05 September
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How iRobot Reimagined The Roomba As A Doctor

We know that the aging baby boomer population will have a big impact on health care staff. One of the best solutions is to allow doctors to telecommute to hospitals around the globe. And, as sci-fi as it may sound today, what better way to telecommute than in a robotic avatar?

The RP-VITA is a collaboration between iRobot–makers of everything from friendly Roombas to deadly combat robots–and InTouch Health, telemedicine specialists. It’s ostensibly a monitor on wheels that rolls around hospitals not so differently from the Jetson’s Rosie, allowing a doctor to have a physical presence to see patients face-to-face.

But even in the world of high-tech robots and cross-country diagnostic medicine, iRobot’s core involvement with the project was as simple as it could get: to make robots work for everyday humans rather than engineers. And ultimately, some of the same technologies that power Roombas.

“Perhaps the greatest thing about Roomba is that it’s easy to use and works. The same can be said for RP-VITA,” writes iRobot SVP Glen Weinstein. “While it is used in a very different setting to achieve a very different objective, some of the chief design goals around the robot were the same–to make it easy to use, effective in navigating its environment and doing its job well.”

Specifically, while InTouch has been making telemedicine robots for a while now, they had a big limitation: They were operated by a joystick, meaning a doctor needed to steer a complicated piece of machinery through a hospital, using a PC console. When they reached the room–again, navigating the robot around IV drips and diagnostic machines near a bedside–the robot pilot had to shift gears and focus on being a doctor.

iRobot recently invested a few million dollars in InTouch, and along with that investment came some technology that iRobot was very good at: pathfinding. So the RP-VITA is loaded with Roomba-like collision detection and area mapping–simplifying complicated joystick maneuvers to very basic steering–and doctors can now use iPads rather than clunkier PCs to drive the robot and connect to patients via integrated webcam.

“The enhanced navigation is important because it allows RP-VITA to take on more of the driving and navigation tasks so the clinician is free to focus on patient care,” writes Weinstein, who adds that this is far from the end UI for the RP-VITA. This fall, pending FDA approval, iRobot’s pathfinding technology will allow doctors to move from room to room by simply tapping their destination on the iPad’s screen. That’s the sort of end-game UI that could actually make robotic doctors practical–even if there are a lot of design problems left for us, as patients, to feel as comfortable with virtual doctor robots as we do flesh-and-bone humans.

Hat tip: Mashable

Image: oknoart/Shutterstock

Via FastCoDesign: http://www.fastcodesign.com/

24 June
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No T-Squares: Robot Arms Are The New Thing In Architecture School

In a nondescript central Los Angeles neighborhood sits a renovated warehouse, home to the Southern California Institute of Architecture, or Sci-Arc for short. The small graduate school, which is noted for producing architects who go on to work in highly specialized fields like digital animation, is run by a core group of LA architects who place special emphasis on advanced fabrication. The school’s new Robot House, for example, is a dedicated laboratory for students interested in, well, learning how to program robots.

Robotic arms, to be more specific. The Robot House (it’s more like a room) has five of them, Staübli-brand machines with “hands” that can be programmed to do just about anything. Initiated in spring of last year, the lab has already produced some pretty cool stuff. The latest is a complex acrylic sculpture called Hot Networks, authored by Brandon Kruysman and Jonathan Proto, the two young designers Sci-Arc appointed to run and teach the Robot House lab.

In Hot Networks, Kruysman and Proto have given each robotic arm a different task: one positions the work surface, a another picks up and places a plastic cylinder, a third heats up the plastic as it’s set into place, melting and deforming against the others. Another arm airbrushes the cooled pieces, and the fifth arm films the whole thing for posterity. It’s a bit like earlier robotic building experiments (like this one, in which an arm builds a brick wall), but about five times more complex.

The highly choreographed network is made possible by a programming language the duo wrote specifically for the Robot House. Esperant.O, as it’s cleverly called, translates MAYA’s dynamic systems (like skeletons and moving parts) into a language that the mechanical arms can understand. “Esperant.O opens up an entirely new way to engage making through industrial robotics,” write the duo on their website. MAYA, an animation and rendering software that’s typically used to make stuff move on-screen, is being used to control real-time moving parts. For anyone unfamiliar with the software, a vastly over-simplified analogy would be a cartoonist who’s invented a way to control real-life people using his pencil and paper.

It’s funny that we never really get a good look at the morphing plastic sculpture. But the ambivalence the designers seem to feel about showing off the piece plays to the concept behind Robot House. The final product might look cool, sure, but it’s just a byproduct of the real work – the programming itself.

Via FastCoDesign: http://www.fastcodesign.com/

10 June
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This Week In Bots: Saluting The First President Of The Robot Epoch

robotnavy

Bot vid: Darpa’s Robbie

One of the more interesting robotics programs that DARPA funds is the Autonomous Robotic Manipulation project, designed to produce robots that can perform relatively complex tasks without too much supervision (obvious military implications here). As revealed over at the Automaton blog, robot maker RE2 has a robot in this program, cheerfully dubbed Robbie. The strength of the robot’s design is in its grippers that approximate human hands. They have sensors so the machine even feels “touch” a little like we do.

Bot vid: Smart Tripod

The winner of this year’s Microsoft Robotics @Home competition is interesting: It’s a tripod on a mobile base that can follow its subjects around, using a Kinect sensor to navigate and detect the movements of its human subjects for control purposes. The tech can be used for, say, creating a low-budget movie’s tracking shots. The winner was Arthur Wait, who earned a check for $10,000.

Bot vid: Fukushimabot

The Future Robotics Technology Center in Japan has just demonstrated its new robot destined to help assess and perhaps clean up the nuclear mess at Japan’s tsunami-ravaged Fukushima nuclear site. Rosemary, as the machine is called, is roughly the size of a lawnmower and has unusual feet that swivel to navigate obstacles or crawl up a slope of greater than 60 degrees. Best of all it’s strong enough to carry gear weighing up to 60 kilos (approx. 132 lbs.), making it ideal for ferrying sensors, imaging units, and perhaps clean-up equipment into radiation-damaged zones.

Bot News

Robofish. This week a large yellow robot fish could be seen swimming in the ocean off the Spanish port of Gijon, taking part in free water tests of its systems. The five-foot, $31,000 European machine is crammed with sensors designed to detect pollutants that have leaked from vessels or underwater facilities like pipelines, and the goal is to have many fish swimming in sensitive areas to give a very early warning of contamination. Its fish-like design is an attempt to avoid problems like propeller snarl on debris.

Ocean swimmers. On Monday the famous WaveGlider robots from Liquid Robotics were sent off from their stopover at Hawaii en route to their final destinations in Japan and Australia. The experiment is already a success, and the devices have proven useful in collecting data on sea and air environments to aid climate studies and weather forecasting. They swim autonomously, propelled by the motion of water waves.

Australian telepresence museum bot. By November this year the Australian National Museum, in concert with science body CSIRO, will have a robotic telepresence droid roaming its corridors. Equipped with sensors and clever camera units, the idea is to give remote students access to each of the museum’s exhibits in more detail than may be possible with a visit in person. It’s a six-month experiment that may become permanent.

Bot Futures: The First President of the Robot Era?

When the next President of the United States takes office in 2013, it’s unlikely he’ll have to get to work on a raft of robotics legislation. But as an intriguing NPR piece points out this week, he is likely to be the very first president who has to deal with robotics-related issues on a regular basis.

That’s simply because robots are everywhere, and their presence in places of work, military forces, police forces, emergency services, farms, factories, and homes is only increasing. Robotic technology is penetrating deeply into American lifestyles.

Robots are, for example, finding uses on farms where they can simplify many of the more mundane farming jobs like tilling, distributing pesticide, and even crop-harvesting–potentially driving up efficiency and thus lowering production costs. Robot technology is being used in schools to drive student interest in science and engineering…and even to teach some lessons or boost student writing skills. They’re going to take over the role of some military pilots soon enough, and the ever-expanding drone fleet means U.S. robots are killing enemy combatants, and, sadly, making mistakes overseas right now. Drone robots are even penetrating the skies of the U.S. And there are early examples of the use of robots as political agitators, as in the case of the ONE Street Tweeter, which prints political protest tweets on the streets like a giant mobile inkjet printer.

A few of the thorny issues facing the next president: Of course robots in the workforce improve efficiency and help drive costs down, but is it better for the population to have more folk employed and working slightly less efficiently? Will American citizens tolerate police forces using drones for surveillance, as they become ever more aware of their right to privacy? What happens when the first armed police drone kills a bystander?

By 2017, when the next Comander in Chief takes office, he or she may actually have to develop policies on robots in addition to economic, social, health care, and military matters. Such mechanical issues may even be part of the campaign.

Image: U.S. Navy

Via Fast Company: http://www.fastcompany.com

12 September
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3 New Mobile Apps Offering a Twist on the Expected

The Spark of Genius Series highlights a unique feature of startups and is made possible by Microsoft BizSpark. If you would like to have your startup considered for inclusion, please see the details here.

Each weekend, Mashable hand-picks startups that we think are building interesting, unique or niche products.

This week’s selection of startups have created mobile applications for iPhone and Android that offer a twist on the expected.

EyeEm is a mobile photo-sharing application unique in its ability to surface similar photos in real time. Life Is Crime mixes up mobile gaming with location-based gameplay, and Liquid Fare, perfectly suited for barhoppers, offers an updated interpretation of the mobile reviewing app.


EyeEm: Photo Capture for Photo Discovery


Quick Pitch: EyeEm is a photo capture, sharing and discovery app that learns your tastes from the pictures you take.

Genius Idea: Photo vibes.

Mashable’s Take: Berlin-based EyeEm puts a fresh twist on mobile photo-sharing with an app for iPhone and Android that emphasizes discovery.

Yes, the app does include filters, likes, comments and social sharing — staples in nearly every mobile photo application these days — but we think you’ll like it for its more refined qualities.

Filters, for instance, are applied in your camera’s view pane, even before you snap a photo. Photos are automatically arranged into photo albums called vibes, categorizing photos by either place, people or content. Plus, the app auto-tags your photos with location and activity descriptions, making manual entry completely optional.


Life Is Crime: Mobile MMO Set in the Real World


Quick Pitch: Life Is Crime by Red Robot Labs is a location-based MMO mobile game where players commit virtual crimes in real places.

Genius Idea: Combining social and hardcore gaming elements with location-based action.

Mashable’s Take: Developed by former executives at Playdom and EA, Life Is Crime tasks mobile users on Android (and soon iOS) to commit virtual crimes, perform missions, challenge other players to take over real-world locations and become criminal masterminds.

The game takes the high-octane elements of complex, narrative-based video games for consoles and PCs, throws in social gaming standbys like virtual goods and gameplay with friends, and uniquely places all of the action in your surrounding neighborhood.


Liquid Fare: A Mobile Wingman


Quick Pitch: Liquid Fare provides an easy way to find local bars, lounges and clubs organized by age, style and attractiveness of the crowd.

Genius Idea: Mobile users crowdsource their way to a better night out on the town.

Mashable’s Take: Liquid Fare for iPhone and Android promises to be the compass that points you towards the hippest hotspots nearby, depending on your personal preferences in crowd style, age and attractiveness.

The application crowdsources its establishment assessments, encouraging users to rate the scene at venues they visit.

Liquid Fare, from the New York-based startup of the same name, was first piloted in New York and San Francisco. The application rolled out for all audiences in the U.S. in August.

Image courtesy of Flickr, Roger’s Wife


Series Supported by Microsoft BizSpark


Microsoft BizSpark

The Spark of Genius Series highlights a unique feature of startups and is made possible by Microsoft BizSpark, a startup program that gives you three-year access to the latest Microsoft development tools, as well as connecting you to a nationwide network of investors and incubators. There are no upfront costs, so if your business is privately owned, less than three years old, and generates less than U.S.$1 million in annual revenue, you can sign up today.

Via Mashable: http://www.mashable.com

22 July
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Joules the Robot: An electric tandem bicycle partner

Joules exists because designing and making things is fun. Joules came from a challenge to build an electric tandem bicycle powered by actually pushing the pedals like a person. Fun kinetic design was part of the intent, practicality was not.

Riding with Joules is a reminder that engineering and craftsmanship can be joyful pursuits. Engineering and art need not be separate. I hope that Joules can remind kids that creating real things is great way to spend time, and perhaps a career.

Via: Boing Boing

04 June
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4 Tips for Producing Quality Web Videos

Video Camera ImageHayden Black is the writer, producer, and star of the huge online hits “Goodnight Burbank,” “Abigail’s Teen Diary,” and “The Occulterers.” He’s racked up multiple awards and nominations, and stellar reviews in the mainstream press.

With web video exploding and the promise of GoogleTV around the corner, it’s a wonderful time to be able to upload your own content. But just because anyone can do it doesn’t mean everyone should. For every well-produced, entertaining and informative video, there are millions that aren’t. So what are some of the bigger pitfalls to avoid if you want your video to get people talking?

Firstly, remember that at the moment, the vast majority of content created for the Internet makes zero money, so everything you do should come from a place of passion. Here are a few tips to make that passion work for you.


1. Take the Time to Write


Unfortunately, few people who are rushing to get their stuff up on YouTube have actually thought it through. And you don’t have to take my word for it — just click on 99% of the web shows out there and you’ll find the script was clearly lower down on the priority list than craft services.

So here’s where you’ll need to roll up your sleeves. You have to actually sit down and come up with compelling characters and interesting situations. There’s no hurry to get it right either, so take your time.

It’s probably best to outline your show before you write it. And while you’re doing that, discard any parodies you’ve been thinking about. The web is bursting with them. If you want your content to stand out, you should focus on creating something original.

The wonderful thing about the Internet is that you are your own creative force. Nothing exists to dilute your voice or imagination as it might in more established mediums like TV or film, so use both to their full extent.


2. Know the Medium


The target length for most web videos is five minutes or less. You should be fully aware of this as you write and prepare for production. Know that within those five minutes, there needs to be a beginning, middle and an end — even if it’s part of a greater narrative structure that takes place over 10 episodes.

Remember that you must make it as engaging as possible: You’re competing with e-mails, Tweets, and whatever else is pinging away in the background.

It’s also important to note that most people watch web videos alone. The sharing is often done not with people present, but through social media and e-mail. So think about how habits change between lone and group audiences.

Take comedies, for example. Viewers tend to have more “laugh out loud” moments when they watch with other people. Sometimes that laughter is contagious — other times, a viewer will want his company to know he’s smart enough to get the joke. Either way, a lone viewer’s laugh out loud moments are going to be fewer and shorter. So when editing your web-based comedy, it’s wise not to leave gaping holes after jokes for the laughter you’re expecting. All you’ll end up with is a vacuum that reminds the viewer that the joke they just heard was even less funny than they thought.


3. Pay Attention to Production Values


Production Light ImageYou don’t have to compete with Mr. Spielberg, but there are a few basics that should be noted when it comes to producing web video — simple things like getting the lighting right (can we see your actors?), making sure all the dialogue can be heard, and ensuring the room tone matches.

Don’t know what room tone is? It’s making sure that everything sounds basically the same when you’re cutting from shot to shot within one setting. To do that, the editor lays down an audio track taken from the room while shooting, which can then be used to make the ambient audio uniform between takes.

Web audiences don’t expect something that looks like The Matrix — but they’re not going to put up with dialogue that sounds like it was recorded through a tin can. Find a good middle ground. Once you’ve got good acting talent and a great script, decent production values are what will set you apart from the thousands of other videos your audience could be watching instead.


4. Focus on Grassroots Marketing


Some people think that the best, cheapest, and easiest way to market a web show is to start a Twitter or Facebook account, follow everyone they can, and start “shouting” about the content.

So why is nothing happening? Because you’re yelling into a chasm that’s filled with the echoes from a million other people. No one’s listening for the same reasons they never look at the flyers that come in the mail or the marketing pitches that come to their inboxes.

Take a more engaging approach. It’s a longer route, but the payout is far greater because you’ll ultimately be talking to people who care.

If you’re producing a comedy series, don’t use the related Twitter account to only broadcast when new episodes are up. Between videos, use it as an outlet for news jokes or a free source of silly gags.

And if you are trying to share your content with specific people, take care to avoid hitting them with the same message from multiple angles. The more e-mails, Facebook messages, and Twitter DMs one gets about the same thing, the less likely she’ll be to naturally discover and enjoy it.


Conclusion


So there you go — a handful of simple tips that should serve as a starting point for getting your big idea off the ground, and hopefully out to the masses. What sort of production or marketing values do you look for in a successful web series? Be sure to share them in the comments below.


Images courtesy of iStockphoto

By Mashable: http://www.mashable.com

26 April
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Einstein the robot with facial expressions

Incredible Robot that looks like you. Smile at him he will smile back

http://youtube.com/v/MnNA4NG48uQ.swf

Valve Interactive
An online marketing and design agency in Portland Oregon