最新文档《有情感的机器人》英语演讲稿word范文 10页.docx

1、最新文档有情感的机器人英语演讲稿word范文 10页本文部分内容来自网络整理，本司不为其真实性负责，如有异议或侵权请及时联系，本司将立即删除！= 本文为word格式，下载后可方便编辑和修改！ = 有情感的机器人英语演讲稿My job is to design, build and study robots that communicate with people. But this story doesnt start with robotics at all, it starts with animation. When I first saw Pixars Luxo Jr., I was

2、amazed by how much emotion they could put into something as trivial as a desk lamp. I mean, look at them - at the end of this movie, you actually feel something for two pieces of furniture. (Laughter) And I said, I have to learn how to do this. So I made a really bad career decision. And thats what

3、my mom was like when I did it. (Laughter) I left a very cozy tech job in Israel at a nice software company and I moved to New York to study animation. And there I lived in a collapsing apartment building in Harlem with roommates. Im not using this phrase metaphorically, the ceiling actually collapse

4、d one day in our living room. Whenever they did those news stories about building violations in New York, they would put the report in front of our building. As kind of like a backdrop to show how bad things are. 我的工作是设计、构造和研究 那些能够与人交流的机器人。 不过这个 故事 不是从机器人说起， 而是要从动画说起。 当我第一次看到皮克斯的顽皮跳跳灯电影时， 我惊呆了， 一个如此

5、微不足道的台灯 竟能表现如此多的感情。 你看他们啊!电影结尾的时候， 你真的开始喜欢上这两件小小的家具了。 (笑声) 我对自己说，我要学会做这样的东西。 所以我做了一个很坏的职业决策， 我做出这个决定的时候，我妈妈就是这样的。 (笑声) 我辞去了在以色列一个软件公司的 一份非常舒服的技术工作， 我搬到了纽约 去 学习 动画。 在那，我和我的室友住在 哈莱姆一栋即将坍塌的公寓楼里。 我没有夸张， 有一天天花板真的塌下来了 就塌在了我们的客厅里。 每次报到纽约的违章建筑时， 他们都会跑到们的大楼下进行采访。 就好像让你看看现场有多糟糕一样。 Anyway, during the day I wen

6、t to school and at night I would sit and draw frame by frame of pencil animation. And I learned two surprising lessons - one of them was that when you want to arouse emotions, it doesnt matter so much how something looks, its all in the motion - its in the timing of how the thing moves. And the seco

7、nd, was something one of our teachers told us. He actually did the weasel in Ice Age. And he said: As an animator you are not a director, youre an actor. So, if you want to find the right motion for a character, dont think about it, go use your body to find it - stand in front of a mirror, act it ou

8、t in front of a camera - whatever you need. And then put it back in your character. 言归正传，我上学的日日夜夜， 我不停地一幅又一幅地用铅笔画着画。 我学到了两个让我惊讶的东西 其中一个是： 当你想要唤起某些情感时， 外观并不算太重要， 关键是动作物体运动时，对时间的把握。 关键是动作物体运动时，对时间的把握。 第二个是我们的一个老师告诉我们的。 他正是电影冰河世纪的黄鼠狼。 他说： ”作为一个动画制作者， 你不是一个导演，而是一个演员。“ 所以如果你要为一个角色找到正确的肢体语言， 不要想，用你的身体找到它，

9、 站在镜子面前，摄像机前，演出来， 无论你需要做什么。 然后再把这个动作放在你的角色上。 A year later I found myself at MIT in the robotic life group, it was one of the first groups researching the relationships between humans and robots. And I still had this dream to make an actual, physical Luxo Jr. lamp. But I found that robots didnt move

10、at all in this engaging way that I was used to for my animation studies. Instead, they were all - how should I put it, they were all kind of robotic. (Laughter) And I thought, what if I took whatever I learned in animation school, and used that to design my robotic desk lamp. So I went and designed

11、frame by frame to try to make this robot as graceful and engaging as possible. And here when you see the robot interacting with me on a desktop. And Im actually redesigning the robot so, unbeknownst to itself, its kind of digging its own grave by helping me. (Laughter) I wanted it to be less of a me

12、chanical structure giving me light, and more of a helpful, kind of quiet apprentice thats always there when you need it and doesnt really interfere. And when, for example, Im looking for a battery that I cant find, in a subtle way, it will show me where the battery is. So you can see my confusion he

13、re. Im not an actor. And I want you to notice how the same mechanical structure can at one point, just by the way it moves seem gentle and caring - and in the other case, seem violent and confrontational. And its the same structure, just the motion is different. Actor: You want to know something? We

14、ll, you want to know something? He was already dead! Just laying there, eyes glazed over! (Laughter) But, moving in graceful ways is just one building block of this whole structure called human-robot interaction. I was at the time doing my Ph.D., I was working on human robot teamwork; teams of human

15、s and robots working together. I was studying the engineering, the psychology, the philosophy of teamwork. And at the same time I found myself in my own kind of teamwork situation with a good friend of mine who is actually here. And in that situation we can easily imagine robots in the near future b

16、eing there with us. It was after a Passover seder. We were folding up a lot of folding chairs, and I was amazed at how quickly we found our own rhythm. Everybody did their own part. We didnt have to divide our tasks. We didnt have to communicate verbally about this. It all just happened. And I thoug

17、ht, humans and robots dont look at all like this. When humans and robots interact, its much more like a chess game. The human does a thing, the robot analyzes whatever the human did, then the robot decides what to do next, plans it and does it. And then the human waits, until its their turn again. S

18、o, its much more like a chess game and that makes sense because chess is great for mathematicians and computer scientists. Its all about information analysis, decision making and planning. 一年以后，我去了麻省理工大学(MIT)的 机器人生命小组，这是最早 开始研究人类和机器人关系的小组之一。 我依然怀揣着要造一个 真正的、可触碰的顽皮跳跳灯的梦想。 但是我发现机器人完全不是 按照我的动画课程中的那种 引人入

19、胜的方式移动。 相反的，他们都 该怎么说呢?他们都有点儿机械化。 (笑声) 我就想，如果我可以把我在动画学校学到的东西 应用于设计我的机器人台灯会怎样? 因此我设计了一幅又一幅， 试图让这个机器人 尽量优雅、有吸引力。 这里你可以看到这个桌子上的机器人 在跟我互动， 我其实是在重新设计这个机器人， 而这个机器人完全不知道， 它帮我，其实是在自掘坟墓呢。 (笑声) 比起把他它做成一个照明的机械， 比起把他它做成一个照明的机械， 我更想要一个能帮忙的、安静的学徒， 随时满足你的需求却不打扰你。 比如，当我要找一个我怎么也 找不到的电池时， 它可以巧妙地提醒我电池在哪里。 你看到我的困惑了吗? 我不

20、是一个演员。 我希望你们注意到，同一个机械如何 在前一刻非常温柔、充满关怀， 在前一刻非常温柔、充满关怀， 下一刻又显得非常暴力，有进攻性。 一模一样的结构，改变的仅仅是动作。 演员：”你想知道吗?你真的想知道吗? 他已经死了! 他就躺在那里，目光呆滞!“ (笑声) 但是，以一种优雅的方式移动只是这整个 人类机器人互动结构的一块基石。 那时候我正在攻读我的博士学位， 我正在研究人类与机器人的团队合作， 也就是人类和机器人一起合作。 我在学习团队合作的工程学， 心理学和哲学。 同时，我意识到自己 和我的一个好朋友(他今天也在这里)， 也碰到了一个团队合作的情境。 在那个情境中，我们很容易想象 不

21、久的将来机器人会和我们在一起。 那是在一个逾越节家宴结束后， 我们要收起大量的折叠椅， 我惊讶于我们迅速找到了各自的节奏。 每个人都做了自己的那部分， 无需分工， 无需特意口头沟通。 就这样发生了。 于是我想， 人类和机器人的互动却完全不是这样。 当人类和机器人互动的时候， 就好像他们在下象棋。 人类走一步， 机器人对此分析一下， 然后机器人决定接下来怎么做， 计划好，走下一步。 这时候人类就等着，直到轮到他们玩为止。 所以，人类和机器人的互动更像下象棋， 这很好理解，因为 对数学家和计算机科学家来说，象棋很好， 它们都是关于信息分析、 决策制定和计划。 But I wanted my rob

22、ot to be less of a chess player, and more like a doer that just clicks and works together. So I made my second horrible career choice: I decided to study acting for a semester. I took off from a Ph.D. I went to acting classes. I actually participated in a play, I hope theres no video of that around

23、still. And I got every book I could find about acting, including one from the 19th century that I got from the library. And I was really amazed because my name was the second name on the list - the previous name was in 1889. (Laughter) And this book was kind of waiting for 100 years to be rediscover

24、ed for robotics. And this book shows actors how to move every muscle in the body to match every kind of emotion that they want to express. 但比起象棋玩家，我更希望我的机器人是一个行动者， 但比起象棋玩家，我更希望我的机器人是一个行动者， 可以和人类有默契地一起工作。 于是我做了我人生中的第二个糟糕的职业决策： 我决定学习一学期的表演课程。 我放下了我的博士课程，去上了表演课。 我还参与了一个戏剧， 希望现在已经找不到那个视频了。 我找到了每一本关于表演的书

25、， 其中包括一本从图书馆里借来的 19世纪的书。 我震惊地发现我的名字是借阅者名单上的第二个， 之前的一个名字是1889年。(笑声) 这本书已经躺了100年了， 只为了借机器人之名被重新发现。 这本书教演员 如何调动他们身体上的每块肌肉 来表达他们想要表达的情感。 But the real revelation was when I learned about method acting. It became very popular in the 20th century. And method acting said, you dont have to plan every muscle

26、in your body. Instead you have to use your body to find the right movement. You have to use your sense memory to reconstruct the emotions and kind of think with your body to find the right expression. Improvise, play off yor scene partner. And this came at the same time as I was reading about this t

27、rend in cognitive psychology called embodied cognition. Which also talks about the same ideas - We use our bodies to think, we dont just think with our brains and use our bodies to move. but our bodies feed back into our brain to generate the way that we behave. And it was like a lightning bolt. I w

28、ent back to my office. I wrote this paper - which I never really published called Acting Lessons for Artificial Intelligence. And I even took another month to do what was then the first theater play with a human and a robot acting together. Thats what you saw before with the actors. And I thought: H

29、ow can we make an artificial intelligence model - computer, computational model - that will model some of these ideas of improvisation, of taking risks, of taking chances, even of making mistakes. Maybe it can make for better robotic teammates. So I worked for quite a long time on these models and I

30、 implemented them on a number of robots. Here you can see a very early example with the robots trying to use this embodied artificial intelligence, to try to match my movements as closely as possible, sort of like a game. Lets look at it. You can see when I psych it out, it gets fooled. And its a li

31、ttle bit like what you might see actors do when they try to mirror each other to find the right synchrony between them. And then, I did another experiment, and I got people off the street to use the robotic desk lamp, and try out this idea of embodied artificial intelligence. So, I actually used two

32、 kinds of brains for the same robot. The robot is the same lamp that you saw, and I put in it two brains. For one half of the people, I put in a brain thats kind of the traditional, calculated robotic brain. It waits for its turn, it analyzes everything, it plans. Lets call it the calculated brain. The other got more the stage actor, risk taker brain. Lets call it the adventurous brain. It sometimes acts without knowing everything it has to know. It sometimes makes mistakes and corrects them. And I had them do this very tedious task that took almost 20 minutes and they had to work