es its entry (albeit a twelve-bit, limited device). But rather than “intelligence,” Thnatowicz sought to make an avatar of affective behavior. Key to Senster ’s uncanny success was the programming with which Ihnatowicz constrained the fifteen-foot-long hydraulic apparatus (its hinge design and looming appe

to recoil at loud noises and sudden aggressive movements. Only those humans willing to speak softly and modulate their gestures would be rewarded by Senster’s quiet, inquisitive approach—an experience that became real for Thnatowicz himself when he first assembled the program and the machine turned to him

es its entry (albeit a twelve-bit, limited device). But rather than “intelligence,” Thnatowicz sought to make an avatar of affective behavior. Key to Senster ’s uncanny success was the programming with which Ihnatowicz constrained the fifteen-foot-long hydraulic apparatus (its hinge design and looming appe

to recoil at loud noises and sudden aggressive movements. Only those humans willing to speak softly and modulate their gestures would be rewarded by Senster’s quiet, inquisitive approach—an experience that became real for Thnatowicz himself when he first assembled the program and the machine turned to him