Do Chatbots Dream of Androids? Prospects for the Technological Development of Artificial Intelligence and Robotics

The article discusses the main trends in the development of artificial intelligence systems and robotics (AI&R). The main question that is considered in this context is whether artificial systems are going to become more and more anthropomorphic, both intellectually and physically. In the current article, the author analyzes the current state and prospects of technological development of artificial intelligence and robotics, and also determines the main aspects of the impact of these technologies on society and economy, indicating the geopolitical strategic nature of this influence. The author considers various approaches to the definition of artificial intelligence and robotics, focusing on the subject-oriented and functional ones. It also compares AI&R abilities and human abilities in areas such as categorization, pattern recognition, planning and decision making, etc. Based on this comparison, we investigate in which areas AI&R’s performance is inferior to a human, and in which cases it is superior to one. The modern achievements in the field of robotics and artificial intelligence create the necessary basis for further discussion of the applicability of goal setting in engineering, in the form of a Turing test. It is shown that development of AI&R is associated with certain contradictions that impede the application of Turing’s methodology in its usual format. The basic contradictions in the development of AI&R technologies imply that there is to be a transition to a post-Turing methodology for assessing engineering implementations of artificial intelligence and robotics. In such implementations, on the one hand, the ‘Turing wall’ is removed, and on the other hand, artificial intelligence gets its physical implementation

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

The telematic dress: Evolving garments and distributed proprioception in streaming media and fashion performance

Centered around several short films from streaming performances created in 2005, this paper explores new ideas for movement technologies and garment design in an arts and digital research context. The "telematic dress" project, developed at the DAP Lab in Nottingham, involves transdisciplinary intersections between fashion and live performance, interactive system architecture, electronic textiles, wearable technologies, choreography, and anthropology. The concept on an evolving garment design that is materialized (moved) in live performance originates from DAP Lab's experimentation with telematics and distributed media (http://art.ntu.ac. uk/performance_research/birringer/dap.htm] addressing "connective tissues" through a study of perception/proprioception in the wearer (tactile sensory processing) and the dancer/designer/viewer relationship. This study is conducted as cross-cultural communication with online performance partners in Europe, the US, Brazil and Japan. The inter-active space is predicated on transcultural questions: how does the movement with an evolving design and wearable interactive sensors travel, how does movement - and capturing of movement - allow the design to emerge toward a garment statement, and how are bodies-in-relation-to sensory fabrics affected by the multidimensional kinesthetics of a media-rich, responsive environment

Art and Medicine: A Collaborative Project Between Virginia Commonwealth University in Qatar and Weill Cornell Medicine in Qatar

Four faculty researchers, two from Virginia Commonwealth University in Qatar, and two from Weill Cornell Medicine in Qatar developed a one semester workshop-based course in Qatar exploring the connections between art and medicine in a contemporary context. Students (6 art / 6 medicine) were enrolled in the course. The course included presentations by clinicians, medical engineers, artists, computing engineers, an art historian, a graphic designer, a painter, and other experts from the fields of art, design, and medicine. To measure the student experience of interdisciplinarity, the faculty researchers employed a mixed methods approach involving psychometric tests and observational ethnography. Data instruments included pre- and post-course semi-structured audio interviews, pre-test / post-test psychometric instruments (Budner Scale and Torrance Tests of Creativity), observational field notes, self-reflective blogging, and videography. This book describes the course and the experience of the students. It also contains images of the interdisciplinary work they created for a culminating class exhibition. Finally, the book provides insight on how different fields in a Middle Eastern context can share critical /analytical thinking tools to refine their own professional practices

Can Computers Create Art?

This essay discusses whether computers, using Artificial Intelligence (AI), could create art. First, the history of technologies that automated aspects of art is surveyed, including photography and animation. In each case, there were initial fears and denial of the technology, followed by a blossoming of new creative and professional opportunities for artists. The current hype and reality of Artificial Intelligence (AI) tools for art making is then discussed, together with predictions about how AI tools will be used. It is then speculated about whether it could ever happen that AI systems could be credited with authorship of artwork. It is theorized that art is something created by social agents, and so computers cannot be credited with authorship of art in our current understanding. A few ways that this could change are also hypothesized.Comment: to appear in Arts, special issue on Machine as Artist (21st Century

Robo-ethics design approach for cultural heritage: Case study - Robotics for museum purpose

The thesis shows the study behind the design process and the realization of the robotic solution for museum purposes called Virgil. The research started with the literature review on museums management and the critic analysis of signi cant digital experiences in the museum eld. Then, it continues analyzing the museum and its relation with the territory and the cultural heritage. From this preliminary analysis stage, signi cant issue related to museum management analysis comes out: nowadays many museum areas are not accessible to visitors because of issues related to security or architectural barriers. Make explorable these areas is one of the important topics in the cultural debate related to the visiting experience. This rst stage gave the knowledge to develop the outlines which brought to the realization of an ef cient service design then realized following robot ethical design values. One of the pillars of the robot ethical design is the necessity to involve all the stakeholders in the early project phases, for this reason, the second stage of the research was the study of the empathic relations between museum and visitors. In this phase, facilitator factors of this relation are de ned and transformed into guidelines for the product system performances. To perform this stage, it has been necessary create a relation between all the stakeholders of the project, which are: Politecnico di Torino, Tim (Telecom Italia Mobile) JOL CRAB research laboratory and Terre dei Savoia which is the association in charge of the Racconiggi’s Castle, the context scenario of the research. The third stage of the research, provided the realization of a prototype of the robot, in this stage telepresence robot piloted the Museum Guide it is used to show, in real time, the inaccessible areas of the museum enriched with multimedia contents. This stage concludes with the nal test user, from the test session feedback analysis, many of people want to drive themselves the robot. To give an answer to user feedback an interactive game has been developed. The game is based both on the robot ability to be driven by the visitors and also on the capacity of the robot to be used as a platform for the digital telling. To be effective, the whole experience it has been designed and tested with the support of high school students, which are one of the categories less interested in the traditional museum visit. This experience wants to demonstrate that the conscious and ethical use of the robotic device is effectively competitive, in term of performances, with the other solutions of digital visit: because it allows a more interactive digital experience in addition to the satisfaction of the physical visit at the museum

Performing Graffiti: The Use of Electronically and Digitally Modified Graffiti in Activist Art Practices

The role of the artist has expanded. Artworks increasingly occupy spaces not traditionally allocated for artistic practice. The materials and methods used for creative expression, along with the use of new spaces for the production, exhibition, and distribution of artistic activity work together to break down previous notions of the function of art. An example of a new mode for art practice may be seen in an increased use of technology by artists. Although artists have addressed technology and mechanization as subjects of their work since at least the Industrial Revolution, new artworks employ technology not only as a theme within their practice, but take advantage of technology increasingly ubiquitous presence. Digital and mechanical materials are incorporated into works that seek to encourage audience participation and promote community oriented interaction. Likewise, scientists and engineers are increasingly employing design strategies in the display and organization of data and in the construction of engaging models and mockups. An increasing number of artist are including technology within their artistic practice to address larger social and political issues, using technology as both a material and a symbol. This paper seeks to illustrate these new trends in art-making, focusing on works that meld graffiti with electronic and digital media as a means to initiate public interaction. The specific projects discussed, Laser Tag,\u27 by the Graffiti Research Lab, \u27Graffiti Writer,\u27 by the Institute for Applied Autonomy, and \u27Grafedia,\u27 by John Geraci, all uniquely combine graffiti and technology in works aimed at facilitating the artists\u27 social activist goals. Each project provides an example of artists and collectives working within the tradition of political art but by means of new methods and a variety of mediums. Laser Tag\u27s use of laser and projection technology, Graffiti Writer\u27s robotics, and Grafedia\u27s employment of the Internet illustrate the variety of methods explored in this form of art activism. These artists use graffiti and electronic and digital technologies both as materials and symbols of the powerful and the powerless to critique institutional, corporate, and governmental control. Due to the transformation of graffiti and technology, combined with an interest in initiating interaction as a means for social activism, the works discussed inhabit a unique realm that is not wholly dictated by art, technology, or activist practices, but rather they occupy a space that is an amalgamation of these distinct areas akin to performance art.\u2