#soc x symbiosis

[hearts401]

soc x symbiosis

[softrobotcritics]

Machine Movement Lab

https://www.frontiersin.org/articles/10.3389/frobt.2020.577900/full

The Esthetics of Encounter: A Relational-Performative Design Approach to Human-Robot Interaction

Petra Gemeinboeck

Department of Media Theory, University of Applied Arts Vienna, Vienna, Austria

Centre for Transformative Media Technologies, School of Arts, Social Sciences and Humanities, Swinburne University of Technology, Melbourne, VIC, Australia

This article lays out the framework for relational-performative esthetics in human-robot interaction, comprising a theoretical lens and design approach for critical practice-based inquiries into embodied meaning-making in human-robot interaction. I explore the centrality of esthetics as a practice of embodied meaning-making by drawing on my arts-led, performance-based approach to human-robot encounters, as well as other artistic practices. Understanding social agency and meaning as being enacted through the situated dynamics of the interaction, I bring into focus a process of bodying-thinging; entangling and transforming subjects and objects in the encounter and rendering elastic boundaries in-between. Rather than serving to make the strange look more familiar, aesthetics here is about rendering the differences between humans and robots more relational....

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Keywords: human-robot interaction design, aesthetics, performativity, agency, design, movement

Citation: Gemeinboeck P (2021) The Esthetics of Encounter: A Relational-Performative Design Approach to Human-Robot Interaction. Front. Robot. AI 7:577900. doi: 10.3389/frobt.2020.577900

Received: 30 June 2020; Accepted: 14 December 2020; Published: 16 March 2021.

Edited by:

Elizabeth Ann Jochum

, Aalborg University, Denmark

Reviewed by:

Gregory J. Corness

, Columbia College Chicago, United States

Jonas Jørgensen

, University of Southern Denmark, Denmark

Copyright © 2021 Gemeinboeck. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

*Correspondence: Petra Gemeinboeck, petra.gemeinboeck@uni-ak.ac.at

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 Exhibition Proposals: the Basics (in progress)

Who is involved? Describe your intended work

Eleanor Díaz Ritson -

I will make large, water-based oil paintings on suspended, ‘patchwork’ cotton duck canvas. Painted tapestries (2 artworks: 98.4 x 120 cm each).  I use a non-traditional oil painting style, influenced by raw material, charcoal drawings , woodcuts, and other traditionally water-based media. I am a figurative painter, representing my own image to communicate through gesture and expression. 

I explore sociality as a land-space-place; the tangible body as land, and the intangible social culture as space–place. In this way, the outward expressions of force applied in social interactions are likened to the movements of energy that sculpt geological land-bodies. Through evolutionary ‘deep time’, our social interactions sculpt our bodies and minds too. 

She exists in an interior landscape. A space where She is: 

Dew dripped mountain crag. Squelching, slimy swamp. Beaten and carved cavity. Patient, molten core.

Rippling ash cloud. Salt scarred cliff face. Frozen and glistening glacial shard.

Ruby Wilkinson - 

I intend to make paintings from memories, learning more about the unconscious. Memories are constantly changing, moving and evolving in people’s minds; creating endless false realities and recollections. I want to make work about social interactions, experiences, encounters and moments I have personally experienced in my life. 

Two large scale paper drawings, 150cm x 100 cm. Using abstract drawing techniques combined with paint manipulation of paper there will be a balance of chance and control.

Steph Arrowsmith - 

I intend to create large- scale prints which float in the space between figuration and abstraction and subvert traditional processes of image reproduction. I am exploring the potential for the prints being integrated with strange acid- etched sculptural metal frames. 

I am influenced presently by early print imagery which depicts dark religious fantasies of apocalypse and doomsday, and the artificial realities constructed through reproduced colonial imagery of endemic avifauna, flora and landscape. I want to explore ideas around the fragile and intricate biosphere in the in-between space of devastating degradation and utopic regeneration,  phenomena and noumena, and ghosts of past and apparitions of future coexisting as unseen undercurrents of accepted material reality. 

Trantham Gordon - 

The work that I intend to continue working through explores the redevelopment of image and SPACE. The sculptural object contains the tools to create a reconstruction of the world surrounding it, as the surroundings contain movement, so in turn, does the image. 

In reality this object is a camera (built out of several cameras amongst other technologies). 

The use of these technologies create a pulsating energy -through delay and feedback loops- which imbue into the image a warmth and life - a result that stands apart from the puppeteering and facade of life created by animation.

I am influenced by a continued exploration of our understandings of SPACE and LINE and IMAGE as well as the existence of time within an artwork. The final work should be able to reproduce a moving image of the world in front of it whilst commenting on the deconstruction and reconstruction of the image shown and seen. 

Christian Dimick - 

I intend to make medium scale conceptual drawings on wood panel. Through using a range of direct mediums such as oil stick, charcoal and found object I aim to dictate personal idiosyncrasies of perception and memory. The starting point for these drawings is always walking, which translates into experimental documentitive language and then finds its way into a visual form. I am infl]uenced by other artists/writers who use walking as a means of understanding space, time and connecting narrative with objects such as Susan Solint, Richard Long and Stanley Brouwn.  

What is the concept for the exhibition? What ideas does it explore, what are its reference points?

Our exhibition could be seen as the creation of a materially represented limbo, a between space neither here nor there, in which time and material solidity loses its hold on accepted perceptions of reality. Memories of past and apparitions of future intermingle in a strange fog. The exploration of this space between nothing and something echoes and amplifies the seething atmosphere of this moment of existence, in which we seem to gaze into a chasm, a darkness which could be full or empty, beneath feet run unutterable undercurrents which disrupt and destabilise.

 The work and the intended space cohabitate conceptually in symbiosis. The space is an entrance and exit point, a through- space, a solid, architectural in-between. We intend to explore unconventional lighting and installation , using the limitations of the non- gallery space as an opportunity to break with convention and influence what we create. This space is the mouth to the vast expanse of the great hall, which will be empty and filled with darkness. The acoustics of this space create a dense silence which will be a potent atmospheric facet. 

                     Trantham:  Space, time, movement, object, line, light. 

Christian:   Space, time, movement, object, perception, memory.

Steph:         Space, time, movement, land, energy, degradation, regeneration, creature.

Eleanor:     Space, time, movement, land, energy, sociality, figure, eternal. 

Ruby:          Space, time, movement, sociality, memory. 

UNDESCRIED

Definition: not descried; not discovered; not seen.

Examples:

1. It seemed to the man and woman that they were the only living things in the world, its people, its sounds, its interests, were in some undescried distance where life progressed with languid pulses.

- The Emigrant Trail

2. Fade from suns to stars, from stars into darkness undescried.

- A Channel Passage and Other Poems Taken from The Collected Poetical Works of Algernon Charles Swinburne—Vol VI

 MOVEMENT

Definitions:

1. The act of moving in space; change of place or posture; motion.

2. Motion of the mind or feelings; emotion.

3. The suggestion or representation of motion in a painting, sculpture, or design.

4. A particular rhythmic flow of language (CADENCE a poem's movement).

 LACUNA

Definition:

1. An unfilled space; a cavity or depression; a gap.

2. A language gap, which occurs when there is no direct translation in the target language for a lexical term found in the source language.

Unseen/between spaces

Deconstruction and reconstruction

Layers/ undercurrents of reality

Individual perception

Sensorial perception

Quotes:

Henry Moore

“The mystery of the hole - the mysterious fascination of caves in hillsides and cliffs."

“One of the things I would like to think my sculpture has is a force, is a strength, is a life, a vitality from inside it, so that you have a sense that the form is pressing from the inside trying to burst or trying to give off strength from inside itself.”

"I admire most a disturbing element, a distortion, giving evidence of a struggle . . . . In great art, this conflict is hidden, it is unresolved. All that is bursting with energy is disturbing - not perfect."

“Turner can create almost measurable distances of space and air… The space he creates is not emptiness; it is filled with 'solid' atmosphere.”

W. J. T. Mitchell - Landscape and Power

“An empty space is not the same thing as an empty place. An empty place is filled with space, as if space were the negative void that rushes in when a place is vacated. It is the spectral absence that “fills” a hollow shell or a clearing in a forest.”

"Landscape exerts a subtle power over people, eliciting a broad range of emotions and meanings that may be difficult to specify. This indeterminacy of affect seems to be a crucial feature of whatever force landscape can have.”

“I aim to change “landscape” from a noun to a verb. (to describe an action, state, or occurrence) It asks that we think of landscape, not as an object to be seen or a text to be read, but as a process by which social and subjective identities are formed.”

Steph -

Bennet, Jane, ‘Vibrant Matter: A Political Ecology of Things’, 2009, Duke University Press

2009, 

Janet Frame ‘Owls Do Cry’, 1957

Böhme, Gernot, ’The Aesthetics of Atmospheres (Ambiances, Atmospheres and Sensory Experiences of Spaces)

Wynyard, Mathew, ‘Dairying, Dispossession, Devastation: Primitive Accumulation and the New Zealand Dairy Industry, 1814- 2018, Counterfutures 8, 2019, Rebel Press, Wellington

Eleanor -

de Certeau, Michel. The Practice of Everyday Life. University of California Press, 1984. 

Finn, David. As The Eye Moves… a Sculpture by Henry Moore. Words by Donald Hall. Henry Abrams Inc. Publishers, 1970, New York.

Langer, Susanne K. Feeling and Form, A Theory of Art. Routledge & Kegan Pail Limited, 1953, England. 

Lefebvre, Henri. The Production of Space. 1971. Translated by Donald Nicholas-Smith, Blackwell, 1991.

Mitchell, W. J. T, editor. Landscape and Power. The University of Chicago Press, 2002.

Parker, David. Myth and Landscape. Words by Marina Warner and Ibrahim al-Koni. Kehrer Verlag, 2014.

Fehr, E. & Gächter, S. 2002 Altruistic punishment in humans. Nature 415, 137-140. (doi:10.1038/415137a)

Jensen, K. 2010 Punishment and spite, the dark side of cooperation. Phil. Trans. R. Soc. B (2010) 365, 2635-2650. (doi:10.1098/rstb.2010.0146)

Ruby -  

Frichot, Hélène, ‘Olafur Eliasson and the circulation of affects and percepts in conversation’,2008

Moon So - Young, ‘Yun Hyong-Keun, retrospective abstract landscape of silence and sublime.’ 2018. Korean culture & arts

Böhme, Gernot, ‘Atmosphere, a basic concept of a New Aesthetic, In Atmospheric Architectures: The Aesthetics of Felt Spaces Chapter 1 pp 13 -35,’. (2017) 

Pallasmaa, Juhani, ‘The meaning of Atmosphere and mood’. 2016 

Trantham -

Arke, Pai. Nuugaarsuk alias Hulkamerafotografi alias Pointen (Nuugaarsuk alias Pinhole Camera Photograph alias The Point), 1990, silver/ gelatine on baryte paper print of Nuugaarsuk Point, Narsaq, 49.5 x 59.5 cm; collection of Brandts Museet for Fotokunst, Odense.

Alÿs, Francis. Bolero (Shoe Shine Blues), 2008. Video Work and Installation

Lefebvre, Henri. The Production of Space. 1971. Translated by Donald Nicholas-Smith, Blackwell, 1991.

Bachelard, Gaston. The Poetics of Space. 1954. Translated by Maria Jolas, Beacon Press, 1994.

https://sites.evergreen.edu/wp-content/uploads/sites/88/2015/05/Gaston-Bachelard-the-Poetics-of-Space.pdf

Mariana Bisti, Future Proof, 2015. Performance Piece

Christian - 

Art In America: ‘Provisional Painting’, Raphael Rubinstien, 2009

Susan Solint, ‘A Field Guide to Getting Lost’, published 2006 Donald Judd, ‘Specific Objects’,  Donald Judd: Early Work, 1955-1968, New York: D.A.P., 2002.

Images: what might be shown, conceptual drawings of what the exhibition might look like…

Identify the site for the exhibition and whether secured or aspirational. How does the site relate to the concept for the exhibition?

We are all making primarily wall-based, large scale works. This means we require a spacious exhibition area. We recognise all work as boldly individual, while supporting and enriching one another’s expressions through our various perspectives and interpretations.  

First Choice: Block 10 Great Hall (10B09)

This space ties together our overarching concepts around sensory and individual perception in relation to space/place/time. The group wanted to use a space that pushed our practices out of the standard gallery setting, in our case the space becomes part of each of our works as they respond to its unique qualities such as size, lighting, reverberation and ambience. 

Second Choice: 10A19 This space is also suitable for our group as it is large enough to fit all of our works.

 How will the team work? Are there any organising principles? Are there prescribed roles/duties or are you organising yourselves in a different way? 

We have no defined ‘leader’, instead we are supporting each other in sharing organisation tasks throughout the process. Concurrently we will  work independently on our own projects,  while frequently communicating our progress and artwork developments to one other.

A timeline: what needs to be done and by when?

Once we have secured an exhibition space, we will be able to plan further (layout, lighting, install).

In the meantime we will continue to work independently.

All works will be completed and ready to be installed before exhibition night (Friday 11 September). 

TEXT FOR EXHIBITION DOCUMENT 

Ruby 

Forge the doctor note to get the night off work. Drive in silence. The car knows where to go. It drives so smoothly in fact it’s almost floating now. Bottle it up one more time and leave no residue until the final destination is reached. Listen to the noise and notice the patterns, Listen to the layers of skin. There is a warehouse filled with ammonium nitrate (2750 tonnes). Untangle the inner threads. Do not feel the need to explain yourself today they will understand. Put some lemon on the crumbed fish and allow the sand to fill up under your fingernails for protection. Share the space you have created but allow it to be tampered. Think about the lotto today, Call your mother. Prepare the surface for one week and allow it to breathe before applying the layers. Think about it again and again. Apply the layer of milk, Let the milk fill the void of silence. Relive the memory over and over in order to pay respect. Allow the memory to become distorted with the following factors; Schemas, Source amnesia, The misinformation effect, The hindsight bias, the overconfidence effect and confabulation. The arch will be there, swim within the milk.

 Watch the paroxysm from a distance.

Christian 

I step forward and open cognition, up two sets of stairs, under the lip of the earth. 

Slip into mandatory nostalgia,

listen to the resonance of air. 

Consolation in degradation, in memory afar. I step forward and open cognition, up hill ridges to watch the deep.

Having sympathy for surface, letting the hand relive the step.

Leave space for the solitary eye, but do not let it drag, keep moving. Locomote and arrangements will be made in the equilibrium. Represent singular impressions, 

And their histories, all marks made before. I step forward and open cognition.