Robotics in Germany and Japan

This book comprehends an intercultural and interdisciplinary framework including current research fields like Roboethics, Hermeneutics of Technologies, Technology Assessment, Robotics in Japanese Popular Culture and Music Robots. Contributions on cultural interrelations, technical visions and essays are rounding out the content of this book

From industrial robots to androids

Tato bakalářská práce je zaměřena na téma robotiky. V teoretické části se stručně zabývá pojmem robot a popisuje historii robotiky, od nejprimitivnějších vynálezů až po dnešní androidy. Věnuje se zejména těm nejvýznamnějším milníkům v průběhu historie. Dále se zabývá problematikou společenských robotů. Zaměřuje se na to, co dělá robota společenským a řeší nejrůznější designové a etické problémy spojené s konstrukcí takového druhu robota. Poslední část se zabývá legálními a etickými problémy v robotice podle Evropského parlamentu. V praktické části jsou prezentovány výsledky dotazníkového průzkumu.This bachelor’s thesis is focused on the theme of robotics. In the theoretical part, it briefly introduces the term robot and then it describes history of robotics from the most primitive inventions to today’s androids. It mainly focuses on the most significant milestones throughout the history. The next part aids at the problematics of sociable robots. It describes the aspects of sociable robots and deals with various design and ethical issues associated with the construction of a sociable robot. The last part deals with legal and ethical problems according to the European Parliament. In the practical part, results of the questionnaire survey are presented.

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

RAZVOJ ROBOTA KROZ POVIJEST DO „DA VINCIJEVOG ROBOTA“

Da Vinci robot is increasingly used for operations adding the advantages of robots to the favor of medicine. This is a historical article with the aim to present the evolution of robots in the medical area from the time of ancient myths to Renaissance and finally to the current revolutionary applications. We endeavored to collect several elegant narratives on the topic. The use of imagination could help the reader to find similarities. A trip from the Greek myths of Hephaestus through Aristotle and Leonardo Da Vinci to the robots of Karel Capek and Isaac Asimov and finally the invention of the medical robots is presented.Da Vincijev robot se sve više koristi za operacije iskorištavajući prednosti robota u korist medicine. Ovo je povijesni članak u kojemu je cilj predstaviti evoluciju robota u medicini od vremena drevnih mitova do renesanse i konačno do sadašnjih revolucionarnih aplikacija. Nastojali smo prikupiti nekoliko elegantnih priča na tu temu. Korištenje imaginacije može pomoći čitatelju pronaći sličnosti. Predstavljeno je putovanje od grčkih mitova o Hefestu preko Aristotela i Leonarda da Vincija do robota Karela Čapeka i Isaaca Asimova te konačno izuma medicinskih robota

An investigation into the construction of an animatronic model.

This thesis investigates the development of an animatronic robot with the objective of showing how modern animatronic models created as special effects have roots in models created during the scientific and mechanical revolution of the 17th and 18th centuries. It is noted that animatronic models that are available today have not been described in any great detail and most are covered by industrial secrecy. This project utilises technologies developed during the latter part of the 20th century and into the beginning of the 21st century to create the design of the animatronic robot. The objective of the project is to bring effective designs for animatronic robots into the public domain. The project will investigate a large variety of different mechanisms and apply them to various functioning parts of the model, with the design and method of each of these functions discussed. From this, one main part of the project, the jaw, will receive the focus of construction. Once the construction is complete this will be evaluated against what improvements and changes could be made for future iterations, with a revised design produced based on what has been learned

Timbral Learning for Musical Robots

abstract: The tradition of building musical robots and automata is thousands of years old. Despite this rich history, even today musical robots do not play with as much nuance and subtlety as human musicians. In particular, most instruments allow the player to manipulate timbre while playing; if a violinist is told to sustain an E, they will select which string to play it on, how much bow pressure and velocity to use, whether to use the entire bow or only the portion near the tip or the frog, how close to the bridge or fingerboard to contact the string, whether or not to use a mute, and so forth. Each one of these choices affects the resulting timbre, and navigating this timbre space is part of the art of playing the instrument. Nonetheless, this type of timbral nuance has been largely ignored in the design of musical robots. Therefore, this dissertation introduces a suite of techniques that deal with timbral nuance in musical robots. Chapter 1 provides the motivating ideas and introduces Kiki, a robot designed by the author to explore timbral nuance. Chapter 2 provides a long history of musical robots, establishing the under-researched nature of timbral nuance. Chapter 3 is a comprehensive treatment of dynamic timbre production in percussion robots and, using Kiki as a case-study, provides a variety of techniques for designing striking mechanisms that produce a range of timbres similar to those produced by human players. Chapter 4 introduces a machine-learning algorithm for recognizing timbres, so that a robot can transcribe timbres played by a human during live performance. Chapter 5 introduces a technique that allows a robot to learn how to produce isolated instances of particular timbres by listening to a human play an examples of those timbres. The 6th and final chapter introduces a method that allows a robot to learn the musical context of different timbres; this is done in realtime during interactive improvisation between a human and robot, wherein the robot builds a statistical model of which timbres the human plays in which contexts, and uses this to inform its own playing.Dissertation/ThesisDoctoral Dissertation Media Arts and Sciences 201

Design for Child-Robot Play The implications of Design Research within the field of Human-Robot Interaction studies for Children

This thesis investigates the intersections of three disciplines, that are Design Research, Human-Robot Interaction studies, and Child Studies. In particular, this doctoral research is focused on two research questions, namely, what is (or might be) the role of design research in HRI? And, how to design acceptable and desirable child-robot play applications? The first chapter introduces an overview of the mutual interest between robotics and design that is at the basis of the research. On the one hand, the interest of design toward robotics is documented through some exemplary projects from artists and designers that speculate on the human-robot coexistence condition. Vice versa, the robotics interest toward design is documented by referring to some tracks of robotic conferences, scienti c workshops and robotics journals which focused on the design-robotics relationship. Finally, a brief description of the background conditions that characterized this doctoral research are introduced, such as the fact of being a research founded by a company. The second chapter provides an overview of the state of the art of the intersections between three multidisciplinary disciplines. First, a de nition of Design Research is provided, together with its main trends and open issues. Then, the review focuses on the contribution of Design Research to the HRI eld, which can be summed up in actions focused on three aspects: artefacts, stakeholders, and contexts. This is followed by a focus on the role of Design Research within the context of children studies, in which it is possible to identify two main design-child relationships: design as a method for developing children’s learning experiences; and children as part of the design process for developing novel interactive systems. The third chapter introduces the Research through Design (RtD) approach and its relevance in conducting design research in HRI. The proposed methodology, based on this approach, is particularly characterized by the presence of design explorations as study methods. These, in turn, are developed through a common project’s methodology, also reported in this chapter. The fourth chapter is dedicated to the analysis of the scenario in which the child-robot interaction takes place. This was aimed at understanding what is edutainment robotics for children, its common features, how it relates to existing children play types, and where the interaction takes place. The chapter provides also a focus on the relationship between children and technology on a more general level, through which two themes and relative design opportunities were identi ed: physically active play and objects-to-think-with. These were respectively addressed in the two design explorations presented in this thesis: Phygital Play and Shybo. The Phygital Play project consists of an exploration of natural interaction modalities with robots, through mixed-reality, for fostering children’s active behaviours. To this end, a game platform was developed for allowing children to play with or against a robot, through body movement. Shybo, instead, is a low-anthropomorphic robot for playful learning activities with children that can be carried out in educational contexts. The robot, which reacts to properties of the physical environment, is designed to support different kinds of experiences. Then, the chapter eight is dedicated to the research outcomes, that were de ned through a process of reflection. The contribution of the research was analysed and documented by focusing on three main levels, namely: artefact, knowledge and theory. The artefact level corresponds to the situated implementations developed through the projects. The knowledge level consists of a set of actionable principles, emerged from the results and lessons learned from the projects. At the theory level, a theoretical framework was proposed with the aim of informing the future design of child- robot play applications. Thelastchapterprovidesa naloverviewofthe doctoral research, a series of limitations regarding the research, its process and its outcomes, and some indications for future research

INSAM Journal of Contemporary Music, Art and Technology 2

The subject of machine learning and creativity, as well as its appropriation in arts is the focus of this issue with our Main theme of – Artificial Intelligence in Music, Arts, and Theory. In our invitation to collaborators, we discussed our standing preoccupation with the exploration of technology in contemporary theory and artistic practice. The invitation also noted that this time we are encouraged and inspired by Catherine Malabou’s new observations regarding brain plasticity and the metamorphosis of (natural and artificial) intelligence. Revising her previous stance that the difference between brain plasticity and computational architecture is not authentic and grounded, Malabou admits in her new book, Métamorphoses de l'intelligence: Que faire de leur cerveau bleu? (2017), that plasticity – the potential of neuron architecture to be shaped by environment, habits, and education – can also be a feature of artificial intelligence. “The future of artificial intelligence,” she writes, “is biological.” We wanted to provoke a debate about what machines can learn and what we can learn from them, especially regarding contemporary art practices. On this note, I am happy to see that our proposition has provoked intriguing and unique responses from various different disciplines including: theory of art, aesthetics of music, musicology, and media studies. The pieces in the (Inter)view section deal with machine and computational creativity, as well as the some of the principles of contemporary art. Reviews give us an insight into a couple of relevant reading points for this discussion and a retrospective of one engaging festival that also fits this theme

Interactive physical agents for story gathering

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2010.Cataloged from PDF version of thesis.Includes bibliographical references (p. 117-118).Robots are typically thought of as autonomous devices which require little to no human interaction to complete their goals. In this study we investigated what would happen if the success of a robot was contingent upon its interaction with a human. How do we leverage humans to make robots more intelligent, efficient and successful? Is it worth it to involve human heavily in the goals of a system? This thesis we presents a method for the creation of a physical agent to facilitate interaction and documentary gathering within a ubiquitous media framework as a method for studying human dependent systems. We built a robot and sent it out to autonomously capture stories about its environment. The robot had a specific story capture goal and leveraged humans to attain that goal. The robot gathered a 1st person view of stories unfolding in real life. We evaluated this agent by way of determining "complete" vs. "incomplete" interactions. "Complete" interactions were those that generated viable and interesting videos, which could be edited together into a larger narrative. It was found that 30% of the interactions captured were "complete" interactions. Results suggested that changes in the system would only produce incrementally more "complete" interactions, as external factors like natural bias or busyness of the user come into play. The types of users who encountered the robot were fairly polar; either they wanted to interact or did not - very few partial interactions went on for more than 1 minute. Users who partially interacted with the robot were found to treat it rougher than those who completed the full interaction. It was also determined that this type of limited-interaction system is best suited for short-term interactions. At the end of the study, a movie was produced from the videos captured, proving that they were viable for story-making.by Alexander James Reben.S.M