Robert Playter

And that's a little bit of an art, I think.

Or maybe it's just tapping into a knowledge that you have deep in your body and then trying to express that in the machine.

But that's an intuition that's a little bit more on the art side.

Maybe it predates your knowledge.

Before you have the knowledge of how to control it, you try to work through the art channel.

And humanoids sort of make that available to you.

If it had been a different shape, maybe you wouldn't have had the same intuition about it.

Yeah, it might be hard to actually articulate exactly.

There's something about, and being a competitive athlete, there's something about seeing movement.

A coach, one of the greatest strengths a coach has is being able to see some little change in what the athlete is doing and then being able to articulate that to the athlete.

And then maybe even trying to say, and you should try to feel this.

So there's something just in seeing, and again, you know, sometimes it's hard to articulate what it is you're seeing, but there's a, just perceiving the motion at a rate that is, again, sometimes hard to put into words.

We think, and part of the reason why people are attracted to the machines we build is because the inherent dynamics of movement are closer to right.

Because we try to use walking gates or we build a machine around this gate where you're trying to work with the dynamics of the machine instead of to stop them.

Some of the early walking machines,

You're essentially, you're really trying hard to not let them fall over, and so you're always stopping the tipping motion.

And sort of the insight of dynamic stability in a legged machine is to go with it.

Let the tipping happen.

Let yourself fall, but then catch yourself with that next foot.

And there's something about getting those physics to be expressed in the machine that people interpret as