Creation and cognition for humanoid live dancing

Abstract Computational creativity in dancing is a recent and challenging research field in Artificial Intelligence and Robotics. We present a cognitive architecture embodied in a humanoid robot capable to create and perform dances driven by the perception of music. The humanoid robot is able to suitably move, to react to human mate dancers and to generate novel and appropriate sequences of movements. The approach is based on a cognitive architecture that integrates Hidden Markov Models and Genetic Algorithms. The system has been implemented on a NAO robot and tested in public setting-up live performances, obtaining positive feedbacks from the audience.

[1]  Takashi Ikegami,et al.  Making a Robot Dance to Music Using Chaotic Itinerancy in a Network of FitzHugh-Nagumo Neurons , 2007, ICONIP.

[2]  Margaret A. Boden,et al.  Computer Models of Creativity , 2009, AI Mag..

[3]  Xavier Serra,et al.  Essentia: An Audio Analysis Library for Music Information Retrieval , 2013, ISMIR.

[4]  Ignazio Infantino,et al.  Affective Human-Humanoid Interaction Through Cognitive Architecture , 2012 .

[5]  Atsushi Nakazawa,et al.  Dancing‐to‐Music Character Animation , 2006, Comput. Graph. Forum.

[6]  Thomas Schack Building blocks and architecture of dance , 2018, The Neurocognition of Dance.

[7]  Dong-Soo Kwon,et al.  Autonomous Humanoid Robot Dance Generation System based on real-time music input , 2013, 2013 IEEE RO-MAN.

[8]  Ryohei Nakatsu,et al.  Concept and construction of a robot dance system , 2007, ICMIT: Mechatronics and Information Technology.

[9]  Giovanni Pilato,et al.  Creativity evaluation in a cognitive architecture , 2015, BICA 2015.

[10]  McAngus N. Todd,et al.  A sensorimotor theory of temporal tracking and beat induction , 2002, Psychological research.

[11]  Marc R. Thompson,et al.  Embodied Meter: Hierarchical Eigenmodes in Music-Induced Movement , 2010 .

[12]  J. Bach,et al.  Principles of Synthetic Intelligence: Psi: An Architecture of Motivated Cognition , 2009 .

[13]  Simon Colton,et al.  Computational Creativity Theory: The FACE and IDEA Descriptive Models , 2011, ICCC.

[14]  Frank Chongwoo Park,et al.  Natural Movement Generation Using Hidden Markov Models and Principal Components , 2008, IEEE Transactions on Systems, Man, and Cybernetics, Part B (Cybernetics).

[15]  Antonio Chella,et al.  Physical integration: a causal account for consciousness. , 2014, Journal of integrative neuroscience.

[16]  Giovanni Pilato,et al.  Combining Representational Domains for Computational Creativity , 2014, ICCC.

[17]  Margaret A. Boden,et al.  Creativity and Artificial Intelligence , 1998, IJCAI.

[18]  Anna Jordanous,et al.  A Standardised Procedure for Evaluating Creative Systems: Computational Creativity Evaluation Based on What it is to be Creative , 2012, Cognitive Computation.

[19]  Giovanni Pilato,et al.  Vision and emotional flow in a cognitive architecture for human-machine interaction , 2011, BICA.

[20]  Adrian Hilton,et al.  Realistic synthesis of novel human movements from a database of motion capture examples , 2000, Proceedings Workshop on Human Motion.

[21]  Giovanni Pilato,et al.  Introducing a creative process on a cognitive architecture , 2013, BICA 2013.

[22]  Philip Galanter,et al.  Computational Aesthetic Evaluation: Past and Future , 2012 .

[23]  Hannu Toivonen,et al.  Interaction Evaluation for Human-Computer Co-Creativity , 2015 .

[24]  Simon Colton,et al.  Computational Creativity: The Final Frontier? , 2012, ECAI.

[25]  P. Machado,et al.  Computing Aesthetics with Image Judgement Systems , 2012 .

[26]  Michael D. Vose,et al.  The simple genetic algorithm - foundations and theory , 1999, Complex adaptive systems.

[27]  Maren Bennewitz,et al.  Whole-body imitation of human motions with a Nao humanoid , 2012, 2012 7th ACM/IEEE International Conference on Human-Robot Interaction (HRI).