Techno-artist Myles Leadbeatter suggested we revive the old beast at the occasion of his exhibition in the brand new @Shift artspace in the basement of the Capitol Centre, Cardiff UK.
When:Friday 8th March 7PM
Where: Shift Artspace, Capitol Centre, Queen St, Cardiff CF10 2HQ
Line-up, all techno artists for this one: Myles Leadbeatter who will talk about his onsite installation, Nicola Schauermann on Genetic Moo‘s collaborative project Superorganism, Simon Fenoulhet on his artwork and public commissions and me with an update of where my work is going.
If things go well, we are thinking of running more dorkbot sessions after this one.
From self-augmented cyborgs to deep green resistance to clever robot dogs: what to make [techno-] art about in 2019?
Paul Granjon is an artist interested in our relation to technology, or more precisely the co-evolution of humans and machines. He has explored the subject for 20 years, making robots, performances and participative events. Granjon’s work aims to raise questions about human augmentation, dependency, and empowerment within our fast moving techno-present. After providing a brief context to some of his key works, Granjon will present a selection of facts, artworks and speculations addressing ecology, transhumanism, artificial creatures, global data capture and share reflections about the future of art and technology practices in 2019.
Boston Dynamics gets into the groove with this video of their Spot Mini quadruped, including some anthropomorphic robosexy moves that might tickle some public.
Another Spot Mini video, this one got more than 5 million hits since February. It is more in the Boston Dynamics tradition with a Skynet-like machine behaviour and robot abuse moments. 16000+ comments, largely about the themes mentioned above.
I am in the middle of a new Lead Creative Schools project (I ran another one last year). Aimed at promoting a creative approach to teaching and life, the scheme allows a class in a primary school to work with a creative practitioner for approximately 10 teaching days on a made-to-measure project. This time I work with a year 6 class (10-11 year olds), combining creative technology and outdoors activities. We code Microbits and upcycle e-waste in the morning and build dens and mud batteries in the afternoon, a fine balance!
I found this photo while tidying some drawers. These are two friends in robot costumes for a no-budget sci-fi pilot I shot in 1993 called Euronutrifood. They are supposed to be evil slave robots. Thanks again and respect to the ghosts in the machine: Raphaëlle Paupert-Borne and Matthieu Demouzon.
Atmoshere, Geosphere, Biosphere, Noosphere: The sphere of human thought
now criss-crossing the world in binary strings
AD DA conversions analog to digital --> to? analog? data fit for human understanding
LAUREN is a project by new media artist Lauren McCarthy. She will impersonate a home automation assistant not unlike Amazon’s Alexia, responding to users’ vocal commands and acting on their connected domestic environment. Project Lauren will last 3 days.
“Lauren will control your home for you, attempting to get better than an AI, understanding you as a person”.
I reckon it is a no brainer for Lauren the HI (human intelligence) to be better than Alexa or Siri, examples mentioned by the artist on the project’s website.
Volunteers might feel more morally observed than by an artificial assistant, and may have to deal with interruptions of service due to naps or other very human breaks.
You can apply here if you are interested in hosting Lauren in your home.
— Why do I blog about that?
I have an ongoing interest in the way machines and humans roles overlap or shift, takeover, resistance, harmony, symbiosis. Power, delegation, cyber-isation. Lauren is an interesting gesture that reminds us about the unique -as yet- touch humans can bring to other humans in a way machines cannot. My own Am I Robot installation works on a similar principle of injecting HI in a system normally driven by AI or simpler algorithms.
The Wizard of Oz, HI trickster, exposed by Toto's down to earth DI (dog intelligence)
The robot fans readers will know about Boston Dynamics‘ Spot Mini, a pretty amazing quadruped robot I mentioned a while ago. On 19th July 2017, an upgraded version was introduced to the clients of Boston Dynamics’ new owner, Softbank Japan. Spot has been given an “arm”, that looks as much as a neck and jaws as it does an arm.
These characteristics would make Spot Mini an ideal candidate for the Coy-B Wild Robot experiment that’s been haunting me fo the past ten years, with highs and lows. For reasons of reliability, cost and battery usage, I did not think of Coy-B as a legged robot. Yet, something agile and uncanny like Spot Mini would be very good for the job!
The demo shows a robotic creature whose abilities are, if not quite at the level of those demonstrated by the coyote that inspired Coy-B, fluid and fast enough for a very engaging real-time interaction with a human. Loaded with a suitable set of teeth and a wild AI program of course.
When will it be available at the robot shop around the corner?
The Australian online journal Fibreculture’s special issue on Creative Robotics is now available! The issue features 8 articles by academics and artists on themes such as creative robots on Mars, non-organic intelligence, working with the most famous humanoid robots, failing robots and more… My contribution to the journal is an article titled This Machine Could Bite, On the Role of Non-Benigh Art Robots. I make a case for experimentation in human robot interaction with machines not designed for being useful or friendly.
“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.”