Abstract
This book is a result of chance encounters, random discussions and a colluding collaboration between an engineer, a scientist and an artist. From the onset, the interdisciplinary nature has set us on a colliding course of ideas, expectations and interests. While interdisciplinary research is celebrated en masse by funding agencies, government bodies and the academia, researchers who embrace interdisciplinarity live a distinctly strenuous life with little recognition for their efforts that appear to fall into the chasm between the established norms and practices of the constituent disciplines. Here, we anecdotally backtrack our journey through the years, homage to the individuals who assume flexible identities, seeking out adventures beyond the confinements of their chosen field.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
- 2.
The image is an interpretation by Stephen Antonson and Ken Goldberg of the classic “Programmable Universal Machine for Assembly (PUMA)” industrial robot arm developed in the 1970s.
- 3.
- 4.
Performances included, CLONE by Pyewacket Kazyanenko, et al., Orpheux Larynx by Erin Gee, et al. A doctoral student was also co-located at the minilab adjacent to the installation. Stelarc also wanted to perform with the robot, inside the safety enclosure. That request however was turned down by the museum and the university out of concern for the wellbeing of Stelarc.
- 5.
Workshop website is accessible from here: http://roboticart.org/ra2011/ (accessed 12 Dec 2015).
- 6.
Personal correspondence with the second author.
- 7.
The original article which the image was intended for could be found here: http://ngm.nationalgeographic.com/2011/08/robots/carroll-text (accessed 12 Dec 2015).
- 8.
- 9.
References
Stelarc, Prosthetic Head (2003) New territories. Glasgow, Interactive installation
Kroos C, Herath DC (2011) Stelarc, “Evoking agency: attention model and behaviour control in a robotic art installation”. MIT Press, Leonardo
Mori M, MacDorman KF, Kageki N (2012) The uncanny valley [From the Field]. IEEE Robot Autom Mag 19:98–100
Marsh A (2004) Tracking the PUMA. In: Proceedings of the IEEE conference on the history of electronics
Kwok NM, Buchholz J, Fang G, Gal J (2005) Sound source localization: microphone array design and evolutionary estimation. In: ICIT 2005, IEEE international conference on industrial technology, 2005, pp 281–286
Stelarc, Herath DC, Kroos C, Zhang Z (2010) Articulated head. New Interfaces for Musical Expression++, Sydney
Kroos C, Herath DC, Stelarc (2010) The Articulated head pays attention. In: 5th ACM/IEEE international conference on human-robot interaction. ACM/IEEE, Osaka
Smart WD, Pileggi A, Takayama L (2010) HRI 2010 workshop 1: what do collaborations with the arts have to say about HRI? In: 2010 5th ACM/IEEE international conference on, human-robot interaction (HRI), pp 3–3
Johnson BD (2011) Science fiction prototyping: designing the future with science fiction. Synth Lect Comput Sci 3:1–190
Williams M-A (1996) Aesthetics and the explication of surprise. Lang Des 2:145–157
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2016 Springer Science+Business Media Singapore
About this chapter
Cite this chapter
Herath, D., Kroos, C. (2016). Engineering the Arts. In: Herath, D., Kroos, C., Stelarc (eds) Robots and Art. Cognitive Science and Technology. Springer, Singapore. https://doi.org/10.1007/978-981-10-0321-9_1
Download citation
DOI: https://doi.org/10.1007/978-981-10-0321-9_1
Published:
Publisher Name: Springer, Singapore
Print ISBN: 978-981-10-0319-6
Online ISBN: 978-981-10-0321-9
eBook Packages: EngineeringEngineering (R0)