Towards a framework for socially interactive robots

250 p.En las últimas décadas, la investigación en el campo de la robótica social ha crecido considerablemente. El desarrollo de diferentes tipos de robots y sus roles dentro de la sociedad se están expandiendo poco a poco. Los robots dotados de habilidades sociales pretenden ser utilizados para diferentes aplicaciones; por ejemplo, como profesores interactivos y asistentes educativos, para apoyar el manejo de la diabetes en niños, para ayudar a personas mayores con necesidades especiales, como actores interactivos en el teatro o incluso como asistentes en hoteles y centros comerciales.El equipo de investigación RSAIT ha estado trabajando en varias áreas de la robótica, en particular,en arquitecturas de control, exploración y navegación de robots, aprendizaje automático y visión por computador. El trabajo presentado en este trabajo de investigación tiene como objetivo añadir una nueva capa al desarrollo anterior, la capa de interacción humano-robot que se centra en las capacidades sociales que un robot debe mostrar al interactuar con personas, como expresar y percibir emociones, mostrar un alto nivel de diálogo, aprender modelos de otros agentes, establecer y mantener relaciones sociales, usar medios naturales de comunicación (mirada, gestos, etc.),mostrar personalidad y carácter distintivos y aprender competencias sociales.En esta tesis doctoral, tratamos de aportar nuestro grano de arena a las preguntas básicas que surgen cuando pensamos en robots sociales: (1) ¿Cómo nos comunicamos (u operamos) los humanos con los robots sociales?; y (2) ¿Cómo actúan los robots sociales con nosotros? En esa línea, el trabajo se ha desarrollado en dos fases: en la primera, nos hemos centrado en explorar desde un punto de vista práctico varias formas que los humanos utilizan para comunicarse con los robots de una maneranatural. En la segunda además, hemos investigado cómo los robots sociales deben actuar con el usuario.Con respecto a la primera fase, hemos desarrollado tres interfaces de usuario naturales que pretenden hacer que la interacción con los robots sociales sea más natural. Para probar tales interfaces se han desarrollado dos aplicaciones de diferente uso: robots guía y un sistema de controlde robot humanoides con fines de entretenimiento. Trabajar en esas aplicaciones nos ha permitido dotar a nuestros robots con algunas habilidades básicas, como la navegación, la comunicación entre robots y el reconocimiento de voz y las capacidades de comprensión.Por otro lado, en la segunda fase nos hemos centrado en la identificación y el desarrollo de los módulos básicos de comportamiento que este tipo de robots necesitan para ser socialmente creíbles y confiables mientras actúan como agentes sociales. Se ha desarrollado una arquitectura(framework) para robots socialmente interactivos que permite a los robots expresar diferentes tipos de emociones y mostrar un lenguaje corporal natural similar al humano según la tarea a realizar y lascondiciones ambientales.La validación de los diferentes estados de desarrollo de nuestros robots sociales se ha realizado mediante representaciones públicas. La exposición de nuestros robots al público en esas actuaciones se ha convertido en una herramienta esencial para medir cualitativamente la aceptación social de los prototipos que estamos desarrollando. De la misma manera que los robots necesitan un cuerpo físico para interactuar con el entorno y convertirse en inteligentes, los robots sociales necesitan participar socialmente en tareas reales para las que han sido desarrollados, para así poder mejorar su sociabilida

Bertsobot: gizaki-robot arteko komunikazio eta elkarrekintzarako portaerak

216 p.Bertsobot: Robot-Portaerak Gizaki-Robot Arteko Komunikazio eta ElkarrekintzanBertsotan aritzeko gaitasuna erakutsiko duen robot autonomoa garatzeada gure ikerketa-lanaren helburu behinena. Bere egitekoa, bertsoa osatzekoinstrukzioak ahoz jaso, hauek prozesatu eta ahalik eta bertsorik egokienaosatu eta kantatzea litzateke, bertsolarien oholtza gaineko adierazkortasunmaila erakutsiz gorputzarekin. Robot-bertsolariak, gizaki eta roboten artekoelkarrekintza eta komunikazioan aurrera egiteko modua jarri nahi luke, lengoaianaturala erabiliz robot-gizaki arteko bi noranzkoko komunikazioan

Bertsobot: gizaki-robot arteko komunikazio eta elkarrekintzarako portaerak

216 p.Bertsobot: Robot-Portaerak Gizaki-Robot Arteko Komunikazio eta ElkarrekintzanBertsotan aritzeko gaitasuna erakutsiko duen robot autonomoa garatzeada gure ikerketa-lanaren helburu behinena. Bere egitekoa, bertsoa osatzekoinstrukzioak ahoz jaso, hauek prozesatu eta ahalik eta bertsorik egokienaosatu eta kantatzea litzateke, bertsolarien oholtza gaineko adierazkortasunmaila erakutsiz gorputzarekin. Robot-bertsolariak, gizaki eta roboten artekoelkarrekintza eta komunikazioan aurrera egiteko modua jarri nahi luke, lengoaianaturala erabiliz robot-gizaki arteko bi noranzkoko komunikazioan

Unmute This: Circulation, Sociality, and Sound in Viral Media

Cats at keyboards. Dancing hamsters. Giggling babies and dancing flashmobs. A bi-colored dress. Psy’s “Gangnam Style” music video. Over the final decade of the twentieth century and the first decades of the twenty-first, these and countless other examples of digital audiovisual phenomena have been collectively adjectivally described through a biological metaphor that suggests the speed and ubiquity of their circulation—“viral.” This circulation has been facilitated by the internet, and has often been understood as a product of the web’s celebrated capacities for democratic amateur creation, its facilitation of unmediated connection and sharing practices. In this dissertation, I suggest that participation in such phenomena—the production, watching, listening to, circulation, or “sharing” of such objects—has constituted a significant site of twenty-first-century musical practice. Borrowing and adapting Christopher Small’s influential 1998 coinage, I theorize these strands of practice as viral musicking. While scholarship on viral media has tended to center on visual parameters, rendering such phenomena silent, the term “viral musicking” seeks to draw media theory metaphors of voice and listening into dialogue with musicology, precisely at the intersection of audiovisual objects which are played, heard, listened to. The project’s methodology comprises a sonically attuned media archeology, grounded in close readings of internet artifacts and practices; this sonic attunement is afforded through musicological methods, including analyses of genre, aesthetics, and style, discourse analysis, and twenty-first-century reception (micro)histories across a dynamic media assemblage. By analyzing particular ecosystems of platforms, behavior, and devices across the first decades of the twenty-first century, I chart a trajectory in which unpredictable virtual landscapes were tamed into entrenched channels and pathways, enabling a capacious “virality” comprising disparate phenomena from simple looping animations to the surprise release of Beyoncé’s 2013 album. Alongside this narrative, I challenge utopian claims of Web 2.0’s digital democratization by explicating the iterative processes through which material, work, and labor were co-opted from amateur content creators and leveraged for the profit of established media and corporate entities. “Unmute This” articulates two main arguments. First, that virality reified as a concept and set of dynamic-but-predictable processes over the course of the first decades of the twenty-first century; this dissertation charts a cartography of chaos to control, a heterogeneous digital landscape funneled into predictable channels and pathways etched ever more firmly and deeply across the 2010s. Second, that analyzing the musicality of viral objects, attending to the musical and sonic parameters of virally-circulating phenomena, and thinking of viral participation as an extension of musical behavior provide a productive framework for understanding the affective, generic, and social aspects of twenty-first-century virality. The five chapters of the dissertation present analyses of a series of viral objects, arranged roughly chronologically from the turn of the twenty-first century to the middle of the 2010s. The first chapter examines the loops of animated phenomena from The Dancing Baby to Hampster Dance and the Badgers animation; the second moves from loops to musicalization, considering remixing approaches to the so-called “Bus Uncle” and “Bed Intruder” videos. The third chapter also deals with viral remixing, centering around Rebecca Black’s “Friday” video, while the fourth chapter analyzes “unmute this” video posts in the context of the mid-2010s social media platform assemblage. The final chapter presents the 2013 surprise release of Beyoncé’s self-titled visual album as an apotheosis to the viral narratives that precede it—a claim that is briefly interrogated in the dissertation’s epilogue

Teen-age identity construction in Stephen King: A gendered view

280 p.Basing the research on fields such as Feminism, Masculinities, Gothic Literature or Myth, this dissertation provides a gendered view of the construction of teen-age identity in the fiction of Stephen King. In this analysis of the teen-age characters in some of his narratives patriarchy, power and the rise of feminism in the 1970s play a fundamental role. Carrie (1974) expresses an amalgamation of feminist anxieties about gender and power, while Christine (1983), by showing how patriarchy works for men and boys, puts the concept of male power in a quandary. On the other hand, "The Body" (1982) provides a mythological context to the origins of the crisis of masculinity Americans seem to suffer since the arrival of feminist and gendered movements. The Talisman (1984) reveals how this crisis was socially constructed and imaginatively battled during the Reagan Era. Finally, It (1986) gives a fairy talesque happy ending to the question. However, this conclusion hides a poignant moral message about America and its future

A Comparative Study of the Marching Bands at Four Historically Black Colleges and Universities

Since the late nineteenth century, marching bands have served as an integral component of the fabric of Historically Black Colleges and University (HBCU) campuses. In addition to performing for millions of fans annually, HBCU marching bands serve as brand ambassadors for their university\u27s communities. Marching bands at four HBCUs from the southeastern United States comprised the sample for this study. Despite their many successes, each band experiences significant challenges, including declining school enrollment, limited recruitment opportunities, low retention rates, insufficient budgets and staffing, hazing allegations, and increasingly expensive travel costs. More research currently needs to be done that details the negative influences of these challenges. This mixed methods research examines historical data, performance analysis, and the perspectives of HBCU band members, directors, administrators, and alums. To illustrate the experience of the chosen HBCU bands, interviews with current and former band directors and band members will determine their challenges and how the marching band has enriched their lives. This study provides critical development strategies for current and future HBCU band directors to help advance and strengthen their programs

Anthropomorphic Objects

This thesis exhibition is the culmination of an exploration of the uncanny through sculptures that evoke the sensation of a living presence. Each sculpture is also intended to convey some character or personality, and to this end, my work is influenced by puppetry. Though the works are human sized, they function as puppets in that they are posable and can be used for performance, but they are also robotic in that they have some autonomous motion and some reactive motion. My sculptures are based on the human form because the human form is at once most uncanny and also most relatable. Relatability is an important aspect of my work, as I use my humanoid sculptures to create playful interactive experiences for viewers, experiences that hinge on the uncanny and the illusion of presence

The Juggler of Notre Dame and the Medievalizing of Modernity

"This ambitious and vivid study in six volumes explores the journey of a single, electrifying story, from its first incarnation in a medieval French poem through its prolific rebirth in the nineteenth and twentieth centuries. The Juggler of Notre Dame tells how an entertainer abandons the world to join a monastery, but is suspected of blasphemy after dancing his devotion before a statue of the Madonna in the crypt; he is saved when the statue, delighted by his skill, miraculously comes to life. Jan Ziolkowski tracks the poem from its medieval roots to its rediscovery in late nineteenth-century Paris, before its translation into English in Britain and the United States. The visual influence of the tale on Gothic revivalism and vice versa in America is carefully documented with lavish and inventive illustrations, and Ziolkowski concludes with an examination of the explosion of interest in The Juggler of Notre Dame in the twentieth century and its place in mass culture today. The Juggler of Notre Dame and the Medievalizing of Modernity is a rich case study for the reception of the Middle Ages in modernity. Spanning centuries and continents, the medieval period is understood through the lens of its (post)modern reception in Europe and America. Profound connections between the verbal and the visual are illustrated by a rich trove of images, including book illustrations, stained glass, postage stamps, architecture, and Christmas cards. Presented with great clarity and simplicity, Ziolkowski's work is accessible to the general reader, while its many new discoveries will be valuable to academics in such fields and disciplines as medieval studies, medievalism, philology, literary history, art history, folklore, performance studies, and reception studies.

American statecraft for a global digital age: warfare, diplomacy and culture in a segregated world

The aim of this thesis is to investigate how American power is adapting to a changing post- Cold War global landscape. It is commonly accepted that many of the most visible cultural expressions of globalisation are American. However, contemporary accounts have proven inadequate in assessing how such forces have helped provide the infrastructure for America’s global dominance. With growing debate over the decline of American influence, the thesis intends to address how American statecraft is attempting to redefine itself for a digital age. With the accelerated transmission of information, images and sounds, nation-states are gradually losing the ability to either dictate their official narrative or control their global image. The new info-war that lies at the heart of contemporary American statecraft thus involves the wholesale integration of struggles over information, technology, communication and culture into the conflict itself. The thesis, therefore, investigates how American military and diplomatic efforts are both shaping and being reshaped by modern techno-culture. The thesis pieces together a contemporary genealogy of American cultural diplomacy in the Middle East from the Cold War through to the “war on terror”. This genealogy pays particular attention to both the continued hold of civilisationist discourses and the shifting question of race in American foreign policy – from the instrumentalisation of jazz at the height of the ideological antagonism of the Cold War, to rap music as a soundtrack to American Empire. The attention paid to African American culture aims to highlight the ways in which the radical traditions of struggle for freedom from the underside of the American Empire are transforming our world today for both better and worse. The thesis concludes by contextualising the evolving relationship between consumption, technology, communication and (national) security, and situating the Occupied Palestinian Territories within these global capital and cultural flows. This takes the form of an analysis of the multiple local and international socio-economic initiatives taking hold in the West Bank – from governmental institutions and NGOs, to the business sector and consumer industries – and their particular attempts at reshaping Palestinian public spheres