AI News, From Hal to Wall artificial intelligence
Space station robot goes rogue: International Space Station’s artificial intelligence has turned belligerent
It’s supposed to be a plastic pal who’s fun to be with.
It’s just a floating ball with a cartoonish face on its touch screen.
It’s built to be a personal assistant for astronauts working on the International Space Station (ISS).
But, as numerous books and movies have clearly warned us —
shortly after being switched on for the first time, CIMON has developed a mind of its own.
Put simply, CIMON appears to have decided he doesn’t like the whole personal assistant thing.
flustered and bemused Gerst then appealed to Ground Control for some help: how does one put an obdurate robot back in its place?
No further interactive sessions are planned for the immediate future.
Its developers aren’t all that worried, though: CIMON’s still in Beta, after all …
After directing Finding Nemo, Stanton felt Pixar had created believable simulations of underwater physics and was willing to direct a film set largely in space.
The film criticizes consumerism, corporatism, nostalgia, waste management, human environmental impact and concerns, obesity, and global catastrophic risk.
The film was an instant blockbuster, grossing $533.3 million worldwide over a $180 million budget, and winning the 2008 Golden Globe Award for Best Animated Feature Film, the 2009 Hugo Award for Best Long Form Dramatic Presentation,
and in 2016 was voted 29th among 100 films considered the best of the 21st century by 117 film critics from around the world.
In the 29th century, Earth has been abandoned and covered in garbage, its population having been evacuated by the megacorporation Buy-N-Large (BnL) on giant starliners seven centures earlier after decades of mass consumerism facilitated by BnL.
The Axiom's passengers have become obese and feeble due to microgravity and reliance on an automated lifestyle, including the ship's current captain, McCrea, who leaves the ship under the control of the robotic autopilot, AUTO.
McCrea is unprepared for a positive probe response, but learns that placing EVE's plant in the ship's Holo-Detector for verification will trigger a hyperjump back to Earth so humanity can recolonize it.
WALL-E misinterprets the procedure as torture, and in intervening accidentally frees a group of malfunctioning robots and causes both EVE and himself to be designated as rogue robots.
Frustrated, EVE takes WALL-E to an escape pod to send him home to retrieve the plant, but they are interrupted when first mate robot GO-4 arrives with the plant, having stolen it from EVE on AUTO's orders.
However, AUTO refuses, revealing his own secret no-return directive A113, issued to BnL autopilots after the corporation concluded in 2110 that the planet could not be saved.
During the credits, scenes of the humans and robots learning to farm, fish, and build are shown in various art styles, with the implication being that Earth is turned into a paradise over several generations.
Having struggled for many years with making the characters in Toy Story appealing, Stanton found his simple Robinson Crusoe-esque idea of a lonely robot on a deserted planet strong.
Stanton came up with the idea of WALL-E finding a plant, because his life as the sole inhabitant on a deserted world reminded Stanton of a plant growing among pavements.
When WALL-E comes to the Axiom, he incites a Spartacus-style rebellion by the robots against the remnants of the human race, which were cruel alien Gels (completely devolved, gelatinous, boneless, legless, see-through, green creatures that resemble Jell-O).
James Hicks, a physiologist, mentioned to Stanton the concept of atrophy and the effects prolonged weightlessness would have on humans living in space for an inordinately extended time period.
The Gels also spoke a made-up gibberish language, but Stanton scrapped this idea because he thought it would be too complicated for the audience to understand and they could easily be driven off from the storyline.
The Gels had a royal family, who host a dance in a castle on a lake in the back of the ship, and the Axiom curled up into a ball when returning to Earth in this incarnation of the story.
Auto takes the plant and goes into the bowels of the ship into a room resembling a brain where he watches videos of Buy n Large's scheme to clean up the Earth falling apart through the years.
Stanton reversed this following a 2007 test screening, as he wanted to show EVE replacing her directive of bringing the plant to the captain with repairing WALL-E, and it made WALL-E even more heroic if he held the holo-detector open despite being badly hurt.
Stanton also moved the moment where WALL-E reveals his plant (which he had snatched from the self-destructing escape pod) from producing it from a closet to immediately after his escape, as it made EVE happier and gave them stronger motivation to dance around the ship.
Stanton felt half the audience at the screening believed the humans would be unable to cope with living on Earth and would have died out after the film's end.
Jim Capobianco, director of the Ratatouille short film Your Friend the Rat, created an end credits animation that continued the story—and stylized in different artistic movements throughout history—to clarify an optimistic tone.
Because of the haziness, the cubes making up the towers of garbage had to be large, otherwise they would have lost shape (in turn, this helped save rendering time).
Eggleston tried to avoid the colors yellow and green so WALL-E—who was made yellow to emulate a tractor—would not blend into the deserted Earth, and to make the plant more prominent.
While rewatching some of his favorite science fiction films, he realized that Pixar's other movies had lacked the look of 70 mm film and its barrel distortion, lens flare, and racking focus.
1970s Panavision cameras were used to help the animators understand and replicate handheld imperfections like unfocused backgrounds in digital environments.
the rear's economy class has a basic gray concrete texture with graphics keeping to the red, blue, and white of the BnL logo.
The premier class is a large Zen-like spa with colors limited to turquoise, cream, and tan, and leads on to the captain's warm carpeted and wooded quarters and the sleek dark bridge.
He found the latter idea 'powerful' because it allowed the audience to project personalities onto the characters, as they do with babies and pets: 'You're compelled ...
The animators visited recycling stations to study machinery, and also met robot designers, visited NASA's Jet Propulsion Laboratory to study robots, watched a recording of a Mars rover,
Animation director Angus MacLane suggested they attach his arms to a track on the sides of his body to move them around, based on the inkjet printers his father designed.
To animate their robots, the film's story crew and animation crew watched a Keaton and a Charlie Chaplin film every day for almost a year, and occasionally a Harold Lloyd picture.
Burtt had completed Star Wars: Episode III – Revenge of the Sith and told his wife he would no longer work on films with robots, but found WALL-E and its substitution of voices with sound 'fresh and exciting'.
Stanton originally wanted to juxtapose the opening shots of space with 1930s French swing music, but he saw The Triplets of Belleville (2003) and did not want to appear as if he were copying it.
Jim Reardon suggested WALL-E find the film on video, and Stanton included 'It Only Takes a Moment' and the clip of the actors holding hands, because he wanted a visual way to show how WALL-E understands love and conveys it to EVE.
Katherine Ellison asserts that 'Americans produce nearly 400 million tons of solid waste per year but recycle less than a third of it, according to a recent Columbia University study.'
Nostalgia is also expressed through the musical score, as the film opens with a camera shot of outer space that slowly zooms into a waste filled Earth while playing 'Put on Your Sunday Clothes', reflecting on simpler and happier times in human history.
This film also expresses nostalgia through the longing of nature and the natural world, as it is the sight and feeling of soil, and the plant brought back to the space ship by EVE, that make the captain decide it is time for humans to move back to Earth.
I thought, 'That's a perfect amplification of the whole point of the movie.' I wanted to run with science in a way that would sort of logically project that.
Stanton noted many commentators placed emphasis on the environmental aspect of humanity's complacency in the film, because 'that disconnection is going to be the cause, indirectly, of anything that happens in life that's bad for humanity or the planet'.
It only argues that technology is properly used to help humans cultivate their true nature—that it must be subordinate to human flourishing, and help move that along.'
Dreher emphasized the false god parallels to BnL in a scene where a robot teaches infants 'B is for Buy n Large, your very best friend', which he compared to modern corporations such as McDonald's creating brand loyalty in children.
During writing, a Pixar employee noted to Jim Reardon that EVE was reminiscent of the dove with the olive branch from the story of Noah's Ark, and the story was reworked with EVE finding a plant to return humanity from its voyage.
and Butades: in an essay discussing WALL-E as representative of the artistic strive of Pixar itself, Hrag Vartanian compared WALL-E to Butades in a scene where the robot expresses his love for EVE by making a sculpture of her from spare parts.
Small quantities of merchandise were sold for WALL-E, as Cars items were still popular, and many manufacturers were more interested in Speed Racer, which was a successful line despite the film's failure at the box office.
Among Thinkway's items were a WALL-E that danced when connected to a music player, a toy that could be taken apart and reassembled, and a groundbreaking remote control toy of him and EVE that had motion sensors that allowed them to interact with players.
On February 4, 2015, Lego announced that a WALL-E custom built by lead animator Angus MacLane was the latest design approved for mass production and release as part of Lego Ideas.
The various editions included the short film Presto, another short film BURN-E (which is about the lamp repairing robot briefly seen in WALL-E), the Leslie Iwerks documentary film The Pixar Story, shorts about the history of Buy n Large, behind-the-scenes special features, and a Digital Copy of the film that can be played through iTunes or Windows Media and compatible devices.
This release sold 9,042,054 DVD units ($142,633,974) in total becoming the second best-selling animated DVD among those released in 2008 in units sold (behind Kung Fu Panda), the best-selling animated feature in sales revenue, and the third best-selling among all 2008 DVD's.
WALL-E grossed $223.8 million in the USA and Canada and $309.5 million overseas for a worldwide total of $533.3 million making it the ninth highest grossing film of 2008.
Writer/director Andrew Stanton and his team have created a classic screen character from a metal trash compactor who rides to the rescue of a planet buried in the debris that embodies the broken promise of American life.
When hope arrives in the form of a seedling, the film blossoms into one of the great screen romances as two robots remind audiences of the beating heart in all of us that yearns for humanity—and love—in the darkest of landscapes.
The review aggregator website Rotten Tomatoes reported that 96% of critics gave the film positive reviews, based upon a sample of 253 reviews, with an average rating of 8.6/10.
The site's critical consensus reads, 'Wall-E's stellar visuals testify once again to Pixar's ingenuity, while its charming star will captivate younger viewers -- and its timely story offers thought-provoking subtext.'
At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the film received an average score of 95 based on 39 representing 'universal acclaim'.
indieWire named WALL-E the third best film of the year based on their annual survey of 100 film critics, while Movie City News shows that WALL-E appeared in 162 different Top 10 lists, out of 286 different critics lists surveyed, the most mentions on a Top 10 list of any film released in 2008.
Richard Corliss of Time named WALL-E his favorite film of 2008 (and later of the decade), noting the film succeeded in 'connect[ing] with a huge audience' despite the main characters' lack of speech and 'emotional signifiers like a mouth, eyebrows, shoulders, [and] elbows'.
He said it pushed the boundaries of animation by balancing esoteric ideas with more immediately accessible ones, and that the main difference between the film and other science fiction projects rooted in an apocalypse was its optimism.
Honeycutt said the film's definitive stroke of brilliance was in using a mix of archive film footage and computer graphics to trigger WALL-E's romantic leanings.
Roger Ebert of the Chicago Sun-Times named WALL-E 'an enthralling animated film, a visual wonderment, and a decent science-fiction story' and said the scarcity of dialogue would allow it to 'cross language barriers' in a manner appropriate to the global theme, and noted it would appeal to adults and children.
and a little bit realistic', and that Pixar managed to generate a 'curious' regard for the WALL-E, comparing his 'rusty and hard-working and plucky' design favorably to more obvious attempts at creating 'lovable' lead characters.
Kyle Smith of the New York Post, wrote that by depicting future humans as 'a flabby mass of peabrained idiots who are literally too fat to walk', WALL-E was darker and more cynical than any major Disney feature film he could recall.
He compared the humans to the patrons of Disney's Parks and Resorts, adding, 'I'm also not sure I've ever seen a major corporation spend so much money to issue an insult to its customers.'
World Report questioned whether this depiction of 'frighteningly obese humans' would resonate with children and make them prefer to 'play outside rather than in front of the computer, to avoid a similar fate'.
He argued that the mass consumerism in the film was not shown to be a product of big business, but of too close a tie between big business and big government: 'The government unilaterally provided its citizens with everything they needed, and this lack of variety led to Earth's downfall.'
Responding to Coffin's claim that the film points out the evils of mankind, Ford argued the only evils depicted were those that resulted from losing touch with our own humanity and that fundamental conservative representations such as the farm, the family unit, and wholesome entertainment were in the end held aloft by the human characters.
He is shown facing a typological dilemma of classifying a spork as either a fork or spoon, and his nostalgic interest in the human past further demonstrated by his attachment to repeated viewings of the 1969 film Hello, Dolly!.
Marwick notes that the film features major human evolutionary transitions such as obligate bipedalism (captain of the spaceship struggles with the autopilot to gain control of the vessel) and the invention of agriculture, as part of watershed moments in the story of the film.
A reflective Stanton stated he was not disappointed the film was restricted to the Best Animated Film nomination because he was overwhelmed by the film's positive reception, and eventually 'The line [between live-action and animation] is just getting so blurry that I think with each proceeding year, it's going to be tougher and tougher to say what's an animated movie and what's not an animated movie.'
Sound magazine's 2012 poll of the greatest films of all time, WALL-E is the second highest ranking animated film behind My Neighbor Totoro (1988), while tying with the film Spirited Away (2001) at 202nd overall.
Scientists Have Created AI Inspired By HAL 9000 From "2001: A Space Odyssey"
computer scientist has built an artificial intelligence, directly inspired by Kubrick’s iconic supercomputer-supervillain, that’s able to serve simulated astronauts on a virtual planetary base.
He details how CASE was trained to carry out all the menial tasks of day-to-day life on a virtual planetary base, such as maintaining oxygen generation and carbon dioxide-removal systems or even sending a rover out to get rock samples.
Just like HAL, it can also engage in conversations and interact with the crew by answering questions and responding to commands. The study explains, “If you say, ‘Open the pod bay doors, CASE’ (assuming there are pod bay doors in the habitat), unlike HAL, it will respond, ‘Certainly, Dave,’ because we have no plans to program paranoia into the system.” Bonasso ran a 4-hour long simulation to see how CASE dealt with the numerous problems it faced.
- On Wednesday, October 23, 2019
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