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 Effects of Robot Voices and Appearances on Users\u27 Emotion Recognition and Subjective Perception

As the influence of social robots in people\u27s daily lives grows, research on understanding people\u27s perception of robots including sociability, trust, acceptance, and preference becomes more pervasive. Research has considered visual, vocal, or tactile cues to express robots\u27 emotions, whereas little research has provided a holistic view in examining the interactions among different factors influencing emotion perception. We investigated multiple facets of user perception on robots during a conversational task by varying the robots\u27 voice types, appearances, and emotions. In our experiment, 20 participants interacted with two robots having four different voice types. While participants were reading fairy tales to the robot, the robot gave vocal feedback with seven emotions and the participants evaluated the robot\u27s profiles through post surveys. The results indicate that (1) the accuracy of emotion perception differed depending on presented emotions, (2) a regular human voice showed higher user preferences and naturalness, (3) but a characterized voice was more appropriate for expressing emotions with significantly higher accuracy in emotion perception, and (4) participants showed significantly higher emotion recognition accuracy with the animal robot than the humanoid robot. A follow-up study (N=10) with voice-only conditions confirmed that the importance of embodiment. The results from this study could provide the guidelines needed to design social robots that consider emotional aspects in conversations between robots and users

Constructing Participatory Environments: a Behavioural Model for Design

This thesis proposes the design of cybernetic frameworks that attempt to explore architecture as ecology of interacting systems that move beyond the fixed and finite tendencies of the past towards spatial environments that are adaptive, emotive and behavioural. Environments within this framework are attempts to construct interaction scenarios that enable agency, curiosity and play, forging intimate exchanges that are participatory and evolving over time. Interaction understood as the evolving relationships between things allows a generative and time-based framework to explore space as a model of interfacing that shifts the tendencies of passive occupancy towards an active ecology of interacting agents. The work argued here moves away from known models that reinforce habitual responses within architecture, towards an understanding of adaptive systems that are active agents for communication and exploration. Architecture within the context of this thesis is explored as a medium for spatial interfacing. Design is thus considered as durational, realtime and anticipatory exploring human human, human machine, and machine machine communication. The challenge posed is how designers can construct environments that are shared, enable curiosity, evolve and allow for complex interactions to arise through human and non-human agency. Attention thus is placed on behavioural features that afford conversational rich exchanges between participants and system, participants with other participants and or systems with other systems. This evolving framework demands that design systems have the capacity to participate and enable new forms of communication. Beyond conventional models that are reactive in their definition of interaction, architecture here moves towards features that are life-like, machine learned, and emotively communicated. The thesis demonstrates and articulates concepts of participation and behaviour through authored prototypes and real-time experiments. Behaviour is not relegated to a generative process in the design phase; rather it is time-based and conversational constantly constructing models of and for communication

Factors of Emotion and Affect in Designing Interactive Virtual Characters

The Arts: 1st Place (The Ohio State University Edward F. Hayes Graduate Research Forum)This paper represents a review of literature concerning factors of affective interactive virtual character design. Affect and it's related concepts are defined followed by a detail of work being conducted in relevant areas such as design, animation, robotics. The intent of this review as to inform the author on overlapping concepts in fields related to affective design in order to apply these concepts interactive character development.A three-year embargo was granted for this item

Design and Validation of Control Interfaces for Anna

This project improves the control mechanisms for a semi-autonomous wheelchair with an assistive robotic arm system. The wheelchair is aimed at increasing the self-sufficiency of individuals with LIS. The objectives include the validation of the existing control interfaces, as well as the integration and design of new systems. The wireless brain-computer headset, used to implement the control system for navigation, is validated through several user studies. An EMG sensor system serves as an alternative control module. To increase physical interaction with the environment, a robotic arm system is integrated. The system includes a RGB-D camera for object detection, enabling autonomous object retrieval. The project outcomes include a demonstration performing navigation and manipulation tasks

Evaluating the Potential of Drone Swarms in Nonverbal HRI Communication

Human-to-human communications are enriched with affects and emotions, conveyed, and perceived through both verbal and nonverbal communication. It is our thesis that drone swarms can be used to communicate information enriched with effects via nonverbal channels: guiding, generally interacting with, or warning a human audience via their pattern of motions or behavior. And furthermore that this approach has unique advantages such as flexibility and mobility over other forms of user interface. In this paper, we present a user study to understand how human participants perceived and interpreted swarm behaviors of micro-drone Crazyflie quadcopters flying three different flight formations to bridge the psychological gap between front-end technologies (drones) and the human observers' emotional perceptions. We ask the question whether a human observer would in fact consider a swarm of drones in their immediate vicinity to be nonthreatening enough to be a vehicle for communication, and whether a human would intuit some communication from the swarm behavior, despite the lack of verbal or written language. Our results show that there is statistically significant support for the thesis that a human participant is open to interpreting the motion of drones as having intent and to potentially interpret their motion as communication. This supports the potential use of drone swarms as a communication resource, emergency guidance situations, policing of public events, tour guidance, etc

Designing Sound for Social Robots: Advancing Professional Practice through Design Principles

Sound is one of the core modalities social robots can use to communicate with the humans around them in rich, engaging, and effective ways. While a robot's auditory communication happens predominantly through speech, a growing body of work demonstrates the various ways non-verbal robot sound can affect humans, and researchers have begun to formulate design recommendations that encourage using the medium to its full potential. However, formal strategies for successful robot sound design have so far not emerged, current frameworks and principles are largely untested and no effort has been made to survey creative robot sound design practice. In this dissertation, I combine creative practice, expert interviews, and human-robot interaction studies to advance our understanding of how designers can best ideate, create, and implement robot sound. In a first step, I map out a design space that combines established sound design frameworks with insights from interviews with robot sound design experts. I then systematically traverse this space across three robot sound design explorations, investigating (i) the effect of artificial movement sound on how robots are perceived, (ii) the benefits of applying compositional theory to robot sound design, and (iii) the role and potential of spatially distributed robot sound. Finally, I implement the designs from prior chapters into humanoid robot Diamandini, and deploy it as a case study. Based on a synthesis of the data collection and design practice conducted across the thesis, I argue that the creation of robot sound is best guided by four design perspectives: fiction (sound as a means to convey a narrative), composition (sound as its own separate listening experience), plasticity (sound as something that can vary and adapt over time), and space (spatial distribution of sound as a separate communication channel). The conclusion of the thesis presents these four perspectives and proposes eleven design principles across them which are supported by detailed examples. This work contributes an extensive body of design principles, process models, and techniques providing researchers and designers with new tools to enrich the way robots communicate with humans