一篇优秀的主题演讲稿应该从何下笔呢？当我们鼓起勇气上台演讲时，演讲稿的准备可以减少您再现场紧张和害怕的情况，让人信服的演讲需要有高度的思维和独立的创新思路，您要的信息已经整理好了：“机器人演讲稿”，热烈欢迎您的到来希望此篇文章可以豁然开朗！
机器人演讲稿【篇1】
my job is to design, build and study robots that ***municate with people. but this story doesn't start with robotics at all, it starts with animation. when i first saw pixar's "luxo jr.
," i was amazed by how much emotion they could put into something as trivial as a desk lamp. i mean, look at them at the end of this movie, you actually feel something for two pieces of furniture. (laughter) and i said, i have to learn how to do this.
so i made a really bad career decision. and that's what my mom was like when i did it. (laughter) i left a very cozy tech job in israel at a nice software ***pany and i moved to new york to study animation.
and there i lived in a collapsing apartment building in harlem with roommates. i'm not using this phrase metaphorically, the ceiling actually collapsed one day in our living room. whenever they did those news stories about building violations in new york, they would put the report in front of our building.
as kind of like a backdrop to show how bad things are.
我的工作是设计、建造和研究能与人交流的机器人。但这个故事不是关于机器人，而是关于动画。 当我第一次看到皮克斯的《顽皮跳跳灯》电影时， 我惊呆了， 一个如此微不足道的台灯竟能表现如此多的感情。
看看他们！电影结束时，你真的开始喜欢这两件小家具了。 (笑声) 我对自己说，我要学会做这样的东西。
所以我做了一个糟糕的职业决定。当我做这个决定的时候，我妈妈是这样的。 (笑声) 我辞去了在以色列一个软件公司的一份非常舒服的技术工作， 我搬到了纽约去学习动画。在那里，我和我的室友住在哈莱姆区一栋倒塌的公寓楼里。
我没有夸张。有一天天花板真的掉了下来，掉到了我们的客厅里。每次他们向纽约的非法建筑报案，都会跑到他们的建筑前接受采访。就像是在向你展示现场有多糟糕。
anyway, during the day i went to school and at night i would sit and draw frame by frame of pencil animation. and i learned two surprising lessons one of them was that when you want to arouse emotions, it doesn't matter so much how something looks, it's all in the motion it's in the timing of how the thing moves. and the second, was something one of our teachers told us.
he actually did the weasel in ice age. and he said: "as an animator you are not a director, you're an actor.
" so, if you want to find the right motion for a character, don't think about it, go use your body to find it stand in front of a mirror, act it out in front of a camera whatever you need. and then put it back in your character.
言归正传，我上学的日日夜夜， 我不停地一幅又一幅地用铅笔画着画。 我学到了两个让我惊讶的东西—— 其中一个是： 当你想要唤起某些情感时， 外观并不算太重要，关键是动作——当物体移动时对时间的把握。
关键是动作——当物体移动时对时间的把握。第二件事是我们的一位老师告诉我们的。 他正是电影《冰河世纪》的黄鼠狼。
他说： ”作为一个动画制作者， 你不是一个导演，而是一个演员。“ 所以如果你要为一个角色找到正确的肢体语言， 不要想，用你的身体找到它， 站在镜子面前，摄像机前，演出来， 无论你需要做什么。
然后把动作放在你的角色身上。
a year later i found myself at mit in the robotic life group, it was one of the first groups researching the relationships between humans and robots. and i still had this dream to make an actual, physical luxo jr. lamp.
but i found that robots didn't move at all in this engaging way that i was used to for my animation studies. instead, they were all how should i put it, they were all kind of robotic. (laughter) and i thought, what if i took whatever i learned in animation school, and used that to design my robotic desk lamp.
so i went and designed frame by frame to try to make this robot as graceful and engaging as possible. and here when you see the robot interacting with me on a desktop. and i'm actually redesigning the robot so, unbeknownst to itself, it's kind of digging its own grave by helping me.
(laughter) i wanted it to be less of a mechanical structure giving me light, and more of a helpful, kind of quiet apprentice that's always there when you need it and doesn't really interfere. and when, for example, i'm looking for a battery that i can't find, in a subtle way, it will show me where the battery is. so you can see my confusion here.
i'm not an actor. and i want you to notice how the same mechanical structure can at one point, just by the way it moves seem gentle and caring and in the other case, seem violent and confrontational. and it's the same structure, just the motion is different.
actor: "you want to know something well, you want to know something he was already dead! just laying there, eyes glazed over!
" (laughter) but, moving in graceful ways is just one building block of this whole structure called humanrobot interaction. i was at the time doing my , i was working on human robot teamwork; teams of humans and robots working together. i was studying the engineering, the psychology, the philosophy of teamwork.
and at the same time i found myself in my own kind of teamwork situation with a good friend of mine who is actually here. and in that situation we can easily imagine robots in the near future being there with us. it was after a passover seder.
we were folding up a lot of folding chairs, and i was amazed at how quickly we found our own rhythm. everybody did their own part. we didn't have to divide our tasks.
we didn't have to ***municate verbally about this. it all just happened. and i thought, humans and robots don't look at all like this.
when humans and robots interact, it's much more like a chess game. the human does a thing, the robot analyzes whatever the human did, then the robot decides what to do next, plans it and does it. and then the human waits, until it's their turn again.
so, it's much more like a chess game and that makes sense because chess is great for mathematicians and ***puter scientists. it's all about information analysis, decision ****** and planning.
一年以后，我去了麻省理工大学(mit)的机器人生命小组，这是最早开始研究人类和机器人关系的小组之一。我仍然梦想着做一个真正的，可触摸的，淘气的跳灯。 但是我发现机器人完全不是按照我的动画课程中的那种引人入胜的方式移动。
相反，他们都是-怎么说他们都有点机械化。 (笑声) 我就想，如果我可以把我在动画学校学到的东西应用于设计我的机器人台灯会怎样因此我设计了一幅又一幅， 试图让这个机器人尽量优雅、有吸引力。 这里你可以看到这个桌子上的机器人在跟我互动， 我其实是在重新设计这个机器人， 而这个机器人完全不知道， 它帮我，其实是在自掘坟墓呢。
(笑声) 比起把他它做成一个照明的机械， 比起把他它做成一个照明的机械， 我更想要一个能帮忙的、安静的学徒， 随时满足你的需求却不打扰你。例如，当我在寻找一个我找不到的电池时，它可以巧妙地提醒我电池在**中。你看到我的困惑了吗？我不是演员。
我希望你们注意到，同一个机械如何在前一刻非常温柔、充满关怀， 在前一刻非常温柔、充满关怀， 下一刻又显得非常暴力，有进攻性。 一模一样的结构，改变的仅仅是动作。 演员：
”你想知道吗你真的想知道吗他已经死了! 他就躺在那里，目光呆滞!“ (笑声) 但是，以一种优雅的方式移动只是这整个人类机器人互动结构的一块基石。
那时，我正在为我的博士我在研究人与机器人之间的团队合作，也就是人与机器人之间的合作。我在学习工程学、心理学和团队合作哲学。 同时，我意识到自己和我的一个好朋友(他今天也在这里)， 也碰到了一个团队合作的情境。
在这种情况下，很容易想象不久的将来机器人会和我们在一起。正是在逾越节晚餐后，我们不得不收拾了很多折叠椅，我很惊讶我们很快就找到了自己的节奏。 每个人都做了自己的那部分， 无需分工， 无需特意口头沟通。
就这样发生了。所以我想，人类和机器人之间的互动根本不是这样的。当人类和机器人互动时，就好像他们在下棋。
人类迈出一步，机器人分析这一点，然后机器人决定下一步要做什么，计划好，进入下一步。在这个时候，人类会等到轮到他们玩的时候。 所以，人类和机器人的互动更像下象棋， 这很好理解，因为对数学家和计算机科学家来说，象棋很好， 它们都是关于信息分析、 决策制定和计划。
but i wanted my robot to be less of a chess player, and more like a doer that just clicks and works together. so i made my second horrible career choice: i decided to study acting for a semester.
i took off from a i went to acting classes. i actually participated in a play, i hope theres no video of that around still. and i got every book i could find about acting, including one from the 19th century that i got from the library.
and i was really amazed because my name was the second name on the list the previous name was in 1889. (laughter) and this book was kind of waiting for 100 years to be rediscovered for robotics. and this book shows actors how to move every muscle in the body to match every kind of emotion that they want to express.
但比起象棋玩家，我更希望我的机器人是一个行动者， 但比起象棋玩家，我更希望我的机器人是一个行动者， 可以和人类有默契地一起工作。所以我做了人生中第二个糟糕的职业决定：我决定修一个学期的表演课程。
我把我的博士去上表演课。我也参与了一个剧本，我希望现在找不到那个。我找到了每一本关于表演的书，包括一本从图书馆借来的19世纪的书。
我震惊地发现，我的名字是名单上的第二个借款人，前一个是1889年。(笑声) 这本书已经躺了12019年了， 只为了借机器人之名被重新发现。这本书教演员如何调动身体的每一块肌肉来表达他们想要表达的情感。
but the real revelation was when i learned about method acting. it became very popular in the 20th century. and method acting said, you don't have to plan every muscle in your body.
instead you have to use your body to find the right movement. you have to use your sense memory to reconstruct the emotions and kind of think with your body to find the right expression. improvise, play off yor scene partner.
and this came at the same time as i was reading about this trend in cognitive psychology called embodied cognition. which also talks about the same ideas we use our bodies to think, we don't just think with our brains and use our bodies to move. but our bodies feed back into our brain to generate the way that we behave.
and it was like a lightning bolt. i went back to my office. i wrote this ***** which i never really published called "acting lessons for artificial intelligence.
" and i even took another month to do what was then the first theater play with a human and a robot acting together. that's what you saw before with the actors. and i thought:
how can we make an artificial intelligence model ***puter, ***putational model that will model some of these ideas of improvisation, of taking risks, of taking chances, even of ****** mistakes. maybe it can make for better robotic teammates. so i worked for quite a long time on these models and i implemented them on a number of robots.
here you can see a very early example with the robots trying to use this embodied artificial intelligence, to try to match my movements as closely as possible, sort of like a game. let's look at it. you can see when i psych it out, it gets fooled.
and it's a little bit like what you might see actors do when they try to mirror each other to find the right synchrony between them. and then, i did another experiment, and i got people off the street to use the robotic desk lamp, and try out this idea of embodied artificial intelligence. so, i actually used two kinds of brains for the same robot.
the robot is the same lamp that you saw, and i put in it two brains. for one half of the people, i put in a brain that's kind of the traditional, calculated robotic brain. it waits for its turn, it analyzes everything, it plans.
let's call it the calculated brain. the other got more the stage actor, risk taker brain. let's call it the adventurous brain.
it sometimes acts without knowing everything it has to know. it sometimes makes mistakes and corrects them. and i had them do this very tedious task that took almost 20 minutes and they had to work together.
somehow simulating like a factory job of repetitively doing the same thing. and what i found was that people actually loved the adventurous robot. and they thought it was more intelligent, more ***mitted, a better member of the team, contributed to the success of the team more.
they even called it 'he' and 'she,' whereas people with the calculated brain called it 'it.' and nobody ever called it 'he' or 'she'. when they talked about it after the task with the adventurous brain, they said, "by the end, we were good friends and highfived mentally.
" whatever that means. (laughter) sounds painful. whereas the people with the calculated brain said it was just like a lazy apprentice.
it only did what it was supposed to do and nothing more. which is almost what people expect robots to do, so i was surprised that people had higher expectations of robots, than what anybody in robotics thought robots should be doing. and in a way, i thought, maybe it's time just like method acting changed the way people thought about acting in the 19th century, from going from the very calculated, planned way of behaving, to a more intuitive, risktaking, embodied way of behaving.
maybe it's time for robots to have the same kind of revolution.
真正让我受到启示的是方法演技。它在20世纪非常流行。方法表演指出，你不需要安排每一块肌肉。相反，你可以用你的身体找到正确的行动。
你应该用你的感官记忆来重建情绪，用你的身体去寻找正确的表达方式。即兴发挥。根据你的场景即兴表演。 这个时候我也正读到认知心理学关于具身认知的东西， 这也谈到同样的观点—— 即我们用我们的身体思考， 我们并不是用大脑思考用身体表现， 而是我们的身体反馈给大脑并做出相应的动作， 这对我好像一道闪电。
我马上回了我的办公室。 我写了这篇**，从来也没发表过， 叫做《人工智能的表演课》。我甚至花了一个月的时间制作了第一部由人类和机器人主演的戏剧。
你以前看到的演员和机器人就是这出戏。 当时我就想： 我们怎样可以做出这样的人工智能模型—— 计算机、计算机模型等等， 它们会即兴发挥、 会冒险、 甚至会犯错。
它可能是一个更好的机器人队友。所以我花了很多时间研究这些模型，我还试验了几个机器人。 这里你可以看到一个早期的例子， 这个机器人试图运用具身人工智能来尽量模仿我的动作， 就好像一个游戏。
我们来看一下。 你可以看到我可以糊弄它。这有点像你可能看到的演员互相模仿只是为了找到他们之间的默契。
然后，我又做了一个实验。我把人们从街上拉出来，用机器人灯测试人体的人工智能。事实上，我在同一个机器人上用了两个大脑。机器人就是你看到的灯。我给了它两个大脑。对于一半的人，我用传统的机械计算大脑。
它会等，会分析，会计划， 我们暂且称它为“会计算的大脑”。 给另一半人则是那个舞台演员、爱冒险的大脑， 我们暂且称它为“爱冒险的大脑”， 有的时候它在并不知道所有事情的时候行动， 有的时候它会犯错然后去纠正。 我让他们完成一项无比乏味的任务， 这个任务要花近20分钟， 他们必须一起合作完成， 有点类似在工厂工作， 机械地重复一件事情。
我发现人们非常喜欢那个“爱冒险的机器人”。他们认为这是非常聪明，非常忠诚，一个好的团队成员来帮助团队一起成功。 他们甚至称它为“他”和“她”， 而另外那些人称那个“会计算的机器人”为“它”， 没有人称它为“他”或“她”。
任务完成后， 那些与“会冒险的大脑”互动的人说： “最后，我们成了好朋友， 还在脑内举手击掌了。” 不管那是啥意思…… (笑声)听上去很…(口齿不清) 然而，那些与“会计算的大脑”互动的人则说“它就像一个懒徒弟， 只做最基本的。
“ 这基本上和同人对机器人期待一样， 所以我有些惊讶，比起那些机器人研究专家， 人们居然对机器人有更高的期望。 但从另一个角度，我又想， 也许就像方法演技改变了 19世纪人们思考表演的方式一样， 是时间改变这种通过精确计算的行为方式， 而转向一种更直觉的、冒险的、 用身体表现的行为方式。也许是时候进行一次类似的机器人革命了。
a few years later, i was at my next research job at ge***ia tech in atlanta, and i was working in a group dealing with robotic musicians. and i thought, music, that's the perfect place to look at teamwork, coordination, timing, improvisation and we just got this robot playing marimba. marimba, for everybody who was like me, it was this huge, wooden xylophone.
and, when i was looking at this, i looked at other works in humanrobot improvisation yes, there are other works in humanrobot improvisation and they were also a little bit like a chess game. the human would play, the robot would analyze what was played, would improvise their own part. so, this is what musicians called a call and response interaction, and it also fits very well, robots and artificial intelligence.
but i thought, if i use the same ideas i used in the theater play and in the teamwork studies, maybe i can make the robots jam together like a band. everybody's riffing off each other, nobody is stopping it for a moment. and so, i tried to do the same things, this time with music, where the robot doesn't really know what it's about to play.
it just sort of moves its body and uses opportunities to play, and does what my jazz teacher when i was 17 taught me. she said, when you improvise, sometimes you don't know what you're doing and you're still doing it. and so i tried to make a robot that doesn't actually know what it's doing, but it's still doing it.
so let's look at a few seconds from this performance. where the robot listens to the human musician and improvises. and then, look at how the human musician also responds to what the robot is doing, and picking up from its behavior.
and at some point can even be surprised by what the robot came up with. (music) (applause)
几年后，我在亚特兰大乔治敦理工大学做研究，我在一个研究机器人的小组工作。 我想，**是可以很好的研究团队合作、配合、 时间分配和即兴表演的领域， 我们有这个玩马林巴的机器人。 和我一样对乐器不在行的朋友，马林巴是一个巨大的木琴。
我看着这个， 又看了那些其它的人类和机器人的即兴互动， ——没错，还有其它人和机器人即兴互动的项目—— 都差不多也是一个个象棋游戏式的互动。人类迈出一步，机器人分析它，然后决定下一步做什么。**他们称之为呼叫和应答交互，适用于机器人和人工智能。
但是我想，如果我可以运用戏剧表演和团队合作中的研究发现， 也许我可以让这些机器人组成一个乐队， 每个人都在即兴发挥，没有人需要停下来。 于是这次我尝试用**做试验， 机器人并不知道它会演奏什么， 它就这样移动它的身体， 找机会演奏， 做着我17岁时候的爵士老师教我的事情。她说：“当你即兴创作时，有是你不知道自己在做什么，但是你会继续做下去。”
所以我试着成为一个不知道自己在做什么但仍然继续做的机器人。让我们看一下节目的一小部分。机器人倾听人类的声音并即兴发挥。
然后，我们将看到人类如何对机器人的行为作出反应，对机器人的行为作出反应，有时甚至对机器人的性能感到惊讶。 (**) (掌声)
being a musician is not just about ****** notes, otherwise nobody would ever go see a live show. musicians also ***municate with their bodies, with other band members, with the audience, they use their bodies to express the music. and i thought, we already have a robot musician on stage, why not make it be a fullfledged musician.
and i started designing a socially expressive head for the robot. the head does't actually touch the marimba, it just expresses what the music is like. these are some napkin sketches from a bar in atlanta, that was dangerously located exactly halfway between my lab and my home.
(laughter) so i spent, i would say on average, three to four hours a day there. i think. (laughter) and i went back to my animation tools and tried to figure out not just what a robotic musician would look like, but especially what a robotic musician would move like.
to sort of show that it doesn't like what the other person is playing and maybe show whatever beat it's feeling at the moment.
作为一个**家庭，这不仅仅是写笔记，否则没有人会去看现场表演。**家庭也用他们的身体与乐队成员和观众交流，他们用他们的身体来代表**。 于是我想，我们已经有一个在舞台上的机器人**家， 为什么不把它打造成一个真正的**家呢于是我开始为机器人设计一个可以表现情感的头部。
头部碰马林巴，只是用来显示**是什么样子的。草图中的纸巾来自亚特兰大某个酒吧，酒吧就在实验室和我家之间。(笑声) 而且酒吧就正好在实验室和我家的正中间。
(笑声) 我大概平均每天有3到4个小时的时间在那里， “大概”…(笑声) 我重新拾起了我的动画工具，试图想象不仅仅一个机器人**家的样子， 特别是一个机器人**家会如何移动它的身体， 来告诉人们它不喜欢其他人的演奏， 还有它自己当下感觉到的节奏。 还有它自己当下感觉到的节奏。
so we ended up actually getting the money to build this robot, which was nice. i'm going to show you now the same kind of performance, this time with a socially expressive head. and notice one thing how the robot is really showing us the beat it's picking up from the human.
we're also giving the human a sense that the robot knows what it's doing. and also how it changes the way it moves as soon as it starts its own solo. (music) now it's looking at me to make sure i'm listening.
(music) and now look at the final chord of the piece again, and this time the robot ***municates with its body when it's busy doing its own thing. and when it's ready to coordinate the final chord with me. (music) (applause)
幸运的是，我们终于有钱制造了这样一个机器人。 接下来我给大家看一下同样的表演换成一个情感表现头的效果。 注意一点：
请观察机器人如何根据人的表现即兴发挥，让人知道机器人在做什么。 还有独奏开始时，它是如何做出回应的。 还有独奏开始时，它是如何做出回应的。
(**) 这会儿它正看着我确保我在听。 (**) 我们再看一下这段的最后一部分， 现在机器人正在用它的身体进行沟通， 当它正忙于做它自己的事情时， 忙于准备跟我一起演奏最后的旋律。 (**) (掌声)
thanks. i hope you see how much this totally not how much this part of the body that doesn't touch the instrument actually helps with the musical performance. and at some point, we are in atlanta, so obviously some rapper will ***e into our lab at some point.
and we had this rapper ***e in and do a little jam with the robot. and here you can see the robot basically responding to the beat and notice two things. one, how irresistible it is to join the robot while it's moving its head.
and you kind of want to move your own head when it does it. and second, even though the rapper is really focused on his iphone, as soon as the robot turns to him, he turns back. so even though it's just in the periphery of his vision it's just in the corner of his eye it's very powerful.
and the reason is that we can't ignore physical things moving in our environment. we are wired for that. so, if you have a problem with maybe your partners looking at the iphone too much or their **artphone too much, you might want to have a robot there to get their attention.
(laughter) (music) (applause)
谢谢。我希望你能看到它的头部不碰到乐器其实有助于**表演!既然我们在亚特兰大，我们的试验就不会有说唱歌手了。
既然我们在亚特兰大，我们的试验就不会有说唱歌手了。当说唱歌手来的时候，我们请他和机器人一起表演。在这里你可以看到机器人对节奏的反应。请注意两点。
第一，当这个机器人在摇头晃脑的时候， 你是不是也很想加入其中， 和它一起晃动你的头部第二，虽然这个说唱歌手非常专注于它的苹果手机， 当机器人转向它的时候，他也马上转回来。即使它就在他视线的边缘——他的眼角——它仍然非常强大。这就是为什么我们不能忽视周围物体的运动。
我们天生会这样做。所以如果你的伴侣喜欢看它的苹果或智能手机，也许你需要一个机器人来吸引他们的注意。(笑声) (**) (掌声)
just to introduce the last robot that we've worked on, that came out of something kind of surprising that we found: at some point people didn't care anymore about the robot being so intelligent, and can improvise and listen, and do all these embodied intelligence things that i spent years on developing. they really liked that the robot was enjoying the music.
(laughter) and they didn't say that the robot was moving to the music, they said that the robot was enjoying the music. and we thought, why don't we take this idea, and i designed a new piece of furniture. this time it wasn't a desk lamp; it was a speaker dock.
it was one of those things you plug your **artphone in. and i thought, what would happen if your speaker dock didn't just play the music for you, but it would actually enjoy it too. (laughter) and so again, here are some animation tests from an early stage.
(laughter) and this is what the final product looked like. ("drop it like it's hot") so, a lot of bobbing head. (applause) a lot of bobbing heads in the audience, so we can still see robots influence people.
and it's not just fun and games.
最后，我想介绍一个我们最近正在建造的机器人。 说来也奇怪，我们发现到了某个阶段，人们不再对那些聪明的、 会即兴表演、会聆听、 会做那些我花了多年研究的身体智能表演的机器人感兴趣了。他们真的很喜欢会喜欢它的机器人。
(笑声) 他们没有说这个机器人是随着**扭动身体， 而是说这个机器人在享受**。所以我们想，为什么不借用这个想法，所以我设计了一个新的小家具。这一次，它不是一个灯，而是一个扬声器底座，你可以把你的智能手机。
于是我想，如果这个扬声器底座不仅可以为你放**， 还可以享受**，会怎样(笑声) 这是早期的一些动画尝试。 这是早期的一些动画尝试。 这是最终的成品的样子。
饶舌**不停的点头…… (掌声) 观众那里也有很多人在不停点头， 因此我们可以看到机器人可以影响人。当然，不仅仅是娱乐和游戏。
i think one of the reasons i care so much about robots that use their body to ***municate and use their body to move and i'm going to let you in on a little secret we roboticists are hiding is that every one of you is going to be living with a robot at some point in their life. somewhere in your future there's going to be a robot in your life. and if not in yours, then in your children's lives.
and i want these robots to be to be more fluent, more engaging, more graceful than currently they seem to be. and for that i think that maybe robots need to be less like chess players and more like stage actors and more like musicians. maybe they should be able to take chances and improvise.
and maybe they should be able to anticipate what you're about to do. and maybe they need to be able to make mistakes and correct them, because in the end we are human. and maybe as humans, robots that are a little less than perfect are just perfect for us.
thank you. (applause)
我觉得自己非常热衷研究那些可以用身体沟通、 用身体移动的机器人的一个原因是—— 我告诉你一个只有我们机器人专家知道的秘密—— 我们每一个人在生命的某个阶段都会需要机器人， 你未来的某个阶段会有个机器人。如果不是你的未来，那就是你孩子的未来。我希望这些机器人能比现在更平滑，更吸引人，更优雅。
它可以比现在更平滑，更吸引人，更优雅。因此，我认为机器人不应该像一个棋手，而应该更像一个舞台演员或**家庭。它们应该能够冒险，即兴发挥，甚至**你下一步要做什么。
它们也应该能够犯错误和改正错误，因为归根结底，我们只是人。也许对人类来说，不完美的机器天赋是完美的。 谢谢!
机器人演讲稿【篇2】
各位领导，各位师生，大家好（鞠躬）：
我们是北漳淮学校的段建乐和杨海峰。我们的创意是灭蝇除蟑机器人。 在苍蝇肆虐的夏日，餐桌上，
午睡时，苍蝇的蠕动一定会让你失眠，传播很多疾病。
黑暗中，蟑螂随处可见，传播病菌和致癌物质，叮咬衣服和书籍，损坏电器。苍蝇和蟑螂被列为四大害虫之一，严重危害人们的生产，生活和健康。人工捕杀费时费力，药物防治又污染环境，还可能伤及儿童，所以我们就想做个灭蝇除蟑机器人来帮助人们解除烦恼。
灭蝇灭蟑机器人采用nxt控制器作为大脑和电机驱动
械臂，用一个超声波传感器作为眼睛，一个声音传感器作为耳朵，至于这些黑色的排线，当然就是传入和传出神经了。当然，实际应用中的附件都是拆下用来浇铸的棒形机器人。
当蟑螂爬进可控范围时，超声波传感器就会看到它。当苍蝇落在可控范围内时，
声音传感器也会听到苍蝇的嗡嗡声，感觉声音停止。当控制器收到报告时，它将命令机械臂移动和拍打
它们打完后马上回来准备下一次杀人。
为了保护声音传感器不受其它声音的影响，
为了提高灵敏度，我们需要为灭蝇灭蟑机器人建造一个回声墙，使声音传感器处于回声墙的焦点，
让拍摄区域中的声音尽可能地会聚，以减少其他声音的影响。
苍蝇和蟑螂怎么能不吃不喝就来到这个危险的地方？用饭菜的汤汁涂抹一下可控区域的中心就好了。
我们的演讲完毕，请老师和同学们多提意见帮我们改进，创建清洁舒适的生活环境。谢谢大家。
机器人演讲稿【篇3】
机器人其实离我们并不遥远，虽然我们很多人是从电影、电视、科幻或者是**里面了解的机器人，机器人已经在悄然地改变着我们的世界。在座的各位，没有手机的请举手，有一个，可能今天忘带了。另外，不使用计算机的，我估计几乎也没有。
但是你可以认为移动计算机有两个关键部件，一个是芯片，另一个是显示屏。芯片的制造非常复杂，它需要在真空环境下制造，大家知道在真空环境里，我们人类是不可能进去的，所以现在是机械手在里边操作。再说，你的车现在是谁造的？
汽车工人？实际上，这根本不是。 总共有数千个机器人。我们做胃镜，或者其它的一些检查，已经不用过去传统的那个复杂的、非常吓人的设备了。
现在吃一个胶囊机器人，它可以通过我们肠胃的自然蠕动来进行行走，把过去通过肠镜这种很痛苦、很艰难的诊断方式检测到的东西给检测到了。下课了。你去咖啡店。它已经是一个专门从事餐饮服务的机器人，可以代替服务员为你点餐。像这样，它可以自动行走并与你互动。
还有一种服务是你去养老院。许多老年人的看护者和残疾人的**现在由不同种类的机器人提供服务。说到这里，我的意思是机器人时代已经到来，我们真正进入了机器人时代。
我们分别读机器人的三个单词。前两个词是机器，第二个是人。前半个多世纪发展的是机器，实际上，机器人到今天为止，特别是工业机器人，一直就没脱离机器设备这么一个概念，这有个非常有名的“莫拉维克悖论”。他说恰恰我们人类认为很难的事，比如我们需要计算的，机器人能够很容易实现，现在找一个最普通的pad(平板电脑)做得比我们人类都好。
但到目前为止，机器人还没有我们灵活。这是人类最基本的身体运动，对机器人来说非常困难。所以，未来机器人的发展，更多的可能是要集中在机器人的“人”这个层面上，机器人正处在由机器向“人”转变的这么一个转折点上。
中国的机器人发展，特别是工业机器人的发展起步较晚。国际上可能是在上世纪的60年代左右，工业机器人就已经推向市场使用。上世机器八十年代，机器人开始大量使用。
那么中国搞机器人，特别是工业机器人，做产业，我们可能仅仅只有几年的时间，但是今天中国有一个最大的优势，就是在2013年的时候，中国突然成为了全球机器人最大的市场。中国也就是在三到四年的时间里在机器人这一块出现了一个新的井喷。到目前为止，中国的机器人企业可能已经超过数千家。
就三年的时间，继当年的风电、光电之后，又一个“发疯”的领域或者产业诞生了。中国也已成为世界上竞争最激烈的战场之一。
你们中的许多人可能会责骂我使用机器人。 我们甚至找不到工作。 我说那是肯定的。未来的**，一般技能的，还不讲低技能的，就是到技师、专业工程师这个水平的，很多这一类的岗位完全可以被机器人替代。像小sa一样，我认为这是五年的生命周期。
在未来，很多这样的工作，包括我们刚刚谈到的医疗，都将被机器人取代。现在技术一方面不再是主要问题，而主要是伦理问题。
说到这儿，大家可能会说，你讲了这么多，那你为什么要做机器人？实际上，我是中国第一位机器人学研究生。 我的导师是蒋新松院士，他是最早建立机器人技术的人。几乎在全世界，每个男孩都有一个机器人梦。你有什么我不知道的，有人鼓掌。
所以我开始学机器人是因为，在20世纪80年代初，我不懂，也没有机器人。其实，我说的是我的一些童年，非常简单的感觉，感觉，一个梦。为什么男孩有机器人梦？
因为男孩相对来说，第
一、比较调皮，不受约束；另外，这个男孩还有一个问题：懒惰，很多事情不想做，学习、工作最好有个机器人给我做。我说的这些都是非常朴素的想象，但是后来真的读研究生的时候，发现还有机器人学，这很神奇，但是连什么是机器人都不懂。
当我在德国学习时，我去了大众沃尔夫斯堡，看到汽车工厂里有成千上万的机器人。不像我们通常说的机器人，它是想象中的东西，或者是我们每天按公式推的东西。现场几乎没有人，全是机器人，这让我震惊，也坚定了我的信心。
机器人不仅仅是我们在实验室里做的事情。他们离我们的生活太远了。
我是在1994年停止留学回国的。那时，我的导师说你应该回来。中国也可能进入机器人应用的起步时代。在这后面，有几个大的事件对我们触动也特别大。当时中国的金杯利用的移动机器人是从国外引进的一条线，后来移动机器人对中国不进口了，整个生产线瘫痪()了。
他们说如果你制造机器人，你能解决这个问题吗？通过在工厂的组合，我们研究的移动机器人首次应用于汽车生产线上。后来，韩国三星公司买下了我们的技术。当时，它以40万美元的****图纸和磁盘。我说这东西可以卖钱。
更关键的是，90年代，我们中国人的成果和技术，对于韩国三星来说也是如雷贯耳，所以他们把中国的技术买走了。这增强了我们的信心。中国人并不无能。
机器人的时代已经来临，它的来临标志着我们在材料、络、数据 、ai(人工智能)、感知等方面也已经开始蓬勃发展。我们现在正处在一个大变革的时代，所以说在座的各位都是幸运的，你们赶上了一个伟大的时代，有一个伟大的机遇在等待着你。所以在这个机遇下，我们如何来发展，如何来成就自己，如何来创业，如何来创造人生的辉煌，一切都掌握在我们自己的手里。
谢谢大家。
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