Final project—Erotic Fumble
Proposal original （has been changed a little）
Human–Machine Interaction, Humanoid (human-like robot) and (pet-like robot), the distance between Human and machine
Goals and Intentions
The purpose of this project is to study the distance between humans and robots under the premise of human beings in the context of human-computer interaction, in the hope that the machine will infinitely and intimately approach human beings and become human partners, thus realizing interaction, the distance between the machine and society, and even the distance between the machine and the machine. Also testing, do human and machines need a safety distance.
What’s the provisional (working) title of your project?
Haven’t think one
What are you proposing to do?
1, An immersive theatre with holographic projection, a story that explores the process by which a robot wants to rush out of the imprisonment and try to make touch with humans.With an interactive and multi-sensory experience, let the audiences test the distance with robots.
2, A robot pet in theatre/cinema, interaction with audiences like feeding and touching
Why is it important?
In public, when people interact with machines (such as ATMs), they tend to think of machines as tools, interactive requirements, but no communication expectations. When faced with robots, especially human-like robots, people tend to regard them as humanoids, expecting communication, and eager for natural interaction.
Then, in the process of people moving from far to the robot,
Does the robot need to interact with people? Does robot need active?
Is there a safe distance between machines and humans, just like interaction of the real human? So what is this distance? Is it physical distance or psychological distance? Is there a need to build trust between humans and machines?
How does it address the learning outcomes?
From a Critical perspectives and innovative digital methods and approaches to testing an immersive digital content, experiences or strategies
Technology: What equipment will you need?
May need holographic projector and a dark room for theatre installations
Why do you need it, why is that technology relevant to your story or intentions?
First of all, holographic projection is a visual image formed by the reflection and refraction of light. It contains the sense of distance and communication. It fits my theme and explores the safe distance between robot and human. Then, holographic projection is a technique similar to the magic form. The pepper's ghost, long ago, is a magic show that can be regarded as pseudo-hologram. The magic form combined with reality and reality can be well expressed. The proximity, interaction, trust, and substitution of robots and humans, eager to transcend and fear the feelings that are replaced. This kind of feeling can be manifested through the interaction of the character plots in the theatre with the audience and the experience, while the immersive experience of a holographic projection combines an image with a immersive form with a plot that alternates between virtual and reality. The magical illusion makes it easy for people to think about what is the safe distance between humans and machines, and whether there is a safe distance between humans and machines.
Is what you propose realistic, challenging, unobvious and innovative?
With regard to holographic projection technology, how to achieve it, whether it is made by itself or through existing equipment, these are all challenging places.
How many iterations of user evaluation and development are you planning for?
Regarding the interactive form, I plan to use the magical 3D technology of holographic projection or pepper 's ghost to realize the interaction between real and virtual. I try to put the live-action image of the live audience into the virtual image in the form of projection. The audience has a feeling of seeing themselves into the virtual world, but in fact they have not actually entered the virtual world. I need the audience to retain this "false" consciousness, and to perceive and understand this consciousness, and then through the script and characters. The role, transforming this consciousness into a sense of loneliness with distance, allows people to think about the distance between contemporary humans and machines and the distance they should maintain.
6 relevant academic papers and 6 works :
1，Edward Hall, The Silent Language ：The spatial distance between people and people in daily life is divided into four categories: intimate distance, personal distance, social distance and public distance. Each distance has "far end" and "near end" points.
2，Matthieu Guitton , Computers in Human Behavior: about human-like robots. https://www.journals.elsevier.com/computers-in-human-behavior
3，Uncanny Valley, Mori (1970) , was one of the first scientists to study the interaction between humans and robots. He was in the 1970s. It is proposed that the relationship between the anthropomorphic degree of the robot and the inner comfort of the person facing them will be related to their degree of personification: the closer the robot's appearance is to humans, the more comfortable people feel inside. High, but when the appearance of the robot is extremely close to the real person and is not completely consistent with the real person, the comfort will drop sharply.
4，Media Equation, Reeves & Nass(1996), Researchers have found that when people interact with inanimate objects, even though they know that these objects are inanimate, they still unconsciously endow social norms in their interpersonal interactions, such as stereotypes. These results show that in the interaction between humans and robots, people not only use robots as tools, but also give them certain social attributes. The binary relationship between humans and robots will become non-dualized with the addition of these attributes. This is related to people and men in everyday life. The stereotype is consistent, that is, women are generally considered to have better caring ability, while men have stronger subjective initiative (Huddy & Terkildsen, 1993).
5，Mind Perception, Alan Turing, (1950), Does the robot have a mind of the trust? How to set up the interactive scene that conforms to the actual application of the robot to explore the cognitive and neural mechanism of the trust of human and robot, and then improve the trust level of human and robot by adjusting the anthropomorphic degree of the robot, etc. Robots interact at moderate levels of trust to achieve good interaction.
6，How social distance shapes human-robot interaction, Yunkyung Kim and Bilge Mutlu: this paper has divided the social distance between human and robot interaction into three dimensions (right distance, task distance and spatial distance), and examined the different responses of humans to robots when social distance changes.
position changes , 3 areas, physical distance , power distance,m
7, A human-robot Dance Duet | Huang Yi & KUKA
8, The Wizard of Oz (1939)
9， May B, Maguy Marin 1981
10, The Infinite Mix, OPERA (QM.15) , 2016, the holographic illusion OPERA
11，Rebecca Horn, Pencil Mask 1972
Becoming Machine: Surrealist Automatism
12, Beyond The Road, Saatchi Gallery, an immersive theatre with multi-sensory installations
My work is named by Erotic Fumble, intent to question the relationship in human organics with reality and simulation. It is installed by a writing robot that uses a slender stick to trigger 5 buttons with different dimensions of sound that mimic the hidden information in an erotic text. Since these buttons are hidden in a sculpture made by silicone and sand that shows the internal wall of human sexual organs, the writing robot will trigger buttons with sexually suggestive gestures. The erotic text in my work shown through the monologue of a letter. The content of the letter is a love letter that written from a poor beggar who has no hands and with an ugly face to a beautiful courtesan that he has admired for a long time. Because he has no hands, he can only write the letter through biting a pen by teeth. The beggar has never really met the woman he admires in life, even if he took care of her in the hospital, his face was covered because of inferiority. All his intimacy with women is the image that is imagined in his mind. At the end of the story, the woman died of illness, and the beggar could only read the love letter that was too late to be sent out in the form of prayers in her funeral.My writing robot simulates the writing process of the letter by replaces the disabled protagonist in the text, and tells the content and hidden information in the letter to the audience by triggering the buttons of sound. The audience will experience a simulated feelings of the text in the most direct way through the sound in a bone conduction headset, the sexually suggestiveness of writing robot and listen to this love tragedy in a plausible and virtual atmosphere.
HOW THE WORK OPERATES/METHODS:
The sound emitted by the button triggered by the robot is the symbol information I extracted from the erotic literature statement. They are not the sounds that people read word by word. It is a kind of simulation sound effect that simulates the scene in the article, such as the sound of broken objects. These sounds will be altered by the simulated behaviour of the writing robot to change the original rhythm and texture. They will become symbolic symbols in the machine's simulated handwritten love letter,through bone conduction technique that can directly convey the sound to the audience, the audience is presented with emotional connections and hidden information in the entire erotic text.
I combine robots, erotic literature and sound to make sexually suggestive gestures with a sexual organs’ internal wall sculpture. This form expresses the relationship between virtual and real in the simulation society to the audience through symbolic symbols (sexually suggestive sound, gestures, materials etc. ). This is a criticism and contrast between the real and the virtual in the simulation society. Warning people not to lose themselves because of the blurred boundaries between virtual and real in simulation society and to understand the false creativity generated in the simulation behaviour, to use this creativity to create and understand reality.
1, SIMULATION SOCIETY:
The central point of the work is to combine Baudrillard's concept of "simulation" proposed in the book Symbolic Exchange and Death. The current society has become a simulation society under the production of machines, the boundaries between virtual and real have been blurred. Machines that simulate or attempt to replace human parts are purposefully produced. Their code becomes the dominant model that dominates society and creates a simulation society in which people are lost in the virtual and real world of this simulation society. In fact, the writing robot used in my work has been performing a simulation behaviour. The writing robot is a microcosm of the simulation society.
2, POWER OF FALSE:
Another theorist, Gilles Deleuze, argues that Simulation is different from copying in people's daily perceptions in The Book of Differences and Repetitions. Simulation is a creation inspired by prototypes. But often for some purpose, it loses the most real inaccuracy in human behaviour (referring to people's mistakes, such as typos, such as the size of each word or the distance between words and words, etc. Just like Borges's fable "On Exactitude in Science", This kind of simulation behaviour lacks authenticity, often brings about a super-exquisite, overly correct over-control feeling on the surface, that is, uniform standardization. This kind of standardization can also be called "power of the false" (Gilles Deleuze, 2016), this power is manifested in my work as a new creativity created by the standardization of machine simulation. Therefore,in my work, every time the robot triggers the sound button, it creates a sound texture that is different from the manual button press. These creations are both 'power of false' or 'power of simulation'.
3, EROTIC LITERATURE :
The reason for choosing erotic literature is that sex and human writing are a kind of sacred ritual similar to the sacrifices in the original religion. They are the most true "focus on the moment" in human feelings. To implement them, all the spirits must be the power is concentrated in the moment of action. So handwritten erotic literature is a double reality. George Bataille believes that “The notion of the duality of sacred forms is one of the conclusive findings of social anthropology: these forms must be distributed among two opposing classes: pure and impure.” By translating the double reality of erotic literature with “the false reality” created by the simulation of writing robots, my work also creates a paradoxical class of sacred emotions. They are located at the extremes of the two paths and maintain maximum repulsive tension between each other. If the simulated handwriting robot is a farsighted teleology, then handwritten pornography could be an animal-like timely pleasure.
WHAT HAVE I LERANT FROM THE PROCESS?
Regarding the durational and future development of the work, first of all, in addition to the highly function of writing robot, I chose the memory material of silicone rubber and sand to show hidden information in sexual suggestiveness and erotic literature. In the making process of my unsuccessful experiments, I found that these emotional materials are compared with rational robots is easier to make people realize how new technology brings human efficiency and at the same time how it weakens the basic feelings of human beings. This will also be a question worthy of continued exploration.
2, HOW STORYTELLING CHANGED BY THE WRITING ROBOT?
First of all, my work is the process of a writing robot triggers buttons through a sexual organ -simulated sculpture, it shows that I put the writing robot to another place. Not writing anymore, it become a visual collage with machines and human organs, reality and simulations. Margaret Boden identifies three forms of creativity: combinational, exploratory, and transformational. (Creativity and Art: Three Roads To Surprise, 2012) Therefore, I collaborate with machines as a partner and get inspirations from machines actions and limitations could be an exploration of combinational creativity, it create fundamentals from human and machines, and changed future storytelling with serendipities.
Movement, Speed, Writing paper (size, surface, thickness)Function (writing, drawing or repeat doing tasks）
Work with other objects( keyboard, guitar, magnet, buttons, silicone rubber, sand)
Coding and Programming
Text (one of paragraphs)
Extract from erotic text, shows hidden information, recorded by real and found material, edited by montage.
Follow 5 paragraphs of the letter, the sound is divided into 5 parts Triggered by buttons, played by a bone conduction headset
Silicone rubber and sand can show hidden information in sexual suggestiveness and erotic literature.
Silicone simulates the pattern of internal wall of human sexual organs, sand shows hidden information of literature.
The comparison between emotional materials and rational robots is easier to make people realize how new technology brings human efficiency and at the same time how it weakens the basic feelings of human beings.
some stay in front for a while, some interacted with the installation, some asked questions about why let machine touch human inside skin?