Roboscopie

Lemaignan, Séverin; Gharbi, Mamoun; Mainprice, Jim; Herrb, Matthieu; Alami, Rachid

doi:10.1145/2157689.2157831

Cited by 18 publications

(3 citation statements)

References 2 publications

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“…Movement here supports the creation of dramatic characters, which is intended at sustaining social interactions (Simmons et al, 2011), promoting acceptance (Anzalone et al, 2010;Jochum et al, 2016) and effectively responding to human social cues while showing intentionality (Breazeal et al, 2003). These projects tend to use theatre as a testbed, for dramatizing concerns (Breazeal et al, 2003;Jochum et al, 2016;Lemaignan et al, 2012) or for feedback on early prototypes (Chatley et al, 2010;Syrdal et al, 2011). Other projects, however, instead of aiming at the creation of a performance, employ those dramatic characters to design robots that function in the wild.…”

Section: A Theatre and Dance In Social Roboticsmentioning

confidence: 99%

Affective Movement in Robotic Art: Alternatives to the ‘Interiority Paradigm’ in Social Robotics

Troughton

2022

Body, Space &Amp; Technology

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This papercritically evaluates how emotional and intentional movement is conceptualisedand deployed in social robotics and provides an alternative by analysingcontemporary robotic artworks that deal with affective human-robot interaction(HRI). Within HRI, movement as a way of communicating emotions and intent hasbecome a topic of increased interest, which has made social robotics turn totheatre and dance due to the expertise of these fields in expressive movement.This paper will argue that social robotics’ way of using performative methodswith regards to emotional movement is, nonetheless, limited and carries certainchallenges.  These challenges aregrounded on the claim that social robotics participates in what the authorcalls an ‘interiority paradigm’. That is, movement is understood to be theexpression of inner, pre-determined states. The 'interiority paradigm' poses several challenges to the development of emotional movement, with regards to unaddressed human androbotic imaginaries, an emphasis in legibility and familiarity, and arestrictive interior/exterior binary that limits the role of movement in anaffective connection. As an example of how robotscould be imagined beyond this interiority paradigm, the author proposes to turnto contemporary robotic art.Robotic art’s view on affective movement as a matter of evocationand of performative co-creation might inspire the development of robots thatmove beyond the requirement of being mere copies of a human interiority.  While the intersection between robotics andthe performing arts is a fruitful field of research, the author argues in thispaper that the way in which movement is currently being developed throughperformative methods has certain shortcomings, and that the perspective of roboticart on affective movement might open up a more interesting area of explorationfor social robotics, as well as expose those aspects of theatre and dance thathave being unaddressed in robotics. 

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Section: A Theatre and Dance In Social Roboticsmentioning

confidence: 99%

Affective Movement in Robotic Art: Alternatives to the ‘Interiority Paradigm’ in Social Robotics

Troughton

2022

Body, Space &Amp; Technology

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“…It is a live performance where the drama of human characters is told in retrospective by a chorus of mobile robots designed to sing, move, and react. Lemaignan et al (2012) detail a play with a human actor and the robot PR2. This robot interacts with the environment and human actor through 2D barcodes.…”

Section: Expression Of Emotions and Intentions In Nonanthropomorphic mentioning

confidence: 99%

“…On the other hand, the performance is interactive when the storyline can be changed during the live enactment based on feedback from the audience, human actor, environment, or other robot actors. A robot actor can obtain the feedback from the audience or a human actor by way of the following strategies:  Basic vision pattern detection: The robot actor is able of identifying simple markers, such as QR codes (Lemaignan et al, 2012) and color marks .  Advanced pattern detection: the robot can identify complex patterns.…”

Section: Performing Dramamentioning

confidence: 99%

Interactive Drama With Robots for Teaching Non-Technical Subjects

Sánchez

Correal

Guerrero

2017

Journal of Human-Robot Interaction

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Educational robotics has great potential as a learning tool at all levels, from kindergarten to the university. It provides rich opportunities for collaborative knowledge building and skills acquisition through the manipulation of and interaction with robots. Despite the remarkable progress in this field, the scope and impact of robot-based activities have primarily focused on the teaching of technical school subjects (i.e., computer science, mathematics, and physics). This work proposes to support the learning and teaching of non-technical school subjects through drama-based activities with multiple robots. This approach provides a multisensory learning environment where students can learn through representations or simulations of ideas, events, stories, phenomena, or processes using multiple robot actors. Based on the drama process used by teachers, we propose steps to create and perform plays with robot actors in an educational context and discuss different alternatives for its implementation. Finally, we discuss the challenges of creating plays with multiple robots for educational purposes.

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