OUTPUT: Choreographed and Reconfigured Human and Industrial Robot Bodies Across Artistic Modalities (original) (raw)
Related papers
OUTPUT: Translating Robot and Human Movers Across Platforms in a Sequentially Improvised Performance
AISB 2019 Symposium on Movement that Shapes Behaviour, 2019
"OUTPUT", a performance piece between a fifteen foot tall ABB IRB 6700 robotic arm named, "Wen", and a human performer was created over the course of a 16-week "Mechanical and Movement" residency at ThoughtWorks Arts in New York City, in conjunction with the Pratt Institute's Consortium for Research and Robotics (CRR). The performance's purpose was to create relationships between vestiges of real (human) and technologically captured bodies. This piece also initiated the development of two new software tools, CONCAT and MOSAIC. This paper explores tensions between the impact of a live human or a live robot and their representation by reprocessing through machines-cameras, animations, sensors, and screens.
TDR: The Drama Review
What does it feel like to dance with a robot? How do you choreograph one? Working with robots during three artistic residencies and two research projects has raised questions about agency and generative processes, revealing how dancing with robots may provoke a more interanimate everyday world.
Machine yearning: an industrial robotic arm as a performance instrument
2015
This paper describes a project undertaken in the Spring of 2014 that sought to create an audio-visual performance using an industrial robotic arm. Some relevant examples of previous robotic art are discussed, and the design challenges posed by the unusual situation are explored. The resulting design solutions for the sound, robotic motion, and video projection mapping involved in the piece are explained, as well as the artistic reasoning behind those solutions. Where applicable, links to open source code developed for the project are provided.
ROBODANZA: Live Performances of a Creative Dancing Humanoid
2016
The paper describes the artistic performances obtained with a creative system based on a cognitive architecture. The performances are executed by a humanoid robot whose creative behaviour is strongly influenced both by the interaction with human dancers and by internal and external evaluation mechanisms. The complexity of such a task requires the development of robust and fast algorithms in order to effectively perceive and process musical inputs, and the generation of coherent movements in order to realize an amusing and original choreography. A basic sketch of the choreography has been conceived and set-up in cooperation with professional dancers. The sketch takes into account both robot capabilities and limitations. Three live performances are discussed in detail, reporting their impact on the audience, the environmental conditions, and the adopted solutions to satisfy safety requirements, and achieve aesthetic pleasantness.
Humanoids ‘Performing’ Manufacturing
The word performance in the arts and engineering has very different connotation. In engineering, something that performsataskisthoughttohaveexecutedasetofinstructions. In the arts however, something, usually human, performing a task brings with it a conceptual abstraction of the task itself, as well as the creative meaning beyond the task. This is most commonly seen in action painting. Personification of a robot enables the two meanings to integrate and allows for performance in both task achievement and underlying creative meaning. This work presents an ongoing project that demonstrates this concept of dual performance as it combines both types of performance with a small humanoid robot through floor mosaics. As the designs and sizes of floor tiles have been geared around human ergonomics, the use of a humanoid robot aligns conceptually.
This article explores the ways in which robots' behaviours are designed and curated to elicit reactions from their human counterparts. Through the work of artists such as Nam June Paik, Steve Daniels, Edward Ihnatowicz and Norman White, a survey of robotic art illustrates a particular aesthetic and behavioural language that is non-threatening, animalistic, cute, quaint and whimsical. Considering the artists' programming of behaviours and construction of aesthetics, the use of animal behavioural modelling, and developments in social robotics, this article unpacks how meaning is inscribed onto robots and in return how affect is transmitted to human viewers. By exploring the whimsical bodies, performative machines and networked nonhumans brought forth in robotic artworks, this article draws out how aesthetic and behavioural languages of robotic art play into peoples' emotional and affective encounters with them.