On Writing and Reading Artistic Computational Ecosystems

We study the use of the generative systems known as computational ecosystems to convey artistic and narrative aims. These are virtual worlds running on computers, composed of agents that trade units of energy and emulate cycles of life and behaviors adapted from biological life forms. In this article we propose a conceptual framework in order to understand these systems, which are involved in processes of authorship and interpretation that this investigation analyzes in order to identify critical instruments for artistic exploration. We formulate a model of narrative that we call system stories (after Mitchell Whitelaw), characterized by the dynamic network of material and conceptual processes that define these artefacts. They account for narrative constellations with multiple agencies from which meaning and messages emerge. Finally, we present three case studies to explore the potential of this model within an artistic and generative domain, arguing that this understanding expands and enriches the palette of the language of these systems

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

Two Decades of Evolutionary Art Using Computational Ecosystems and Its Potential for Virtual Worlds

We analyse works of digital art that use a technique from artificial life (ALife) called computational ecosystems (CEs). These are systems running on computers where agents are organized in a hierarchical structure (of a food-chain) and trade token units (of energy and biomass) as a way of promoting community dynamics. We analyse a collection of forty (40) papers communicating works developed in the last two decades. We classify each of these works according to an adapted taxonomy. We then produce a study of cumulative analysis to outline patterns and common features which might define the field. We conclude on the diversity and heterogeneity of the practice, to assert CEs as a multimedia generative tool useful in the construction of bio-mimicking ecosystems as well as in the animation of non-player characters (NPCs) with human-like behaviors in virtual words

Actor & Avatar: A Scientific and Artistic Catalog

What kind of relationship do we have with artificial beings (avatars, puppets, robots, etc.)? What does it mean to mirror ourselves in them, to perform them or to play trial identity games with them? Actor & Avatar addresses these questions from artistic and scholarly angles. Contributions on the making of "technical others" and philosophical reflections on artificial alterity are flanked by neuroscientific studies on different ways of perceiving living persons and artificial counterparts. The contributors have achieved a successful artistic-scientific collaboration with extensive visual material

Growing up virtual : the computational lessons of development

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.Page 205 blank.Includes bibliographical references (p. [197]-204).Cognitive development is one of nature's most important mechanisms for creating robustly adaptive intelligent creatures. From felids to oscines, developing animals are capable of learning in adverse environments with a reliability that often outpaces the current state-of-the-art in artificial intelligence (AI) The purpose of this thesis, therefore, is to examine how insights from cognitive development might be applied to the design of AI architectures. Starting with a targeted review of the ethological literature, I identify the key computational lessons of development, the fundamental conceptual insights that suggest intriguing new strategies for behavioral organization. These insights are then employed in the design of a developmental behavior architecture in which a hierarchical motivation-based behavior system is coupled to a distributed set of domain-specific learning tools. The architecture is deployed in a synthetic character (Hektor the mouse) whose challenge is to learn to play a competitive card matching game successfully against a human user. Evaluation of Hektor's performance on this task, at both qualitative and quantitative levels of description, reveal that the developmental architecture is capable of surmounting complex learning objectives in a novel and efficient manner. I conclude that the architecture presented here represents a valuable starting point for further consideration of developmental design principles.by Derek Eugen Lyons.S.M

Children's perception and interpretation of robots and robot behaviour

The world of robotics, like that of all technology is changing rapidly (Melson, et al., 2009). As part of an inter-disciplinary project investigating the emergence of artificial culture in robot societies, this study set out to examine children’s perception of robots and interpretation of robot behaviour. This thesis is situated in an interdisciplinary field of human–robot interactions, drawing on research from the disciplines of sociology and psychology as well as the fields of engineering and ethics. The study was divided into four phases: phase one involved children from two primary schools drawing a picture and writing a story about their robot. In phase two, children observed e-puck robots interacting. Children were asked questions regarding the function and purpose of the robots’ actions. Phase three entailed data collection at a public event: Manchester Science Festival. Three activities at the festival: ‘XRay Art Under Your Skin’, ‘Swarm Robots’ and ‘Build-a-Bugbot’ formed the focus of this phase. In the first activity, children were asked to draw the components of a robot and were then asked questions about their drawings. During the second exercise, children’s comments were noted as they watched e-puck robot demonstrations. In the third exercise, children were shown images and asked whether these images were a robot or a ‘no-bot’. They were then prompted to provide explanations for their answers. Phase 4 of the research involved children identifying patterns of behaviour amongst e-pucks. This phase of the project was undertaken as a pilot for the ‘open science’ approach to research to be used by the wider project within which this PhD was nested. Consistent with existing literature, children endowed robots with animate and inanimate characteristics holding multiple understandings of robots simultaneously. The notion of control appeared to be important in children’s conception of animacy. The results indicated children’s perceptions of the location of the locus of control plays an important role in whether they view robots as autonomous agents or controllable entities. The ways in which children perceive robots and robot behaviour, in particular the ways in which children give meaning to robots and robot behaviour will potentially come to characterise a particular generation. Therefore, research should not only concentrate on the impact of these technologies on children but should focus on capturing children’s perceptions and viewpoints to better understand the impact of the changing technological world on the lives of children

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

Individuality and the collective in AI agents: Explorations of shared consciousness and digital homunculi in the metaverse for cultural heritage

The confluence of extended reality (XR) technologies, including augmented and virtual reality, with large language models (LLM) marks a significant advancement in the field of digital humanities, opening uncharted avenues for the representation of cultural heritage within the burgeoning metaverse. This paper undertakes an examination of the potentialities and intricacies of such a convergence, focusing particularly on the creation of digital homunculi or changelings. These virtual beings, remarkable for their sentience and individuality, are also part of a collective consciousness, a notion explored through a thematic comparison in science fiction with the Borg and the Changelings in the Star Trek universe. Such a comparison offers a metaphorical framework for discussing complex phenomena such as shared consciousness and individuality, illuminating their bearing on perceptions of self and awareness. Further, the paper considers the ethical implications of these concepts, including potential loss of individuality and the challenges inherent to accurate representation of historical figures and cultures. The latter necessitates collaboration with cultural experts, underscoring the intersectionality of technological innovation and cultural sensitivity. Ultimately, this chapter contributes to a deeper understanding of the technical aspects of integrating large language models with immersive technologies and situates these developments within a nuanced cultural and ethical discourse. By offering a comprehensive overview and proposing clear recommendations, the paper lays the groundwork for future research and development in the application of these technologies within the unique context of cultural heritage representation in the metaverse

Designing Embodied Interactive Software Agents for E-Learning: Principles, Components, and Roles

Embodied interactive software agents are complex autonomous, adaptive, and social software systems with a digital embodiment that enables them to act on and react to other entities (users, objects, and other agents) in their environment through bodily actions, which include the use of verbal and non-verbal communicative behaviors in face-to-face interactions with the user. These agents have been developed for various roles in different application domains, in which they perform tasks that have been assigned to them by their developers or delegated to them by their users or by other agents. In computer-assisted learning, embodied interactive pedagogical software agents have the general task to promote human learning by working with students (and other agents) in computer-based learning environments, among them e-learning platforms based on Internet technologies, such as the Virtual Linguistics Campus (www.linguistics-online.com). In these environments, pedagogical agents provide contextualized, qualified, personalized, and timely assistance, cooperation, instruction, motivation, and services for both individual learners and groups of learners. This thesis develops a comprehensive, multidisciplinary, and user-oriented view of the design of embodied interactive pedagogical software agents, which integrates theoretical and practical insights from various academic and other fields. The research intends to contribute to the scientific understanding of issues, methods, theories, and technologies that are involved in the design, implementation, and evaluation of embodied interactive software agents for different roles in e-learning and other areas. For developers, the thesis provides sixteen basic principles (Added Value, Perceptible Qualities, Balanced Design, Coherence, Consistency, Completeness, Comprehensibility, Individuality, Variability, Communicative Ability, Modularity, Teamwork, Participatory Design, Role Awareness, Cultural Awareness, and Relationship Building) plus a large number of specific guidelines for the design of embodied interactive software agents and their components. Furthermore, it offers critical reviews of theories, concepts, approaches, and technologies from different areas and disciplines that are relevant to agent design. Finally, it discusses three pedagogical agent roles (virtual native speaker, coach, and peer) in the scenario of the linguistic fieldwork classes on the Virtual Linguistics Campus and presents detailed considerations for the design of an agent for one of these roles (the virtual native speaker)