The Shape of Simon<br />CHI2011 Conference, Vancouver, BC<br />May 9, 2011<br />
IntroductionStarting point and precedents<br />Establishing a vocabulary and aesthetic target<br />Initial explorations<br...
Introduction<br />
Hi!<br />Introduction<br />
Smart Design<br />introduction<br />Designing for people and their everyday lives. <br />
Georgia Tech Socially Intelligent Machines Lab<br />Introduction<br />
Dr. Andrea Thomaz<br />Socially Intelligent Machines Lab<br />Introduction<br />
The Simon Project<br />Introduction<br />
Starting point and precedents<br />
Kismet, Cynthia Breazeal, MIT<br />Starting point and precedents<br />
The Leonardo Social Robot Project<br />Starting point and precedents<br />
Design observations from the Leonardo Machine Learning project<br />Eyes are important as a natural and intuitive mechanis...
Initial constraints<br />The desired feature set for the head was a rotating and pivoting head, movable eyes, top and bott...
Initial constraints<br />Starting point and precedents<br />
Initial constraints<br />Starting point and precedents<br />
Establishing a vocabulary and aesthetic target<br />
A survey of existing robot types<br />Establishing a vocabulary<br />
Primary characteristics<br />Figure-like impression (forms that can be distinguished as head, face, body and limbs)<br />N...
References: Sony partner robot<br />Establishing a vocabulary<br />
References: Frobo Fictional robot, Drexel University student<br />Establishing a vocabulary<br />
References: Marvin, Hitchiker’s Guide to the Glaxy<br />Establishing a vocabulary<br />
References: Megaman, toy figure<br />Establishing a vocabulary<br />
References: Munny vinyl toy<br />Establishing a vocabulary<br />
References: Toonami Tom<br />Establishing a vocabulary<br />
Observations from references and previous research<br />The top of the head would have a covering of some sort, either a h...
References<br />Establishing a vocabulary<br />
References<br />Establishing a vocabulary<br />
References<br />Establishing a vocabulary<br />
References<br />Establishing a vocabulary<br />
References<br />Establishing a vocabulary<br />
Head shape<br />Establishing a vocabulary<br />
Eye size<br />Establishing a vocabulary<br />
Eye placement<br />Establishing a vocabulary<br />
Ear shapes<br />Establishing a vocabulary<br />
Ear shapes<br />Establishing a vocabulary<br />
Initial explorations<br />
Body types<br />Defining proportions<br />
Body types<br />Defining proportions<br />
Initial explorations<br />Defining proportions<br />
Initial explorations<br />Defining proportions<br />
Initial explorations<br />Defining proportions<br />
Initial explorations<br />Defining proportions<br />
Initial explorations<br />Defining proportions<br />
Head to body ratio<br />Defining proportions<br />
3D sketch<br />Defining proportions<br />
Making it real: team collaboration<br />
Eyeball mechanism<br />Making it real: team collaboration<br />
Iterations<br />Making it real: team collaboration<br />
Iterations<br />Making it real: team collaboration<br />
Iterations<br />Making it real: team collaboration<br />
Iterations<br />Making it real: team collaboration<br />
Iterations<br />Making it real: team collaboration<br />
Animating the design<br />Making it real: team collaboration<br />
Scaled models<br />Making it real: team collaboration<br />
Scaled models<br />Making it real: team collaboration<br />
Seamless eyebrow integration<br />Making it real: team collaboration<br />
Lip movement<br />Making it real: team collaboration<br />
Scaled models<br />Making it real: team collaboration<br />
Simon comes to life<br />
Head construction<br />Simon comes to life<br />
Head construction<br />Simon comes to life<br />
Head construction<br />Simon comes to life<br />
Head construction<br />Simon comes to life<br />
Head construction<br />Simon comes to life<br />
Reactions<br />
Head construction<br />Simon comes to life<br />
Simon at CHI2010<br />reactions<br />
Simon’s gaze<br />Reactions<br />
Head construction<br />Simon comes to life<br />
Interacting with people<br />Simon comes to life<br />
“Cool”, “pretty life-like” <br />“…amazed by it.”<br />Regarding the robot’s gaze, “I was surprised at first but it made t...
Simon and Andrea<br />Reactions<br />
Simon and Andrea<br />Reactions<br />
Head construction<br />Simon comes to life<br />
Sophistication of motion–generating more lifelike and believable motion, such as including a library of motion variants<br...
How will the additional facial features (eyebrows, lips) affect the human-robot interaction?<br />Can the presence of body...
http://www.cc.gatech.edu/social-machines/publications.html<br />athomaz@cc.gatech.edu<br />Reactions<br />For more informa...
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Creative Design of Simon the Robot (CHI2011)

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Presentation of the paper "The Shape of Simon: Creative Design of a Humanoid Robot Shell" by Carla Diana and Dr. Andrea Thomaz, published in CHI2011. Simon is a socially aware robot platform currently under development at the Georgia Institute of Technology. The presentation was given in person by Carla on May 9, 2011.

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  • The importance of industrial design for Andrea.How theselearnings apply to projects I work on at SmartExpression and anthropomorphism are part of my work, even with a washing machine or mobile deviceWhat you are about to see is a pioneering effort… Artistic/creative process… I’m open to suggestions and thoughts.My purpose is to share the process for others who will be involved with social/emotional robots.Focus of this case study is the head… body shells are also in progress
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  • Stan Winston studios.. Did the robots for Speilberg’s AI Artificial intelligence, for example
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  • Creative Design of Simon the Robot (CHI2011)

    1. 1.
    2. 2. The Shape of Simon<br />CHI2011 Conference, Vancouver, BC<br />May 9, 2011<br />
    3. 3. IntroductionStarting point and precedents<br />Establishing a vocabulary and aesthetic target<br />Initial explorations<br />Making it real: team collaboration<br />Simon comes to life<br />Reactions<br />
    4. 4. Introduction<br />
    5. 5. Hi!<br />Introduction<br />
    6. 6. Smart Design<br />introduction<br />Designing for people and their everyday lives. <br />
    7. 7. Georgia Tech Socially Intelligent Machines Lab<br />Introduction<br />
    8. 8. Dr. Andrea Thomaz<br />Socially Intelligent Machines Lab<br />Introduction<br />
    9. 9. The Simon Project<br />Introduction<br />
    10. 10. Starting point and precedents<br />
    11. 11. Kismet, Cynthia Breazeal, MIT<br />Starting point and precedents<br />
    12. 12. The Leonardo Social Robot Project<br />Starting point and precedents<br />
    13. 13. Design observations from the Leonardo Machine Learning project<br />Eyes are important as a natural and intuitive mechanism for HRI<br />“Creature”-like offers better success than human-like because it sets appropriate expectations<br />Hyperrealism in features, such a Leonardo’s fur, eyelashes, lips and finger pads can have a frightening effect (Leonardo was convincingly “gremlin”-like)<br />A balance between machine aesthetics and human forms can help avoid the “uncanny valley”<br />While Leo had over 30 degrees of freedom in the head and face, the ears were most often used for emotional and nonverbal expression<br />A desirable feature set for the head would include: a rotating and pivoting head, movable eyes, top and bottom eyelids, a mouth, eyebrows and some expressive ear feature<br />Key learnings<br />Starting point and precedents<br />
    14. 14. Initial constraints<br />The desired feature set for the head was a rotating and pivoting head, movable eyes, top and bottom eyelids, a mouth, eyebrows and some expressive ear feature<br />Overall proportions were predetermined by the Internal body mechanism constructed by Meka robotics and based on a previous mechanical design<br />The robot would be non-ambulatory<br />Its character would be friendly and inquisitive<br />It should appear “young” to reinforce its role as a learner<br />Designing a socially aware service robot<br />Starting point and precedents<br />
    15. 15. Initial constraints<br />Starting point and precedents<br />
    16. 16. Initial constraints<br />Starting point and precedents<br />
    17. 17. Establishing a vocabulary and aesthetic target<br />
    18. 18. A survey of existing robot types<br />Establishing a vocabulary<br />
    19. 19. Primary characteristics<br />Figure-like impression (forms that can be distinguished as head, face, body and limbs)<br />Non-threatening forms<br />Affordances that suggest multiple functions<br />Simplified forms that avoid the suggestion of musculature or overly detailed anatomies<br />Machine or appliance references to balance the creature semantics<br />The “friendly doll” aesthetic<br />Establishing a vocabulary<br />
    20. 20. References: Sony partner robot<br />Establishing a vocabulary<br />
    21. 21. References: Frobo Fictional robot, Drexel University student<br />Establishing a vocabulary<br />
    22. 22. References: Marvin, Hitchiker’s Guide to the Glaxy<br />Establishing a vocabulary<br />
    23. 23. References: Megaman, toy figure<br />Establishing a vocabulary<br />
    24. 24. References: Munny vinyl toy<br />Establishing a vocabulary<br />
    25. 25. References: Toonami Tom<br />Establishing a vocabulary<br />
    26. 26. Observations from references and previous research<br />The top of the head would have a covering of some sort, either a helmet, or a form that suggests hair<br />Ears would be abstracted to appear as large appliance parts, perhaps antennae<br />Eyes would be distinctive, as they are the focal point for the intended human-robot interaction<br />Mouth and eyebrows would be used in addition to the eyes and ears in order to express emotion<br />Proportions for the body-head size ratio, head-eye size ratio, and eye placement would be child-like<br />Ideal characteristics<br />Establishing a vocabulary<br />
    27. 27. References<br />Establishing a vocabulary<br />
    28. 28. References<br />Establishing a vocabulary<br />
    29. 29. References<br />Establishing a vocabulary<br />
    30. 30. References<br />Establishing a vocabulary<br />
    31. 31. References<br />Establishing a vocabulary<br />
    32. 32. Head shape<br />Establishing a vocabulary<br />
    33. 33. Eye size<br />Establishing a vocabulary<br />
    34. 34. Eye placement<br />Establishing a vocabulary<br />
    35. 35. Ear shapes<br />Establishing a vocabulary<br />
    36. 36. Ear shapes<br />Establishing a vocabulary<br />
    37. 37. Initial explorations<br />
    38. 38. Body types<br />Defining proportions<br />
    39. 39. Body types<br />Defining proportions<br />
    40. 40. Initial explorations<br />Defining proportions<br />
    41. 41. Initial explorations<br />Defining proportions<br />
    42. 42. Initial explorations<br />Defining proportions<br />
    43. 43. Initial explorations<br />Defining proportions<br />
    44. 44. Initial explorations<br />Defining proportions<br />
    45. 45. Head to body ratio<br />Defining proportions<br />
    46. 46. 3D sketch<br />Defining proportions<br />
    47. 47. Making it real: team collaboration<br />
    48. 48. Eyeball mechanism<br />Making it real: team collaboration<br />
    49. 49. Iterations<br />Making it real: team collaboration<br />
    50. 50. Iterations<br />Making it real: team collaboration<br />
    51. 51. Iterations<br />Making it real: team collaboration<br />
    52. 52. Iterations<br />Making it real: team collaboration<br />
    53. 53. Iterations<br />Making it real: team collaboration<br />
    54. 54. Animating the design<br />Making it real: team collaboration<br />
    55. 55. Scaled models<br />Making it real: team collaboration<br />
    56. 56. Scaled models<br />Making it real: team collaboration<br />
    57. 57. Seamless eyebrow integration<br />Making it real: team collaboration<br />
    58. 58. Lip movement<br />Making it real: team collaboration<br />
    59. 59. Scaled models<br />Making it real: team collaboration<br />
    60. 60. Simon comes to life<br />
    61. 61. Head construction<br />Simon comes to life<br />
    62. 62. Head construction<br />Simon comes to life<br />
    63. 63. Head construction<br />Simon comes to life<br />
    64. 64. Head construction<br />Simon comes to life<br />
    65. 65. Head construction<br />Simon comes to life<br />
    66. 66. Reactions<br />
    67. 67. Head construction<br />Simon comes to life<br />
    68. 68. Simon at CHI2010<br />reactions<br />
    69. 69. Simon’s gaze<br />Reactions<br />
    70. 70. Head construction<br />Simon comes to life<br />
    71. 71. Interacting with people<br />Simon comes to life<br />
    72. 72. “Cool”, “pretty life-like” <br />“…amazed by it.”<br />Regarding the robot’s gaze, “I was surprised at first but it made the interaction easier because I knew that he knew some of what I was saying”<br />“What was amazing was that his movements felt like there was something in there learning and it wasn’t all just motors, metal in plastic. Something inherently felt good about interfacing with Simon versus[sic] a computer”.<br />Nova, “Simon, the kinder gentler robot, wit a face that’s easy to love.”<br />The Engadget technology blog has described Simon as “super cute” with a “head that will stop you in your tracks”<br />What people are saying<br />Reactions<br />
    73. 73. Simon and Andrea<br />Reactions<br />
    74. 74. Simon and Andrea<br />Reactions<br />
    75. 75. Head construction<br />Simon comes to life<br />
    76. 76. Sophistication of motion–generating more lifelike and believable motion, such as including a library of motion variants<br />Contingency detection across a variety of modalities – using a simple cue like “I see a person in front of me” to know when to start an interaction. Enables turn-taking behavior.<br />Making Simon a natural and intuitive learner, so anyone could be able to teach it new tasks, studying ways that people teach<br />Active learning–having the robot ask questions in order to build learning, rather than waiting for the human to initiate teaching<br />What Simon has been up to<br />Reactions<br />
    77. 77. How will the additional facial features (eyebrows, lips) affect the human-robot interaction?<br />Can the presence of body shells further enhance the robot’s approachability?<br />How might color and material differences play a role in differentiating features?<br />What kind of light vocabulary can be developed for the ear pod feedback? (Right now it indicates a moment of recognition)<br />How can the sound of Simon’s voice match his physical features?<br />Can different facial geometries imply different robot personalities?<br />If we build a brand and social presence (such as a Facebook page) around Simon, will that deepen people’s emotional connection?<br />Design questions moving forward<br />Reactions<br />
    78. 78. http://www.cc.gatech.edu/social-machines/publications.html<br />athomaz@cc.gatech.edu<br />Reactions<br />For more information<br />http://www.carladiana.com<br />http://www.smartdesignworldwide.com<br />carla@carladiana.com<br />

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