《有情感的機(jī)器人》英語演講稿

　　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、構(gòu)造和研究 那些能夠與人交流的機(jī)器人，

《有情感的機(jī)器人》英語演講稿

。 不過這個故事不是從機(jī)器人說起， 而是要從動畫說起。 當(dāng)我第一次看到皮克斯的《頑皮跳跳燈》電影時， 我驚呆了， 一個如此微不足道的臺燈 竟能表現(xiàn)如此多的感情。 你看他們啊!電影結(jié)尾的時候， 你真的開始喜歡上這兩件小小的家具了。 (笑聲) 我對自己說，我要學(xué)會做這樣的東西。 所以我做了一個很壞的職業(yè)決策， 我做出這個決定的時候，我媽媽就是這樣的。 (笑聲) 我辭去了在以色列一個軟件公司的 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。 每次報到紐約的違章建筑時， 他們都會跑到們的大樓下進(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)到了兩個讓我驚訝的東西—— 其中一個是： 當(dāng)你想要喚起某些情感時， 外觀并不算太重要， 關(guān)鍵是動作——物體運(yùn)動時，對時間的把握。 關(guān)鍵是動作——物體運(yùn)動時，對時間的把握。 第二個是我們的一個老師告訴我們的。 他正是電影《冰河世紀(jì)》的黃鼠狼。 他說： ”作為一個動畫制作者， 你不是一個導(dǎo)演，而是一個演員。“ 所以如果你要為一個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。 然后再把這個動作放在你的角色上。

　　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，

資料共享平臺

《《有情感的機(jī)器人》英語演講稿》(http://www.msguai.com)。 我依然懷揣著要造一個 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 按照我的動畫課程中的那種 引人入勝的方式移動。 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畫學(xué)校學(xué)到的東西 應(yīng)用于設(shè)計我的機(jī)器人臺燈會怎樣? 因此我設(shè)計了一幅又一幅， 試圖讓這個機(jī)器人 盡量優(yōu)雅、有吸引力。 這里你可以看到這個桌子上的機(jī)器人 在跟我互動， 我其實(shí)是在重新設(shè)計這個機(jī)器人， 而這個機(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照明的機(jī)械， 比起把他它做成一個照明的機(jī)械， 我更想要一個能幫忙的、安靜的學(xué)徒， 隨時滿足你的需求卻不打擾你。 比如，當(dāng)我要找一個我怎么也 找不到的電池時， 它可以巧妙地提醒我電池在哪里。 你看到我的困惑了嗎? 我不是一個演員。 我希望你們注意到，同一個機(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)雅的方式移動只是這整個 人類機(jī)器人互動結(jié)構(gòu)的一塊基石。 那時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，我意識到自己 和我的一個好朋友(他今天也在這里)， 也碰到了一個團(tuán)隊(duì)合作的情境。 在那個情境中，我們很容易想象 不久的將來機(jī)器人會和我們在一起。 那是在一個逾越節(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)器人的互動卻完全不是這樣。 當(dāng)人類和機(jī)器人互動的時候， 就好像他們在下象棋。 人類走一步， 機(jī)器人對此分析一下， 然后機(jī)器人決定接下來怎么做， 計劃好，走下一步。 這時候人類就等著，直到輪到他們玩為止。 所以，人類和機(jī)器人的互動更像下象棋， 這很好理解，因?yàn)?對數(shù)學(xué)家和計算機(jī)科學(xué)家來說，象棋很好， 它們都是關(guān)于信息分析、 決策制定和計劃。

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