SAILS -> Self-Assembling-Lighter-Than-Air-Structures

From http://sharedrobotics.com/

Project group: SAILS -> Self-Assembling-Lighter-Than-Air-Structures

Project Name: Tryphon

Authors: Nicolas Reeves, NXI GESTATIO Design Lab, University of Quebec in Montreal.

[Project engineer : David St-Onge].

1. Technic : The Tryphons are cubic aerobot of 2.25m side made of a carbon fiber structure. They are entirely autonomous. Equipped with a main computer brain, they can analyze data comming from many different sensors on the robots (light, ultrasounds, acceleration, compass, etc.) and after interpreting them send the appropriate commands to the motors. The robots may move freely in space, without any wire, only by the thrust of their brushless turbofans. The behaviour of the robots depends only on the programming preceding the performance and are limited only by the artist’s imagination.
2. Art : Since the beginning of the Tryphon (and before Mascarillon) project the creators’ choose to make use of the robots for artistic purposes. One of the first objective was (and still is) to be able to assemble many of those flying cube together in space as a 3D printer able to represent in reality architecture virtual models The idea linking cubes with architecture is far more important then their use or their complex carbon fiber structure. It relies in the basic concept of viewing a non aerodynamic object floating and evolving in space without any wires or any grounded equipement. As example of other performance’s possibilities let’s mention : floating projection screen over a crowd, autonomous robots acting with simple insect-like behaviour in restricted environment (pictures of Moscow), interaction with actors in theater. The team is actually working on the last one to present next year a 4 actors – 4 robots performance in Montréal (Canada).

The big picture 32 recent robot pix

http://www.boston.com/bigpicture/2009/03/robots.html

Humanoid robots Wakamaru, produced by Japan’s Mitsubishi Heavy Industry, named Momoko (R) and Takeo (L) in the performace, take part in a drama for the world’s first robot and human experimental theatre, written and directed by Japanese playwright Oriza Hirata, at Japan’s Osaka University in Osaka, western Japan on November 25, 2008. (YOSHIKAZU TSUNO/AFP/Getty Images) #

Classic Automata Film

top 12 videos of creepy automata
There is nothing more creepy than the charred remains of a moth eaten victorian doll with rolling eyes and moving limbs. That is the premise for the Oobject’s Halloween list, videos of the most creepy automata in action.

http://www.oobject.com/category/top-12-videos-of-creepy-automata/

The Hosts

The Hosts: A Masquerade Of Improvising Automatons extends Wade Marynowsky’s development of custom-built robotics and interactive, performative media. In this installation, Marynowsky explores roboticist Masahiro Mori’s theory outlined in The Uncanny Valley (1970), which suggests that in designing humanoid robots one should not aim for total human likeness, but for an alternative to an uncanny appearance.

Media artist/artistic director; Wade Marynowsky, Electrical engineer; Aras Vaichas, Programmer; Jeremy Apthorp, Lighting; Mirabelle Wouters Costume; Sally Jackson, Photos; Garth Knight.

14 August – 12 September 11am – 5pm (Tues – Sat) and evenings, 6:00 -8:00pm when Performance Space has other events on. Performance Space at the Carriage Works, 245 Wilson Street, Sydney.

http://marynowsky.net/

Joueuse de Tympanon – automate

kinetica-artfair London

Carnivorous art, man-animal-machine hybrids, mechanical drawing machines, subliminal installations, pole dancing robots, light sculptures and cybernetics are just some of the exhibits to be found at Kinetica Art Fair, the UK’s first art fair dedicated to kinetic, robotic, sound, light and time-based art which opens in London on Friday 27 February.

Kinetica Art Fair is developed by Kinetica Museum in partnership with P3 and supported by the Contemporary Art Society.

More than 25 galleries and organisations specialising in kinetic, electronic and new media art are taking part with over 150 exhibiting artists. The Fair will be like no other with living, moving, speaking and performing art.
The Fair provides unparalleled opportunities for the public and collectors alike to view and buy work from this thriving international movement and to participate in the programme of talks, workshops and performances.

http://www.kinetica-artfair.com/

50 of the best robots decided by wired magazine

http://www.wired.com/wired/images.html?issue=14.01&topic=robots&img=37

DANTE II

Wade Marynowsky; The Discreet Charm Of The Bourgeoisie Robot.

Wade Marynowsky; The Discreet Charm Of The Bourgeoisie robot.
Electrical engineering: Aras Vaichas, Software design: Mr.Snow, Dress maker: Susan Marynowsky, Supported by the University of Western Sydney.

The Insitute of Contemporary Art Newtown (I.C.A.N). 5th – 21st of December, Thursday to Sunday 12 – 5 pm. Opening Friday 5th, December, 6-8pm.

By appropriating the title of the film The Discreet Charm Of The Bourgeoisie (1972) I pay homage to the surrealist film director Luis Buñuel. The film is about a group of upper middle class people attempting, despite continual interruptions to dine together. So what is Bunuel trying to say? That the bourgeoisie are charming because they have nothing to worry about except how and when they will dine together? Or that they are in fact hideous creatures with nothing better to do than waffle about?

Taking this question into the gallery, the bourgeoisie robot is operated by invited mystery guests over the internet, for the duration of the exhibition. The charming robot avatar waits for visitors to enter the space and then converses with them in a polite and pleasant manner. The robot is interested in talking about food, robots, dancing and other general bourgeois banter. In doing so the robot questions the role of the gallery as a place of contemplation.

The robot wears a hooped dress, which recalls the beginnings of automata, the 18th century. For example: Jacques de Vaucanson’s mechanical flute player and defecating duck (1738). Vaucanson’s automata stunned European eyes of the era producing the first uncanny moments in robotic art.

The fact that bourgeois robot’s voice is male and that he wears a dress highlights the camp sensibility of robots. As Steve Dixon states in his essay Metal performance (2005) “Robotic movement mimics and exaggerates but never achieves the human, just as camp movement mimics and exaggerates but never achieves womanhood”.

The robots head, consisting of a camera inside a plastic dome, references the now common place surveillance (CCTV) domes in shopping centres and other public spaces. Through physical inhabitation of a real-life avatar the work is concerned with the evolution of mediated communication technologies and their influence on the nature of the conversation.

more images here http://marynowsky.net/

Lara Favaretto at the Sydney Biennale

My favorite machine art work at Cockatoo island for the Sydney Biennale.

Lara Favaretto
Plotone, 2005
Courtesy the artist and Galleria Franco Noero, Turin; with the support of Amici Sostenitori del Castello di Rivoli, Turin

LARA FAVARETTO
Twistle 2003
air tank, pressure regulator, distributor, timer, electrovalve, plastic cables and whistle

Lara Favaretto uses sculpture, photography, film and installation to create artworks that produce a sense of magical fantasy and urgency, forming an immediate bond with the viewer through a sense of play. Favaretto calls her works ‘macchine del divertimento’ (fun machines). They are mechanisms whose purpose is to be radically non-productive and non-functional. For the Biennale of Sydney, Favaretto has created a new version of Plotone. A ‘platoon’ of compressed air-tanks, they appear to breathe as timer-released air blows from them periodically, setting in action a chorus of party whistles. It is a festive, alternative chant to the military marching songs of soldiers. ‘An army betrayed or defeated is standing still,’ says Favaretto, ‘compelled to remain in their confined position, like civilian soldiers frustrated in waiting, in a silence interrupted only by single breaths: inhaled through the movement of their red and silver playful tongues.’

http://www.bos2008.com/app/biennale/artist/36

Rococo Vortex at Don’t Look Gallery.

Rococo Vortex by Wade Marynowsky,
(dresses by Susan Marynowsky)
Don’t Look Gallery, 419 New Canterbury Rd, Dulwich Hill
Opening August 20, 6pm, August 21-30, Thurs-Sat 11-5pm

The exhibition explores 18th century European notions of the automaton, elegance, decadence and how these have filtered down into contemporary Australian kitsch culture.

In the gallery shop front are two spinning Rococo styled and robotic crinolines. The robotic stands spin as if they are in continual dance. The spin position coordinates are sent wirelessly to a computer which translates this movement into audio and video. The work questions Australia’s, and other countries, continuous obsession with identity, antiquity, and bourgeoisie society. If the French decided to behead their Monarchy in 1793 when will it be time for Australia to break from the commonwealth?