Tag Archives: sprezzatura

Robot rescue! Who should we send into the uncanny valley?

Minerva-Terrace-Bicycle-Corps-001Who should we sent into the uncanny valley?  I believe anthropologists might be the right people for the job.

Wait, what’s an uncanny valley again?  As robots become more like humans, the response from humans is positive.  But as robots begin to close the gap, suddenly humans react with revulsion.  There is something chilling about a creature who is near human but not quite human enough.

A vague resemblance is good.  Something like perfect identity is good.  But in between, when the robot is very like a human but still identifiably different, that’s when we put our foot down.  That’s when we get our backs up.  That’s when we find repudiating robots and insisting on their exile in the uncanny valley.

It turns out that anthropologists are good at the uncanny valley.  After all, we spend our time looking at how humans construct and then navigate a world of meaning.  So we are alert to the small signals and involuntary communications with which humans inform other human beings about their intentions and inclinations.    A lot of this is uncanny in another sense.  It’s astounding how good we are at picking up signals that are barely visible. These are the things that robot makers find extremely difficult to program in.

To read subtle signals is the work of anthropology because it’s such a big part of humanhood.  People who can’t send signals or read them are tragic figures.  They are adrift in the very communities that locate and secure the rest of us.  They are lost in social space.  The rest of us are as satellites constantly sending and receiving GPS signals to figure out where we are relative to every thing and one else.

Incidentally, this is why we are so very interested in Autism at the moment.  Some people are bad at signaling but as Aspies  they find themselves in positions of wealth and influence because they possess other,  extraordinary powers of pattern recognition.  And this is a lovely paradox to reckon with and the reason that no fewer than five TV show that feature Aspies (including Bones, The Bridge, and The Big Bang Theory).  Generally, the digital world of innovation and code writing is a world the Aspie finds as transparent as human communities remain opaque.  (Let’s take the character Peter Gregory [as played by the recently departed Christopher Evan Welch] in the HBO show Silicon Valley as a case in point.)

So anthropologist are, I would argue, exactly the people most fit for the uncanny valley.  They are peculiarly well suiting to helping with the programming and design that can help bring robot across the valley and into the human community as fully welcome, integrated parts of it.  (editor!)

Anthropologists are good at phatic communication.  These are the little sounds we give off.  A sigh, a groan, a laugh.  Phatic communication signals our emotional and social condition.  Crucial to human relationships, but tough for programmers because it is in some engineering communities classified as “exhaust data.”  (See my investigation of this problem here.)  Robots are going to have to give off phatic signals.  So we are going to have to consult the anthropologist on this one, not the engineer.

Anthropologists are also masters of sprezzatura.  This is a big piece of human communications.  It consists in the art of learning some social convention and then making it look absolutely natural.  This is a matter of concealing art with art, as Castiglione would say.  (See by treatment of the idea here.)  These social conventions are necessarily hard to see, because the community has deliberately concealed their existence and use.  Again, it makes sense to call in the Anthropologist.

Anthropologist are good at all the signals that have been deliberately removed from view.  One of the reasons that on line meetings (telepresence) has not taken off that many bosses exert their veto power through small signals.  For instance, they may signal their disapproval of an idea by leaning back ever so slightly in their chair.  Subordinates spot this signal…or perhaps it is better to say they sense it…and the idea is nixed.  Again, this sort of thing is generally missing from robot programming.

Finally, anthropologists are good at contradiction, at the ways humans entertain conflicting thoughts and emotions, and give off mixed signals.  And this contradiction is the sort of thing that offends the very soul of a certain kind of engineer.

Of course, you don’t have to be an anthropologist to help out here.   Michael Silverstein at the University of Chicago used to talk about people who were simply supernaturally gifted at social communication.  Not surprisingly they end up in senior management, in sales, in teaching, in marketing, anywhere where their ability serves them to aid in the task of communications.   It’s also probably to that novelists should be particularly useful here.   Show runners like Beau Willimon (House of Cards), and Carlton Cuse and Kerry Ehrin (Bates Motel) would be superb as well.  After all, they use social signals to help us construct interior conditions and social interactions.

So you don’t have to be an anthropologist.  But it helps I think if you are.  You are trained to understand the uncanny valley.   Here’s a very partial list.  Apologies to all I have excluded!  Ken Anderson, Katarina Graffman, Jane Fulton Suri, Mark Dawson, Charles Starrett, Robbie Blinkoff, Rita Denny, Timothy de Waal Malefyt, Emilie Hitch, German Dziebel, Miriam Lueck Avery, Amy Santee, Richard Wise, Patricia Sachs Chess, Phil Surles, Morgan Gerard, Melissa Cefkin, Susan Menke, to name a few.  Ok, a lot.  (People missing from this list are going to be so mad at me.  Apologies all around.)  These people can help us across the uncanny valley.

Image:

“Bicyclists’ group on Minerva Terrace. [Lt. James A. Moss’s company of 25th Infantry, U. S. Army Bicycle Corps, from Fort Missoula, Montana.] YNP.”  October 7, 1896.

Pharrell, Happy and how to make contemporary culture

This video has been seen 145 million times on YouTube.

It’s not uncommon to use “real people” in videos.  Sara Bareilles did it recently in Brave.

I don’t know about you, but often this exercise makes me uncomfortable.  These days, I know I am supposed to distinguish piously between “real people” and “celebrities.”  I know we believe “real people =  authentic” and “celebrities = fake.”

I try, I really do. But finally I end up feeling that real people (i.e., you and me) are being patronized.  Clearly, someone in the band stayed up too late talking about crowd-sourcing, fan bases, and the importance of fostering the people.  So the next video just had to have real people in it.

But there are two problems.  First, real people aren’t always very interesting.  Second, they aren’t very real.  The process of shooting  video sometimes provokes what we might call the Karaoke effect.  We are not recruiting real people for the video.  We are recruiting people who have spend a lot of time pretending to be famous people.  So what we really get for the video are people who have pretended to be celebrities now being asked to pretend to be real people.

A different proposition, surely.  In our Karaoke culture, a camera is a dangerous ontological weapon.  It transforms real people into fake celebrities.  And we’re now trapped.  We tire of celebrity culture and wish to escape it.  But here at least  we can’t.  Everyone has felt the vampiric bite of fame.  We may not be celebrities but we can’t ever go back to being “real.”  (Whatever that was, and most anthropologist would insist that “real” is constructed just as much as “phony” is.)

[By the way, this is what it is to live in a media saturated society.  A police detective told me once that he has a hard time interviewing suspects.  They have seen so many Law and Order interrogations, they believe they know exactly how the interview is supposed to go and start answering questions he has not asked.]

BUT MY POINT IS SIMPLE (and I am sorry to have taken 7 paragraphs to get there):  The Happy video from Pharrell does not make me feel this way.  I like watching these people dance and sometimes sing.  Evidently others do too.  That’s the only way Happy could score 145 million views.

The question is why.  What does Happy do differently?  How do these “real people” differ from the real people who feature so prominently in music, marketing and advertising?

Part of the answer is that this video comes from started as a 24 Hour project.  So the producers could choose the best frame out of every 360 frames, as it were.  They had a lot to work with.

Second, most of the people in the Pharrell video are auditioned.  So they are not that real after all.  It looks like the video is an act of perfect spontaneity, that they just took the camera out into the streets of LA, but no. Some of these actors are so good, they accomplished sprezzatura: they concealed their art with art.

But there is some ineluctable mystery here.   These performances are dazzling.  It feels like these people “own” their performances.  And it’s important for us to know why.  Every cultural artifact has something to learn here.  Pharrell and We Are From LA have solved an essential problem.  It’s important to now how

Here are some of my favorite performances.  I hope Pharrell and creators We Are From LA will forgive me this use of these materials.  (Before they object, I would ask that they keep in mind that Nardwaur sent me.)  Also, if the people pictured happen to see this post, I hope they get in touch so that I can name them.

Look for these designations: Eeriest imitation, best dancing, most beautiful woman, scariest handbag, etc.  Slide 18 is for me the  splendid moment.  Two girls swaying in a car.  Perfect.

Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember Ember

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I think why this video works so well is that it reverses the polarity of popular culture and the present craze for “real people.”  Too often, the real people are forced-marched into the video, there to Karaoke as best they can.  But in the Happy case, the song goes to them.   These real people are not conscripted.  The “press” runs the other way.

One measure of success: there are celebrities in this video (Jamie Foxx, Steve Carrell, Kelly Osbourne) but they do not matter to the video very much, and almost feel a little additional, as if horning in.  As in, “who invited you?”  Kelly Osbourne is perhaps the exception.  I’ve always thought of her as someone who was merely famous for being famous, but with that weird “air square” she does something somehow sublime and redeems herself.  Less a celebrity and now interesting.  This video has something that is capable of rescuing celebrities from their celebrity.  And that’s saying something.

There were ideas at work here.  Here’s a passage from a wonderful piece in FastCo by Mary Kaye Shilling.

Those chosen by audition had the advantage of getting the song in advance, allowing them to rehearse their moves. But on the day itself, everyone got just one take, including Pharrell. “That’s what accounts for the charm,” says [iamOther VP Mimi] Valdes. “Everyone knew they had one shot–this was their moment to go all out, and we love that.”

“The video’s imperfections, the funny bloopers and mess-ups, are what give it character,” says Pharrell, whose own performances alternated between what he calls “semi-choreographed” (see the bowling alley at 11:00 p.m.) and improvisation. “I’m not interested in perfection. It’s boring. Some of my favorite moments are accidental.”

Lots of meaning makers in the present day continue to have what we might call a “sound stage” mentality.  They manhandle reality for our larger cultural purposes.  But I think this Happy video makes it clear that the more sensible, indeed, the necessary strategy is to let the brand out into the world, there to take on the content, color, and sheer propulsive force of what happens there.

Hat’s off to the following creatives:

Jett Steiger, Jon Beattie, Alexis Zabe, Mimi Valdez, Clement Durou, Pierre Dupaquier, Pharrell, WAFLA, Iconoclast, and iamOther