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

Habitual reflexivity and skilled action

Theorists have used the concept habitus to explain how skilled agents are capable of responding in an infinite number of ways to the infinite number of possible situations that they encounter in their field of practice. According to some perspectives, habitus is seen to represent a form of regulated improvisation that functions below the threshold of consciousness. However, Bourdieu (1990) argued that rational and conscious computation may be required in situations of ‘crises’ where habitus proves insufficient as a basis for our actions. In the current paper, I draw on a range of evidence which indicates that conscious intervention (including self-reflective sensory consciousness) is required not only at points of crises but also as skilled performers engage in the mundane actions/practices that characterise their everyday training and performance regimes. The interaction of conscious learning and unconscious schemata leads to the development of a reflexive habitus which allows performers to refine and adapt embodied movement patterns over time

Embodiment and embodied design

Picture this. A preverbal infant straddles the center of a seesaw. She gently tilts her weight back and forth from one side to the other, sensing as each side tips downward and then back up again. This child cannot articulate her observations in simple words, let alone in scientific jargon. Can she learn anything from this experience? If so, what is she learning, and what role might such learning play in her future interactions in the world? Of course, this is a nonverbal bodily experience, and any learning that occurs must be bodily, physical learning. But does this nonverbal bodily experience have anything to do with the sort of learning that takes place in schools - learning verbal and abstract concepts? In this chapter, we argue that the body has everything to do with learning, even learning of abstract concepts. Take mathematics, for example. Mathematical practice is thought to be about producing and manipulating arbitrary symbolic inscriptions that bear abstract, universal truisms untainted by human corporeality. Mathematics is thought to epitomize our species’ collective historical achievement of transcending and, perhaps, escaping the mundane, material condition of having a body governed by haphazard terrestrial circumstance. Surely mathematics is disembodied

Windsurfing : an extreme form of material and embodied interaction?

This paper makes reference to the development of water based board sports in the world of adventure or action games. With a specific focus on windsurfing, we use Parlebas (1999) and Warnier's (2001) theoretical interests in the praxaeology of physical learning as well as Mauss' (1935) work on techniques of the body. We also consider the implications of Csikzentimihalyi's notion of flow (1975). We argue that windsurfing equipment should not merely be seen as protection but rather as status objects through which extreme lifestyles are embodied and embodying

Different Methods of Embodied Cognition in Pedagogy and its Effectiveness in Student Learning

The Mathematical Ideas Analysis hypothesizes that abstract mathematical reasoning is unconsciously organized and integrated with sensory-motor experience. Basic research testing movement, language, and perception during math problem solving supports this hypothesis. Applied research primarily measures students’ performance on math tests after they engage in analogous sensory-motor tasks, but findings show mixed results. Sensory-motor tasks are dependent on several moderators (e.g., instructional guidance, developmental stage) known to help students learn, and studies vary in how each moderator is implemented. There is little research on the effectiveness of sensory-motor tasks without these moderators. This study compares different approaches to working with an interactive application designed to emulate how people intrinsically solve algebraic equations. A total of 130 participants (84 females, 54 males) were drawn from a pool of Introductory Psychology students attending San Jose State University. Participants were placed in three different learning environments, and their performance was measured by comparing improvement between a pre-test and a post-test. We found no difference between participants who worked alone with the application, were instructed by the experimenter while using the application, or who instructed the experimenter on how to solve equations using the application. Further research is needed to examine how and whether analogous sensory-motor interfaces are a useful learning tool, and if so, what circumstances are ideal for sensory-motor interfaces to be used

Interactional Structure Applied to the Identification and Generation of Visual Interactive Behavior: Robots that (Usually) Follow the Rules

Peer reviewe

Embodied conversations: Performance and the design of a robotic dancing partner

This paper reports insights gained from an exploration of performance-based techniques to improve the design of relationships between people and responsive machines. It draws on the Emergent Objects project and specifically addresses notions of embodiment as employed in the field of performance as a means to prototype and develop a robotic agent, SpiderCrab, designed to promote expressive interaction of device and human dancer, in order to achieve ‘performative merging’. The significance of the work is to bring further knowledge of embodiment to bear on the development of human-technological interaction in general. In doing so, it draws on discursive and interpretive methods of research widely used in the field of performance but not yet obviously aligned with some orthodox paradigms and practices within design research. It also posits the design outcome as an ‘objectile’ in the sense that a continuous and potentially divergent iteration of prototypes is envisaged, rather than a singular final product. The focus on performative merging draws in notions of complexity and user experience. Keywords: Embodiment; Performance; Tacit Knowledge; Practice-As-Research; Habitus.</p