NPR: Whenever the military rolls out some revolutionary new robot, folks are quick with the Skynet jokes. But in recent years, some robotic-evolution experiments suggest that robotic rebellion might end in applause rather than annihilation.
Take, for example, the robot KUKA — the hulking star of a French nouveau-cirque performance, Sans Objet, which premieres at the Brooklyn Academy of Music on Friday. It's no special effect; it's a real robot, developed by the automotive industry in the 1970s.
15 comments:
i find it very interesting how to this day we are still the industry thta plays catch up with the rest of the world. using a robot made in the 1970's as a center piece for a cirque show is a great idea but i find it very interesting how people are shocked at the crazy techinology that we will put on stage that has actually been in use for years for different purposes.
I think it is cool how the robot is incorperated in as a character because I was having a discussion with my big on how technology really must be treated as apart of the cast. In media design, the nedia should not be treated as apart of the set or an add on for lights, it adds a specific new compnent that must be directed and needs to contribute to a show the way an actor does. I understand how the same would apply for robots.
I think this is really coolk coming from a guy who would love to work automation in theatre and comes from a robotics background. Theatre robotics are always really cool; the way the article put it is that they are precise and elegant. I am always fascinated when working on a robot because of the simple elegance they embody, and I always imagine them in theatre as robots. Usually, shows with automation dress their robots up. I think it's an amazing idea to see a real 70s robot on stage. And I applaud the guys who had to move that hunk of metal around the world!
Robotic theater, so intriguing! I must give credit where credit is due, and in foundations II a group talked about the prospect of incorporating robots into a show, before I read this article, I was extremely interested. It seems marvelous. We have used robots in every form of daily life, almost in every way, why not incorporate it into the art that is theater, not just as automation, but as a centerpiece! They are such a big part of our lives, they are itself something to be talked/ written about, even just looked at. So thought provoking- I like this!
It was only a matter of time right? Im surprised that a robot on stage is only now happening. It brings new challenges to light like blocking, timing, and working with a non living object, but also brings many advantages to a production. This robot in particular is able to lift weight no human could ever do, but do so in a human-like way. It makes me sad that this is true because that means eventually, like many jobs these days, robots will be able to take the place of humans. To see the juxtaposition of the two, robot and human, together on stage will be quite theatrical indeed.
Incorporating robotics into performance and the arts in general is always so interesting because it's important on several levels. From a purely technical standpoint, it's an innovating, challenging production that exemplifies the kind of technology-related theater we can expect to see nowadays. From a more conceptual aspect, combining robots and humans in a "visually poetic performance piece" could lead to some fascinating ideas on human dependency on technology and the ethics involved with a topic that is still continually evolving.
I wondered when robots were going to become a common element in theater. Not that this is common, but now that it's been done at least once, it'll definitely be used again. I'm really excited about this actually because using robots in theater means bringing science into the world of arts and vice versa. I think its important to explore both sides of the brain, and putting robots on stage, aside from just looking really cool, forces people to think about how everything works as well as making them respond emotionally the way most people do when they watch a performance.
What is interesting to me is that this is a robot, KUKA, compared to automation. A robot is just that though, automation. But what makes a robot different than any automated scenery? Is it the characteristics of a human, or being able to do complex actions? I feel in the case of theatre and all robots, the characteristics of a human, or an actual character in the production are what makes automation a robot. Working with KUKA would definitely be a very close knit interaction, really developing the automation and movements as a character. It would be interesting to see how KUKA is used fully. Using something that was made so long ago in a new way is great. Very inventive and genius performance I bet.
This show sounds just great! It does seem that though are probably a lot of technical challenges that the article didn't even bring up. For example what sort of safety systems are in place? The robot lifts actors and moves around them. What happens if the humans or robot mess up? Another question I had is what sort of training do the actors need to be able to work with a robot. One of the most striking things about this story to me was that the robot is not a super new creation. The show reused an older assembly line robot. It's so old in fact that it runs windows 95. With so many major inventions in the world of robotics over the last ten years it's an interesting choice to use an old robot.
To think that all of this technology is being used in theatre is astounding. I never really realized how easy it was to use robotics and such in a show in such a ginormous way. To make it a character in the show is fantastic and an interesting way to take on this technology. It's so inventive and by doing so it allows for future productions to be creative in what they use.
My favorite element of this production is the fact that the team did not decide to have their own custom robot manufacture for them. The choice to use a refurbished automobile assembly robot from the 1970's adds to the spirit of bricolage that is ever so present in the production. It seems to embody a live actor, who was not necessarily born for the role but rather has been molded into it by the director and the design and production team.
Like everyone else, I also find this idea interesting. Not only does the robot portray a character itself, but does it also represent man? Is the cirque trying to portray man as machine? The fact that KUKA resembles an arm and can lift performers off the ground gives the character immense power. I noticed from one of the pictures in the article, that the costumes were very business-like, and makes the viewer think of modern day and the economy as well. When I read that KUKA was a automobile robot, I immediately of the recent economic crisis and the car-company shut-downs. Looking at the photos, I wonder what is to come. Lastly, I like the title of the performance, "Sans Objet." It clearly states that KUKA is not an object, but a living, breathing machine. Very clever on Cirque's part.
I don't think that we are playing catch up, this just seems to be an interesting idea. A part of a machine that we could adapt to our world. I am interested in seeing this performance. BAM is known for doing shows that are innovative and edgy. knowing the space and the audience, I bet this will be a huge success. The patrons of BAM have a curiosity that fuels the company. Given the size and weight of this performer, there may not be too many other spaces where this show can be put on.
I feel like they are giving it more personality then it deserves, while it is cool that it is being used as a character it doesn't seem like it actually has any AI in its programming. It is programmed to follow a series of movements using data from its sensors. At the beginning of the article I was excited to read about updates in AI but this is not that. Calling it a diva because programming it was hard could be applied to any computer, anywhere. But again although it is not really a good example of AI, it is a cool application of technology in theater.
BE AFRAID:
http://earlywarn.blogspot.com/2012/04/global-robot-population.html
We should all get used to producing entertainment for robots. Soon there will be more of them than us. And since, like all Americans, I like nothing more than a fresh new market to exploit, I think we might as well figure out a way to sell them something. I used to think cats were the next bug un-tapped entertainment market, but I have since realized that television is really the medium for them. They're home all day anyway with nothing much to do but lick themselves and watch re-runs. But cats at live theatre? Imagining the restrooms is enough to abandon that idea right away. TV for robots is already being made. I'm pretty sure Discovery Channel is producing content knowing full well it's what robots will watch on Nick at Nite 50 years from now. But there is definitely a potential market in theatre for robots too. Many of our facilities will need some re-design. Might as well take all the seats out, since robots don't necessarily sit down, and come in all shapes and sizes to boot. Modifying the bar wands to dispense hydraulic fluid and machine oil shouldn't be too difficult. A "bag of nuts" simply takes on new meaning, and restrooms? Won't even need them. As for content, I think this is a good start:
http://www.youtube.com/watch?v=RXjm98SXq-8
It's got everything a hard working American robot wants out of an evening of theatre: sexy, fire-breathing robots living out the chaotic dreams of mass destruction on a scale only a robot could truly empathize with. No need for romantic sub-plots or false endings. The robot entertainment of the future will be decidedly constructivist. Let us embrace our new overlor-- I mean collaborators, and envision a future where entertainment is not just for the skinned.
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