TED演講：有“靈魂”的機器人

　　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.

　　我的工作是設計、構(gòu)造和研究 那些能夠與人交流的機器人。 不過這個故事不是從機器人說起， 而是要從動畫說起。 當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 去學習動畫。 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，我上學的日日夜夜， 我不停地一幅又一幅地用鉛筆畫著畫。 我學到了兩個讓我驚訝的東西—— 其中一個是： 當你想要喚起某些情感時， 外觀并不算太重要， 關鍵是動作——物體運動時，對時間的把握。 關鍵是動作——物體運動時，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》的黃鼠狼。 他說： ”作為一個動畫制作者， 你不是一個導演，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(MIT)的 機器人生命小組，這是最早 開始研究人類和機器人關系的小組之一。 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?他們都有點兒機械化。 (笑聲) 我就想，如果我可以把我在動畫學校學到的東西 應用于設計我的機器人臺燈會怎樣? 因此我設計了一幅又一幅， 試圖讓這個機器人 盡量優(yōu)雅、有吸引力。 這里你可以看到這個桌子上的機器人 在跟我互動， 我其實是在重新設計這個機器人， 而這個機器人完全不知道， 它幫我，其實是在自掘墳墓呢。 (笑聲) 比起把他它做成一個照明的機械， 比起把他它做成一個照明的機械， 我更想要一個能幫忙的、安靜的學徒， 隨時滿足你的需求卻不打擾你。 比如，當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，同一個機械如何 在前一刻非常溫柔、充滿關懷， 在前一刻非常溫柔、充滿關懷， 下一刻又顯得非常暴力，有進攻性。 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位， 我正在研究人類與機器人的團隊合作， 也就是人類和機器人一起合作。 我在學習團隊合作的工程學， 心理學和哲學。 同時，我意識到自己 和我的一個好朋友(他今天也在這里)， 也碰到了一個團隊合作的情境。 在那個情境中，我們很容易想象 不久的將來機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， 人類和機器人的互動卻完全不是這樣。 當人類和機器人互動的時候， 就好像他們在下象棋。 人類走一步， 機器人對此分析一下， 然后機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，人類和機器人的互動更像下象棋， 這很好理解，因為 對數(shù)學家和計算機科學家來說，象棋很好， 它們都是關于信息分析、 決策制定和計劃。

　　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，我更希望我的機器人是一個行動者， 但比起象棋玩家，我更希望我的機器人是一個行動者， 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糟糕的職業(yè)決策： 我決定學習一學期的表演課程。 我放下了我的博士課程，去上了表演課。 我還參與了一個戲劇， 希望現(xiàn)在已經(jīng)找不到那個視頻了。 我找到了每一本關于表演的書， 其中包括一本從圖書館里借來的 19世紀的書。 我震驚地發(fā)現(xiàn)我的名字是借閱者名單上的第二個， 之前的一個名字是1889年。(笑聲) 這本書已經(jīng)躺了100年了， 只為了借機器人之名被重新發(fā)現(xiàn)。 這本書教演員 如何調(diào)動他們身體上的每塊肌肉 來表達他們想要表達的情感。

　　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世紀的時候非常流行。 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的動作。 你應該運用你的感覺記憶， 去重新建構(gòu)情感， 用你的身體找到對的表情。 即興發(fā)揮，根據(jù)你的場景搭檔即興表演。 這個時候我也正讀到 認知心理學關于具身認知的東西， 這也談到同樣的觀點—— 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 并做出相應的動作， 這對我好像一道閃電。 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》。 我甚至花了一個月的時間 去做當時第一部由人類和機器人 一起主演的戲劇。 你之前看到的演員和機器人的表演就是這部戲劇。 當時我就想： 我們怎樣可以做出這樣的人工智能模型—— 計算機、計算機模型等等， 它們會即興發(fā)揮、 會冒險、 甚至會犯錯。 它可能會是更好的機器人隊友。 因此我花了很多時間去研究這些模型， 我還在幾個機器人身上做了試驗。 這里你可以看到一個早期的例子， 這個機器人試圖運用具身人工智能 來盡量模仿我的動作， 就好像一個游戲。 我們來看一下。 你可以看到我可以糊弄它。 有點像你可能看到的演員們 互相模仿對方 只為了找到他們之間的默契。 然后，我又做了另外一個實驗， 我從大街上拉人來使用這個機器人臺燈， 試驗具身人工智能。 其實，同樣的機器人我用了兩個大腦， 機器人就是你看到的這個臺燈， 我給了它兩個大腦。 對一半的人， 我放入了一個傳統(tǒng)的、 機械計算的大腦。 它會等，會分析，會計劃， 我們暫且稱它為“會計算的大腦”。 給另一半人則是那個舞臺演員、愛冒險的大腦， 我們暫且稱它為“愛冒險的大腦”， 有的時候它在并不知道所有事情的時候行動， 有的時候它會犯錯然后去糾正。 我讓他們完成一項無比乏味的任務， 這個任務要花近20分鐘， 他們必須一起合作完成， 有點類似在工廠工作， 機械地重復一件事情。 我發(fā)現(xiàn)人們非常喜歡 那個“愛冒險的機器人”。 他們覺得它非常聰明， 非常忠心，是一個很好的團隊成員， 一起幫助團隊成功。 他們甚至稱它為“他”和“她”， 而另外那些人稱那個“會計算的機器人”為“它”， 沒有人稱它為“他”或“她”。 任務完成后， 那些與“會冒險的大腦”互動的人說： “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“會計算的大腦”互動的人 則說“它就像一個懶徒弟， 只做最基本的。“ 這基本上和同人對機器人期待一樣， 所以我有些驚訝，比起那些機器人研究專家， 人們居然對機器人有更高的期望。 但從另一個角度，我又想， 也許就像方法演技改變了 19世紀人們思考表演的方式一樣， 是時間改變這種通過精確計算的 行為方式， 而轉(zhuǎn)向一種更直覺的、冒險的、 用身體表現(xiàn)的行為方式。 也許類似的 機器人革命時間到了。

　　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做研究， 我在一個研究機器人音樂家的 小組工作。 我想，音樂是可以很好的 研究團隊合作、配合、 時間分配和即興表演的領域， 我們有這個玩馬林巴的機器人。 和我一樣對樂器不在行的朋友，馬林巴是 一個巨大的木琴。 我看著這個， 又看了那些其它的人類和機器人的即興互動， ——沒錯，還有其它人和機器人即興互動的項目—— 都差不多也是一個個象棋游戲式的互動。 人類走一步， 機器人對此分析， 然后決定下一步。 音樂家們稱其為 呼叫和應答互動， 作為機器人和人工智能，這很合適。 但是我想，如果我可以運用 戲劇表演和團隊合作中的研究發(fā)現(xiàn)， 也許我可以讓這些機器人 組成一個樂隊， 每個人都在即興發(fā)揮，沒有人需要停下來。 于是這次我嘗試用音樂做試驗， 機器人并不知道 它會演奏什么， 它就這樣移動它的身體， 找機會演奏， 做著我17歲時候的爵士老師教我的事情。 她說，當你即興表演的時候， 有的時候，你并不知道你在做什么， 但是你還是繼續(xù)做。 于是我嘗試做一個不知道自己在做什么 卻仍然繼續(xù)做的機器人。 讓我們來看一下這個表演的一個小片段。 機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 回應機器人的行為， 回應機器人的行為， 有時甚至被機器人的表現(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.

　　作為一個音樂家不僅僅是編寫音符， 否則沒有人會去看現(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)有一個在舞臺上的機器人音樂家， 為什么不把它打造成一個真正的音樂家呢? 于是我開始為機器人設計一個 可以表現(xiàn)情感的頭部。 頭部并不會碰到馬林巴， 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酒吧， 而且酒吧就正好在實驗室和我家的正中間。(笑聲) 而且酒吧就正好在實驗室和我家的正中間。(笑聲) 我大概平均 每天有3到4個小時的時間在那里， “大概”…(笑聲) 我重新拾起了我的動畫工具，試圖想象 不僅僅一個機器人音樂家的樣子， 特別是一個機器人音樂家會如何移動它的身體， 來告訴人們它不喜歡其他人的演奏， 還有它自己當下感覺到的節(jié)奏。 還有它自己當下感覺到的節(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)

　　幸運的是，我們最終還獲得了一筆 造這樣一個機器人的資金。 接下來我給大家看一下同樣的表演 換成一個情感表現(xiàn)頭的效果。 注意一點： 請觀察這個機器人如何 根據(jù)人類的演奏即興發(fā)揮， 也讓人類知道，這個機器人知道它在做什么。 還有獨奏開始時，它是如何做出回應的。 還有獨奏開始時，它是如何做出回應的。 (音樂) 這會兒它正看著我確保我在聽。 (音樂) 我們再看一下這段的最后一部分， 現(xiàn)在機器人正在用它的身體進行溝通， 當它正忙于做它自己的事情時， 忙于準備 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 其實有助于音樂表演! 既然我們在亞特蘭大， 就不會沒有說唱歌手參與到我們的試驗中來。 既然我們在亞特蘭大， 就不會沒有說唱歌手參與到我們的試驗中來。 這個說唱歌手來了之后， 我們讓他和這個機器人一起表演。 這里你可以看到這個機器人 對節(jié)奏的回應， 請注意兩點。第一，當這個機器人在搖頭晃腦的時候， 你是不是也很想加入其中， 和它一起晃動你的頭部? 第二，雖然這個說唱歌手非常專注于它的蘋果手機， 當機器人轉(zhuǎn)向它的時候，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，它仍然非常強大。 這就是為什么我們不能忽視 我們周邊物體的移動。 我們天生會這樣做。 所以，如果你的搭檔 很喜歡看它的蘋果手機或智能手機， 也許你需要一個機器人 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機器人。 說來也奇怪，我們發(fā)現(xiàn) 到了某個階段，人們不再對那些聰明的、 會即興表演、會聆聽、 會做那些我花了多年研究的身體智能表演的 機器人感興趣了。 他們真的很喜歡那個會享受音樂的機器人。(笑聲) 他們沒有說這個機器人是隨著音樂扭動身體， 而是說這個機器人在享受音樂。 于是我們想，為什么不借用這個想法呢， 因此我設計了一件新的小家具。 這次不是一個臺燈，而是一個揚聲器底座， 就是你可以把你的智能手機放上去的那種。 于是我想，如果這個揚聲器底座 不僅可以為你放音樂， 還可以享受音樂，會怎樣?(笑聲) 這是早期的一些動畫嘗試。 這是早期的一些動畫嘗試。 這是最終的成品的樣子。 饒舌音樂 不停的點頭…… (掌聲) 觀眾那里也有很多人在不停點頭， 因此我們可以看到機器人可以影響人。 當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、 用身體移動的機器人的一個原因是—— 我告訴你一個只有我們機器人專家知道的秘密—— 我們每一個人在生命的某個階段 都會需要機器人， 你未來的某個階段會有個機器人。 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，我覺得機器人 不應該是像一個象棋玩家， 而應該更像一個舞臺演員或者音樂家。 它們應該可以冒險，會即興表演， 甚至會預料到你接下來會做什么。 它們也應該可以犯錯 并且改正， 因為到頭來，我們只是人類。 也許對人類而言，不完美的機器人 才是完美的。 謝謝! (掌聲)