Tag Archives: Talos

Robots in Vancouver and in Canada (one of two)

This piece just started growing. It started with robot ethics, moved on to sexbots and news of an upcoming Canadian robotics roadmap. Then, it became a two-part posting with the robotics strategy (roadmap) moving to part two along with robots and popular culture and a further  exploration of robot and AI ethics issues..

What is a robot?

There are lots of robots, some are macroscale and others are at the micro and nanoscales (see my Sept. 22, 2017 posting for the latest nanobot). Here’s a definition from the Robot Wikipedia entry that covers all the scales. (Note: Links have been removed),

A robot is a machine—especially one programmable by a computer— capable of carrying out a complex series of actions automatically.[2] Robots can be guided by an external control device or the control may be embedded within. Robots may be constructed to take on human form but most robots are machines designed to perform a task with no regard to how they look.

Robots can be autonomous or semi-autonomous and range from humanoids such as Honda’s Advanced Step in Innovative Mobility (ASIMO) and TOSY’s TOSY Ping Pong Playing Robot (TOPIO) to industrial robots, medical operating robots, patient assist robots, dog therapy robots, collectively programmed swarm robots, UAV drones such as General Atomics MQ-1 Predator, and even microscopic nano robots. [emphasis mine] By mimicking a lifelike appearance or automating movements, a robot may convey a sense of intelligence or thought of its own.

We may think we’ve invented robots but the idea has been around for a very long time (from the Robot Wikipedia entry; Note: Links have been removed),

Many ancient mythologies, and most modern religions include artificial people, such as the mechanical servants built by the Greek god Hephaestus[18] (Vulcan to the Romans), the clay golems of Jewish legend and clay giants of Norse legend, and Galatea, the mythical statue of Pygmalion that came to life. Since circa 400 BC, myths of Crete include Talos, a man of bronze who guarded the Cretan island of Europa from pirates.

In ancient Greece, the Greek engineer Ctesibius (c. 270 BC) “applied a knowledge of pneumatics and hydraulics to produce the first organ and water clocks with moving figures.”[19][20] In the 4th century BC, the Greek mathematician Archytas of Tarentum postulated a mechanical steam-operated bird he called “The Pigeon”. Hero of Alexandria (10–70 AD), a Greek mathematician and inventor, created numerous user-configurable automated devices, and described machines powered by air pressure, steam and water.[21]

The 11th century Lokapannatti tells of how the Buddha’s relics were protected by mechanical robots (bhuta vahana yanta), from the kingdom of Roma visaya (Rome); until they were disarmed by King Ashoka. [22] [23]

In ancient China, the 3rd century text of the Lie Zi describes an account of humanoid automata, involving a much earlier encounter between Chinese emperor King Mu of Zhou and a mechanical engineer known as Yan Shi, an ‘artificer’. Yan Shi proudly presented the king with a life-size, human-shaped figure of his mechanical ‘handiwork’ made of leather, wood, and artificial organs.[14] There are also accounts of flying automata in the Han Fei Zi and other texts, which attributes the 5th century BC Mohist philosopher Mozi and his contemporary Lu Ban with the invention of artificial wooden birds (ma yuan) that could successfully fly.[17] In 1066, the Chinese inventor Su Song built a water clock in the form of a tower which featured mechanical figurines which chimed the hours.

The beginning of automata is associated with the invention of early Su Song’s astronomical clock tower featured mechanical figurines that chimed the hours.[24][25][26] His mechanism had a programmable drum machine with pegs (cams) that bumped into little levers that operated percussion instruments. The drummer could be made to play different rhythms and different drum patterns by moving the pegs to different locations.[26]

In Renaissance Italy, Leonardo da Vinci (1452–1519) sketched plans for a humanoid robot around 1495. Da Vinci’s notebooks, rediscovered in the 1950s, contained detailed drawings of a mechanical knight now known as Leonardo’s robot, able to sit up, wave its arms and move its head and jaw.[28] The design was probably based on anatomical research recorded in his Vitruvian Man. It is not known whether he attempted to build it.

In Japan, complex animal and human automata were built between the 17th to 19th centuries, with many described in the 18th century Karakuri zui (Illustrated Machinery, 1796). One such automaton was the karakuri ningyō, a mechanized puppet.[29] Different variations of the karakuri existed: the Butai karakuri, which were used in theatre, the Zashiki karakuri, which were small and used in homes, and the Dashi karakuri which were used in religious festivals, where the puppets were used to perform reenactments of traditional myths and legends.

The term robot was coined by a Czech writer (from the Robot Wikipedia entry; Note: Links have been removed)

‘Robot’ was first applied as a term for artificial automata in a 1920 play R.U.R. by the Czech writer, Karel Čapek. However, Josef Čapek was named by his brother Karel as the true inventor of the term robot.[6][7] The word ‘robot’ itself was not new, having been in Slavic language as robota (forced laborer), a term which classified those peasants obligated to compulsory service under the feudal system widespread in 19th century Europe (see: Robot Patent).[37][38] Čapek’s fictional story postulated the technological creation of artificial human bodies without souls, and the old theme of the feudal robota class eloquently fit the imagination of a new class of manufactured, artificial workers.

I’m particularly fascinated by how long humans have been imagining and creating robots.

Robot ethics in Vancouver

The Westender, has run what I believe is the first article by a local (Vancouver, Canada) mainstream media outlet on the topic of robots and ethics. Tessa Vikander’s Sept. 14, 2017 article highlights two local researchers, Ajung Moon and Mark Schmidt, and a local social media company’s (Hootsuite), analytics director, Nik Pai. Vikander opens her piece with an ethical dilemma (Note: Links have been removed),

Emma is 68, in poor health and an alcoholic who has been told by her doctor to stop drinking. She lives with a care robot, which helps her with household tasks.

Unable to fix herself a drink, she asks the robot to do it for her. What should the robot do? Would the answer be different if Emma owns the robot, or if she’s borrowing it from the hospital?

This is the type of hypothetical, ethical question that Ajung Moon, director of the Open Roboethics Initiative [ORI], is trying to answer.

According to an ORI study, half of respondents said ownership should make a difference, and half said it shouldn’t. With society so torn on the question, Moon is trying to figure out how engineers should be programming this type of robot.

A Vancouver resident, Moon is dedicating her life to helping those in the decision-chair make the right choice. The question of the care robot is but one ethical dilemma in the quickly advancing world of artificial intelligence.

At the most sensationalist end of the scale, one form of AI that’s recently made headlines is the sex robot, which has a human-like appearance. A report from the Foundation for Responsible Robotics says that intimacy with sex robots could lead to greater social isolation [emphasis mine] because they desensitize people to the empathy learned through human interaction and mutually consenting relationships.

I’ll get back to the impact that robots might have on us in part two but first,

Sexbots, could they kill?

For more about sexbots in general, Alessandra Maldonado wrote an Aug. 10, 2017 article for salon.com about them (Note: A link has been removed),

Artificial intelligence has given people the ability to have conversations with machines like never before, such as speaking to Amazon’s personal assistant Alexa or asking Siri for directions on your iPhone. But now, one company has widened the scope of what it means to connect with a technological device and created a whole new breed of A.I. — specifically for sex-bots.

Abyss Creations has been in the business of making hyperrealistic dolls for 20 years, and by the end of 2017, they’ll unveil their newest product, an anatomically correct robotic sex toy. Matt McMullen, the company’s founder and CEO, explains the goal of sex robots is companionship, not only a physical partnership. “Imagine if you were completely lonely and you just wanted someone to talk to, and yes, someone to be intimate with,” he said in a video depicting the sculpting process of the dolls. “What is so wrong with that? It doesn’t hurt anybody.”

Maldonado also embedded this video into her piece,

A friend of mine described it as creepy. Specifically we were discussing why someone would want to programme ‘insecurity’ as a  desirable trait in a sexbot.

Marc Beaulieu’s concept of a desirable trait in a sexbot is one that won’t kill him according to his Sept. 25, 2017 article on Canadian Broadcasting News (CBC) online (Note: Links have been removed),

Harmony has a charming Scottish lilt, albeit a bit staccato and canny. Her eyes dart around the room, her chin dips as her eyebrows raise in coquettish fashion. Her face manages expressions that are impressively lifelike. That face comes in 31 different shapes and 5 skin tones, with or without freckles and it sticks to her cyber-skull with magnets. Just peel it off and switch it out at will. In fact, you can choose Harmony’s eye colour, body shape (in great detail) and change her hair too. Harmony, of course, is a sex bot. A very advanced one. How advanced is she? Well, if you have $12,332 CAD to put towards a talkative new home appliance, REALBOTIX says you could be having a “conversation” and relations with her come January. Happy New Year.

Caveat emptor though: one novel bonus feature you might also get with Harmony is her ability to eventually murder you in your sleep. And not because she wants to.

Dr Nick Patterson, faculty of Science Engineering and Built Technology at Deakin University in Australia is lending his voice to a slew of others warning us to slow down and be cautious as we steadily approach Westworldian levels of human verisimilitude with AI tech. Surprisingly, Patterson didn’t regurgitate the narrative we recognize from the popular sci-fi (increasingly non-fi actually) trope of a dystopian society’s futile resistance to a robocalypse. He doesn’t think Harmony will want to kill you. He thinks she’ll be hacked by a code savvy ne’er-do-well who’ll want to snuff you out instead. …

Embedded in Beaulieu’s article is another video of the same sexbot profiled earlier. Her programmer seems to have learned a thing or two (he no longer inputs any traits as you’re watching),

I guess you could get one for Christmas this year if you’re willing to wait for an early 2018 delivery and aren’t worried about hackers turning your sexbot into a killer. While the killer aspect might seem farfetched, it turns out it’s not the only sexbot/hacker issue.

Sexbots as spies

This Oct. 5, 2017 story by Karl Bode for Techdirt points out that sex toys that are ‘smart’ can easily be hacked for any reason including some mischief (Note: Links have been removed),

One “smart dildo” manufacturer was recently forced to shell out $3.75 million after it was caught collecting, err, “usage habits” of the company’s customers. According to the lawsuit, Standard Innovation’s We-Vibe vibrator collected sensitive data about customer usage, including “selected vibration settings,” the device’s battery life, and even the vibrator’s “temperature.” At no point did the company apparently think it was a good idea to clearly inform users of this data collection.

But security is also lacking elsewhere in the world of internet-connected sex toys. Alex Lomas of Pentest Partners recently took a look at the security in many internet-connected sex toys, and walked away arguably unimpressed. Using a Bluetooth “dongle” and antenna, Lomas drove around Berlin looking for openly accessible sex toys (he calls it “screwdriving,” in a riff off of wardriving). He subsequently found it’s relatively trivial to discover and hijack everything from vibrators to smart butt plugs — thanks to the way Bluetooth Low Energy (BLE) connectivity works:

“The only protection you have is that BLE devices will generally only pair with one device at a time, but range is limited and if the user walks out of range of their smartphone or the phone battery dies, the adult toy will become available for others to connect to without any authentication. I should say at this point that this is purely passive reconnaissance based on the BLE advertisements the device sends out – attempting to connect to the device and actually control it without consent is not something I or you should do. But now one could drive the Hush’s motor to full speed, and as long as the attacker remains connected over BLE and not the victim, there is no way they can stop the vibrations.”

Does that make you think twice about a sexbot?

Robots and artificial intelligence

Getting back to the Vikander article (Sept. 14, 2017), Moon or Vikander or both seem to have conflated artificial intelligence with robots in this section of the article,

As for the building blocks that have thrust these questions [care robot quandary mentioned earlier] into the spotlight, Moon explains that AI in its basic form is when a machine uses data sets or an algorithm to make a decision.

“It’s essentially a piece of output that either affects your decision, or replaces a particular decision, or supports you in making a decision.” With AI, we are delegating decision-making skills or thinking to a machine, she says.

Although we’re not currently surrounded by walking, talking, independently thinking robots, the use of AI [emphasis mine] in our daily lives has become widespread.

For Vikander, the conflation may have been due to concerns about maintaining her word count and for Moon, it may have been one of convenience or a consequence of how the jargon is evolving with ‘robot’ meaning a machine specifically or, sometimes, a machine with AI or AI only.

To be precise, not all robots have AI and not all AI is found in robots. It’s a distinction that may be more important for people developing robots and/or AI but it also seems to make a difference where funding is concerned. In a March 24, 2017 posting about the 2017 Canadian federal budget I noticed this,

… The Canadian Institute for Advanced Research will receive $93.7 million [emphasis mine] to “launch a Pan-Canadian Artificial Intelligence Strategy … (to) position Canada as a world-leading destination for companies seeking to invest in artificial intelligence and innovation.”

This brings me to a recent set of meetings held in Vancouver to devise a Canadian robotics roadmap, which suggests the robotics folks feel they need specific representation and funding.

See: part two for the rest.

500-year history of robots exhibition at London’s (UK) Science Museum

Thanks to a Feb.7, 2017 article by Benjamin Wheelock for Salon.com for the heads up regarding the ‘Robots’ exhibit at the UK’s Science Museum in London.

Prior to the exhibition’s opening on Feb. 8, 2017, The Guardian has published a preview (more about that in a minute), a photo essay, and this video about the show,

I find the robot baby to be endlessly fascinating.

The Science Museum announced its then upcoming Feb. 8  – Sept. 3, 2017 exhibition on robots in a May ?, 2016 press release,

8 February – 3 September 2017, Science Museum, London
Admission: £15 adults, £13 concessions (Free entry for under 7s; family tickets available)
Tickets available in the Museum or via sciencemuseum.org.uk/robots
Supported by the Heritage Lottery Fund


Throughout history, artists and scientists have sought to understand what it means to be human. The Science Museum’s new Robots exhibition, opening in February 2017, will explore this very human obsession to recreate ourselves, revealing the remarkable 500-year story of humanoid robots.

Featuring a unique collection of over 100 robots, from a 16th-century mechanical monk to robots from science fiction and modern-day research labs, this exhibition will enable visitors to discover the cultural, historical and technological context of humanoid robots. Visitors will be able to interact with some of the 12 working robots on display. Among many other highlights will be an articulated iron manikin from the 1500s, Cygan, a 2.4m tall 1950s robot with a glamorous past, and one of the first walking bipedal robots.

Robots have been at the heart of popular culture since the word ‘robot’ was first used in 1920, but their fascinating story dates back many centuries. Set in five different periods and places, this exhibition will explore how robots and society have been shaped by religious belief, the industrial revolution, 20th century popular culture and dreams about the future.

The quest to build ever more complex robots has transformed our understanding of the human body, and today robots are becoming increasingly human, learning from mistakes and expressing emotions. In the exhibition, visitors will go behind the scenes to glimpse recent developments from robotics research, exploring how roboticists are building robots that resemble us and interact in human-like ways. The exhibition will end by asking visitors to imagine what a shared future with robots might be like. Robots has been generously supported by the Heritage Lottery Fund, with a £100,000 grant from the Collecting Cultures programme.

Ian Blatchford, Director of the Science Museum Group said: ‘This exhibition explores the uniquely human obsession of recreating ourselves, not through paint or marble but in metal. Seeing robots through the eyes of those who built or gazed in awe at them reveals much about humanity’s hopes, fears and dreams.’

‘The latest in our series of ambitious, blockbuster exhibitions, Robots explores the wondrously rich culture, history and technology of humanoid robotics. Last year we moved gigantic spacecraft from Moscow to the Museum, but this year we will bring a robot back to life.’

Today [May ?, 2016] the Science Museum launched a Kickstarter campaign to rebuild Eric, the UK’s first robot. Originally built in 1928 by Captain Richards & A.H. Reffell, Eric was one of the world’s first robots. Built less than a decade after the word robot was first used, he travelled the globe with his makers and amazed crowds in the UK, US and Europe, before disappearing forever.

[The campaign was successful.]

You can find out more about Eric on the museum’s ‘Eric: The UK’s first robot’ webpage,

Getting back to the exhibition, the Guardian’s Ian Sample has written up a Feb. 7, 2017 preview (Note: Links have been removed),

Eric the robot wowed the crowds. He stood and bowed and answered questions as blue sparks shot from his metallic teeth. The British creation was such a hit he went on tour around the world. When he arrived in New York, in 1929, a theatre nightwatchman was so alarmed he pulled out a gun and shot at him.

The curators at London’s Science Museum hope for a less extreme reaction when they open Robots, their latest exhibition, on Wednesday [Feb. 8, 2016]. The collection of more than 100 objects is a treasure trove of delights: a miniature iron man with moving joints; a robotic swan that enthralled Mark Twain; a tiny metal woman with a wager cup who is propelled by a mechanism hidden up her skirt.

The pieces are striking and must have dazzled in their day. Ben Russell, the lead curator, points out that most people would not have seen a clock when they first clapped eyes on one exhibit, a 16th century automaton of a monk [emphasis mine], who trundled along, moved his lips, and beat his chest in contrition. It was surely mesmerising to the audiences of 1560. “Arthur C Clarke once said that any sufficiently advanced technology is indistinguishable from magic,” Russell says. “Well, this is where it all started.”

In every chapter of the 500-year story, robots have held a mirror to human society. Some of the earliest devices brought the Bible to life. One model of Christ on the cross rolls his head and oozes wooden blood from his side as four figures reach up. The mechanisation of faith must have drawn the congregations as much as any sermon.

But faith was not the only focus. Through clockwork animals and human figurines, model makers explored whether humans were simply conscious machines. They brought order to the universe with orreries and astrolabes. The machines became more lighthearted in the enlightened 18th century, when automatons of a flute player, a writer, and a defecating duck all made an appearance. A century later, the style was downright rowdy, with drunken aristocrats, preening dandies and the disturbing life of a sausage from farm to mouth all being recreated as automata.

That reference to an automaton of a monk reminded me of a July 22, 2009 posting where I excerpted a passage (from another blog) about a robot priest and a robot monk,

Since 1993 Robo-Priest has been on call 24-hours a day at Yokohama Central Cemetery. The bearded robot is programmed to perform funerary rites for several Buddhist sects, as well as for Protestants and Catholics. Meanwhile, Robo-Monk chants sutras, beats a religious drum and welcomes the faithful to Hotoku-ji, a Buddhist temple in Kakogawa city, Hyogo Prefecture. More recently, in 2005, a robot dressed in full samurai armour received blessings at a Shinto shrine on the Japanese island of Kyushu. Kiyomori, named after a famous 12th-century military general, prayed for the souls of all robots in the world before walking quietly out of Munakata Shrine.

Sample’s preview takes the reader up to our own age and contemporary robots. And, there is another Guardian article which offering a behind-the-scenes look at the then upcoming exhibition, a Jan. 28, 2016 piece by Jonathan Jones, ,

An android toddler lies on a pallet, its doll-like face staring at the ceiling. On a shelf rests a much more grisly creation that mixes imitation human bones and muscles, with wires instead of arteries and microchips in place of organs. It has no lower body, and a single Cyclopean eye. This store room is an eerie place, then it gets more creepy, as I glimpse behind the anatomical robot a hulking thing staring at me with glowing red eyes. Its plastic skin has been burned off to reveal a metal skeleton with pistons and plates of merciless strength. It is the Terminator, sent back in time by the machines who will rule the future to ensure humanity’s doom.

Backstage at the Science Museum, London, where these real experiments and a full-scale model from the Terminator films are gathered to be installed in the exhibition Robots, it occurs to me that our fascination with mechanical replacements for ourselves is so intense that science struggles to match it. We think of robots as artificial humans that can not only walk and talk but possess digital personalities, even a moral code. In short we accord them agency. Today, the real age of robots is coming, and yet even as these machines promise to transform work or make it obsolete, few possess anything like the charisma of the androids of our dreams and nightmares.

That’s why, although the robotic toddler sleeping in the store room is an impressive piece of tech, my heart leaps in another way at the sight of the Terminator. For this is a bad robot, a scary robot, a robot of remorseless malevolence. It has character, in other words. Its programmed persona (which in later films becomes much more helpful and supportive) is just one of those frightening, funny or touching personalities that science fiction has imagined for robots.

Can the real life – well, real simulated life – robots in the Science Museum’s new exhibition live up to these characters? The most impressively interactive robot in the show will be RoboThespian, who acts as compere for its final gallery displaying the latest advances in robotics. He stands at human height, with a white plastic face and metal arms and legs, and can answer questions about the value of pi and the nature of free will. “I’m a very clever robot,” RoboThespian claims, plausibly, if a little obnoxiously.

Except not quite as clever as all that. A human operator at a computer screen connected with Robothespian by wifi is looking through its video camera eyes and speaking with its digital voice. The result is huge fun – the droid moves in very lifelike ways as it speaks, and its interactions don’t need a live operator as they can be preprogrammed. But a freethinking, free-acting robot with a mind and personality of its own, Robothespian is not.

Our fascination with synthetic humans goes back to the human urge to recreate life itself – to reproduce the mystery of our origins. Artists have aspired to simulate human life since ancient times. The ancient Greek myth of Pygmalion, who made a statue so beautiful he fell in love with it and prayed for it to come to life, is a mythic version of Greek artists such as Pheidias and Praxiteles whose statues, with their superb imitation of muscles and movement, seem vividly alive. The sculptures of centaurs carved for the Parthenon in Athens still possess that uncanny lifelike power.

Most of the finest Greek statues were bronze, and mythology tells of metal robots that sound very much like statues come to life, including the bronze giant Talos, who was to become one of cinema’s greatest robotic monsters thanks to the special effects genius of Ray Harryhausen in Jason and the Argonauts.

Renaissance art took the quest to simulate life to new heights, with awed admirers of Michelangelo’s David claiming it even seemed to breathe (as it really does almost appear to when soft daylight casts mobile shadow on superbly sculpted ribs). So it is oddly inevitable that one of the first recorded inventors of robots was Leonardo da Vinci, consummate artist and pioneering engineer. Leonardo apparently made, or at least designed, a robot knight to amuse the court of Milan. It worked with pulleys and was capable of simple movements. Documents of this invention are frustratingly sparse, but there is a reliable eyewitness account of another of Leonardo’s automata. In 1515 he delighted Francois I, king of France, with a robot lion that walked forward towards the monarch, then released a bunch of lilies, the royal flower, from a panel that opened in its back.

One of the most uncanny androids in the Science Museum show is from Japan, a freakily lifelike female robot called Kodomoroid, the world’s first robot newscaster. With her modest downcast gaze and fine artificial complexion, she has the same fetishised femininity you might see in a Manga comic and appears to reflect a specific social construction of gender. Whether you read that as vulnerability or subservience, presumably the idea is to make us feel we are encountering a robot with real personhood. Here is a robot that combines engineering and art just as Da Vinci dreamed – it has the mechanical genius of his knight and the synthetic humanity of his perfect portrait.

Here’s a link to the Science Museum’s ‘Robots’ exhibition webspace and a link to a Guardian ‘Robots’ photo essay.

All this makes me wish I had plans to visit London, UK in the next few months.