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

Art and Medicine: A Collaborative Project Between Virginia Commonwealth University in Qatar and Weill Cornell Medicine in Qatar

Four faculty researchers, two from Virginia Commonwealth University in Qatar, and two from Weill Cornell Medicine in Qatar developed a one semester workshop-based course in Qatar exploring the connections between art and medicine in a contemporary context. Students (6 art / 6 medicine) were enrolled in the course. The course included presentations by clinicians, medical engineers, artists, computing engineers, an art historian, a graphic designer, a painter, and other experts from the fields of art, design, and medicine. To measure the student experience of interdisciplinarity, the faculty researchers employed a mixed methods approach involving psychometric tests and observational ethnography. Data instruments included pre- and post-course semi-structured audio interviews, pre-test / post-test psychometric instruments (Budner Scale and Torrance Tests of Creativity), observational field notes, self-reflective blogging, and videography. This book describes the course and the experience of the students. It also contains images of the interdisciplinary work they created for a culminating class exhibition. Finally, the book provides insight on how different fields in a Middle Eastern context can share critical /analytical thinking tools to refine their own professional practices

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

Constructing living buildings: a review of relevant technologies for a novel application of biohybrid robotics

Biohybrid robotics takes an engineering approach to the expansion and exploitation of biological behaviours for application to automated tasks. Here, we identify the construction of living buildings and infrastructure as a high-potential application domain for biohybrid robotics, and review technological advances relevant to its future development. Construction, civil infrastructure maintenance and building occupancy in the last decades have comprised a major portion of economic production, energy consumption and carbon emissions. Integrating biological organisms into automated construction tasks and permanent building components therefore has high potential for impact. Live materials can provide several advantages over standard synthetic construction materials, including self-repair of damage, increase rather than degradation of structural performance over time, resilience to corrosive environments, support of biodiversity, and mitigation of urban heat islands. Here, we review relevant technologies, which are currently disparate. They span robotics, self-organizing systems, artificial life, construction automation, structural engineering, architecture, bioengineering, biomaterials, and molecular and cellular biology. In these disciplines, developments relevant to biohybrid construction and living buildings are in the early stages, and typically are not exchanged between disciplines. We, therefore, consider this review useful to the future development of biohybrid engineering for this highly interdisciplinary application.publishe

Guido and Am I Robot? A Case Study of Two Robotic Artworks Operating in Public Spaces

This article is a case study of two artworks that were commissioned for and exhibited in art venues in 2016 and 2017. The first artwork, Guido the Robot Guide, guided the visitors to an art-science exhibition, presenting the exhibits with a robot's perspective. Guido was the result of a collaboration between artists and engineers. The concept was an irreverent robot guide that could switch transparently from autonomous mode to operator control, allowing for seamless natural interaction. We examine how the project unfolded, its successes and limitations. Following on Guido, the lead artist developed the robotic installation Am I Robot? where the idea of a hybrid autonomous/remote-manual mode was implemented fully in a non-utilitarian machine that was exhibited in several art galleries. The article provides a concise contextualisation and details technical and design aspects as well as observations of visitors' interactions with the artworks. We evaluate the hybrid system's potential for creative robotics applications and identify directions for future research

This machine could bite: On the role of non-benign art robots

The social robot's current and anticipated roles as butler, teacher, receptionist or carer for the elderly share a fundamental anthropocentric bias: they are designed to be benign, to facilitate a transaction that aims to be both useful to and simple for the human. At a time when intelligent machines are becoming a tangible prospect, such a bias does not leave much room for exploring and understanding the ongoing changes affecting the relation between humans and our technological environment. Can art robots – robots invented by artists – offer a non-benign-by-default perspective that opens the field for a machine to express its machinic potential beyond the limits imposed by an anthropocentric and market-driven approach? The paper addresses these questions by considering and contextualising early cybernetic machines, current developments in social robotics, and art robots by the author and other artists