Emoshape is dedicated to providing a technology that teaches intelligent objects how to interact with humans to yield a favourable, positive result. Emoshape emotion synthesis microchip (EPU) technology represents a massive leap for Artificial Intelligence, especially in the realm of self-driving cars, personal robotics, sentient virtual reality, affective toys, IoT, pervasive computing, & other major consumer electronic devices. Applications including human-machine interaction, emotion speech synthesis, emotional awareness, machine emotional intimacy, AIs personalities, machine learning & affective computing. Fields as diverse as medicine, advertising, & gaming will significantly benefit from the Emotion Processing Unit (EPU II). The growing presence of AI, robotics & virtual reality in society as a whole dictates that meaningful emotional interaction is core to removing the barrier to widespread adoption.
Emoshape is owned & run by entrepreneur Patrick Levy-Rosenthal, who currently lives between London & New York. He grew up in Paris. In 2006 Patrick won the European Information Society Technology (IST) prize for his work on a 3D interactive screen. He moved to London in 2009 to work on his passion & ideas surrounding bio inspired emotion synthesis. He studied the relationship between cognition & emotion, the root of the cognitive processes underlying each emotional responses, emotions synthesis & the influence of emotion on decision making. Patrick has developed a new generation of microchip named EPU (Emotion Processing Unit) for Ai & Robots & the world's first Al that can feel the 12 primary human emotion.
THE CASE AGAINST NEURAL NORMALITY
As contemporary neuroscience embraces Big Data, routing its operations through massive, disembodied models housed on supercomputers, a question of identity lingers over all oftodays major pursuits: whose brain are we modeling, & how will the conditions & assumptions under which brains are studied & reconstructed today affect the outcomes ofthese massive research endeavors? I will draw from my experience directing a long term, ten-year film-in-the-making, of which I'm currently in year 8, about neuroscience research around the world, focusing on Henry Markram & the Blue Brain/Human Brain Project. As I work on the film, I am facing the issue of nonlocal identities: most of the neuroscientists I interview are less & less involved in "traditional" lab research, & increasingly focus on emerging digital models housed on server farms that can be accessed from anywhere.
This transition raises two questions. On one hand, the issue of the science itself: an error-free model of the brain is the much sought-after prize of current neuroscientific pursuits around the world, which aim to slice, map, & otherwise analyze an unknown quantity of brains in hopes that universal, normative rules will rise up out of the muck of divergence. But how will massive datasets squeezed into genericised models capture the stochastic chaos that forms the core of biological life? On the other hand, these issues present a cinematic challenge: how to capture the disembodied subject, the emerging simulated reality? I will show clips & discuss some techniques I am developing to capture the virtuality of this new world on film, & discuss the wider social & political implications of the disappearing neuroscientific subject.
Noah Hutton - Bio
Noah Hutton is a film director & founder of the website The Beautiful Brain. He has presented on art & neuroscience at the Impakt Festival, Venice Biennale, Wellcome Collection, Rubin Museum of Art, & elsewhere. In 2015 he was named a Salzburg Global Fellow in Neuroscience & Art, & created Brain City, a multi-platform installation commissioned by NYCs Times Square Arts Alliance. He is in the seventh year of work on his film Bluebrain, a 10-year documentary-in-the-making about the Human Brain Project, based in Geneva, Switzerland. Previously he directed the award-winning documentary features Deep Time (SXSW 2015) & Crude Independence (SXSW 2009). Noah graduated from Wesleyan University, where he studied art history & neuroscience.
THE DIGITAL BODY - GIVING TECHNOLOGY AN AWARNESS OF FORMAaron Trocola
Technology has become intimately entwined with our lives, & yet is always held at a distance. We spend much of our time peering at this artificial world through a tiny rectangular porthole. To bridge this gap, I see a future where we bring ourselves into the virtual space as well as make our ideas, which were once abstractions of text & images, into a tangible part of our reality. This unification is facilitated by two technologies in particular: 3D scanning & 3D printing. These are windows into & out of the digital world. My work as an artist expresses ideas that flow from this new paradigm, & as a designer I build products & systems that respect the body, leveraging an awareness of it to make technology more human-compatible. I will describe the aspects of solving these problems related to software, materials, & manufacturing processes. The successes & challenges of making design universally accessible, & automation of measurement & customization procedures. We'll see some recent examples of technology integration on the body, some work in progress, & some predictions based on current research.
Aaron Trocola - BioAaron Trocola is an industrial designer, artist & educator specializing in 3D design for wearable technologies, product design, sculpture, & fashion. He has organized & presented live performances & fashion shows at Rapid conference, 3D Print Show, Inside 3D Printing, World Maker Faire & many others. Drawing on his early work in creating 3D surgical simulation tools for a DARPA funded 3D display company, his work leverage 3D body scanning & additive manufacturing technologies to create a bridge between the digital & physical worlds. His more recent efforts integrate bio-measurement electronics & computing in adaptable platforms for research & experimental product development. He also teaches Additive Manufacturing in the Mechanical Engineering graduate program at the University of Bridgeport.----------------------------------------