TED演講：有“靈魂”的機(jī)器人

　　My job is to design, build and study robots that communicate with people. But this story doesn't start with robotics at all, it starts with animation. When I first saw Pixar's "Luxo Jr.," I was 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 that's what 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. I'm not using this phrase metaphorically, the ceiling actually collapsed 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.

　　我的工作是設(shè)計(jì)、構(gòu)造和研究 那些能夠與人交流的機(jī)器人。 不過這個(gè)故事不是從機(jī)器人說起， 而是要從動(dòng)畫說起。 當(dāng)我第一次看到皮克斯的《頑皮跳跳燈》電影時(shí)， 我驚呆了， 一個(gè)如此微不足道的臺(tái)燈 竟能表現(xiàn)如此多的感情。 你看他們啊!電影結(jié)尾的時(shí)候， 你真的開始喜歡上這兩件小小的家具了。 (笑聲) 我對(duì)自己說，我要學(xué)會(huì)做這樣的東西。 所以我做了一個(gè)很壞的職業(yè)決策， 我做出這個(gè)決定的時(shí)候，我媽媽就是這樣的。 (笑聲) 我辭去了在以色列一個(gè)軟件公司的 一份非常舒服的技術(shù)工作， 我搬到了紐約 去學(xué)習(xí)動(dòng)畫。 在那，我和我的室友住在 哈萊姆一棟即將坍塌的公寓樓里。 我沒有夸張， 有一天天花板真的塌下來了 就塌在了我們的客廳里。 每次報(bào)到紐約的違章建筑時(shí)， 他們都會(huì)跑到們的大樓下進(jìn)行采訪。 就好像讓你看看現(xiàn)場有多糟糕一樣。

　　Anyway, during the day I went 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 doesn't matter so much how something looks, it's all in the motion -- it's in the timing of how the thing moves. And the second, 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, you're an actor." So, if you want to find the right motion for a character, don't think about it, go use your body to find it -- stand in front of a mirror, act it out in front of a camera -- whatever you need. And then put it back in your character.

　　言歸正傳，我上學(xué)的日日夜夜， 我不停地一幅又一幅地用鉛筆畫著畫。 我學(xué)到了兩個(gè)讓我驚訝的東西—— 其中一個(gè)是： 當(dāng)你想要喚起某些情感時(shí)， 外觀并不算太重要， 關(guān)鍵是動(dòng)作——物體運(yùn)動(dòng)時(shí)，對(duì)時(shí)間的把握。 關(guān)鍵是動(dòng)作——物體運(yùn)動(dòng)時(shí)，對(duì)時(shí)間的把握。 第二個(gè)是我們的一個(gè)老師告訴我們的。 他正是電影《冰河世紀(jì)》的黃鼠狼。 他說： ”作為一個(gè)動(dòng)畫制作者， 你不是一個(gè)導(dǎo)演，而是一個(gè)演員。“ 所以如果你要為一個(gè)角色找到正確的肢體語言， 不要想，用你的身體找到它， 站在鏡子面前，攝像機(jī)前，演出來， 無論你需要做什么。 然后再把這個(gè)動(dòng)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 didn't move 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 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 I'm actually redesigning the robot so, unbeknownst to itself, it's kind of digging its own grave by helping me. (Laughter) I wanted it to be less of a mechanical structure giving me light, and more of a helpful, kind of quiet apprentice that's always there when you need it and doesn't really interfere. And when, for example, I'm looking for a battery that I can't find, in a subtle way, it will show me where the battery is. So you can see my confusion here. I'm 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 it's the same structure, just the motion is different. Actor: "You want to know something? Well, 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 humans 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 being 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 didn't have to divide our tasks. We didn't have to communicate verbally about this. It all just happened. And I thought, humans and robots don't look at all like this. When humans and robots interact, it's 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 it's their turn again. So, it's much more like a chess game and that makes sense because chess is great for mathematicians and computer scientists. It's all about information analysis, decision making and planning.

　　一年以后，我去了麻省理工大學(xué)(MIT)的 機(jī)器人生命小組，這是最早 開始研究人類和機(jī)器人關(guān)系的小組之一。 我依然懷揣著要造一個(gè) 真正的、可觸碰的頑皮跳跳燈的夢想。 但是我發(fā)現(xiàn)機(jī)器人完全不是 按照我的動(dòng)畫課程中的那種 引人入勝的方式移動(dòng)。 相反的，他們都—— 該怎么說呢?他們都有點(diǎn)兒機(jī)械化。 (笑聲) 我就想，如果我可以把我在動(dòng)畫學(xué)校學(xué)到的東西 應(yīng)用于設(shè)計(jì)我的機(jī)器人臺(tái)燈會(huì)怎樣? 因此我設(shè)計(jì)了一幅又一幅， 試圖讓這個(gè)機(jī)器人 盡量優(yōu)雅、有吸引力。 這里你可以看到這個(gè)桌子上的機(jī)器人 在跟我互動(dòng)， 我其實(shí)是在重新設(shè)計(jì)這個(gè)機(jī)器人， 而這個(gè)機(jī)器人完全不知道， 它幫我，其實(shí)是在自掘墳?zāi)鼓亍?(笑聲) 比起把他它做成一個(gè)照明的機(jī)械， 比起把他它做成一個(gè)照明的機(jī)械， 我更想要一個(gè)能幫忙的、安靜的學(xué)徒， 隨時(shí)滿足你的需求卻不打擾你。 比如，當(dāng)我要找一個(gè)我怎么也 找不到的電池時(shí)， 它可以巧妙地提醒我電池在哪里。 你看到我的困惑了嗎? 我不是一個(gè)演員。 我希望你們注意到，同一個(gè)機(jī)械如何 在前一刻非常溫柔、充滿關(guān)懷， 在前一刻非常溫柔、充滿關(guān)懷， 下一刻又顯得非常暴力，有進(jìn)攻性。 一模一樣的結(jié)構(gòu)，改變的僅僅是動(dòng)作。 演員：”你想知道嗎?你真的想知道嗎? 他已經(jīng)死了! 他就躺在那里，目光呆滯!“ (笑聲) 但是，以一種優(yōu)雅的方式移動(dòng)只是這整個(gè) 人類機(jī)器人互動(dòng)結(jié)構(gòu)的一塊基石。 那時(shí)候我正在攻讀我的博士學(xué)位， 我正在研究人類與機(jī)器人的團(tuán)隊(duì)合作， 也就是人類和機(jī)器人一起合作。 我在學(xué)習(xí)團(tuán)隊(duì)合作的工程學(xué)， 心理學(xué)和哲學(xué)。 同時(shí)，我意識(shí)到自己 和我的一個(gè)好朋友(他今天也在這里)， 也碰到了一個(gè)團(tuán)隊(duì)合作的情境。 在那個(gè)情境中，我們很容易想象 不久的將來機(jī)器人會(huì)和我們?cè)谝黄稹?那是在一個(gè)逾越節(jié)家宴結(jié)束后， 我們要收起大量的折疊椅， 我驚訝于我們迅速找到了各自的節(jié)奏。 每個(gè)人都做了自己的那部分， 無需分工， 無需特意口頭溝通。 就這樣發(fā)生了。 于是我想， 人類和機(jī)器人的互動(dòng)卻完全不是這樣。 當(dāng)人類和機(jī)器人互動(dòng)的時(shí)候， 就好像他們?cè)谙孪笃濉?人類走一步， 機(jī)器人對(duì)此分析一下， 然后機(jī)器人決定接下來怎么做， 計(jì)劃好，走下一步。 這時(shí)候人類就等著，直到輪到他們玩為止。 所以，人類和機(jī)器人的互動(dòng)更像下象棋， 這很好理解，因?yàn)?對(duì)數(shù)學(xué)家和計(jì)算機(jī)科學(xué)家來說，象棋很好， 它們都是關(guān)于信息分析、 決策制定和計(jì)劃。

　　But I wanted my robot 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 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 rediscovered 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，我更希望我的機(jī)器人是一個(gè)行動(dòng)者， 但比起象棋玩家，我更希望我的機(jī)器人是一個(gè)行動(dòng)者， 可以和人類有默契地一起工作。 于是我做了我人生中的第二個(gè)糟糕的職業(yè)決策： 我決定學(xué)習(xí)一學(xué)期的表演課程。 我放下了我的博士課程，去上了表演課。 我還參與了一個(gè)戲劇， 希望現(xiàn)在已經(jīng)找不到那個(gè)視頻了。 我找到了每一本關(guān)于表演的書， 其中包括一本從圖書館里借來的 19世紀(jì)的書。 我震驚地發(fā)現(xiàn)我的名字是借閱者名單上的第二個(gè)， 之前的一個(gè)名字是1889年。(笑聲) 這本書已經(jīng)躺了100年了， 只為了借機(jī)器人之名被重新發(fā)現(xiàn)。 這本書教演員 如何調(diào)動(dòng)他們身體上的每塊肌肉 來表達(dá)他們想要表達(dá)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 don't have to plan every muscle 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 trend in cognitive psychology called embodied cognition. Which also talks about the same ideas -- We use our bodies to think, we don't 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 went 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. That's what you saw before with the actors. And I thought: How 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 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. Let's look at it. You can see when I psych it out, it gets fooled. And it's a little 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 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 that's kind of the traditional, calculated robotic brain. It waits for its turn, it analyzes everything, it plans. Let's call it the calculated brain. The other got more the stage actor, risk taker brain. Let's 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 together. Somehow simulating like a factory job of repetitively doing the same thing. And what I found was that people actually loved the adventurous robot. And they thought it was more intelligent, more committed, a better member of the team, contributed to the success of the team more. They even called it 'he' and 'she,' whereas people with the calculated brain called it 'it.' And nobody ever called it 'he' or 'she'. When they talked about it after the task with the adventurous brain, they said, "By the end, we were good friends and high-fived mentally." Whatever that means. (Laughter) Sounds painful. Whereas the people with the calculated brain said it was just like a lazy apprentice. It only did what it was supposed to do and nothing more. Which is almost what people expect robots to do, so I was surprised that people had higher expectations of robots, than what anybody in robotics thought robots should be doing. And in a way, I thought, maybe it's time -- just like method acting changed the way people thought about acting in the 19th century, from going from the very calculated, planned way of behaving, to a more intuitive, risk-taking, embodied way of behaving. Maybe it's time for robots to have the same kind of revolution.

　　真正讓我受到啟示的是 方法演技。 它在20世紀(jì)的時(shí)候非常流行。 方法演技指出，你不需要安排你的每一塊肌肉， 相反，你可以用你的身體找到對(duì)的動(dòng)作。 你應(yīng)該運(yùn)用你的感覺記憶， 去重新建構(gòu)情感， 用你的身體找到對(duì)的表情。 即興發(fā)揮，根據(jù)你的場景搭檔即興表演。 這個(gè)時(shí)候我也正讀到 認(rèn)知心理學(xué)關(guān)于具身認(rèn)知的東西， 這也談到同樣的觀點(diǎn)—— 即我們用我們的身體思考， 我們并不是用大腦思考用身體表現(xiàn)， 而是我們的身體反饋給大腦 并做出相應(yīng)的動(dòng)作， 這對(duì)我好像一道閃電。 我馬上回了我的辦公室。 我寫了這篇論文，從來也沒發(fā)表過， 叫做《人工智能的表演課》。 我甚至花了一個(gè)月的時(shí)間 去做當(dāng)時(shí)第一部由人類和機(jī)器人 一起主演的戲劇。 你之前看到的演員和機(jī)器人的表演就是這部戲劇。 當(dāng)時(shí)我就想： 我們?cè)鯓涌梢宰龀鲞@樣的人工智能模型—— 計(jì)算機(jī)、計(jì)算機(jī)模型等等， 它們會(huì)即興發(fā)揮、 會(huì)冒險(xiǎn)、 甚至?xí)稿e(cuò)。 它可能會(huì)是更好的機(jī)器人隊(duì)友。 因此我花了很多時(shí)間去研究這些模型， 我還在幾個(gè)機(jī)器人身上做了試驗(yàn)。 這里你可以看到一個(gè)早期的例子， 這個(gè)機(jī)器人試圖運(yùn)用具身人工智能 來盡量模仿我的動(dòng)作， 就好像一個(gè)游戲。 我們來看一下。 你可以看到我可以糊弄它。 有點(diǎn)像你可能看到的演員們 互相模仿對(duì)方 只為了找到他們之間的默契。 然后，我又做了另外一個(gè)實(shí)驗(yàn)， 我從大街上拉人來使用這個(gè)機(jī)器人臺(tái)燈， 試驗(yàn)具身人工智能。 其實(shí)，同樣的機(jī)器人我用了兩個(gè)大腦， 機(jī)器人就是你看到的這個(gè)臺(tái)燈， 我給了它兩個(gè)大腦。 對(duì)一半的人， 我放入了一個(gè)傳統(tǒng)的、 機(jī)械計(jì)算的大腦。 它會(huì)等，會(huì)分析，會(huì)計(jì)劃， 我們暫且稱它為“會(huì)計(jì)算的大腦”。 給另一半人則是那個(gè)舞臺(tái)演員、愛冒險(xiǎn)的大腦， 我們暫且稱它為“愛冒險(xiǎn)的大腦”， 有的時(shí)候它在并不知道所有事情的時(shí)候行動(dòng)， 有的時(shí)候它會(huì)犯錯(cuò)然后去糾正。 我讓他們完成一項(xiàng)無比乏味的任務(wù)， 這個(gè)任務(wù)要花近20分鐘， 他們必須一起合作完成， 有點(diǎn)類似在工廠工作， 機(jī)械地重復(fù)一件事情。 我發(fā)現(xiàn)人們非常喜歡 那個(gè)“愛冒險(xiǎn)的機(jī)器人”。 他們覺得它非常聰明， 非常忠心，是一個(gè)很好的團(tuán)隊(duì)成員， 一起幫助團(tuán)隊(duì)成功。 他們甚至稱它為“他”和“她”， 而另外那些人稱那個(gè)“會(huì)計(jì)算的機(jī)器人”為“它”， 沒有人稱它為“他”或“她”。 任務(wù)完成后， 那些與“會(huì)冒險(xiǎn)的大腦”互動(dòng)的人說： “最后，我們成了好朋友， 還在腦內(nèi)舉手擊掌了。” 不管那是啥意思…… (笑聲)聽上去很…(口齒不清) 然而，那些與“會(huì)計(jì)算的大腦”互動(dòng)的人 則說“它就像一個(gè)懶徒弟， 只做最基本的。“ 這基本上和同人對(duì)機(jī)器人期待一樣， 所以我有些驚訝，比起那些機(jī)器人研究專家， 人們居然對(duì)機(jī)器人有更高的期望。 但從另一個(gè)角度，我又想， 也許就像方法演技改變了 19世紀(jì)人們思考表演的方式一樣， 是時(shí)間改變這種通過精確計(jì)算的 行為方式， 而轉(zhuǎn)向一種更直覺的、冒險(xiǎn)的、 用身體表現(xiàn)的行為方式。 也許類似的 機(jī)器人革命時(shí)間到了。

　　A few years later, I was at my next research job at Georgia Tech in Atlanta, and I was working in a group dealing with robotic musicians. And I thought, music, that's the perfect place to look at teamwork, coordination, timing, improvisation -- and we just got this robot playing marimba. Marimba, for everybody who was like me, it was this huge, wooden xylophone. And, when I was looking at this, I looked at other works in human-robot improvisation -- yes, there are other works in human-robot improvisation -- and they were also a little bit like a chess game. The human would play, the robot would analyze what was played, would improvise their own part. So, this is what musicians called a call and response interaction, and it also fits very well, robots and artificial intelligence. But I thought, if I use the same ideas I used in the theater play and in the teamwork studies, maybe I can make the robots jam together like a band. Everybody's riffing off each other, nobody is stopping it for a moment. And so, I tried to do the same things, this time with music, where the robot doesn't really know what it's about to play. It just sort of moves its body and uses opportunities to play, And does what my jazz teacher when I was 17 taught me. She said, when you improvise, sometimes you don't know what you're doing and you're still doing it. And so I tried to make a robot that doesn't actually know what it's doing, but it's still doing it. So let's look at a few seconds from this performance. Where the robot listens to the human musician and improvises. And then, look at how the human musician also responds to what the robot is doing, and picking up from its behavior. And at some point can even be surprised by what the robot came up with. (Music) (Applause)

　　幾年后， 我在亞特蘭大的喬治理工大學(xué)做研究， 我在一個(gè)研究機(jī)器人音樂家的 小組工作。 我想，音樂是可以很好的 研究團(tuán)隊(duì)合作、配合、 時(shí)間分配和即興表演的領(lǐng)域， 我們有這個(gè)玩馬林巴的機(jī)器人。 和我一樣對(duì)樂器不在行的朋友，馬林巴是 一個(gè)巨大的木琴。 我看著這個(gè)， 又看了那些其它的人類和機(jī)器人的即興互動(dòng)， ——沒錯(cuò)，還有其它人和機(jī)器人即興互動(dòng)的項(xiàng)目—— 都差不多也是一個(gè)個(gè)象棋游戲式的互動(dòng)。 人類走一步， 機(jī)器人對(duì)此分析， 然后決定下一步。 音樂家們稱其為 呼叫和應(yīng)答互動(dòng)， 作為機(jī)器人和人工智能，這很合適。 但是我想，如果我可以運(yùn)用 戲劇表演和團(tuán)隊(duì)合作中的研究發(fā)現(xiàn)， 也許我可以讓這些機(jī)器人 組成一個(gè)樂隊(duì)， 每個(gè)人都在即興發(fā)揮，沒有人需要停下來。 于是這次我嘗試用音樂做試驗(yàn)， 機(jī)器人并不知道 它會(huì)演奏什么， 它就這樣移動(dòng)它的身體， 找機(jī)會(huì)演奏， 做著我17歲時(shí)候的爵士老師教我的事情。 她說，當(dāng)你即興表演的時(shí)候， 有的時(shí)候，你并不知道你在做什么， 但是你還是繼續(xù)做。 于是我嘗試做一個(gè)不知道自己在做什么 卻仍然繼續(xù)做的機(jī)器人。 讓我們來看一下這個(gè)表演的一個(gè)小片段。 機(jī)器人聽人類音樂家演奏 然后即興發(fā)揮。 接著，看人類音樂家如何 回應(yīng)機(jī)器人的行為， 回應(yīng)機(jī)器人的行為， 有時(shí)甚至被機(jī)器人的表現(xiàn)驚訝。 (音樂) (掌聲)

　　Being a musician is not just about making notes, otherwise nobody would ever go see a live show. Musicians also communicate with their bodies, with other band members, with the audience, they use their bodies to express the music. And I thought, we already have a robot musician on stage, why not make it be a full-fledged musician. And I started designing a socially expressive head for the robot. The head does't actually touch the marimba, it just expresses what the music is like. These are some napkin sketches from a bar in Atlanta, that was dangerously located exactly halfway between my lab and my home. (Laughter) So I spent, I would say on average, three to four hours a day there. I think. (Laughter) And I went back to my animation tools and tried to figure out not just what a robotic musician would look like, but especially what a robotic musician would move like. To sort of show that it doesn't like what the other person is playing -- and maybe show whatever beat it's feeling at the moment.

　　作為一個(gè)音樂家不僅僅是編寫音符， 否則沒有人會(huì)去看現(xiàn)場表演了。 音樂家也用他們的身體交流， 和他們的樂隊(duì)成員，和觀眾， 他們用他們的身體來表現(xiàn)音樂。 于是我想，我們已經(jīng)有一個(gè)在舞臺(tái)上的機(jī)器人音樂家， 為什么不把它打造成一個(gè)真正的音樂家呢? 于是我開始為機(jī)器人設(shè)計(jì)一個(gè) 可以表現(xiàn)情感的頭部。 頭部并不會(huì)碰到馬林巴， 它只是用來表現(xiàn)音樂是什么樣的。 這草圖的紙巾來自亞特蘭大某處一個(gè)酒吧， 而且酒吧就正好在實(shí)驗(yàn)室和我家的正中間。(笑聲) 而且酒吧就正好在實(shí)驗(yàn)室和我家的正中間。(笑聲) 我大概平均 每天有3到4個(gè)小時(shí)的時(shí)間在那里， “大概”…(笑聲) 我重新拾起了我的動(dòng)畫工具，試圖想象 不僅僅一個(gè)機(jī)器人音樂家的樣子， 特別是一個(gè)機(jī)器人音樂家會(huì)如何移動(dòng)它的身體， 來告訴人們它不喜歡其他人的演奏， 還有它自己當(dāng)下感覺到的節(jié)奏。 還有它自己當(dāng)下感覺到的節(jié)奏。

　　So we ended up actually getting the money to build this robot, which was nice. I'm going to show you now the same kind of performance, this time with a socially expressive head. And notice one thing -- how the robot is really showing us the beat it's picking up from the human. We're also giving the human a sense that the robot knows what it's doing. And also how it changes the way it moves as soon as it starts its own solo. (Music) Now it's looking at me to make sure I'm listening. (Music) And now look at the final chord of the piece again, and this time the robot communicates with its body when it's busy doing its own thing. And when it's ready to coordinate the final chord with me. (Music) (Applause)

　　幸運(yùn)的是，我們最終還獲得了一筆 造這樣一個(gè)機(jī)器人的資金。 接下來我給大家看一下同樣的表演 換成一個(gè)情感表現(xiàn)頭的效果。 注意一點(diǎn)： 請(qǐng)觀察這個(gè)機(jī)器人如何 根據(jù)人類的演奏即興發(fā)揮， 也讓人類知道，這個(gè)機(jī)器人知道它在做什么。 還有獨(dú)奏開始時(shí)，它是如何做出回應(yīng)的。 還有獨(dú)奏開始時(shí)，它是如何做出回應(yīng)的。 (音樂) 這會(huì)兒它正看著我確保我在聽。 (音樂) 我們?cè)倏匆幌逻@段的最后一部分， 現(xiàn)在機(jī)器人正在用它的身體進(jìn)行溝通， 當(dāng)它正忙于做它自己的事情時(shí)， 忙于準(zhǔn)備 跟我一起演奏最后的旋律。 (音樂) (掌聲)

　　Thanks. I hope you see how much this totally not -- how much this part of the body that doesn't touch the instrument actually helps with the musical performance. And at some point, we are in Atlanta, so obviously some rapper will come into our lab at some point. And we had this rapper come in and do a little jam with the robot. And here you can see the robot basically responding to the beat and -- notice two things. One, how irresistible it is to join the robot while it's moving its head. and you kind of want to move your own head when it does it. And second, even though the rapper is really focused on his iPhone, as soon as the robot turns to him, he turns back. So even though it's just in the periphery of his vision -- it's just in the corner of his eye -- it's very powerful. And the reason is that we can't ignore physical things moving in our environment. We are wired for that. So, if you have a problem with maybe your partners looking at the iPhone too much or their smartphone too much, you might want to have a robot there to get their attention. (Laughter) (Music) (Applause)

　　謝謝。我希望你能看到 它的頭部不碰到樂器 其實(shí)有助于音樂表演! 既然我們?cè)趤喬靥m大， 就不會(huì)沒有說唱歌手參與到我們的試驗(yàn)中來。 既然我們?cè)趤喬靥m大， 就不會(huì)沒有說唱歌手參與到我們的試驗(yàn)中來。 這個(gè)說唱歌手來了之后， 我們讓他和這個(gè)機(jī)器人一起表演。 這里你可以看到這個(gè)機(jī)器人 對(duì)節(jié)奏的回應(yīng)， 請(qǐng)注意兩點(diǎn)。第一，當(dāng)這個(gè)機(jī)器人在搖頭晃腦的時(shí)候， 你是不是也很想加入其中， 和它一起晃動(dòng)你的頭部? 第二，雖然這個(gè)說唱歌手非常專注于它的蘋果手機(jī)， 當(dāng)機(jī)器人轉(zhuǎn)向它的時(shí)候，他也馬上轉(zhuǎn)回來。 雖然僅僅是在他的視線邊緣—— 他的眼角的余光里，它仍然非常強(qiáng)大。 這就是為什么我們不能忽視 我們周邊物體的移動(dòng)。 我們天生會(huì)這樣做。 所以，如果你的搭檔 很喜歡看它的蘋果手機(jī)或智能手機(jī)， 也許你需要一個(gè)機(jī)器人 來獲得他們的注意力。(笑聲) (音樂) (掌聲)

　　Just to introduce the last robot that we've worked on, that came out of something kind of surprising that we found: At some point people didn't care anymore about the robot being so intelligent, and can improvise and listen, and do all these embodied intelligence things that I spent years on developing. They really liked that the robot was enjoying the music. (Laughter) And they didn't say that the robot was moving to the music, they said that the robot was enjoying the music. And we thought, why don't we take this idea, and I designed a new piece of furniture. This time it wasn't a desk lamp; it was a speaker dock. It was one of those things you plug your smartphone in. And I thought, what would happen if your speaker dock didn't just play the music for you, but it would actually enjoy it too. (Laughter) And so again, here are some animation tests from an early stage. (Laughter) And this is what the final product looked like. ("Drop It Like It's Hot") So, a lot of bobbing head. (Applause) A lot of bobbing heads in the audience, so we can still see robots influence people. And it's not just fun and games.

　　最后再為大家介紹一下 我們最近在打造的一個(gè)機(jī)器人。 說來也奇怪，我們發(fā)現(xiàn) 到了某個(gè)階段，人們不再對(duì)那些聰明的、 會(huì)即興表演、會(huì)聆聽、 會(huì)做那些我花了多年研究的身體智能表演的 機(jī)器人感興趣了。 他們真的很喜歡那個(gè)會(huì)享受音樂的機(jī)器人。(笑聲) 他們沒有說這個(gè)機(jī)器人是隨著音樂扭動(dòng)身體， 而是說這個(gè)機(jī)器人在享受音樂。 于是我們想，為什么不借用這個(gè)想法呢， 因此我設(shè)計(jì)了一件新的小家具。 這次不是一個(gè)臺(tái)燈，而是一個(gè)揚(yáng)聲器底座， 就是你可以把你的智能手機(jī)放上去的那種。 于是我想，如果這個(gè)揚(yáng)聲器底座 不僅可以為你放音樂， 還可以享受音樂，會(huì)怎樣?(笑聲) 這是早期的一些動(dòng)畫嘗試。 這是早期的一些動(dòng)畫嘗試。 這是最終的成品的樣子。 饒舌音樂 不停的點(diǎn)頭…… (掌聲) 觀眾那里也有很多人在不停點(diǎn)頭， 因此我們可以看到機(jī)器人可以影響人。 當(dāng)然這一切不僅僅只是娛樂和游戲。

　　I think one of the reasons I care so much about robots that use their body to communicate and use their body to move -- and I'm going to let you in on a little secret we roboticists are hiding -- is that every one of you is going to be living with a robot at some point in their life. Somewhere in your future there's going to be a robot in your life. And if not in yours, then in your children's lives. And I want these robots to be -- to be more fluent, more engaging, more graceful than currently they seem to be. And for that I think that maybe robots need to be less like chess players and more like stage actors and more like musicians. Maybe they should be able to take chances and improvise. And maybe they should be able to anticipate what you're about to do. And maybe they need to be able to make mistakes and correct them, because in the end we are human. And maybe as humans, robots that are a little less than perfect are just perfect for us. Thank you. (Applause)

　　我覺得自己非常熱衷研究 那些可以用身體溝通、 用身體移動(dòng)的機(jī)器人的一個(gè)原因是—— 我告訴你一個(gè)只有我們機(jī)器人專家知道的秘密—— 我們每一個(gè)人在生命的某個(gè)階段 都會(huì)需要機(jī)器人， 你未來的某個(gè)階段會(huì)有個(gè)機(jī)器人。 如果不是你的未來，那么你的孩子的未來。 我希望這些機(jī)器人 比現(xiàn)在 可以更流暢、更吸引人、更優(yōu)雅。 比現(xiàn)在 可以更流暢、更吸引人、更優(yōu)雅。 因此，我覺得機(jī)器人 不應(yīng)該是像一個(gè)象棋玩家， 而應(yīng)該更像一個(gè)舞臺(tái)演員或者音樂家。 它們應(yīng)該可以冒險(xiǎn)，會(huì)即興表演， 甚至?xí)A(yù)料到你接下來會(huì)做什么。 它們也應(yīng)該可以犯錯(cuò) 并且改正， 因?yàn)榈筋^來，我們只是人類。 也許對(duì)人類而言，不完美的機(jī)器人 才是完美的。 謝謝! (掌聲)