Machine Performers: Agents in a Multiple Ontological State

In this thesis, the author explores and develops new attributes for machine performers and merges the trans-disciplinary fields of the performing arts and artificial intelligence. The main aim is to redefine the term “embodiment” for robots on the stage and to demonstrate that this term requires broadening in various fields of research. This redefining has required a multifaceted theoretical analysis of embodiment in the field of artificial intelligence (e.g. the uncanny valley), as well as the construction of new robots for the stage by the author. It is hoped that these practical experimental examples will generate more research by others in similar fields. Even though the historical lineage of robotics is engraved with theatrical strategies and dramaturgy, further application of constructive principles from the performing arts and evidence from psychology and neurology can shift the perception of robotic agents both on stage and in other cultural environments. In this light, the relation between representation, movement and behaviour of bodies has been further explored to establish links between constructed bodies (as in artificial intelligence) and perceived bodies (as performers on the theatrical stage). In the course of this research, several practical works have been designed and built, and subsequently presented to live audiences and research communities. Audience reactions have been analysed with surveys and discussions. Interviews have also been conducted with choreographers, curators and scientists about the value of machine performers. The main conclusions from this study are that fakery and mystification can be used as persuasive elements to enhance agency. Morphologies can also be applied that tightly couple brain and sensorimotor actions and lead to a stronger stage presence. In fact, if this lack of presence is left out of human replicants, it causes an “uncanny” lack of agency. Furthermore, the addition of stage presence leads to stronger identification from audiences, even for bodies dissimilar to their own. The author demonstrates that audience reactions are enhanced by building these effects into machine body structures: rather than identification through mimicry, this causes them to have more unambiguously biological associations. Alongside these traits, atmospheres such as those created by a cast of machine performers tend to cause even more intensely visceral responses. In this thesis, “embodiment” has emerged as a paradigm shift – as well as within this shift – and morphological computing has been explored as a method to deepen this visceral immersion. Therefore, this dissertation considers and builds machine performers as “true” performers for the stage, rather than mere objects with an aura. Their singular and customized embodiment can enable the development of non-anthropocentric performances that encompass the abstract and conceptual patterns in motion and generate – as from human performers – empathy, identification and experiential reactions in live audiences

Grief machines: Transhumanist theatre, digital performance, pandemic time

This essay examines some of the ways in which mediatized theatre has grieved for live performance during the coronavirus pandemic, with the mourning of live arts, shared physical experience, and human life intertwined. Focusing on Dead Centre's production To Be a Machine (Version 1.0), which was originally presented as part of Dublin Theatre Festival in 2020, it considers the relationship between theatrical performance mediatized to screens in our largely quarantined domestic spaces and the everyday scenes of living and dying, longing and grieving, which also became abruptly confined to the same surfaces. Focusing on a digital dramaturgy of disembodied heads, the essay explores how grief plays out in anxieties of bodily loss, fragmentation, and dematerialization, and how these concerns have deeper roots in histories of digital culture, AI-enhanced technology and artistic responses, and turn of the twentieth-century stage experimentation. The essay ultimately argues that mediatized theatre not only replicates and reinforces some of the more difficult deprivations of pandemic time, which are prefigured in some of modernity's concerns, but in responding reflexively and reflecting critically on those same conditions, it can offer some strategies for navigating the borders between departed and emergent ways of living and performing

The status and function of Inanimate \u27object-actors\u27 in cyborg theatre

 This practice-led research investigates the relationships between human and technological actors in theatre with specific reference to theatrical presence.The research proposes to advance knowledge in the fields of directing and theatre making by putting forward new strategies for directing actors who perform with computer-based technologies

Nouvelles archives de l’infamie : la mélancolie des androïdes

Cet article porte sur les figures de l’androïde et de l’alien dans deux films de science-fiction contemporains (Sayonara de Kôji Fukada et Under the Skin de Jonathan Glazer), nouvelles figures de l’infamie dont la présence à l’écran suggère un renversement ontologique entre les catégories de sujet et d’objet et questionne la violence sociale et politique des sociétés contemporaines.This article considers the presence of the android and the alien in two recent science-fiction films (Sayonara by Kôji Fukada and Under the Skin by Jonathan Glazer) as new forms of infamy, through the ontological reversal of the categories of object and subject, as well as the questioning of the social and political violence of modern societies

Acting Objects: Staging New Materialism, Posthumanism and the Ecocritical Crisis in Contemporary Performance

I investigate the material relationship between human and nonhuman objects in performance, asking what their shifting relations reveal about our contemporary condition. Through analysis of contemporary theatre and performance and theories of new materialism, I aim to uncover the dramaturgical models that shift focus towards the agency of objects, thereby exposing alternate models of relationality. Grounded in sensual interactions generated through the performance event, these relations are equipped to develop an expanded sensibility and responsivity in the human. Additionally, I examine how these events enable experiences of the body where the body is both actor and acted upon. Furthermore, I consider the significance of these embodied experiences and a sense of solidarity with objects on feelings of anxiety that characterize the multiple senses of contemporary eco-crisis, climate, and technology. I argue that performance serves as a site in which to better understand our changing subject position, to imagine alternative human/nonhuman relationships, and to offer suggestions toward a more creative and affirmative posthuman experience

The Machine Gun Hand: Robots, Performance, and American Ideology in the Twentieth Century

Twentieth-century Marxist philosopher Louis Althusser argued in his famous essay “Ideology and Ideological State Apparatuses” that capitalism reproduces itself by interpellating individuals as subjects. For Althusser, the subject has a dual definition: a person who imagines him or herself to be a free subject who then “chooses” capitalism, and a person who, once they have “chosen” capitalism, gives up their free will to the Subject (Law, God, Authority, the State). This dual definition of the subject mirrors the dual definition of “robot.” A robot is both a mechanical being that moves on its own and a person who acts in a mechanical way. By situating humans as “not robots,” I argue that narratives and performances of robots function as tools for the reproduction of capital. This dissertation examines four historical moments in the United States—the 1939 New York World\u27s Fair, the 1960s automation debates, the end of the Cold War, and the turn of the millennium—to argue that robots in performance serve an important ideological function: to convince us that we, unlike robots, are free subjects

Bringing Human Robot Interaction towards _Trust and Social Engineering

Robots started their journey in books and movies; nowadays, they are becoming an important part of our daily lives: from industrial robots, passing through entertainment robots, and reaching social robotics in fields like healthcare or education. An important aspect of social robotics is the human counterpart, therefore, there is an interaction between the humans and robots. Interactions among humans are often taken for granted as, since children, we learn how to interact with each other. In robotics, this interaction is still very immature, however, critical for a successful incorporation of robots in society. Human robot interaction (HRI) is the domain that works on improving these interactions. HRI encloses many aspects, and a significant one is trust. Trust is the assumption that somebody or something is good and reliable; and it is critical for a developed society. Therefore, in a society where robots can part, the trust they could generate will be essential for cohabitation. A downside of trust is overtrusting an entity; in other words, an insufficient alignment of the projected trust and the expectations of a morally correct behaviour. This effect could negatively influence and damage the interactions between agents. In the case of humans, it is usually exploited by scammers, conmen or social engineers - who take advantage of the people's overtrust in order to manipulate them into performing actions that may not be beneficial for the victims. This thesis tries to shed light on the development of trust towards robots, how this trust could become overtrust and be exploited by social engineering techniques. More precisely, the following experiments have been carried out: (i) Treasure Hunt, in which the robot followed a social engineering framework where it gathered personal information from the participants, improved the trust and rapport with them, and at the end, it exploited that trust manipulating participants into performing a risky action. (ii) Wicked Professor, in which a very human-like robot tried to enforce its authority to make participants obey socially inappropriate requests. Most of the participants realized that the requests were morally wrong, but eventually, they succumbed to the robot'sauthority while holding the robot as morally responsible. (iii) Detective iCub, in which it was evaluated whether the robot could be endowed with the ability to detect when the human partner was lying. Deception detection is an essential skill for social engineers and professionals in the domain of education, healthcare and security. The robot achieved 75% of accuracy in the lie detection. There were also found slight differences in the behaviour exhibited by the participants when interacting with a human or a robot interrogator. Lastly, this thesis approaches the topic of privacy - a fundamental human value. With the integration of robotics and technology in our society, privacy will be affected in ways we are not used. Robots have sensors able to record and gather all kind of data, and it is possible that this information is transmitted via internet without the knowledge of the user. This is an important aspect to consider since a violation in privacy can heavily impact the trust. Summarizing, this thesis shows that robots are able to establish and improve trust during an interaction, to take advantage of overtrust and to misuse it by applying different types of social engineering techniques, such as manipulation and authority. Moreover, robots can be enabled to pick up different human cues to detect deception, which can help both, social engineers and professionals in the human sector. Nevertheless, it is of the utmost importance to make roboticists, programmers, entrepreneurs, lawyers, psychologists, and other sectors involved, aware that social robots can be highly beneficial for humans, but they could also be exploited for malicious purposes

Voicing Kinship with Machines: Diffractive Empathetic Listening to Synthetic Voices in Performance.

This thesis contributes to the field of voice studies by analyzing the design and production of synthetic voices in performance. The work explores six case studies, consisting of different performative experiences of the last decade (2010- 2020) that featured synthetic voice design. It focusses on the political and social impact of synthetic voices, starting from yet challenging the concepts of voice in the machine and voice of the machine. The synthetic voices explored are often playing the role of simulated artificial intelligences, therefore this thesis expands its questions towards technology at large. The analysis of the case studies follows new materialist and posthumanist premises, yet it tries to confute the patriarchal and neoliberal approach towards technological development through feminist and de-colonial approaches, developing a taxonomy for synthetic voices in performance. Chapter 1 introduces terms and explains the taxonomy. Chapter 2 looks at familiar representations of fictional AI. Chapter 3 introduces headphone theatre exploring immersive practices. Chapters 4 and 5 engage with chatbots. Chapter 6 goes in depth exploring Human and Artificial Intelligence interaction, whereas chapter 7 moves slightly towards music production and live art. The body of the thesis includes the work of Pipeline Theatre, Rimini Protokoll, Annie Dorsen, Begüm Erciyas, and Holly Herndon. The analysis is informed by posthumanism, feminism, and performance studies, starting from my own practice as sound designer and singer, looking at aesthetics of reproduction, audience engagement, and voice composition. This thesis has been designed to inspire and provoke practitioners and scholars to explore synthetic voices further, question predominant biases of binarism and acknowledge their importance in redefining technology