Lula, Dilma e FHC: a mentira e a verdade na comunicação // Lula, Dilma & FHC: lie and truth in communication

Resumo: Este estudo visa detectar os principais marcadores retóricos de Lula, de Dilma Rousseff e de Fernando Henrique Cardos. Através deles se almeja apontar também o grau de honestidade e de falsidade de seus discursos. Para tanto se faz uso do software Buscador Linguístico e Contador de Palavras (Linguistic Inquiry and Word Count – LIWC)

Creative Robotics Theatre: Designing Creative Interactions with Tangible and Embodied Interfaces

Creative robotics theatre allows us to explore contemporary problems and societal issues, pushing artistic frontiers and technological boundaries, enhancing storytelling opportunities, interdisciplinary collaborations, and pedagogical innovation [28]. With the above issues in mind, we aim to explore new technologies by co-designing with the community in participatory approaches that stem from posthumanism and new materialism philosophies

Robotic arts: Current practices, potentials, and implications

Given that the origin of the “robot” comes from efforts to create a worker to help people, there has been relatively little research on making a robot for non-work purposes. However, some researchers have explored robotic arts since Leonardo da Vinci. Many questions can be posed regarding the potentials of robotic arts: (1) Is there anything we can call machine-creativity? (2) Can robots improvise artworks on the fly? and (3) Can art robots pass the Turing test? To ponder these questions and see the current status quo of robotic arts, the present paper surveys the contributions of robotics in diverse forms of arts, including drawing, theater, music, and dance. The present paper describes selective projects in each genre, core procedure, possibilities and limitations within the aesthetic computing framework. Then, the paper discusses implications of these robotic arts in terms of both robot research and art research, followed by conclusions including answers to the questions posed at the outset

Visual Attention Mechanism for a Social Robot

This paper describes a visual perception system for a social robot. The central part of this system is an artificial attention mechanism that discriminates the most relevant information from all the visual information perceived by the robot. It is composed by three stages. At the preattentive stage, the concept of saliency is implemented based on ‘proto-objects’ [37]. From these objects, different saliency maps are generated. Then, the semiattentive stage identifies and tracks significant items according to the tasks to accomplish. This tracking process allows to implement the ‘inhibition of return’. Finally, the attentive stage fixes the field of attention to the most relevant object depending on the behaviours to carry out. Three behaviours have been implemented and tested which allow the robot to detect visual landmarks in an initially unknown environment, and to recognize and capture the upper-body motion of people interested in interact with it

A Midsummer Night’s Dream (with flying robots)

Seven flying robot “fairies” joined human actors in the Texas A&M production of William Shakespeare’s A Midsummer Night’s Dream. The production was a collaboration between the departments of Computer Science and Engineering, Electrical and Computer Engineering, and Theater Arts. The collaboration was motivated by two assertions. First, that the performing arts have principles for creating believable agents that will transfer to robots. Second, the theater is a natural testbed for evaluating the response of untrained human groups (both actors and the audience) to robots interacting with humans in shared spaces, i.e., were believable agents created? The production used two types of unmanned aerial vehicles, an AirRobot 100-b quadrotor platform about the size of a large pizza pan, and six E-flite Blade MCX palm-sized toy helicopters. The robots were used as alter egos for fairies in the play; the robots did not replace any actors, instead they were paired with them. The insertion of robots into the production was not widely advertised so the audience was the typical theatergoing demographic, not one consisting of people solely interested technology. The use of radio-controlled unmanned aerial vehicles provides insights into what types of autonomy are needed to create appropriate affective interactions with untrained human groups. The observations from the four weeks of practice and eight performances contribute (1) a taxonomy and methods for creating affect exchanges between robots and untrained human groups, (2) the importance of improvisation within robot theater, (3) insights into how untrained human groups form expectations about robots, and (4) awareness of the importance of safety and reliability as a design constraint for public engagement with robot platforms. The taxonomy captures that apparent affect can be created without explicit affective behaviors by the robot, but requires talented actors to convey the situation or express reactions. The audience’s response to robot crashes was a function of whether they had the opportunity to observe how the actors reacted to robot crashes on stage, suggesting that pre-existing expectations must be taken into account in the design of autonomy. Furthermore, it appears that the public expect robots to be more reliable (an expectation of consumer product hardening) and safe (an expectation from product liability) than the current capabilities and this may be a major challenge or even legal barrier for introducing robots into shared public spaces. These contributions are expected to inform design strategies for increasing public engagement with robot platforms through affect, and shows the value of arts-based approaches to public encounters with robots both for generating design strategies and for evaluation