This paper proposes a set of five ethical principles, together with seven high-level messages, as a basis for responsible robotics. The Principles of Robotics were drafted in 2010 and published online in 2011. Since then the principles have influenced, and continue to influence, a number of initiatives in robot ethics but have not,
This paper reports insights gained from an exploration of performance-based techniques to improve the design of relationships between people and responsive machines. It draws on the Emergent Objects project and specifically addresses notions of embodiment as employed in the field of performance as a means to prototype and develop a robotic agent, SpiderCrab, designed to promote expressive interaction of device and human dancer, in order to achieve 'performative merging'. The significance of the work is to bring further knowledge of embodiment to bear on the development of human-technological interaction in general. In doing so, it draws on discursive and interpretive methods of research widely used in the field of performance but not yet obviously aligned with some orthodox paradigms and practices within design research. It also posits the design outcome as an 'objectile' in the sense that a continuous and potentially divergent iteration of prototypes is envisaged, rather than a singular final product. The focus on performative merging draws in notions of complexity and user experience.
The British working-class pageants of the nineteen-thirties were curiously cross-bred between, on the one hand, the resolutely bourgeois civic pageants which had become popular around the turn of the century and remained so still, and, on the other, the new Soviet style of mass-declamations with agit-prop intent. Often ignored even by left-wing theatre historians, these pageants drew on other influences varying from endemic communal forms of creation such as choirs and processions to the work of contemporary, left-leaning ‘high art’ poets and musicians. Here, Mick Wallis looks in detail at one such pageant, Music and the People, mounted in London in April 1939, and at the tripartite five-day festival of which it formed a part. He goes on to explore the politics, aesthetics, and logistics of this long-neglected form of popular performance. Mick Wallis, who teaches drama at Loughborough University, has recently published on using Raymond Williams's work in the integration of practical and academic approaches to teaching. His one-man act, Sir John Feelgood and Marjorie, was an experiment in popular form for the sake of left-wing benefits.
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