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				Meller is overseeing the final stages of her construction by 
				engineers at Cornwall-based Engineered Arts.
 He calls Ai-Da - named after British mathematician and computer 
				pioneer Ada Lovelace - the world's first "AI ultra-realistic 
				robot artist", and his ambition is for her to perform like her 
				human equivalents.
 
 "She's going to actually be drawing and we're hoping to then 
				build technology for her to paint," Meller said after seeing Ai-Da's 
				prosthetic head being carefully brought to life by specialists 
				individually attaching hairs to form her eyebrows.
 
 "But also as a performance artist she'll be able to engage with 
				audiences and actually get messages across; asking those 
				questions about technology today."
 
 Her skeletal robotic head may stand disembodied on a workbench, 
				but her movements are very much alive.
 
 Cameras in each of her eyeballs recognize human features - she 
				will make eye contact and follow you around the room, opening 
				and closing her mouth as you do. Get too close and she'll back 
				away, blinking, as if in shock.
 
 Ai-Da's makers say she will have a "RoboThespian" body with 
				expressive movements and she will talk and answer questions.
 
 "There's AI (artificial intelligence) running in the computer 
				vision that allows the robot to track faces to recognize facial 
				features and to mimic your expression," said Marcus Hold, Design 
				& Production Engineer at Engineered Arts.
 
 Ai-Da's makers are using "Mesmer" life-like robot technology for 
				her head, and once finished she will have a mixed race 
				appearance with long dark hair, silicone skin and 3D printed 
				teeth and gums.
 
 "(Mesmer) brings together the development of software mechanics 
				and electronics to produce a lifelike face with lifelike 
				gestures in a small human sized package," Hold said.
 
 Ai-Da will present her inaugural exhibition "Unsecured Futures" 
				in May at the University of Oxford, and her sketches will go on 
				display in London in November.
 
 (Reporting by Matthew Stock; writing by Marie-Louise Gumuchian; 
				editing by John Stonestreet)
 
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