Consider this scene From the 2014 film, Majina: Caleb, a young nerd, is in the dim room with Kyoko, a female freak. Nathan, a brilliant robotic, gets drunk and brutally tells Caleb to dance with Kyoko-Bot. To cap things off, Nathan presses a wall-mounted panel and the room’s light suddenly changes to an ominous red, while Oliver Cheetham’s disco classic “Get Down Saturday Night” begins to play. Kyoko — who seems to have done it before it did — starts dancing literally, and Nathan incorporates his robot creation into a complex choreographic bit of pelvic thrusting. The scene shows that Nathan eclipsed his robot creation with disco functionality, but how did he choreography the dance on Kyoko and why?
Majina These questions may not have been answered, but this visual hints at a contingent area of robotics research: choreography. Certainly, choreography is to make decisions about how the body moves through space and time. In the dancer sense, choreographs are intended to clarify patterns of movement for a given context, usually adapting to expressiveness rather than utility. Becoming aware of the world’s choreographics is how people move and interact in complex, technology-filled environments. Choreo-roboticists (ie, robotic artists who work choreographically) believe that incorporating dancer gestures into machine behaviors would make robots look less like industrial paradoxes, and instead be more vibrant, more powerful and Will be more attentive. Such an interdisciplinary intervention can make robots easier and work around – their proliferation in consumer, medical, and military contexts has been cut short by no means.
While the concern for the movement of bodies has been important for both dance and robotics, historically, the themes have rarely overlapped. On the one hand, the Western dance tradition is generally known for maintaining an anti-intellectual tradition, which is a major challenge for those interested in interdisciplinary research. The acclaimed founder of the New York City Ballet, George Balanchin told the famous dancers, “Don’t think, darling, do it.” As a result of this kind of culture, the dancers’ stereotyping as the body of the dancers which unfortunately appears better than the disasters heard long ago. Meanwhile, the field of computer science and robotics by extension – comparatively, if separately, exhibits body issues. As a sociologist Simon Brown, Ruha Benjamin And others have demonstrated, emerging technologies have a long history, putting the human body as objects of surveillance and speculation. This results in racist, pseudo-scientific practices such as pathology, mood reading software, and AIS to know. What does your face look like if you’re gay. The body is a problem for computer scientists; And the overwhelming response by the field is technical “solutions” to those who want to read bodies without meaningful feedback from their owners. That is, an insistence that the corpse be seen, but not heard.
Despite the historical divide, it is not too much of a stretch to consider robotics as a particular type of choreographers, and to think that the integration of choreography and robotics could benefit both fields. Usually, the meaning and intentionality of a robot’s movement is not studied the way it is for dancers, but robotic and choreographers are preoccupied with the same foundation concerns: articulation, extension, force, shape , Effort, diligence and strength. “Robotics and choreographers aim to do the same thing: understanding and explaining the subtle choices in movement in a given context,” writes Amy LaViers, Certified movement analyzer And founder of Robotics, Automation and Dance (Red) Lab In a recent paper funded by the National Science Foundation. When robots work choreographically to determine the behaviors of robots, they make decisions about how humans and nonhuman bodies move in an intimate context to each other. This differs from the utilitarian parameters that govern most robotics research, where optimization is supreme (does the robot do its job?), And reflects the speed of a device or that one feels it has no clear result. is.
Madeline Gannon, Founder of Research Studio AtonAtonThe robot leads the field in his quest for expression. His World Economic Forum-commissioned establishment, ManusHis brilliant choreographic ideas and innovative mechanical engineering imitate both the possibilities of choreo-robotics in his tricks. The piece featured 10 robotic arms behind a transparent panel, each stark and brilliantly lit. Weapons take into account the production design of techno-dystopian films Ghost in the Shell. Such robotic weapons are engineered to perform repetitive labor, and are customarily deployed for utilitarian cases such as painting car chassis. Even then Manus Active, its robotic weapon embodied none of the expected, repetitive rhythms of the assembly line, but instead appears alive, each moving individually to interact animatedly with its surroundings. Depth sensors installed at the base of the robot’s platform track the movement of human observers through space, measure distance and respond to it iteratively. This tracking data has been distributed throughout the robotic system, acting as a shared vision for all robots. When passersby move sufficiently near the arm of one robot, it will look “closer” by tilting its “head” in the direction of the stimuli, and then proceed to engage. Such simple, subtle, gestures have been used for millennia with animations with objects for millennia. Here, the cumulative effect of making it is Manus Appear curious and very alive. These short choreography give an impression of personality and intelligence. They are functional differences between a haphazard row of industrial robots and coordinated movements of intelligent pack behavior.