And I learned two surprising lessons -- 00:01:04.525 --> 00:01:07.078 one of them was that 00:01:07.078 --> 00:01:09.038 when you want to arouse emotions, 00:01:09.038 --> 00:01:10.764 it doesn't matter so much how something looks, 00:01:10.764 --> 00:01:13.110 it's all in the motion -- it's in the timing 00:01:13.110 --> 00:01:14.717 of how the thing moves. 00:01:14.717 --> 00:01:17.944 And the second, was something one of our teachers told us. 00:01:17.944 --> 00:01:20.347 He actually did the weasel in Ice Age. 00:01:20.347 --> 00:01:21.738 And he said: 00:01:21.738 --> 00:01:24.895 "As an animator you are not a director, you're an actor." 00:01:24.895 --> 00:01:27.876 So, if you want to find the right motion for a character, 00:01:27.876 --> 00:01:30.227 don't think about it, go use your body to find it -- 00:01:30.227 --> 00:01:31.863 stand in front of a mirror, act it out 00:01:31.863 --> 00:01:33.565 in front of a camera -- whatever you need. 00:01:33.565 --> 00:01:36.459 And then put it back in your character. NOTE Paragraph 00:01:36.459 --> 00:01:38.619 A year later I found myself at MIT 00:01:38.619 --> 00:01:40.769 in the robotic life group, it was one of the first groups 00:01:40.769 --> 00:01:43.414 researching the relationships between humans and robots. 00:01:43.414 --> 00:01:45.347 And I still had this dream to make 00:01:45.347 --> 00:01:48.064 an actual, physical Luxo Jr. lamp. 00:01:48.064 --> 00:01:49.631 But I found that robots didn't move at all 00:01:49.631 --> 00:01:50.909 in this engaging way that I was used to 00:01:50.909 --> 00:01:52.544 for my animation studies. 00:01:52.544 --> 00:01:54.761 Instead, they were all -- 00:01:54.761 --> 00:01:57.255 how should I put it, they were all kind of robotic. 00:01:57.255 --> 00:01:59.152 (Laughter) 00:01:59.152 --> 00:02:02.787 And I thought, what if I took whatever I learned in animation school, 00:02:02.787 --> 00:02:05.455 and used that to design my robotic desk lamp. 00:02:05.455 --> 00:02:07.539 So I went and designed frame by frame 00:02:07.539 --> 00:02:09.393 to try to make this robot 00:02:09.393 --> 00:02:12.050 as graceful and engaging as possible. 00:02:12.050 --> 00:02:14.092 And here when you see the robot interacting with me 00:02:14.092 --> 00:02:15.723 on a desktop. 00:02:15.723 --> 00:02:17.934 And I'm actually redesigning the robot so, 00:02:17.934 --> 00:02:19.731 unbeknownst to itself, 00:02:19.731 --> 00:02:22.419 it's kind of digging its own grave by helping me. 00:02:22.419 --> 00:02:24.449 (Laughter) 00:02:24.449 --> 00:02:26.418 I wanted it to be less of a mechanical structure 00:02:26.418 --> 00:02:27.712 giving me light, 00:02:27.712 --> 00:02:30.754 and more of a helpful, kind of quiet apprentice 00:02:30.754 --> 00:02:33.948 that's always there when you need it and doesn't really interfere. 00:02:33.948 --> 00:02:35.625 And when, for example, I'm looking for a battery 00:02:35.625 --> 00:02:37.158 that I can't find, 00:02:37.158 --> 00:02:41.753 in a subtle way, it will show me where the battery is. 00:02:41.753 --> 00:02:44.319 So you can see my confusion here. 00:02:44.319 --> 00:02:48.578 I'm not an actor. 00:02:48.578 --> 00:02:50.026 And I want you to notice how the same 00:02:50.026 --> 00:02:52.000 mechanical structure can at one point, 00:02:52.000 --> 00:02:55.004 just by the way it moves seem gentle and caring -- 00:02:55.004 --> 00:02:58.237 and in the other case, seem violent and confrontational. 00:02:58.237 --> 00:03:01.548 And it's the same structure, just the motion is different. 00:03:07.026 --> 00:03:12.900 Actor: "You want to know something? Well, you want to know something? 00:03:12.900 --> 00:03:13.837 He was already dead! 00:03:13.837 --> 00:03:17.854 Just laying there, eyes glazed over!" 00:03:17.854 --> 00:03:18.857 (Laughter) 00:03:18.857 --> 00:03:22.755 But, moving in graceful ways is just one building block of this whole structure 00:03:22.755 --> 00:03:24.339 called human-robot interaction. 00:03:24.339 --> 00:03:25.828 I was at the time doing my Ph.D., 00:03:25.828 --> 00:03:27.998 I was working on human robot teamwork; 00:03:27.998 --> 00:03:30.000 teams of humans and robots working together. 00:03:30.000 --> 00:03:31.334 I was studying the engineering, 00:03:31.334 --> 00:03:34.116 the psychology, the philosophy of teamwork. 00:03:34.116 --> 00:03:35.583 And at the same time I found myself 00:03:35.583 --> 00:03:37.438 in my own kind of teamwork situation 00:03:37.438 --> 00:03:39.659 with a good friend of mine who is actually here. 00:03:39.659 --> 00:03:42.273 And in that situation we can easily imagine robots 00:03:42.273 --> 00:03:44.366 in the near future being there with us. 00:03:44.366 --> 00:03:46.213 It was after a Passover seder. 00:03:46.213 --> 00:03:48.053 We were folding up a lot of folding chairs, 00:03:48.053 --> 00:03:50.986 and I was amazed at how quickly we found our own rhythm. 00:03:50.986 --> 00:03:52.553 Everybody did their own part. 00:03:52.553 --> 00:03:54.182 We didn't have to divide our tasks. 00:03:54.182 --> 00:03:56.278 We didn't have to communicate verbally about this. 00:03:56.278 --> 00:03:57.889 It all just happened. 00:03:57.889 --> 00:03:58.783 And I thought, 00:03:58.783 --> 00:04:00.632 humans and robots don't look at all like this. 00:04:00.632 --> 00:04:02.297 When humans and robots interact, 00:04:02.297 --> 00:04:03.495 it's much more like a chess game. 00:04:03.495 --> 00:04:04.758 The human does a thing, 00:04:04.758 --> 00:04:06.638 the robot analyzes whatever the human did, 00:04:06.638 --> 00:04:08.168 then the robot decides what to do next, 00:04:08.168 --> 00:04:09.344 plans it and does it. 00:04:09.344 --> 00:04:11.475 And then the human waits, until it's their turn again. 00:04:11.475 --> 00:04:12.665 So, it's much more like a chess game 00:04:12.665 --> 00:04:14.875 and that makes sense because chess is great 00:04:14.875 --> 00:04:16.396 for mathematicians and computer scientists. 00:04:16.396 --> 00:04:18.654 It's all about information analysis, 00:04:18.654 --> 00:04:21.503 decision making and planning. NOTE Paragraph 00:04:21.503 --> 00:04:25.191 But I wanted my robot to be less of a chess player, 00:04:25.191 --> 00:04:27.152 and more like a doer 00:04:27.152 --> 00:04:29.177 that just clicks and works together. 00:04:29.177 --> 00:04:32.570 So I made my second horrible career choice: 00:04:32.570 --> 00:04:35.230 I decided to study acting for a semester. 00:04:35.230 --> 00:04:38.090 I took off from a Ph.D. I went to acting classes. 00:04:38.090 --> 00:04:40.550 I actually participated in a play, 00:04:40.550 --> 00:04:43.342 I hope theres no video of that around still. 00:04:43.342 --> 00:04:45.969 And I got every book I could find about acting, 00:04:45.969 --> 00:04:47.945 including one from the 19th century 00:04:47.945 --> 00:04:49.012 that I got from the library. 00:04:49.012 --> 00:04:52.470 And I was really amazed because my name was the second name on the list -- 00:04:52.470 --> 00:04:55.286 the previous name was in 1889. (Laughter) 00:04:55.286 --> 00:04:57.000 And this book was kind of waiting for 100 years 00:04:57.000 --> 00:05:00.191 to be rediscovered for robotics. 00:05:00.191 --> 00:05:01.669 And this book shows actors 00:05:01.669 --> 00:05:04.034 how to move every muscle in the body 00:05:04.034 --> 00:05:06.742 to match every kind of emotion that they want to express. NOTE Paragraph 00:05:06.742 --> 00:05:08.574 But the real relevation was 00:05:08.574 --> 00:05:09.910 when I learned about method acting. 00:05:09.910 --> 00:05:12.186 It became very popular in the 20th century. 00:05:12.186 --> 00:05:14.830 And method acting said, you don't have to plan every muscle in your body. 00:05:14.830 --> 00:05:17.503 Instead you have to use your body to find the right movement. 00:05:17.503 --> 00:05:19.683 You have to use your sense memory 00:05:19.683 --> 00:05:21.539 to reconstruct the emotions and kind of 00:05:21.539 --> 00:05:24.440 think with your body to find the right expression. 00:05:24.440 --> 00:05:26.460 Improvise, play off yor scene partner. 00:05:26.460 --> 00:05:29.708 And this came at the same time as I was reading about this trend 00:05:29.708 --> 00:05:32.804 in cognitive psychology called embodied cognition. 00:05:32.804 --> 00:05:34.478 Which also talks about the same ideas -- 00:05:34.478 --> 00:05:35.987 We use our bodies to think, 00:05:35.987 --> 00:05:38.212 we don't just think with our brains and use our bodies to move. 00:05:38.212 --> 00:05:40.621 but our bodies feed back into our brain 00:05:40.621 --> 00:05:42.838 to generate the way that we behave. 00:05:42.838 --> 00:05:44.209 And it was like a lightning bolt. 00:05:44.209 --> 00:05:45.571 I went back to my office. 00:05:45.571 --> 00:05:48.470 I wrote this paper -- which I never really published 00:05:48.470 --> 00:05:50.836 called "Acting Lessons for Artificial Intelligence." 00:05:50.836 --> 00:05:52.233 And I even took another month 00:05:52.233 --> 00:05:54.844 to do what was then the first theater play 00:05:54.844 --> 00:05:56.696 with a human and a robot acting together. 00:05:56.696 --> 00:06:00.263 That's what you saw before with the actors. 00:06:00.263 --> 00:06:01.692 And I thought: 00:06:01.692 --> 00:06:04.599 How can we make an artificial intelligence model -- 00:06:04.599 --> 00:06:06.460 computer, computational model -- 00:06:06.460 --> 00:06:08.784 that will model some of these ideas of improvisation, 00:06:08.784 --> 00:06:10.941 of taking risks, of taking chances, 00:06:10.941 --> 00:06:12.508 even of making mistakes. 00:06:12.508 --> 00:06:15.280 Maybe it can make for better robotic teammates. 00:06:15.280 --> 00:06:17.908 So I worked for quite a long time on these models 00:06:17.908 --> 00:06:20.257 and I implemented them on a number of robots. 00:06:20.257 --> 00:06:22.272 Here you can see a very early example 00:06:22.272 --> 00:06:25.984 with the robots trying to use this embodied artificial intelligence, 00:06:25.984 --> 00:06:28.742 to try to match my movements as closely as possible, 00:06:28.742 --> 00:06:30.229 sort of like a game. 00:06:30.229 --> 00:06:32.086 Let's look at it. 00:06:35.594 --> 00:06:39.698 You can see when I psych it out, it gets fooled. 00:06:39.698 --> 00:06:41.899 And it's a little bit like what you might see actors do 00:06:41.899 --> 00:06:43.786 when they try to mirror each other 00:06:43.786 --> 00:06:46.304 to find the right synchrony between them. 00:06:46.304 --> 00:06:48.220 And then, I did another experiment, 00:06:48.220 --> 00:06:52.303 and I got people off the street to use the robotic desk lamp, 00:06:52.303 --> 00:06:56.257 and try out this idea of embodied artificial intelligence. 00:06:56.257 --> 00:07:00.543 So, I actually used two kinds of brains for the same robot. 00:07:00.543 --> 00:07:01.863 The robot is the same lamp that you saw, 00:07:01.863 --> 00:07:03.793 and I put in it two brains. 00:07:03.793 --> 00:07:05.633 For one half of the people, 00:07:05.633 --> 00:07:08.457 I put in a brain that's kind of the traditional, 00:07:08.457 --> 00:07:09.711 calculated robotic brain. 00:07:09.711 --> 00:07:12.265 It waits for its turn, it analyzes everything, it plans. 00:07:12.265 --> 00:07:13.921 Let's call it the calculated brain. 00:07:13.921 --> 00:07:17.553 The other got more the stage actor, risk taker brain. 00:07:17.553 --> 00:07:19.633 Let's call it the adventurous brain. 00:07:19.633 --> 00:07:22.594 It sometimes acts without knowing everything it has to know. 00:07:22.594 --> 00:07:24.771 It sometimes makes mistakes and corrects them. 00:07:24.771 --> 00:07:27.354 And I had them do this very tedious task 00:07:27.354 --> 00:07:28.852 that took almost 20 minutes 00:07:28.852 --> 00:07:30.353 and they had to work together. 00:07:30.353 --> 00:07:32.634 Somehow simulating like a factory job 00:07:32.634 --> 00:07:35.299 of repetitively doing the same thing. 00:07:35.299 --> 00:07:37.073 And what I found was that people actually loved 00:07:37.073 --> 00:07:38.721 the adventurous robot. 00:07:38.721 --> 00:07:40.103 And they thought it was more intelligent, 00:07:40.103 --> 00:07:42.171 more committed, a better member of the team, 00:07:42.171 --> 00:07:44.268 contributed to the success of the team more. 00:07:44.268 --> 00:07:45.983 They even called it 'he' and 'she,' 00:07:45.983 --> 00:07:48.899 whereas people with the calculated brain called it 'it.' 00:07:48.899 --> 00:07:51.646 And nobody ever called it 'he' or 'she'. 00:07:51.646 --> 00:07:53.495 When they talked about it after the task 00:07:53.495 --> 00:07:55.193 with the adventurous brain, 00:07:55.193 --> 00:07:59.275 they said, "By the end, we were good friends and high-fived mentally." 00:07:59.275 --> 00:08:00.714 Whatever that means. 00:08:00.714 --> 00:08:03.961 (Laughter) Sounds painful. 00:08:03.961 --> 00:08:06.676 Whereas the people with the calculated brain 00:08:06.676 --> 00:08:09.049 said it was just like a lazy apprentice. 00:08:09.049 --> 00:08:11.750 It only did what it was supposed to do and nothing more. 00:08:11.750 --> 00:08:14.307 Which is almost what people expect robots to do, 00:08:14.307 --> 00:08:16.742 so I was surprised that people had higher expectations 00:08:16.742 --> 00:08:21.886 of robots, than what anybody in robotics thought robots should be doing. 00:08:21.886 --> 00:08:23.856 And in a way, I thought, maybe it's time -- 00:08:23.856 --> 00:08:26.717 just like method acting changed the way 00:08:26.717 --> 00:08:28.149 people thought about acting in the 19th century, 00:08:28.149 --> 00:08:29.992 from going from the very calculated, 00:08:29.992 --> 00:08:31.774 planned way of behaving, 00:08:31.774 --> 00:08:35.295 to a more intuitive, risk-taking, embodied way of behaving. 00:08:35.295 --> 00:08:36.699 Maybe it's time for robots 00:08:36.699 --> 00:08:39.845 to have the same kind of revolution. NOTE Paragraph 00:08:39.845 --> 00:08:40.966 A few years later, 00:08:40.966 --> 00:08:43.474 I was at my next research job at Georgia Tech in Atlanta, 00:08:43.474 --> 00:08:44.539 and I was working in a group 00:08:44.539 --> 00:08:45.821 dealing with robotic musicians. 00:08:45.821 --> 00:08:48.662 And I thought, music, that's the perfect place 00:08:48.662 --> 00:08:51.059 to look at teamwork, coordination, 00:08:51.059 --> 00:08:52.948 timing, improvisation -- 00:08:52.948 --> 00:08:55.484 and we just got this robot playing marimba. 00:08:55.484 --> 00:08:57.499 Marimba, for everybody who was like me, 00:08:57.499 --> 00:09:00.344 it was this huge, wooden xylophone. 00:09:00.344 --> 00:09:03.039 And, when I was looking at this, 00:09:03.039 --> 00:09:05.633 I looked at other works in human-robot improvisation -- 00:09:05.633 --> 00:09:08.012 yes, there are other works in human-robot improvisation -- 00:09:08.012 --> 00:09:10.105 and they were also a little bit like a chess game. 00:09:10.105 --> 00:09:11.409 The human would play, 00:09:11.409 --> 00:09:13.989 the robot would analyze what was played, 00:09:13.989 --> 00:09:16.201 would improvise their own part. 00:09:16.201 --> 00:09:17.868 So, this is what musicians called 00:09:17.868 --> 00:09:19.351 a call and response interaction, 00:09:19.351 --> 00:09:23.188 and it also fits very well, robots and artificial intelligence. 00:09:23.188 --> 00:09:25.095 But I thought, if I use the same ideas I used 00:09:25.095 --> 00:09:28.232 in the theater play and in the teamwork studies, 00:09:28.232 --> 00:09:30.684 maybe I can make the robots jam together 00:09:30.684 --> 00:09:32.305 like a band. 00:09:32.305 --> 00:09:36.118 Everybody's riffing off each other, nobody is stopping it for a moment. 00:09:36.118 --> 00:09:38.910 And so, I tried to do the same things, this time with music, 00:09:38.910 --> 00:09:40.297 where the robot doesn't really know 00:09:40.297 --> 00:09:41.272 what it's about to play. 00:09:41.272 --> 00:09:42.545 It just sort of moves its body 00:09:42.545 --> 00:09:44.773 and uses opportunities to play, 00:09:44.773 --> 00:09:47.494 And does what my jazz teacher when I was 17 taught me. 00:09:47.494 --> 00:09:48.758 She said, when you improvise, 00:09:48.758 --> 00:09:50.419 sometimes you don't know what you're doing 00:09:50.419 --> 00:09:51.434 and you're still doing it. 00:09:51.434 --> 00:09:52.864 And so I tried to make a robot that doesn't actually 00:09:52.864 --> 00:09:54.809 know what it's doing, but it's still doing it. 00:09:54.809 --> 00:09:57.753 So let's look at a few seconds from this performance. 00:09:57.753 --> 00:10:00.670 Where the robot listens to the human musician 00:10:00.670 --> 00:10:02.473 and improvises. 00:10:02.473 --> 00:10:04.846 And then, look at how the human musician also 00:10:04.846 --> 00:10:06.633 responds to what the robot is doing, and picking up 00:10:06.633 --> 00:10:09.453 from its behavior. 00:10:09.453 --> 00:10:13.981 And at some point can even be surprised by what the robot came up with. 00:10:13.981 --> 00:11:00.056 (Music) 00:11:00.056 --> 00:11:05.087 (Applause) NOTE Paragraph 00:11:05.087 --> 00:11:07.073 Being a musician is not just about making notes, 00:11:07.073 --> 00:11:09.459 otherwise nobody would every go see a live show. 00:11:09.459 --> 00:11:11.382 Musicians also communicate with their bodies, 00:11:11.382 --> 00:11:13.329 with other band members, with the audience, 00:11:13.329 --> 00:11:15.492 they use their bodies to express the music. 00:11:15.492 --> 00:11:17.872 And I thought, we already have a robot musician on stage, 00:11:17.872 --> 00:11:20.820 why not make it be a full-fledged musician. 00:11:20.820 --> 00:11:23.336 And I started designing a socially expressive head 00:11:23.336 --> 00:11:24.885 for the robot. 00:11:24.885 --> 00:11:26.712 The head does't actually touch the marimba, 00:11:26.712 --> 00:11:28.348 it just expresses what the music is like. 00:11:28.348 --> 00:11:31.428 These are some napkin sketches from a bar in Atlanta, 00:11:31.428 --> 00:11:34.050 that was dangerously located exactly halfway 00:11:34.050 --> 00:11:35.502 between my lab and my home. (Laughter) 00:11:35.502 --> 00:11:36.918 So I spent, I would say on average, 00:11:36.918 --> 00:11:39.846 three to four hours a day there. 00:11:39.846 --> 00:11:42.744 I think. (Laughter) 00:11:42.744 --> 00:11:45.723 And I went back to my animation tools and tried to figure out 00:11:45.723 --> 00:11:47.905 not just what a robotic musician would look like, 00:11:47.905 --> 00:11:50.713 but especially what a robotic musician would move like. 00:11:50.713 --> 00:11:54.013 To sort of show that it doesn't like what the other person is playing -- 00:11:54.013 --> 00:11:56.492 and maybe show whatever beat it's feeling 00:11:56.492 --> 00:11:58.141 at the moment. NOTE Paragraph 00:11:58.141 --> 00:12:02.668 So we ended up actually getting the money to build this robot, which was nice. 00:12:02.668 --> 00:12:04.878 I'm going to show you now the same kind of performance, 00:12:04.878 --> 00:12:07.220 this time with a socially expressive head. 00:12:07.220 --> 00:12:09.184 And notice one thing -- 00:12:09.184 --> 00:12:10.880 how the robot is really showing us 00:12:10.880 --> 00:12:12.744 the beat it's picking up from the human. 00:12:12.744 --> 00:12:16.760 We're also giving the human a sense that the robot knows what it's doing. 00:12:16.760 --> 00:12:18.140 And also how it changes the way it moves 00:12:18.140 --> 00:12:20.680 as soon as it starts its own solo. 00:12:20.680 --> 00:12:24.600 (Music) 00:12:24.600 --> 00:12:27.501 Now it's looking at me to make sure I'm listening. 00:12:27.501 --> 00:12:48.601 (Music) 00:12:48.601 --> 00:12:52.228 And now look at the final chord of the piece again, 00:12:52.228 --> 00:12:55.067 and this time the robot communicates with its body 00:12:55.067 --> 00:12:57.204 when it's busy doing its own thing. 00:12:57.204 --> 00:12:58.816 And when it's ready 00:12:58.816 --> 00:13:02.168 to coordinate the final chord with me. 00:13:02.168 --> 00:13:15.097 (Music) 00:13:15.128 --> 00:13:20.906 (Applause) NOTE Paragraph 00:13:20.906 --> 00:13:25.263 Thanks. I hope you see how much this totally not -- 00:13:25.263 --> 00:13:27.944 how much this part of the body that doesn't touch the instrument 00:13:27.944 --> 00:13:31.310 actually helps with the musical performance. 00:13:31.310 --> 00:13:34.530 And at some point, we are in Atlanta, so obviously some rapper 00:13:34.530 --> 00:13:36.399 will come into our lab at some point. 00:13:36.399 --> 00:13:38.639 And we had this rapper come in 00:13:38.639 --> 00:13:41.212 and do a little jam with the robot. 00:13:41.212 --> 00:13:43.914 And here you can see the robot 00:13:43.914 --> 00:13:45.143 basically responding to the beat and -- 00:13:45.143 --> 00:13:47.997 notice two things. One, how irresistible it is 00:13:47.997 --> 00:13:50.510 to join the robot while it's moving its head. 00:13:50.051 --> 00:13:52.412 and you kind of want to move your own head when it does it. 00:13:52.412 --> 00:13:56.207 And second, even though the rapper is really focused on his iPhone, 00:13:56.207 --> 00:13:59.121 as soon as the robot turns to him, he turns back. 00:13:59.121 --> 00:14:01.200 So even though it's just in the periphery of his vision -- 00:14:01.200 --> 00:14:03.770 it's just in the corner of his eye -- it's very powerful. 00:14:03.770 --> 00:14:05.821 And the reason is that we can't ignore 00:14:05.821 --> 00:14:07.522 physical things moving in our environment. 00:14:07.522 --> 00:14:09.286 We are wired for that. 00:14:09.286 --> 00:14:12.618 So, if you have a problem with maybe your partners 00:14:12.618 --> 00:14:15.489 looking at the iPhone too much or their smartphone too much, 00:14:15.489 --> 00:14:17.082 you might want to have a robot there 00:14:17.082 --> 00:14:18.636 to get their attention. (Laughter) 00:14:18.636 --> 00:14:38.211 (Music) 00:14:38.211 --> 00:14:44.872 (Applause) NOTE Paragraph 00:14:44.872 --> 00:14:47.382 Just to introduce the last robot 00:14:47.382 --> 00:14:49.526 that we've worked on, 00:14:49.526 --> 00:14:51.599 that came out of something kind of surprising that we found: 00:14:51.599 --> 00:14:54.634 At some point people didn't care anymore about the robot being so intelligent, 00:14:54.634 --> 00:14:56.342 and can improvise and listen, 00:14:56.342 --> 00:15:00.750 and do all these embodied intelligence things that I spent years on developing. 00:15:00.750 --> 00:15:04.263 They really liked that the robot was enjoying the music. (Laughter) 00:15:04.263 --> 00:15:06.668 And they didn't say that the robot was moving to the music, 00:15:06.668 --> 00:15:08.340 they said that the robot was enjoying the music. 00:15:08.340 --> 00:15:10.744 And we thought, why don't we take this idea, 00:15:10.744 --> 00:15:13.629 and I designed a new piece of furniture. 00:15:13.629 --> 00:15:15.718 This time it wasn't a desk lamp; it was a speaker dock. 00:15:15.718 --> 00:15:18.826 It was one of those things you plug your smartphone in. 00:15:18.826 --> 00:15:20.545 And I thought, what would happen 00:15:20.545 --> 00:15:23.146 if your speaker dock didn't just play the music for you, 00:15:23.146 --> 00:15:25.657 but it would actually enjoy it too. (Laughter) 00:15:25.657 --> 00:15:27.434 And so again, here are some animation tests 00:15:27.434 --> 00:15:31.835 from an early stage. (Laughter) 00:15:31.835 --> 00:15:36.005 And this is what the final product looked like. 00:15:47.223 --> 00:16:09.461 ("Drop It Like It's Hot") 00:16:09.461 --> 00:16:12.105 So, a lot of bobbing head. 00:16:12.105 --> 00:16:15.327 (Applause) 00:16:15.327 --> 00:16:17.228 A lot of bobbing heads in the audience, 00:16:17.228 --> 00:16:20.386 so we can still see robots influence people. 00:16:20.386 --> 00:16:23.028 And it's not just fun and games. NOTE Paragraph 00:16:23.028 --> 00:16:25.420 I think one of the reasons I care so much 00:16:25.420 --> 00:16:27.214 about robots that use their body to communicate 00:16:27.214 --> 00:16:29.407 and use their body to move -- 00:16:29.407 --> 00:16:32.640 and I'm going to let you in on a little secret we roboticists are hiding -- 00:16:32.640 --> 00:16:35.001 is that every one of you is going to be living with a robot 00:16:35.001 --> 00:16:37.254 at some point in their life. 00:16:37.254 --> 00:16:39.550 Somewhere in your future there's going to be a robot in your life. 00:16:39.550 --> 00:16:41.678 And if not in yours, then in your children's lives. 00:16:41.678 --> 00:16:43.467 And I want these robots to be -- 00:16:43.467 --> 00:16:46.961 to be more fluent, more engaging, more graceful 00:16:46.961 --> 00:16:48.749 than currently they seem to be. 00:16:48.749 --> 00:16:50.668 And for that I think that maybe robots 00:16:50.668 --> 00:16:52.034 need to be less like chess players 00:16:52.034 --> 00:16:54.744 and more like stage actors and more like musicians. 00:16:54.744 --> 00:16:57.683 Maybe they should be able to take chances and improvise. 00:16:57.683 --> 00:17:00.180 And maybe they should be able to anticipate what you're about to do. 00:17:00.180 --> 00:17:02.756 And maybe they need to be able to make mistakes 00:17:02.756 --> 00:17:03.979 and correct them, 00:17:03.979 --> 00:17:06.015 because in the end we are human. 00:17:06.015 --> 00:17:09.386 And maybe as humans, robots that are a little less than perfect 00:17:09.386 --> 00:17:11.252 are just perfect for us. 00:17:11.252 --> 00:17:12.766 Thank you. 00:17:12.766 --> 00:17:16.188 (Applause)