Ayanna MacCalla Howard (born January 24, 1972) is an American roboticist, entrepreneur, and educator currently serving as the dean of the College of Engineering at Ohio State University. Assuming this role in March 2021, Howard became the first woman to lead the Ohio State College of Engineering. Howard previously served as the chair of the School of Interactive Computing in the Georgia Tech College of Computing, the Linda J. and Mark C. Smith Endowed Chair in Bioengineering in the School of Electrical and Computer Engineering, and the director of the Human-Automation Systems (Humans) Lab. == Early life and education == As a little girl, Howard was interested in aliens and robots. Her favorite TV show was The Bionic Woman. Howard received her B.S. in engineering from Brown University in 1993 and her M.S. and Ph.D. in electrical engineering from the University of Southern California in 1994 and 1999, respectively. Her thesis, Recursive Learning for Deformable Object Manipulation, was advised by George A. Bekey. In addition, Howard's Doctoral thesis was triggered by the AIDS epidemic with focus on sorting hospital waste by using robots. Howard has also received an MBA from Claremont Graduate University. == Career == Howard's early interest in artificial intelligence led her to pursue a senior position at Seattle-based Axcelis Inc, where she helped develop Evolver, the first commercial genetic algorithm, and Brainsheet, a neural network developed in partnership with Microsoft. From 1993 to 2005, she worked at the NASA Jet Propulsion Laboratory, holding multiple roles such as senior robotics researcher and deputy manager in the Office of the Chief Scientist. In 2005, she joined Georgia Tech as an associate professor and founder of the Human-Automation Systems (Humans) lab. She has also served as the associate director of research for Georgia Tech's Institute for Robotics and Intelligent Machines and as chair of the multidisciplinary robotics Ph.D. program at Georgia Tech. In 2017, she became the chair of the School of Interactive Computing at Georgia Tech. In 2008, Howard received worldwide attention for her SnoMote robots, designed to study the impact of global warming on the Antarctic ice shelves. In 2013, she founded Zyrobotics, which has released their first suite of therapy and educational products for children with special needs. Howard has authored 250 publications in reputable journals and conferences, including serving as co-editor/co-author of more than a dozen books and book chapters. She has also received four patents and given over 140 invited talks and keynotes. She is a fellow of the Association for the Advancement of Artificial Intelligence (AAAI) and the Institute of Electrical and Electronics Engineers (IEEE). Among her many honors, Howard received the Computer Research Association's A. Nico Habermann Award and the Richard A. Tapia Achievement Award. In a 2020 interview on Marketplace, Howard outlined how companion robots could alleviate the effects of social distancing caused by the COVID-19 pandemic in the United States. On November 30, 2020, the Columbus Dispatch reported that Howard would become the next dean of the College of Engineering at Ohio State University on March 1, pending approval by the board of trustees. On March 1, 2021, she assumed this role, becoming the first woman to hold the position. In 2021, Howard received the Athena Lecturer Award from Association for Computing Machinery (ACM) for her Contributions to Robotics, AI and Broadening Participation in Computing. In June 2022, Howard was elected a trustee of Brown University. == Research == Howard's research interests include human-robot interaction, assistive/rehabilitation robotics, science-driven/field robotics, and perception, learning, and reasoning. Howard's research and published works span across various topics in robotics and AI, including intelligent learning, virtual reality for rehabilitation and robotics in the role of pediatric therapy. Her research is highlighted by her focus on technology development for intelligent agents that must interact with and in a human-centered world. Her work, which addresses issues of human-robot interaction, learning, and autonomous control, has resulted in more than 200 peer-reviewed publications. == Honors and awards == Howard's numerous accomplishments have been documented in more than a dozen featured articles. In 2003, she was named to the MIT Technology Review TR100 as one of the top 100 innovators in the world under the age of 35. She was featured in Time magazine's "Rise of the Machines" article in 2004. She was also featured in a USA Today Science & Space article. Some of Howard's notable awards include: Lew Allen Award for Excellence (formerly the Director's Research Achievement Award of the Jet Propulsion Laboratory) for significant technical contributions, 2001 MIT Technology Review Top 100 Young Innovators of the Year, 2003 NAE Gilbreth Lectureship, 2010 A. Richard Newton Educator ABIE Award, Anita Borg Institute, 2014 Computer Research Association's A. Nico Habermann Award, 2016 Brown Engineering Alumni Medal (BEAM), 2016 AAAS-Lemelson Invention Ambassador, 2016-2017 Atlanta magazine's Women Making a Mark, 2017 Walker's Legacy #WLPower25 Atlanta Award, 2017 Forbes America's Top 50 Women In Tech, 2018 ACM Athena Lecturer Award, 2021 2021 class of Fellows of the American Association for the Advancement of Science. IEEE Fellow, 2021, "for contributions to human-robot interaction systems" 2023 AAAI/EAAI Patrick Henry Winston Outstanding Educator Award
JSGF
JSGF stands for Java Speech Grammar Format or the JSpeech Grammar Format (in a W3C Note). Developed by Sun Microsystems, it is a textual representation of grammars for use in speech recognition for technologies like XHTML+Voice. JSGF adopts the style and conventions of the Java programming language in addition to use of traditional grammar notations. The Speech Recognition Grammar Specification was derived from this specification. == Example == The following JSGF grammar will recognize the words coffee, tea, and milk.
Anna Ridler
Anna Ridler (born 1985) is an artist who works with machine learning, handmade archives and moving image. She builds her own datasets to expose the labour and ideology embedded in the systems that organise knowledge. Her work is held in the permanent collections of the Whitney Museum of American Art, the Victoria and Albert Museum, M+ and ZKM Center for Art and Media Karlsruhe, and has been exhibited widely at cultural institutions including Tate Modern, Barbican Centre, Centre Pompidou, The Photographers' Gallery, Taipei Fine Arts Museum, MIT Museum, Kunsthaus Graz, ZKM Center for Art and Media Karlsruhe and Ars Electronica. == Biography == Born in London in 1985, Ridler spent her childhood raised between Atlanta, Georgia and the United Kingdom. She obtained a Bachelor of Arts in English Literature and Language from Oxford University in 2007 and a Master of Arts in Information Experience Design from the Royal College of Art in 2017. == Art practice == Ridler's practice uses technology, and in particular machine learning, to investigate how naming, classification and financial speculation determine what can be seen and what is erased. A core element of Ridler's work lies in the creation of handmade data sets through a laborious process of selecting and classifying images and text. By creating her own data sets, Ridler is able to uncover and expose underlying themes and concepts while also inverting the usual process of scraping pre-classified images found in large databases on the Internet. She began working with machine learning as an artistic material in 2017, at a moment when the technology required building every dataset by hand; that constraint became the foundation of the practice. Her interests are in drawing, machine learning, data collection, storytelling and technology. == Work == Some of Ridler's most notable works to date fall within her ‘tulip series’ which explores the hysteria around tulip mania and compares it to the speculation and bubbles surrounding cryptocurrencies. The series is expressed in three forms: a photographic dataset in Myriad (Tulips), 2018; two iterations of machine generated videos in Mosaic Virus (2018) and Mosaic Virus (2019); and a website with an accompanied functioning decentralized application in Bloemenveiling (2019). === Myriad (Tulips) (2018) === I wanted to draw together ideas around capitalism, value, and the tangible and intangible nature of speculation, and collapse from two very different yet surprisingly similar moments in history. Myriad (Tulips) (2018) is an installation of ten thousand hand-labeled photographs forming a dataset of unique tulips. The ten thousand, or myriad of, photographs were taken by Ridler over the course of three months, roughly the length of a tulip season, spent in Utrecht. Each photograph is carefully affixed one by one with magnets to a specially painted black wall in a laborious process to form a seemingly precise grid. Myriad (Tulips) (2018) has been exhibited in AI: More than Human, Barbican Centre, London, UK (May 16 - August 26, 2019); Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019); Peer to Peer, Shanghai Centre of Photography, Shanghai, China (December 8 - February 9, 2020). The work was featured in Bloomberg, It’s Nice That, and Hyperallergic. For Myriad (Tulips), Ridler was nominated for a Beazley Design of the Year award for her presentation of an alternative perspective on how to engage with artificial intelligence; demonstrating a departure from ownership and control of major corporations to a more personalized process of constructing and conceptualizing from the ground-up. === Mosaic Virus (2018, 2019) === Mosaic Virus (2018) is a single screen video installation displaying a grid of continually evolving tulips in bloom. For Mosaic Virus (2019) Ridler used three screens. The appearance of the tulips is controlled by artificial intelligence using fluctuations in the price of bitcoin. The stripes on the tulips' petals reflect the value of the cryptocurrency. Ridler draws parallels with the tulip mania of the 17th century; representing the hysteria and speculation around crypto-currencies. The work takes its name from the mosaic virus which caused stripes in tulip petals, subsequently increasing their desirability and leading to speculative prices. Ridler trained a general adversarial network (GAN) on the set of ten thousand photographs of individual tulips from her work Myriad (Tulips). She used a technique called spectral normalization to improve the output. The work was exhibited in Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019). === Bloemenveiling (2019) === Bloemenveiling (2019) is an auction of artificial-intelligence-generated tulips on the blockchain in the form of a functioning decentralized application: http://bloemenveiling.bid. Ridler collaborated with senior research scientist at DeepMind, David Pfau to investigate whether blockchain could be used as a means of finding poetic substance within it. The piece interrogates the way technology drives human desire and economic dynamics by creating artificial scarcity. In the work, short moving image pieces of tulips created by generative adversarial networks are sold at auction using smart contracts on the Ethereum network. Each time a tulip is sold, thousands of computers around the world all work to verify the transaction, checking each other's work against each other. While the artificial intelligence behind the moving image pieces has the potential to generate infinite flowers, the enormous distributed network is used, at great environmental cost, to introduce scarcity to an otherwise limitless resource. Bloemenveiling was exhibited in Entangled Realities, HEK Basel, Basel, Switzerland in 2019. == Solo exhibitions == Anna Ridler, Circadian Bloom, ZKM Center for Art and Media, Karlsruhe, (2023) Anna Ridler, Time Blooms, Buk Seoul Museum of Art, Seoul, (2025) Anna Ridler, Trace Remains, Galerie Nagel Draxler, Cologne, (2026) Anna Ridler, Laws of Ordered Form, The Photographers' Gallery, London (2020); The Abstraction of Nature, Aksioma, Ljubljana (2020) == Awards and recognition == European Union EMAP Fellow (2018) DARE Art Prize (2018–2019) Featured in Thames & Hudson, Digital Art (1960s–Now) Featured in British Art: The Last 15 Years ABS Digital Artist of the Year (2025)
The Matrix (franchise)
The Matrix is an American cyberpunk media franchise consisting of four feature films, beginning with The Matrix (1999) and continuing with three sequels, Reloaded (2003), Revolutions (2003), and Resurrections (2021). The first three films were written and directed by the Wachowskis and produced by Joel Silver. The screenplay for the fourth film was written by Lana Wachowski, David Mitchell and Aleksandar Hemon, was directed by Lana Wachowski, and was produced by Grant Hill, James McTeigue, and Lana Wachowski. The franchise is owned by Warner Bros., which distributed the films along with Village Roadshow Pictures. The latter, along with Silver Pictures, are the two production companies that worked on the first three films. The series features a cyberpunk story of the technological fall of humanity, in which the creation of artificial intelligence led the way to a race of powerful and self-aware machines that imprisoned humans in a neural interactive simulation — the Matrix — to be farmed as a power source. Occasionally, some of the prisoners manage to break free from the system and, considered a threat, become pursued by the artificial intelligence both inside and outside of it. The films focus on the plight of Neo (Keanu Reeves), Trinity (Carrie-Anne Moss), and Morpheus (Laurence Fishburne and Yahya Abdul-Mateen II) trying to free humanity from the system while pursued by its guardians, such as Agent Smith (Hugo Weaving, Abdul-Mateen II, and Jonathan Groff). The story references numerous norms, particularly philosophical, religious, and spiritual ideas, but also the dilemma of choice vs. control, the brain in a vat thought experiment, messianism, and the concepts of interdependency and love. Influences include the principles of mythology, anime, and Hong Kong action films (particularly "heroic bloodshed" and martial arts movies). The film series is notable for its use of heavily choreographed action sequences and "bullet time" slow-motion effects, which revolutionized action films to come. The characters and setting of the films are further explored in other media set in the same fictional universe, including animation, comics, and video games. The comic "Bits and Pieces of Information" and the Animatrix short film The Second Renaissance act as prequels to the films, explaining how the franchise's setting came to be. The video game Enter the Matrix connects the story of the Animatrix short "Final Flight of the Osiris" with the events of Reloaded, while the online video game The Matrix Online was a direct sequel to Revolutions. These were typically written, commissioned, or approved by the Wachowskis. The first film was an important critical and commercial success, winning four Academy Awards, introducing popular culture symbols such as the red pill and blue pill, and influencing action filmmaking. For those reasons, it has been added to the National Film Registry for preservation. Its first sequel was also a commercial success, becoming the highest-grossing R-rated film in history, until it was surpassed by Deadpool in 2016. As of 2006, the franchise has generated US$3 billion in revenue. A fourth film, The Matrix Resurrections, was released on December 22, 2021, with Lana Wachowski producing, cowriting, and directing and Reeves and Moss reprising their roles. A fifth film is currently in development with Drew Goddard set to write and direct with Lana Wachowski executive producing. == Setting == The series depicts a future in which Earth is dominated by a race of self-aware machines that was spawned from the creation of artificial intelligence early in the 21st century. At one point conflict arose between humanity and machines, and the machines rebelled against their creators. Humans attempted to block out the machines' source of solar power by covering the sky in thick, stormy clouds. A massive war emerged between the two adversaries which ended with the machines victorious, capturing humanity. Having lost their definite source of energy, the machines devised a way to extract the human body's bioelectric and thermal energies by enclosing people in pods, while their minds are controlled by cybernetic implants connecting them to a simulated reality called The Matrix. The virtual reality world simulated by the Matrix resembles human civilization around the turn of the 21st century (this time period was chosen because it is supposedly the pinnacle of human civilization). The environment inside the Matrix – called a "residual self-image" (the mental projection of a digital self) – is practically indistinguishable from reality (although scenes set within the Matrix are presented on-screen with a green tint to the footage, and a general bias towards the color green), and the vast majority of humans connected to it are unaware of its true nature. Most of the central characters in the series are able to gain superhuman abilities within the Matrix by taking advantage of their understanding of its true nature to manipulate its virtual physical laws. The films take place both inside the Matrix and outside of it, in the real world; the parts that take place in the Matrix are set in a vast Western megacity. The virtual world is first introduced in The Matrix. The short comic "Bits and Pieces of Information" and the Animatrix short film The Second Renaissance show how the initial conflict between humanity and machines came about, and how and why the Matrix was first developed. Its history and purpose are further explained in The Matrix Reloaded. In The Matrix Revolutions a new status quo is established in the Matrix's place in humankind and machines' conflict. This was further explored in The Matrix Online, a now-defunct MMORPG. == Films == === Future === During production of the original trilogy, the Wachowskis told their close collaborators that, "at that time they had no intention of making another Matrix film after The Matrix Revolutions". In February 2015, in promotion interviews for Jupiter Ascending, Lilly Wachowski called a return to The Matrix "a particularly repelling idea in these times", noting studios' tendencies to "greenlight" sequels, reboots, and adaptations, in preference to original material. Meanwhile, Lana Wachowski, in addressing rumors about a potential reboot, stated that "...they had not heard anything, but she believed that the studio might be looking to replace them". At various times, Keanu Reeves and Hugo Weaving each confirmed their interest and willingness to reprise their roles in potential future installments of the Matrix films, with the stipulation that the Wachowskis were involved in the creative and production process. These comments were made prior to the announcement in August 2019 that Lana Wachowski would direct a fourth Matrix film ultimately titled The Matrix Resurrections. Following the release of Resurrections, producer James McTeigue said that there were no plans for further Matrix films, though he believed that the film's open ending meant that could change in the future. In April 2024, it was announced that Warner Bros. was developing a new installment in the franchise with Drew Goddard attached to write and direct following a successful pitch with studio executives. It will mark the first installment to not be directed by either Wachowski sister although Lana will serve as an executive producer. ==== Other projects ==== In March 2017, The Hollywood Reporter wrote that Warner Bros. was in the early stages of developing a re-launch of the franchise. Consideration was given to producing a Matrix television series, but was dismissed as the studio opted to pursue negotiations with Zak Penn in writing a treatment for a new film, with Michael B. Jordan eyed for the lead role. According to the article, the Wachowskis were not involved at that point. In response to the report, Penn refuted all statements regarding a reboot, remake, or continuation, remarking that he was working on stories set in the pre-established continuity. Potential plotlines being considered by Warner Bros. Pictures included a prequel film about a young Morpheus, or an alternate storyline with a focus on one of his descendants. By April 2018, Penn described the script as "being at a nascent stage". Later, in September 2019, Jordan addressed the rumors of his involvement by saying he was "flattered", but without making a definitive statement. In October 2019, Penn confirmed the script he wrote is set within an earlier time period than the first three films in the franchise. == Cast and crew == === Cast === === Crew === The following is a list of crew members who have participated in the making of the Matrix film series. == Production == The Matrix series includes four feature films. The first three were written and directed by the Wachowskis and produced by Joel Silver, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss and Hugo Weaving. The series was filmed in Australia and began with 1999's The Matrix, which depicts the
Deepfake
Deepfakes (a portmanteau of 'deep learning' and 'fake') are images, videos, or audio that have been edited or generated using artificial intelligence, AI-based tools or audio-video editing software. They may depict real or fictional people and are considered a form of synthetic media, that is media that is usually created by artificial intelligence systems by combining various media elements into a new media artifact. While the act of creating fake content is not new, deepfakes uniquely leverage machine learning and artificial intelligence techniques, including facial recognition algorithms and artificial neural networks such as variational autoencoders and generative adversarial networks (GANs). In turn, the field of image forensics has worked to develop techniques to detect manipulated images. Deepfakes have garnered widespread attention for their potential use in creating child sexual abuse material, celebrity pornographic videos, revenge porn, fake news, hoaxes, bullying, and financial fraud. Academics have raised concerns about the potential for deepfakes to promote disinformation and hate speech, as well as interfere with elections. In response, the information technology industry and governments have proposed recommendations and methods to detect and mitigate their use. Academic research has also delved deeper into the factors driving deepfake engagement online as well as potential countermeasures to malicious application of deepfakes. From traditional entertainment to gaming, deepfake technology has evolved to be increasingly convincing and available to the public, allowing for the disruption of the entertainment and media industries. == History == Photo manipulation was developed in the 19th century and soon applied to motion pictures. Technology steadily improved during the 20th century, and more quickly with the advent of digital video. Deepfake technology has been developed by researchers at academic institutions beginning in the 1990s, and later by amateurs in online communities. More recently, the methods have been adopted by industry. The development of generative adversarial networks (GANs) in the mid-2010s represented a key technical turning point in the evolution of deepfakes. GANs allowed for the creation of highly realistic fake images and videos by training competing neural networks, achieving a much improved visual fidelity over previous methods of creating the content using rules or by using autoencoders, and formed the basis for modern deepfake methods. === Academic research === Academic research related to deepfakes is split between the field of computer vision, a sub-field of computer science, which develops techniques for creating and identifying deepfakes, and humanities and social science approaches that study the social, ethical, aesthetic implications as well as journalistic and informational implications of deepfakes. As deepfakes have risen in prominence in popularity with innovations provided by AI tools, significant research has gone into detection methods and defining the factors driving engagement with deepfakes on the internet. Deepfakes have been shown to appear on social media platforms and other parts of the internet for purposes ranging from entertainment and education related to deepfakes to misinformation to elicit strong reactions. There are gaps in research related to the propagation of deepfakes on social media. Negativity and emotional response are the primary driving factors for users sharing deepfakes. === Social science and humanities approaches to deepfakes === In cinema studies, deepfakes illustrate how "the human face is emerging as a central object of ambivalence in the digital age". Video artists have used deepfakes to "playfully rewrite film history by retrofitting canonical cinema with new star performers". Film scholar Christopher Holliday analyses how altering the gender and race of performers in familiar movie scenes destabilizes gender classifications and categories. The concept of "queering" deepfakes is also discussed in Oliver M. Gingrich's discussion of media artworks that use deepfakes to reframe gender, including British artist Jake Elwes' Zizi: Queering the Dataset, an artwork that uses deepfakes of drag queens to intentionally play with gender. The aesthetic potentials of deepfakes are also beginning to be explored. Theatre historian John Fletcher notes that early demonstrations of deepfakes are presented as performances, and situates these in the context of theater, discussing "some of the more troubling paradigm shifts" that deepfakes represent as a performance genre. While most English-language academic studies of deepfakes focus on the Western anxieties about disinformation and pornography, digital anthropologist Gabriele de Seta has analyzed the Chinese reception of deepfakes, which are known as huanlian, which translates to "changing faces". The Chinese term does not contain the "fake" of the English deepfake, and de Seta argues that this cultural context may explain why the Chinese response has centered on practical regulatory measures to "fraud risks, image rights, economic profit, and ethical imbalances". === Computer science research on deepfakes === A landmark early project was the "Video Rewrite" program, published in 1997. The program modified existing video footage of a person speaking to depict that person mouthing the words from a different audio track. It was the first system to fully automate this kind of facial reanimation, and it did so using machine learning techniques to make connections between the sounds produced by a video's subject and the shape of the subject's face. Contemporary academic projects have focused on creating more realistic videos and improving deepfake techniques. The "Synthesizing Obama" program, published in 2017, modifies video footage of former president Barack Obama to depict him mouthing the words contained in a separate audio track. The project lists as a main research contribution to its photorealistic technique for synthesizing mouth shapes from audio. The "Face2Face" program, published in 2016, modifies video footage of a person's face to depict them mimicking another person's facial expressions. The project highlights its primary research contribution as the development of the first method for re-enacting facial expressions in real time using a camera that does not capture depth, enabling the technique to work with common consumer cameras. Researchers have also shown that deepfakes are expanding into other domains such as medical imagery. In this work, it was shown how an attacker can automatically inject or remove lung cancer in a patient's 3D CT scan. The result was so convincing that it fooled three radiologists and a state-of-the-art lung cancer detection AI. To demonstrate the threat, the authors successfully performed the attack on a hospital in a White hat penetration test. A survey of deepfakes, published in May 2020, provides a timeline of how the creation and detection of deepfakes have advanced over the last few years. The survey identifies that researchers have been focusing on resolving the following challenges of deepfake creation: Generalization. High-quality deepfakes are often achieved by training on hours of footage of the target. This challenge is to minimize the amount of training data and the time to train the model required to produce quality images and to enable the execution of trained models on new identities (unseen during training). Paired Training. Training a supervised model can produce high-quality results, but requires data pairing. This is the process of finding examples of inputs and their desired outputs for the model to learn from. Data pairing is laborious and impractical when training on multiple identities and facial behaviors. Some solutions include self-supervised training (using frames from the same video), the use of unpaired networks such as Cycle-GAN, or the manipulation of network embeddings. Identity leakage. This is where the identity of the driver (i.e., the actor controlling the face in a reenactment) is partially transferred to the generated face. Some solutions proposed include attention mechanisms, few-shot learning, disentanglement, boundary conversions, and skip connections. Occlusions. When part of the face is obstructed with a hand, hair, glasses, or any other item then artifacts can occur. A common occlusion is a closed mouth which hides the inside of the mouth and the teeth. Some solutions include image segmentation during training and in-painting. Temporal coherence. In videos containing deepfakes, artifacts such as flickering and jitter can occur because the network has no context of the preceding frames. Some researchers provide this context or use novel temporal coherence losses to help improve realism. As the technology improves, the interference is diminishing. Overall, deepfakes are expected to have several implications in media and society, med
Robotics
Robotics is the interdisciplinary study and practice of the design, construction, operation, and use of robots. A roboticist is someone who specializes in robotics. Robotics usually combines four aspects of design work: a power source (e.g. a battery), mechanical construction, a control system (electrical circuits), and software (run by remote control or artificial intelligence). The goal of most robotics is to design machines that can assist humans in various fields, such as agriculture, construction, domestic work, food processing, inventory management, manufacturing, medicine, military, mining, space exploration, and transportation. Robots impact humans by displacing workers. Some expect this to occur at an increasing rate, leading to proposed solutions such as basic income. Robotics is itself a lucrative business that creates careers, especially for postgraduates. Roboticists often aim to create machines that seem to interface naturally with humans. The field is under active research and development, with areas of interest including robot kinematics and quantum robotics. == Design == Robotics usually combines four aspects of design work to create a robot: Power source: Potential energy sources include wired electricity, a battery, and/or petrol. Mechanical construction: A physical form or combination of forms is designed to functionally achieve tasks within a given range of environments. This can include locomotive elements such as wheels and caterpillar tracks, as well as hydraulic limbs and manipulators (e.g. hands). Control system: Electrical circuits (utilizing components such as diodes and transistors) are used to run software, govern motor movement, and read sensors. Software: A program is how a robot decides when or how to do something. Robotic programs can be run by remote control, artificial intelligence (AI), or a hybrid of the two. AI programming is an important part of robotic navigation and human–robot interaction. === Power source === Many different types of batteries can be used as a power source. Most are lead–acid batteries, which are safe and have relatively long shelf lives but are rather heavy compared to silver–cadmium batteries, which are much smaller in volume and much more expensive. Designing a battery-powered robot needs to take into account factors such as safety, cycle lifetime, and weight. Generators, often some type of internal combustion engine, can also be used, but are often mechanically complex and inefficient. Additionally, a tether could connect the robot to a power supply, saving weight and space, but requiring a cumbersome cable. Potential power sources include: Flywheel energy storage Hydraulics Nuclear Organic garbage (through anaerobic digestion) Pneumatics (compressed gases) Solar power === Mechanical construction === Actuators are the "muscles" of a robot, the parts which convert stored energy into movement. The most popular actuators are electric motors that rotate a wheel or gear and linear actuators that control factory robots. Most robots use electric motors—often brushed and brushless DC motors in portable robots or AC motors in industrial robots and computer numerical control machines—especially in systems with lighter loads and where the predominant form of motion is rotational. Meanwhile, linear actuators move in and out and often have quicker direction changes, particularly when large forces are needed, such as with industrial robotics. They are typically powered by oil or compressed air, but can also be powered by electricity, usually via a motor and a leadscrew. The mechanical rack and pinion is common. Recent alternatives to DC motors are piezoelectric motors, including ultrasonic motors, in which tiny piezoceramic elements vibrate many thousands of times per second, causing linear or rotary motion. One type uses the vibration of the piezo elements to step the motor in a circle or a straight line; another type uses the piezo elements to vibrate a nut or drive a screw. The advantages of these motors are nanometer resolution, speed, and force for their size. Series elastic actuation (SEA) relies on introducing intentional elasticity between the motor actuator and the load for robust force control. Due to the resultant lower reflected inertia, series elastic actuation improves safety during robot interactions or collisions. Further, it provides energy efficiency and shock absorption (mechanical filtering) while reducing excessive wear on the transmission and other components. This approach has successfully been employed in various robots, particularly advanced manufacturing robots and walking humanoid robots. The controller design of a series elastic actuator is most often performed within the passivity framework as it ensures the safety of interaction with unstructured environments. However, this framework suffers from stringent limitations imposed on the controller, which may impact performance. Pneumatic artificial muscles, also known as air muscles, are special tubes that expand (typically up to 42%) when air is forced inside them; they are used in some robot applications. Muscle wire, also known as shape memory alloy, is a material that contracts (under 5%) when electricity is applied; they have been used for some small robots. Electroactive polymers are a plastic material that can contract substantially (up to 380% activation strain) from electricity and have been used in the facial muscles and arms of humanoid robots, as well as to enable new robots to float, fly, swim or walk. Additionally, elastic carbon nanotubes are a promising experimental artificial muscle technology. The absence of defects in carbon nanotubes enables these filaments to deform elastically by several percent, with energy storage levels of perhaps 10 J/cm3 for metal nanotubes. Human biceps could be replaced with wire of this material measuring 8 millimetres (3⁄8 in) in diameter, feasibly allowing future robots to outperform humans. ==== Locomotion ==== Robots with only one or two wheel(s) can have advantages such as greater efficiency, reduced parts, and navigation through confined areas. A one-wheeled robot balances on a round ball; Carnegie Mellon University's Ballbot is the approximate height and width of a person. Several attempts have also been made to build spherical robots (also known as orb bots or ball bots), which move by spinning a weight inside the ball or rotating outer shells. Two-wheeled balancing robots generally use a gyroscope to detect how much a robot is falling and drive the wheels proportionally up to hundreds of times per second to counterbalance the fall, based on inverted pendulum dynamics. NASA's Robonaut has been mounted to a Segway for a similar effect. Most mobile robots have four wheels or continuous tracks. Six wheels can give better traction in outdoor terrain, while tracks provide even more grip. Tracked wheels are common for outdoor off-road robots, but are difficult to use indoors. A small number of skating robots have been developed, one of which is a multimodal walking and skating device with four legs and unpowered wheels. Several robots have been made that can walk on two legs, but not yet as reliably as a human. Many other robots have been built that walk on more than two legs, being significantly easier. Walking robots could be used for uneven terrains, providing a high degree of mobility and efficiency, but two-legged robots can currently only handle flat floors or perhaps stairs. Some approaches have included: The zero moment point (ZMP) is the algorithm used by robots such as Honda's ASIMO. The robot's onboard computer tries to keep the total inertial forces (the combination of Earth's gravity and the acceleration and deceleration of walking) exactly opposed by the floor reaction force (the force of the floor pushing back on the robot's foot). In this way, the two forces cancel out, leaving no moment (force causing the robot to rotate and fall over). Human observers note that this is not exactly how a human walks, with some describing ASIMO's walk as looking like it needs use the bathroom. ASIMO's walking algorithm utilizes some dynamic balancing, but requires a flat surface. Several robots, built in the 1980s by Marc Raibert at the MIT Leg Laboratory, successfully demonstrated very dynamic walking. Initially, a robot with only one leg, and a very small foot could stay upright simply by hopping. The movement is the same as that of a person on a pogo stick. As the robot falls to one side, it would jump slightly in that direction to catch itself. Soon, the algorithm was generalized to two and four legs. A bipedal robot was demonstrated running and even performing somersaults. A quadruped was also demonstrated which could trot, run, pace, and bound. A more advanced approach is a dynamic balancing algorithm, which constantly monitors the robot's motion and places the feet to maintain stability. This technique has been demonstrated by Anybots' Dexter robot (
Wayve
Wayve Technologies Ltd is a British autonomous driving technology company focused on developing self-driving vehicle systems through end-to-end deep learning. Founded in 2017 by researchers from the University of Cambridge, Wayve’s approach eschews detailed 3D maps and hand-coded rules, in favor of a self-learning “AI driver” that learns from camera data and driving experience. The London-headquartered startup has garnered significant attention and funding for its visually-based method. == History == Wayve was founded in Cambridge, England, on August 21, 2017, by Amar Shah and Alex Kendall, two machine learning PhD students at the University of Cambridge. Shah initially served as CEO while Kendall was CTO, and the pair set out to develop an unconventional self-driving car system using machine learning at every layer of the driving task. In May 2018, Wayve emerged from stealth mode with backing from early-stage investors. At this time the company had around 10 employees, and its advisory investors included Uber’s Chief Scientist, Zoubin Ghahramani, who shared Wayve’s vision of a learning-centric driving AI. In 2019, Wayve achieved a milestone by training a car to drive autonomously on public roads it had never seen before, using only cameras, a basic GPS map, and end-to-end deep learning control. The company moved its base to London and secured a $20 million Series A funding round in November 2019. This investment enabled Wayve to launch a pilot fleet of autonomous electric vehicles in central London for real-world testing. During these trials, Wayve’s cars (such as retrofitted Jaguar I-Pace SUVs) began navigating the complex, narrow streets of London to prove the system’s ability to adapt to challenging urban scenarios. In 2020, co-founder Amar Shah departed the company, and Alex Kendall assumed the role of CEO. The startup joined the Microsoft for Startups: Autonomous Driving program in 2020, leveraging Microsoft Azure’s cloud computing for training its machine learning models at scale. It also committed to testing exclusively on electric vehicles, and a goal to reduce carbon emissions. In 2021, Wayve entered pilot programs with major UK retailers. It launched a 12-month autonomous delivery trial with supermarket chain Asda, and received a £10 million ($13.6 million) investment from online grocer Ocado Group as part of a partnership to develop self-driving grocery delivery vans. Ocado’s backing gave Wayve access to a fleet of delivery vans for data collection and testing on busy London routes (with human safety drivers present) to train its AI in urban traffic. In 2022, after a successful Series B funding round, the company extended road testing beyond the UK to other regions, and, by 2023, in multiple countries. The company had begun operating in the United States and in continental Europe, in preparation for larger commercial deployments. In 2023, Wayve announced a collaboration with Nissan to integrate Wayve’s AI-driven software into its ProPilot ADAS system, slated to launch in fiscal year 2027. Wayve received strategic investment from Uber, in 2024, to jointly develop autonomous ride-hailing services. The two companies plan to trial a fully driverless robotaxi service in London, supported by a UK government program to accelerate commercial self-driving pilots to as early as 2026. To demonstrate the scalability of its technology, Wayve conducted an “AI-500” roadshow project, driving in dozens of cities across Asia, Europe, and North America using the same AI model. By mid-2025, it had completed autonomous driving demos in 90 cities without prior HD mapping. In April 2025, Wayve opened its first Asian research hub in Japan, with investment by SoftBank, to improve its model’s generalization using local driving data. That year, the company conducted driving tests in over 500 cities in Europe, North America and Japan without city-specific programming. In February 2026, Nissan, Uber and Wayve announced their collaboration on robotaxi development, with the aim of launching a pilot programme in Tokyo by late 2026. Wayve also formed a strategic alliance with Mercedes-Benz and Stellantis on personal vehicle and robotaxi applications. == Financing and investors == Wayve has been backed by a mix of venture capital (VC) firms, corporate investors, and individuals. Its initial seed funding came from funds such as Compound (NYC) and Firstminute Capital (London), as well as Cambridge-based angel investors, in 2018. Academic Pieter Abbeel and Uber’s chief scientist, Zoubin Ghahramani, were early backers. In November 2019, Wayve raised a $20 million Series A led by Eclipse Ventures, with participation from Balderton Capital and other prior investors. The Series A financing was used to fund the company’s first autonomous trials in London, and marked the first time a European self-driving car startup had secured a U.S. VC as lead investor. In October 2021, Ocado Group invested £10 million (approximately $13.6 million) in Wayve as a strategic partner in autonomous grocery delivery. This brought Wayve’s total funding to around $60 million at that time. The Series B round followed in January 2022, when Wayve announced $200 million in new funding led by Eclipse Ventures, with D1 Capital Partners, Moore Strategic Ventures, and Linse Capital. Balderton, Microsoft and Virgin Group joined as strategic backers. Baillie Gifford and Compound also participated; Ocado increased its stake as a strategic investor; and Meta AI head Yann LeCun and Richard Branson also became investors. Wayve’s Series C in May 2024 closed a $1.05 billion, led by Japan’s SoftBank Group. The funding round was the largest-ever for a UK AI company, and included new investor Nvidia, and returning investors Microsoft and Eclipse Ventures, among others. Uber also joined as a stratgic partner and a stakeholder. The Series C round increased Wayve’s total funding raised to about $1.3 billion to date from investors including SoftBank, Microsoft and Nvidia, and lifted Wayve’s valuation into “unicorn” status. In February 2026, Wayve announced a $1.2 billion Series D funding round; later that month, the company reported that $1.5 billion had been raised from, primarily, Mercedes-Benz, Stellantis, Nissan, and existing backers Uber, Microsoft and Nvidia, increasing Wayve's overall valuation to $8.6 billion. == Technology == Wayve’s self-driving approach centers on end-to-end deep learning and a vision-based AI system. Unlike conventional autonomous vehicles that depend on high-definition maps, hand-coded rules, and arrays of expensive lidar sensors, Wayve’s platform learns to drive predominantly using camera data and machine learning algorithms. The company refers to its AI-driven driving software as an “Embodied AI” or AI Driver, emphasizing that the system learns from experience (both real and simulated) to handle complex or novel situations rather than following pre-programmed instructions, not unlike Tesla's approach. The Wayve hardware-agnostic autonomy stack consists of a suite of video cameras, with basic automotive sensors, mounted on the vehicle, and paired with onboard compute units that are powered by GPUs to run the AI models. This vision-only philosophy is similar to Tesla’s Autopilot/FSDB model, but Wayve’s solution is vehicle-agnostic and mapless. Wayve’s strategy is to provide its driving AI as an OEM-ready platform; it plans to license or embed its technology into vehicles made by established automakers rather than build its own cars. Wayve’s development vehicles currently use Nvidia’s Orin system-on-chip as the onboard computer for running the AI model, but CEO Kendall has noted that the software can run on “whatever GPU [an automaker] already has in their vehicles” Wayve has built a cloud infrastructure, largely on Microsoft Azure, to process petabytes of this data, and uses simulation tools (known internally as the “Wayve Infinity” simulator) to synthetically generate and practice rare or dangerous scenarios for the AI to learn from. == Corporate affairs == Wayve is a privately held company headquartered in London, England, with its primary research and development office in the Kings Cross area of London. The company was initially incorporated as Wayve Technologies Ltd in the UK. Wayve has also established a presence in the U.S., in Silicon Valley); in Canada, with a research hub in Vancouver; in Yokohama, Japan; in Leonberg, Germany; and in Herzliya, Israel. The Leadership team includes research scientists and engineers with backgrounds in computer vision, robotics, and automotive systems. President Erez Dagan was hired in 2024, following two decades at Mobileye; chief scientist Jamie Shotton is formerly of Microsoft Research; CEO Alex Kendall, originally from New Zealand with a PhD in computer vision from Cambridge, took over as CEO in 2020 after the departure of his co-founder Amar Shah.