Wiggly Robotic Cat Ears: Sure, Why Not

You don't need to be a kitty robot to benefit from these fuzzy, wiggly artificial ears

1 min read
Wiggly Robotic Cat Ears: Sure, Why Not

Robots have ears. They're called microphones, and you usually find them just inside some tiny little hole somewhere. But you have to figure that there are good reasons why animals like this exist: big ears can confer an advantage. Namely, big ears allow animals to hear quieter sounds, and localize those sounds more precisely.

This is the idea behind "active soft pinnae," which is fancy roboticist talk for "ears that wiggle." The robotic ear in the picture above is a reasonably faithful reproduction of a kitty ear, including a fake fur covering on the back and the ability to both rotate side to side and deform downwards. There's a microphone buried down inside the ear, of course, but the external structure is the important part.

So what good is it? I mean, you can ask your cat, but testing has shown that it's possible to pinpoint the direction (azimuth and elevation) to a sound with just two wigglable ears instead of needing a complex microphone array. Furthermore, the ears can be used to localize sounds by moving independently of the head or body of a robot, which is a much more efficient approach. And of course, ears like these are awfully cute, and with the addition of some touch sensors, you could give your robot that friendly scritching that it deserves.

"Active soft pinnae for robots," by Makoto Kumon and Yoshitaka Noda from Kumamoto University in Japan, was presented at the IEEE International Conference on Intelligent Robots and Systems in San Francisco last month.

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The Bionic-Hand Arms Race

The prosthetics industry is too focused on high-tech limbs that are complicated, costly, and often impractical

12 min read
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A photograph of a young woman with brown eyes and neck length hair dyed rose gold sits at a white table. In one hand she holds a carbon fiber robotic arm and hand. Her other arm ends near her elbow. Her short sleeve shirt has a pattern on it of illustrated hands.

The author, Britt Young, holding her Ottobock bebionic bionic arm.

Gabriela Hasbun. Makeup: Maria Nguyen for MAC cosmetics; Hair: Joan Laqui for Living Proof
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In Jules Verne’s 1865 novel From the Earth to the Moon, members of the fictitious Baltimore Gun Club, all disabled Civil War veterans, restlessly search for a new enemy to conquer. They had spent the war innovating new, deadlier weaponry. By the war’s end, with “not quite one arm between four persons, and exactly two legs between six,” these self-taught amputee-weaponsmiths decide to repurpose their skills toward a new projectile: a rocket ship.

The story of the Baltimore Gun Club propelling themselves to the moon is about the extraordinary masculine power of the veteran, who doesn’t simply “overcome” his disability; he derives power and ambition from it. Their “crutches, wooden legs, artificial arms, steel hooks, caoutchouc [rubber] jaws, silver craniums [and] platinum noses” don’t play leading roles in their personalities—they are merely tools on their bodies. These piecemeal men are unlikely crusaders of invention with an even more unlikely mission. And yet who better to design the next great leap in technology than men remade by technology themselves?

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