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

A taxonomy of preferences for physically assistive robots

© 20xx IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other uses, in any current or future media, including reprinting/republishing this material for advertising or promotional purposes, creating new collective works, for resale or redistribution to servers or lists, or reuse of any copyrighted component of this work in other works.Assistive devices and technologies are getting common and some commercial products are starting to be available. However, the deployment of robots able to physically interact with a person in an assistive manner is still a challenging problem. Apart from the design and control, the robot must be able to adapt to the user it is attending in order to become a useful tool for caregivers. This robot behavior adaptation comes through the definition of user preferences for the task such that the robot can act in the user’s desired way. This article presents a taxonomy of user preferences for assistive scenarios, including physical interactions, that may be used to improve robot decision-making algorithms. The taxonomy categorizes the preferences based on their semantics and possible uses. We propose the categorization in two levels of application (global and specific) as well as two types (primary and modifier). Examples of real preference classifications are presented in three assistive tasks: feeding, shoe fitting and coat dressing.Peer ReviewedPostprint (author's final draft

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

Integrating an autonomous robot on a dance and new technologies festival

This paper presents the results of a project to integrate an autonomous mobile robot into a modern dance performance at a dance and new technologies festival. The main goal is to integrate a simple low cost mobile robot into the dance performance, in order to study the possibilities that this kind of platforms can offer to the artists. First, this work explains the process and design to embed the robotic platform into the choreography theme. Another contribution described in this work is the system architecture proposed and built to make the robot behaviours match the artists requirements: precise, synchronized and robust robot movements. Finally, we discuss the main issues and lessons learned for this kind of robotics and arts applications and summarize the results obtained, including the successful final live performance results

A Review of Verbal and Non-Verbal Human-Robot Interactive Communication

In this paper, an overview of human-robot interactive communication is presented, covering verbal as well as non-verbal aspects of human-robot interaction. Following a historical introduction, and motivation towards fluid human-robot communication, ten desiderata are proposed, which provide an organizational axis both of recent as well as of future research on human-robot communication. Then, the ten desiderata are examined in detail, culminating to a unifying discussion, and a forward-looking conclusion