Compared to sleek smartphones and augmented reality goggles, a flashlight looks pretty low-tech. But what if you used that familiar design as a vehicle for some of today’s most exciting technology? That’s what Arvind Sanjeev accomplished with Lumen. As Co.Design reports, the masters student at the Copenhagen Institute of Interaction Design has reimagined the handheld flashlight as a platform for augmented reality.
What sets Lumen apart from other AR products, like Microsoft’s HoloLens or even the apps on your iPhone, is the straightforward design. Most people know how to use a flashlight: Pick it up by the handle, click it on, and point the light at whatever you wish to see. Lumen operates on a similar principle, but instead of illuminating objects with light alone, it projects relevant information onto them that enhances the way users experience reality.
Using a built-in camera and a special algorithm, the flashlight can identify the objects in its path. Direct it at a stereo and it will project its own interface with dials you can actually use; point it at the ground and it can show an arrow leading you to your destination like a maps app. Developers can work with the interface to program their own responses to appear when Lumen lands on a certain item.
Lumen is also capable of impressive visuals tricks. It features a depth sensor that enables it to wrap pixels around 3D objects in a convincing way. Bring the light to a museum and it can change what you’re looking at by superimposing moving faces over portraits and statues. (Just try not to annoy your fellow museumgoers.)
Sanjeev claims that Lumen is unique in the mixed reality market: All other devices either rely on screens and headsets or they can’t be easily transported. “Lumen challenges this trend and explores how people can feel immersed in their natural space by merging bits with atoms,” he wrote on his website. By ditching the wearable hardware, Sanjeev believes he has created a more organic augmented reality experience.
For an idea of how Lumen works in the real world, you can watch the video below.
AI-generated fan fiction, music videos, and film scripts are often so bad that they’re hilarious. Could an AI program get the same number of laughs if it attempted improv comedy in front of a live audience? As Inverse reports, artificial intelligence researcher Kory Mathewson created an algorithm to find out.
Mathewson, from Canada’s University of Alberta, teamed up with London-based researcher Piotr Mirowski to create a chatbot, A.L.Ex, which stands for Artificial Language Experiment. They fed subtitles from 100,000 films into a neural network in the hope that A.L.Ex would be able to come up with jokes and carry on a conversation with a live human performer. (They also applied a filter to the robot to stop it from saying “politically incorrect” things, and presumably to prevent a disaster akin to Tay, Microsoft’s Twitter bot.)
Once A.L.Ex was sufficiently prepared for the spotlight, a performer interacted with the chatbot (who was given a robot body) on stage in an improv scenario. Audiences were asked to participate in a Turing test: During some scenes, a human backstage was controlling the robot's responses, while in others, A.L.Ex was doing all the work. Audience members were later asked to guess whether the dialogue was coming from the bot or an actual human. The experiment was repeated in three locations: Stockholm, Sweden; London, England; and Edmonton, Canada.
The result? The bot failed to fool humans and pass the Turing test, but it still garnered a few laughs. For one thing, the system was unable to tell complete stories. “If you want to tell a story, humans tend to have to pick up the arc and carry it through, since the Cyborg rarely brings arguably important characters or plot items back,” one of the improv performers wrote, according to a paper that Mathewson and Mirowski uploaded to the preprint platform arXiv [PDF].
Mirowski told The New York Times that the bot is like a “completely drunk comedian” who is only “accidentally funny” on occasion. Fortunately for comedy lovers, machines probably won’t be taking over the stage anytime soon. “We do not think that machines will replace human actors or comedians,” Mathewson told Inverse. “We aim to build new tools and techniques for human storytellers to share their human experience. This work aims to test the development of a new form of medium.”
In the winter of 1956, Chrysler unveiled a series of improvements to their lineup of automobiles. There was LifeGuard, a latch that prevented doors from flinging open in the event of an accident. New windshield wipers promised to clean 10 percent more of the glass surface than the previous year’s model. And for those consumers willing to spend an extra $200—the equivalent of about $1700 today—there was the Highway Hi-Fi, a factory-installed record player mounted under the car's dashboard.
Using an “elastic three-point suspension,” the unit played “non-breakable” 7-inch records. In advertising copy, Chrysler touted that the discs would never skip, not even during sharp turns or while crossing railroad tracks. “It’s almost impossible to jar the arm off the record,” the company promised, anticipating the dubious looks of dealers and buyers alike.
As it turned out, attempting to spin a record while in a moving vehicle was every bit as problematic as it might sound. But before 8-tracks, cassettes, CDs, and satellite radio, the Highway Hi-Fi represented the first opportunity for drivers to have some control over what they were listening to. They had autonomy—freedom to deviate from radio programmers, invasive ads, and boring talk shows.
Naturally, radio stations hated the idea.
Courtesy FCA US
This bizarre automotive alteration was the result of an engineering genius who wanted to get his kid to shut up. Peter Goldmark was head of CBS Labs, a position which afforded him the resources to pursue other innovations. (He’s widely credited with ushering in the modern system of broadcasting color television.) He was the inventor of long-play (LP) records, which played vinyl at 33 and one-third revolutions per minute (RPM) instead of 78. Introduced in 1948, LPs revolutionized the music industry, packing more information onto the 12-inch discs by etching microgrooves into the vinyl and allowing producers to place up to 60 minutes of music on a side.
In the 1950s, Goldmark’s son observed that drivers had no influence over what was being broadcast via the transistor radios that had become standard in vehicles. While you could switch stations, you were still at the mercy of programming directors and their tastes in music.
As inventors tend to do, Goldmark identified the problem and then sought out a way to remedy it. His own creation, the LP, was far too big to have any practical application in a vehicle: The turntable would hang over a passenger’s knees. The 45 RPM record was much smaller but could only hold about five minutes of music on each side. Forcing someone to try and change records with such frequency while driving would likely result in accidents.
Goldmark devised a new option. Using a 7-inch record, he created a surface with ultra-microgrooves that played at 16 and two-thirds RPM. Each side could hold 45 minutes of music, a far more practical solution for people who couldn’t tend to the turntable easily. It also fit snugly under the dash, projecting out at the push of a button so the user could load a record and set the needle before pushing it back underneath and out of the way.
Goldmark made other adjustments. The vinyl records were thicker than standard LPs so they would be more heat-resistant during the summer months. He also developed a spring enclosure to absorb shocks and a counterweighted needle arm to make sure it wouldn’t leap off the record while traveling over bumps.
Goldmark tested it in a CBS executive’s Thunderbird. It worked flawlessly. He loved it.
CBS CEO William Paley hated it.
Paley equated the innovation to a form of self-sabotage. CBS had radio affiliates all around the country beaming their signals into millions of cars; those stations sold advertising spots to generate revenue. If drivers began listening to their own records instead of the radio, they were effectively diluting their own audiences. Paley thought sponsors would have a tantrum. He dismissed the idea entirely.
Perhaps feeling slightly petulant, Goldmark instead went directly to his potential customer: a car manufacturer. Visiting with Chrysler executive Lynn Townsend, Goldmark sold the company on the dashboard record player as a factory option. He rode along during a test drive, with Chrysler employees driving over bumps, railroad tracks, and other obstacles to see if the record skipped. It didn’t. The company ordered 18,000 Highway Hi-Fi units, a sizable investment that Paley couldn’t ignore.
CBS Labs mass-produced the devices, and Chrysler began instructing their dealers to pitch the add-on to prospective buyers. Each unit would come with six records, with the option to buy more through CBS-Columbia, a record label that manufactured the unique discs. Owing to Paley’s influence—he detested rock music—the choices were extremely placid. Car owners got the soundtrack to the Pajama Game Broadway musical, some Tchaikovsky, a jazz record, a dramatic reading of a George Bernard Shaw play, and songs from Disney’s Davy Crockett television series. (The latter was advertised to “help keep [kids] quiet.”) The catalog offered spoken-word reenactments of the Battle of Gettysburg.
Owing to their smaller grooves, the records couldn’t be played on conventional turntables. Given the selection, that was probably a blessing.
Courtesy FCA US
The limited selection was one problem. The functionality of the Highway Hi-Fi was another. Goldmark had tested the device in a Thunderbird and in high-end Chrysler vehicles, but the company offered the machine in their economical Dodge and Plymouth models, which both had modest shock absorption. The records could and did skip, and the models were the source of several claims against the car’s warranty coverage. Local mechanics weren’t audiophiles and didn’t have the knowledge to make simple repairs. As word spread, Chrysler went from selling 3685 Hi-Fi units in 1956 to just 675 in 1957.
The option was discontinued shortly thereafter, but that wasn’t quite the end for car-mounted records. In 1960, RCA thought they had resolved some of the outstanding issues with their Victrola, which played 45s and overcame the short running time problem by constructing a 14-disc changer. When one record was finished, the unit would automatically drop another in its place. Similar to a jukebox, the needle was upside down and the record lowered on top of it to reduce skipping. Records slid into a slot in a manner similar to the CD players that were decades away.
The Victrola was picked up by Chrysler. It performed better than the Highway Hi-Fi, was cheaper ($51.75), and didn’t force users to limit themselves to the paltry selection of CBS’s custom discs. But it didn’t last long either; it was discontinued in 1961. (Another option, the UK’s Auto-Mignon, played 45s with manual switching: Each of the four Beatles was said to own one.) Before anyone could think to improve upon it further, 8-tracks arrived and soon became the portable car sound source of choice. CBS never followed through on plans to equip taxis, airplanes, buses, and other forms of transportation with their devices. In the evolution of on-demand music and auto transportation products, the Highway Hi-Fi was one step best skipped.