In recent years, simple biomimetic robots have been increasingly used in biological studies to investigate social behavior, for example collective movement. Nevertheless, a big challenge in developing biomimetic robots is the acceptance of the robotic agents by live animals. In this contribution, we describe our recent advances with regard to the acceptance of our biomimetic RoboFish by live Trinidadian guppies (Poecilia reticulata). We provide a detailed technical description of the RoboFish system and show the effect of different appearance, motion patterns and interaction modes on the acceptance of the artificial fish replica. Our results indicate that realistic eye dummies along with natural motion patterns significantly improve the acceptance level of the RoboFish. Through the interactive behaviors, our system can be adjusted to imitate different individual characteristics of live animals, which further increases the bandwidth of possible applications of our RoboFish for the study of animal behavior.

Humans draw maps when communicating about places or verbally describe routes between locations. Honeybees communicate places by encoding distance and direction in their waggle dances. Controversy exists not only about the structure of spatial memory but also about the efficiency of dance communication. Some of these uncertainties were resolved by studies in which recruits' flights were monitored using harmonic radar. We asked whether the two sources of vector information--the previously learned flight vector to a food source and the communicated vector--are represented in a common frame of spatial reference. We found that recruits redirect their outbound flights and perform novel shortcut flights between the communicated and learned locations in both directions. Guidance by beacons at the respective locations or by the panorama of the horizon was excluded. These findings indicate a spatial reference based on either large-scale vector integration or a common geocentric map-like spatial memory. Both models predict a memory structure that stores the spatial layout in such a way that decisions are made according to estimated distances and directions. The models differ with respect to the role of landmarks and the time of learning of spatial relations.

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Assistive mobile manipulators have the potential to one day serve as surrogates and helpers for people with disabilities, giving them the freedom to perform tasks such as scratching an itch, picking up a cup, or socializing with their families. This article introduces a collaborative project with the goal of putting assistive mobile manipulators into real homes to work with people with disabilities. Through a participatory design process in which users have been actively involved from day one, we are identifying and developing assistive capabilities for the PR2 robot. Our approach is to develop a diverse suite of open source software tools that blend the capabilities of the user and the robot. Within this article, we introduce the project, describe our progress, and discuss lessons we have learned.

The honeybee dance “language” is one of the most popular examples of information transfer in the animal world. Today, more than 60 years after its discovery it still remains unknown how follower bees decode the information contained in the dance. In order to build a robotic honeybee that allows a deeper investigation of the communication process we have recorded hundreds of videos of waggle dances. In this paper we analyze the statistics of visually captured high-precision dance trajectories of European honeybees (Apis mellifera carnica). The trajectories were produced using a novel automatic tracking system and represent the most detailed honeybee dance motion information available. Although honeybee dances seem very variable, some properties turned out to be invariant. We use these properties as a minimal set of parameters that enables us to model the honeybee dance motion. We provide a detailed statistical description of various dance properties that have not been characterized before and discuss the role of particular dance components in the commmunication process.