Browse content similar to 04/02/2017. Check below for episodes and series from the same categories and more!
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Much to look forward to today on BBC One for the rugby, that is all the | :00:00. | :00:00. | |
sport for now, now it is time for Click. | :00:00. | :00:00. | |
sport for now, now it is time for Click. | :00:00. | :00:11. | |
This week, meet our youngest reporter ever. | :00:12. | :00:12. | |
We give a games legend something to play with. | :00:13. | :00:18. | |
For decades, scientists all around the world have been trying to | :00:19. | :00:48. | |
create a machine that can match our intelligence. | :00:49. | :00:52. | |
And nowadays artificially intelligent algorithms | :00:53. | :00:56. | |
can perform many tasks much better than us. | :00:57. | :00:58. | |
For a long time scientists have been the use in games like | :00:59. | :01:01. | |
chess, drafts and go as a benchmark for testing AI. | :01:02. | :01:05. | |
And that's because all these games have a certain | :01:06. | :01:07. | |
amount of unpredictability built into them. | :01:08. | :01:12. | |
But this week the AI community has been celebrating a big | :01:13. | :01:19. | |
win after a poker playing algorithm called Liberatus defeated four top | :01:20. | :01:26. | |
human players in a 20 day match of heads up no limit Texas hold 'em | :01:27. | :01:30. | |
I've been using poker as a benchmark for 12 years. | :01:31. | :01:33. | |
Now the best AI has surpassed the level of the | :01:34. | :01:36. | |
best humans in the strategic reasoning under imperfect | :01:37. | :01:37. | |
But even at this big win is only a little step towards | :01:38. | :01:43. | |
Intelligence one capable of sophisticated thought across a wide | :01:44. | :01:46. | |
spectrum of areas, and solving problems just as well as a human | :01:47. | :01:49. | |
It's a hard thing to think through, and | :01:50. | :02:00. | |
But it's, I think it's impossible to forecast accurately. | :02:01. | :02:11. | |
Speech has been another big challenge for AI | :02:12. | :02:18. | |
Personal assistants and chat bots are becoming more | :02:19. | :02:21. | |
sophisticated, but they so far can't fool us into thinking that they're | :02:22. | :02:24. | |
But what if you thought you were talking to another person? | :02:25. | :02:30. | |
Would that make you more likely to trust it? | :02:31. | :02:39. | |
Well, two researchers at the London School of | :02:40. | :02:42. | |
economics came up with an experiment to see if we would communicate | :02:43. | :02:45. | |
better with AI if its messages were delivered to us by a human. | :02:46. | :02:48. | |
They call this computer human hybrid the | :02:49. | :02:50. | |
And to explore the concept, Jane Copestick found | :02:51. | :03:06. | |
herself becoming an Echoborg herself. | :03:07. | :03:07. | |
The Echoborg was inspired by research from Stanley Milgram. | :03:08. | :03:09. | |
He is the Professor behind the controversial experiments on | :03:10. | :03:18. | |
obedience in the 1960s, to see if people would deliver | :03:19. | :03:21. | |
electric shocks to others if instructed to buy an | :03:22. | :03:23. | |
Milgram also studied body perception, to | :03:24. | :03:25. | |
determine if we hold preformed opinions | :03:26. | :03:27. | |
of other people based on | :03:28. | :03:28. | |
By using hidden earpieces, people could speak | :03:29. | :03:31. | |
someone else's thoughts through their own body. | :03:32. | :03:32. | |
The Echoborg has updated this research for the 21st | :03:33. | :03:34. | |
century, to see if people will react better to artificial intelligence. | :03:35. | :03:39. | |
Such as the messages from an online chat bot. | :03:40. | :03:41. | |
If they are being delivered by a human. | :03:42. | :03:44. | |
I'm in the first stages of testing this out by | :03:45. | :03:47. | |
I'm starting my speech shadowing practice. | :03:48. | :03:52. | |
The first step in becoming a fully fledged Echoborg. | :03:53. | :03:56. | |
The professors have told me this process | :03:57. | :03:58. | |
will take at least eight hours for me to get any good at it. | :03:59. | :04:01. | |
I'm starting my first practice with JK | :04:02. | :04:03. | |
Rowling's Harvard commencement speech. | :04:04. | :04:04. | |
Members of the Harvard Corporation and the board of | :04:05. | :04:07. | |
By shadowing speech, I should be able to quickly repeat | :04:08. | :04:10. | |
back the messages from a chat bot so people won't realise | :04:11. | :04:13. | |
It may seem something paradox, but there's horses in the | :04:14. | :04:18. | |
I did something and scuttled somewhere. | :04:19. | :04:25. | |
Now, to put it to the test, I'm meeting creator Professor | :04:26. | :04:28. | |
Alex Gillespie at the London School of Economics. | :04:29. | :04:32. | |
And Kevin Corti, who called in on Skype. | :04:33. | :04:36. | |
Kevin is using a chat bot called Rose, which is not preprogrammed. | :04:37. | :04:46. | |
The most noticeable problem in becoming a convincing AI are the | :04:47. | :04:49. | |
delays while Rose thinks of a response to the question. | :04:50. | :04:55. | |
I thought for a moment you might be a | :04:56. | :05:19. | |
Republic of Ireland and Croatia and France. | :05:20. | :05:22. | |
A magical place full of rain and crazy people. | :05:23. | :05:26. | |
What you notice, they tend to be quite | :05:27. | :05:40. | |
It takes each sentence as a stand-alone sentence. | :05:41. | :05:43. | |
Some of them will speak like they are | :05:44. | :05:45. | |
artificial intelligence, and some of them will pretend not to be. | :05:46. | :05:48. | |
But although last time I spoke to which | :05:49. | :05:51. | |
it said it was artificial intelligence. | :05:52. | :05:53. | |
Our final test for the Echoborg was to | :05:54. | :06:00. | |
bring it on stage in front of an audience of 700 people at the BBC | :06:01. | :06:04. | |
What a lot of humans find difficult... | :06:05. | :06:07. | |
How do I know you are human, how do you know I'm human? | :06:08. | :06:41. | |
In fact, some of the audience members | :06:42. | :06:52. | |
One thought it was a real conversation with a human, not | :06:53. | :06:56. | |
Some people thought you didn't want to talk about | :06:57. | :07:02. | |
That you were trying to avoid the question, | :07:03. | :07:07. | |
they really thought you were trying to avoid the questions. | :07:08. | :07:10. | |
Someone even said, had it been a man would it | :07:11. | :07:12. | |
Without becoming fully fledged Echoborgs, we are already | :07:13. | :07:19. | |
giving a voice to artificial intelligence everyday. | :07:20. | :07:21. | |
Through the algorithms guiding our news | :07:22. | :07:22. | |
consumption, to our shopping habits and online searches. | :07:23. | :07:24. | |
We're bringing AI to life more and more. | :07:25. | :07:29. | |
Projects like the Echoborg let us reflect on | :07:30. | :07:31. | |
what this means for our AI future and perhaps even what it means to be | :07:32. | :07:34. | |
Hello and welcome to The Week in Tech. | :07:35. | :07:47. | |
It was the week that Facebook lost $500 million in a lawsuit. | :07:48. | :07:52. | |
The case centres around the creation of | :07:53. | :08:02. | |
the oculus rift virtual reality headset. | :08:03. | :08:03. | |
The US Court ordered the payment after a jury found Facebook | :08:04. | :08:06. | |
owned VR outfit Oculus used computer code belonging to ZeniMax, a media | :08:07. | :08:08. | |
company which has a subsidiary which produces the video game Doom. | :08:09. | :08:11. | |
They say you shouldn't cry over spilt milk. | :08:12. | :08:17. | |
Online supermarket Ocado is testing a robot hand that can pack | :08:18. | :08:22. | |
fruits and vegetables without damaging them. | :08:23. | :08:24. | |
At the moment, human beings pack more fragile items, like | :08:25. | :08:31. | |
But it's not just fragile foodstuffs feeling the pinch | :08:32. | :08:38. | |
Researchers at MIT have created a claw made from | :08:39. | :08:42. | |
hydrogel, that can pick up a live fish without causing it any harm. | :08:43. | :08:45. | |
Sunday the team hopes the eellike robot can be used to help with | :08:46. | :08:49. | |
Next, forget the selfie stick, so 2015, it's all about the | :08:50. | :08:58. | |
Currently being crowd funded, the air selfie | :08:59. | :09:05. | |
is a portable flying camera built into a mobile phone cover. | :09:06. | :09:08. | |
And, as it's carried around with your mobile | :09:09. | :09:12. | |
phone, never miss an opportunity for Internet narcissism ever again. | :09:13. | :09:25. | |
If you're a fan of Metal Gear Solid, you might also be | :09:26. | :09:28. | |
Considered the father of the stealth game genre. | :09:29. | :09:32. | |
The Metal Gear franchise was a success at | :09:33. | :09:34. | |
least in part thanks to his leadership. | :09:35. | :09:36. | |
But now he's working on a new game called Death Stranding, | :09:37. | :09:42. | |
which he showed to the world at the E3 video games | :09:43. | :09:48. | |
We sent Stefan Powell, ace radio one news beat reporter, | :09:49. | :09:59. | |
to meet Hideo Kojima in Japan and get an exclusive tour | :10:00. | :10:01. | |
We're on our way to the studio now and | :10:02. | :10:09. | |
it's been just over a year since he left Konami | :10:10. | :10:12. | |
And we don't really know what he's been doing in that time. | :10:13. | :10:18. | |
We know a little bit about his new project, | :10:19. | :10:20. | |
Death Stranding, that's coming to the PlayStation | :10:21. | :10:24. | |
Hopefully we get to find out a little bit | :10:25. | :10:35. | |
glimpse into the future and what's come as well. | :10:36. | :10:40. | |
Before that, though, there's the traditional gift | :10:41. | :10:42. | |
I mean, what are you supposed to get a man | :10:43. | :10:54. | |
who stood in front of a cabinet full of lifetime achievement awards? | :10:55. | :10:56. | |
And I hear you are a bit of a Lego fan. | :10:57. | :11:05. | |
Kojima isn't your average game designer. | :11:06. | :11:09. | |
And this isn't your average office, either. | :11:10. | :11:10. | |
Or your average company mascot, for that | :11:11. | :11:15. | |
The man credited with changing the way many people approached game | :11:16. | :11:22. | |
design is not taking his new venture lightly. | :11:23. | :11:28. | |
He wants his next step is to be just as successful as his | :11:29. | :11:31. | |
Clearing his mind of some of the negativity of recent years. | :11:32. | :11:36. | |
Focusing instead on the future, new titles, new projects, and new ideas. | :11:37. | :11:41. | |
TRANSLATION: I worked at my previous company | :11:42. | :11:43. | |
for 30 years, and gained a | :11:44. | :11:45. | |
But technology improves, the games market and the | :11:46. | :11:49. | |
But what I do best, making games, does not really | :11:50. | :11:56. | |
change, so I'm not worried about embarking on this new journey. | :11:57. | :12:00. | |
The studio itself is pretty small, but | :12:01. | :12:02. | |
has everything Kojima and his team need to crack on with the first | :12:03. | :12:05. | |
The PlayStation 4 exclusive, Death Stranding. | :12:06. | :12:13. | |
Details about which are still top secret. | :12:14. | :12:15. | |
But whatever it turned out to be, he's | :12:16. | :12:18. | |
TRANSLATION: We want this game to be something | :12:19. | :12:26. | |
people can get into easily, but after they play for an hour or two | :12:27. | :12:32. | |
they start to notice something a little different. | :12:33. | :12:37. | |
It's something they haven't played before. | :12:38. | :12:39. | |
Whenever I create something new, some people | :12:40. | :12:40. | |
For example, when I first created a stealth game some people really | :12:41. | :12:45. | |
wanted to just fight, so they didn't really like it. | :12:46. | :12:49. | |
I want to create an experience that has the same effect | :12:50. | :12:51. | |
The building up of his own studio is also a source of | :12:52. | :12:55. | |
A journey that has been far more difficult than many would | :12:56. | :12:59. | |
This tiny room was Kojima production's first office. | :13:00. | :13:07. | |
Here he spent time not only designing Death | :13:08. | :13:09. | |
Stranding, but refining his next big idea to change gaming as we know it. | :13:10. | :13:15. | |
TRANSLATION: The way I see the future of | :13:16. | :13:18. | |
gaming, think of it as | :13:19. | :13:20. | |
All meshed together to create one type of | :13:21. | :13:23. | |
The whistle-stop tour of Tokyo continues. | :13:24. | :13:28. | |
Seeing the places that came between that first | :13:29. | :13:32. | |
tiny room and the shiny new studio housing Kojima Productions today. | :13:33. | :13:37. | |
It's a vision that has grown from a long love of technology. | :13:38. | :13:40. | |
His association with Sony so important | :13:41. | :13:45. | |
to the future of his new company is not something new, though. | :13:46. | :13:48. | |
Here at their big tech exhibition in downtown Tokyo, he explains how | :13:49. | :13:51. | |
technology of the past has had such a big impact on him. | :13:52. | :13:54. | |
He says the first Metal Gear was made on this device. | :13:55. | :14:03. | |
Looking back over the past raises questions of | :14:04. | :14:05. | |
VR is often said to be the next big thing in gaming. | :14:06. | :14:17. | |
Now this isn't VR like we know it now. | :14:18. | :14:19. | |
But for Kojima, it's not so clear-cut. | :14:20. | :14:22. | |
Do you think the games out there for VR at the moment are good | :14:23. | :14:25. | |
enough to really sort of get the audience excited? | :14:26. | :14:29. | |
TRANSLATION: It's easy in VR to try and do something | :14:30. | :14:32. | |
scary, something from a high place, something erotic. | :14:33. | :14:43. | |
But I think there's something beyond that. | :14:44. | :14:45. | |
You can give people emotions that they haven't | :14:46. | :14:47. | |
And can you tell us any of your ideas? | :14:48. | :14:50. | |
So it looks like a Kojima virtual reality | :14:51. | :14:52. | |
experience is not so far away, even if he will chair | :14:53. | :14:56. | |
experience is not so far away, even if he won't share | :14:57. | :14:59. | |
More proof that his appetite for making things is not on the | :15:00. | :15:03. | |
The most revealing thing I've found during my | :15:04. | :15:07. | |
time with Hideo Kojima is that still really | :15:08. | :15:08. | |
time with Hideo Kojima is that he's still really | :15:09. | :15:11. | |
passionate and enthusiastic about tech and gaming. | :15:12. | :15:12. | |
He's got no plans to retire any time soon. | :15:13. | :15:15. | |
In fact, he set himself a big challenge. | :15:16. | :15:16. | |
He's changed gaming once, and now he plans doing it | :15:17. | :15:20. | |
Playtime was never like this in my day. | :15:21. | :15:34. | |
I've been taking a look at some of the latest toys hoping to light | :15:35. | :15:38. | |
up the faces of children and grown-ups. | :15:39. | :15:44. | |
And, inevitably, a few of them could be found at London's toy | :15:45. | :15:46. | |
This looks like a drone in a cage and that's because it is. | :15:47. | :15:55. | |
It's also a proof of concept for a toy | :15:56. | :15:58. | |
that's going to be available later this year. | :15:59. | :16:01. | |
Its inventor here is wearing this glove, which means you | :16:02. | :16:03. | |
It all looks pretty simple, but I know | :16:04. | :16:23. | |
you've been studying robotics for 15 years, | :16:24. | :16:24. | |
so there's quite a bit more to this than meets the eye, isn't | :16:25. | :16:27. | |
Once the science of gestures has been | :16:28. | :16:31. | |
codified, and that's what we've been able to do, | :16:32. | :16:33. | |
as you can imagine, we | :16:34. | :16:34. | |
can bring all sorts of robotic toys out, and consumer devices. | :16:35. | :16:37. | |
The brain itself is in the glove, in the | :16:38. | :16:41. | |
And the algorithms embedded in the glove. | :16:42. | :16:43. | |
The drone is merely a conduit for the gestures being | :16:44. | :16:46. | |
There was also a clear trend towards giving kids a deeper level | :16:47. | :16:50. | |
of control when it comes to toy gadgets. | :16:51. | :16:56. | |
This is a robot that aims to help kids learn to code. | :16:57. | :17:02. | |
They can operate it manually through the App, | :17:03. | :17:08. | |
or set up sequences of the functions they'd like it to carry out. | :17:09. | :17:11. | |
It looks pretty raw when you've got all | :17:12. | :17:13. | |
these leads and buttons, so it really is giving kids a chance to | :17:14. | :17:23. | |
I also recently got my hands on a drone that kids can | :17:24. | :17:26. | |
programme, spending time tweaking code at a computer or using drag and | :17:27. | :17:29. | |
I had a play around with some of the drone's functions. | :17:30. | :17:33. | |
So maybe that shows who the real kid is. | :17:34. | :17:35. | |
First of all I press W, which should get the drone up and running. | :17:36. | :17:38. | |
This is a spot of that well-known activity, drone bowling. | :17:39. | :17:41. | |
Yes, the skittles are down here on the floor. | :17:42. | :17:56. | |
It's not just about flying, though, you | :17:57. | :18:00. | |
To do that, you swap the wings for wheels. | :18:01. | :18:04. | |
Last year we learned quite how much of an appetite there was | :18:05. | :18:07. | |
And give the big kids a chance for some | :18:08. | :18:26. | |
This gaming robot, much like virtual avatars, | :18:27. | :18:47. | |
It's also customisable and upgradable, with the ability to add | :18:48. | :18:53. | |
wheels or even take on another robot in the room. | :18:54. | :18:57. | |
Or if you want to get yourself moving, how about a personal | :18:58. | :18:59. | |
This prototype has limited functionality, but still | :19:00. | :19:20. | |
Not that it fought too hard when I decided I'd had enough. | :19:21. | :19:32. | |
Now, if you're a Cinefile, you know we | :19:33. | :19:34. | |
have officially entered awards season. | :19:35. | :19:38. | |
Yes, the red carpets, the speeches and the campaigning have | :19:39. | :19:42. | |
Well, this year at Click, we've decided to give those | :19:43. | :19:50. | |
wonderful magicians behind the camera, namely the visual | :19:51. | :19:52. | |
effects artists, their proper due with a | :19:53. | :19:53. | |
series of exclusive features on some of the most | :19:54. | :19:56. | |
memorable films from the | :19:57. | :19:57. | |
First up, a return to the wizarding world with BAFTA nominee | :19:58. | :20:01. | |
Fantastic Beasts and Where to Find Them. | :20:02. | :20:05. | |
Mr Scamander, do you know anything about the wizarding | :20:06. | :20:07. | |
The earliest Potter film I worked on was the second | :20:08. | :20:15. | |
Then went on to work on subsequent films for production. | :20:16. | :20:20. | |
The big difference, I would say, now, | :20:21. | :20:22. | |
doing Fantastic Beasts, for instance, was we were doing creature | :20:23. | :20:26. | |
design in the computer from day one. | :20:27. | :20:28. | |
We were animating creatures, showing David what they looked like. | :20:29. | :20:32. | |
And getting into a developmental study through | :20:33. | :20:40. | |
Just something we could never have done before so | :20:41. | :20:44. | |
When we decided we didn't like it we could modify it and | :20:45. | :20:48. | |
change it very quickly on the computer. | :20:49. | :20:50. | |
We would model something up, in ZBrush, then very quickly | :20:51. | :20:55. | |
think, that looks cool, let's stick a rig in it. | :20:56. | :20:57. | |
So, sticking essentially the bones in to be able | :20:58. | :21:00. | |
And we had quite worked up animation studies of | :21:01. | :21:07. | |
a lot of stuff that just didn't make the film. | :21:08. | :21:09. | |
We made simple models of the creatures, then brought in some | :21:10. | :21:12. | |
Some of them were actually, the team who did | :21:13. | :21:18. | |
Warhorse for instance, then we had a full-size erumpent puppet, | :21:19. | :21:20. | |
And they were able to use that onset. | :21:21. | :21:27. | |
And our guide was always what we've done in | :21:28. | :21:30. | |
the computer in terms of the animated previews. | :21:31. | :21:33. | |
It meant we could put something on set for Eddie | :21:34. | :21:35. | |
Redmayne to react to or perform against. | :21:36. | :21:38. | |
So the erumpent, 17 foot tall, 20 foot long, was able to be | :21:39. | :21:42. | |
onset, and everybody could see how big it | :21:43. | :21:44. | |
was and where she was on the | :21:45. | :21:46. | |
set, then we could frame the camera for her and Eddie could play against | :21:47. | :21:49. | |
One of the key things about this film was that you believe the | :21:50. | :21:54. | |
If you believe the actor, and you believe the | :21:55. | :21:58. | |
creature's there, that's what makes it work. | :21:59. | :21:59. | |
When you see an actor and the eyeline isn't right, and | :22:00. | :22:02. | |
the creature doesn't seem to be responding to them, you know there | :22:03. | :22:05. | |
The niffler, ultimately, was a fairly tough | :22:06. | :22:09. | |
A lot more close-up, I guess, than you would have done, for | :22:10. | :22:16. | |
a lot longer than you would have done a few years ago. | :22:17. | :22:19. | |
You look at the niffler and what makes him so | :22:20. | :22:21. | |
animalistic and real is all that small breathing, all the secondary | :22:22. | :22:24. | |
stuff, it is in the overall performance, it is all that | :22:25. | :22:26. | |
That we put loads of work into, that you | :22:27. | :22:30. | |
kind of think, God, really, do you notice? | :22:31. | :22:31. | |
And it's like, no, you don't notice directly, but you do notice | :22:32. | :22:34. | |
because we all look at human beings all the time. | :22:35. | :22:37. | |
You've got a pretty big price on your head, Mr | :22:38. | :22:51. | |
Gnarlak, our goblin, was, you know, a really | :22:52. | :23:00. | |
Probably the most advanced digital humanoid type character I think | :23:01. | :23:06. | |
I think Ron was fantastic to work with, he wore a | :23:07. | :23:12. | |
performance patch, a headset, so he had | :23:13. | :23:14. | |
17 facial markers on, doing the | :23:15. | :23:16. | |
facial capture meant in our post-stage we were able to deliver | :23:17. | :23:21. | |
That was just the pure capture applied to | :23:22. | :23:24. | |
It was a massive leap in shading and the technology driving | :23:25. | :23:32. | |
Whilst there is the animation, there are also all the | :23:33. | :23:35. | |
systems we've created to help drive muscles, skin, | :23:36. | :23:37. | |
All of that stuff's working up and up. | :23:38. | :23:46. | |
Every film, we're pushing evermore, trying to get to that | :23:47. | :23:50. | |
More Oscar hopefuls and special perfect | :23:51. | :23:56. | |
Follow us on Twitter throughout the week. | :23:57. | :24:02. | |
Thanks for watching and we'll see you soon. | :24:03. | :24:17. |