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Rear Adm. Matthew Klunder, chief of the Office of Naval Research, points out that a maneuver that required 40 people had just dropped down to just one. "Think about it as replicating the functions that a human boat pilot would do. We've taken that capability and extended it to multiple [unmanned surface vehicles] operating together within that, we've designed team behaviors," says Robert Brizzolara. The timing of the briefing happens to coincide with the 14-year anniversary of the bombing of the USS Cole off the coast of Yemen that killed 17 sailors. It's an anniversary that Klunder observes with a unique sense of responsibility. "If we had this capability there on that day. We could have saved that ship. I never want to see the USS Cole happen again."
The fluid then squirts out through a rear-facing nozzle as the membrane contracts. To the team's surprise, the robot reached speeds of 10 body lengths per second with a peak acceleration of 14 body lengths per second squared. That's unprecedented in an underwater vehicle of this kind. What's more, the peak force experienced by the robot was 30 per cent greater than the thrust generated by the jet. The team think they know why and say the new technique could be used to design bigger subs capable of even more impressive octopus-like feats.
Theater is not an arena that we typically associate with robots, however, artists, musicians and producers are often early adopters and innovative users of emerging technologies. In fact, robots got their name from the 1920 play, R.U.R., by the Czech playwright, Karel Capek. An article in the Huffington Post describes a panel discussion at the National Academy of Science in June that featured the producers of three recent plays that starred robots. The plays highlight our robot anxieties, while offering new visions for human-robot interactions in the future.