Festival Robotics | Art and Robotics 2018

Historical premise, pursued objectives, guidelines and an important note

After the success of Art Science Technology  ROBOTICS of 2016, aware of the unstoppable expansion of robotic reality, we intend to re-propose the topic in a wider and deeper key, transforming the event into a Festival of Art and Robotics. The project aims to be an observatory of what happens in the world of science, technology and art, in the perspective of a common, constant innovation, in the challenge of a post-human future.

Historical premise

There will be a specific section dedicated to teachers of the past who carried out their first experiences in this field such as Stelarc, of Cypriot origin, Australian by adoption, the Spaniard Marcel Lì Antunez Roca, whose video will be presented.
It will also include a reconnaissance of the historical world of robots, a particularly valuable sector that will be carried out with the collaboration of specialist Swiss museums.

Pursued objectives

1) The first one is the information about a subject with planetary expansion such as that of robotics, in relation to the sphere of art, which has interwined with it, for decades, a fruitful combination of mutual interaction.
The aim is to investigate how art fits into this exponential phenomenon, keeping in mind that art has always appropriated territories, languages, technologies that are not traditionally its own in order to introduce creativity, fantasy, and above all, long-sighted perspectives where territories and languages ​​aim at other goals, of practical functionality.

2) And at the same time the founding goal of the whole initiative is also the concept of art meant as a tool of knowledge as well as science, breaking down any dividing barriers between different sectors of knowledge in a global vision. The aspiration to knowledge can also be pursued with the ways of art, creativity being at the base of both art and science, through imagination.

3) The fundamental objective of the project is to become a point of reference in Italy and abroad on these issues.

4) A further objective is the inclusion of “Robotics Festival of Art and Robotics” in the ESOF project, that is the great project of Trieste European Capital of Science 2020, integrating scientific research, with the multiple aspects of contemporary artistic languages, renewed and implemented by inexhaustible technological potentialities. Often art anticipates, in a creative and sometimes provocative way, knowledge, phenomena, devices that are later scientifically verified and also technically realized.

5) The Festival aims to produce, with its internationality, a strong emphasis on innovation, and the novelty of a Festival perceived through a theme still lacking in Italy, an important touristic fallout, hopefully attracting a numerous audience from other regions of Italy and also from abroad with related hotel and catering industries.

Important note

ROBOTICS FESTIVAL OF ART AND ROBOTICS has already ensured a preview in September 2018 In Mexico in the prestigious exhibition spaces of the UNAM University of Mexico City, in particular in the C3 Center dedicated to Complexity Sciences. The artists of the Gruppo78 have been invited to produce a series of videos inspired by the combination of art / robotics, as an anticipation of the Trieste Festival, to be exhibited in the specially equipped room, with state-of-the-art technology, for video projections. It will be an opportunity to present the entire Festival in a highly qualified context, where they usually hold exhibitions focused on the combination of art / science / technology.

The aforementioned videos, specially created, will then be presented at the Trieste Festival.


International exhibition, shows and performances, educational experimentation, video art exhibitions, workshops.

In the multiplicity of forms undertaken today by robotics, human replica certainly appears of particularly impressive, taking also into account the historical, literary, mythological precedence from ancient aspiration to automatism. With the construction of artificial intelligence in continuous development, beyond the already surprisingly “humanized” physical appearance, today we aim at the acquisition of feelings and emotions, to paraphrase in all and for all the complicated machine-man.
Wherever the disquieting techno-destiny of man appears to be unavoidable – the topic emphasizes much wider socio-cultural, ethical and philosophical areas, which tend to undermine the anthropological approach hitherto pursued.


The connection of art / science / technology today has an extraordinary potential for creative innovation that is going to affect the social, ecological and economic challenges that the world is called to face in the near future.
ROBOTICS 2, born from a first experience proposed by the Gruppo78 last year, focused on the art / science / technology linked with robotics, insists with greater force on this stream, considering its exponential and unstoppable expansion in all industrial, domotic, medical, personal and mass fields… It also underlies the entrepreneurial innovation demonstrated by certain recent significant updates made by companies such as Illy (Personal Blender), by  Insurance (connected device, foresees 20 billion units connected in 2020) …
Pier Luigi Capucci, an expert of communication between art and technology, had already considered robotic reality of strategic importance within the European Union a few years ago.
The aim of this Festival is the investigation and knowledge of the robotic reality within the artistic universe, keeping in mind that art has always taken over territories, languages, technologies not directly relevant to it to introduce an innovative creativity attested to new communication potentialities (resulting from specific scientific paths) originally conceived to be applied in other sectors.

And, in adopting the scientific / technological investigation, art does not simply fulfill, even if it happens, an educational function giving aesthetic or spectacular appearance to scientific progress, but in turn produces knowledge.
Moreover; especially with the new generation, the role of the artist has changed. In the context of art / science / technology, it is not limited to giving an attractive form to scientific skills but becomes a sort of catalyst capable of inspiring and triggering innovative production processes.
This process happens above all in the bio-technological symbiosis, pursued by artists, researchers and scientists for whom the destiny of man, assisted by artificial intelligences, appears nowadays inscribed in a co-evolution of organic processes and set of technological materials in transformation, thus grafting the technological evolution into the human one, into the physical body, in view of necessary mutations, by virtue of climate changes or interplanetary projections. That is the artistic practice, taking over the experimentation of new technologies, reveals a creative potential that can contribute to the development of new products and new economic and social models. As a consequence, art can influence or change our approach to technologies, making innovative forms of collaboration between the ICT sector and the artistic-cultural sphere real.
Therefore art is innervated in the polydimensional territory of the ICT.
This development, that makes the boundaries between organic and inorganic matter uncertain, can be found in artists such as the American Ken Rinaldo, so we can speak of biological machines and organic algorithmic species. He produces fluid sculptures that change according to the atmospheric characteristics of the moment. Or the artist Eduardo Kac who grows flowers fed by his DNA.

he human-machine interaction therefore changes, promoting contaminations that are already underway. Evolution runs fast by distancing the anthropological philosophies that mature with a different pace. And art has always, even in a provocative form, anticipated information and phenomena, then scientifically verified and also technically realized.
Robotics 2, making the most innovative forms of human-machine interaction its own, intends to propose a range of demonstration initiatives of what has been described so far, in the most varied forms of robotic use, and precisely with:

  • artistic documentation through an international exhibition, with an award for the best work on which art and science are based.
  • shows and performances
  • educational experimentation undertaken with schools
  • video-art and film reviews
  • workshops
  • meetings with scholars and professionals of their fields.

Space will also be given to a historical section that attests the ancient human aspiration to automation, to give life to creatures built by man, to automated devices, repeating in some way the divine act of creation. Space will also be given to robotized artistic paths undertaken tens of years ago (Stelarc, Marcel Lì Antunez Roca …).

Seven foundations

Guidelines and design foundation points

They are described in the contents of the general project. Here is a direct reference.

There will be a specific section dedicated to teachers of the past who have made their first experiences in this field as Stelarc, Cypriot of origin, Australian by adoption, the Spaniard Marcel Lì Antunez Roca, whose videos will be presented.
It will also include a reconnaissance of the historical world of robots, a particularly valuable sector, that will be carried out with the collaboration of specialist Swiss museums.

Art, by combining science and technology, shares the input of research with them. It is desirable that the project fosters the union between researcher and artist for a common investigation.

Educational plan: a workshop for high schools, with the interactive involvement of schools (E.U.Nordio Art School, Trieste, Istituto Malignani of Udine).
In addition to the guided visits to the exhibition, the project involves an active participation of the school to raise awareness and motivate young people to the new linguistic and expressive ways of contemporary art, through laboratory methods characterized by “learning by doing” to stimulate and amplify the process of learning. The workshops, which will last 4 and a half months starting from January until mid-May, will use innovative educational methods such as “project working” and “outdoor training”, involving artists and experts together with specialists in the field of professional training. The aim is to bring young people closer to experimental multimedia languages ​​of artists in order to create works of art with new technologies. The works will be exhibited in the Festival and the best ones will be awarded by a jury of experts.

Entertainment means above all the use of technology to increase the audience experience, involving designers and experts to make the exhibition dynamic and active, without overlooking the vision of the works. This makes it possible to activate a more numerous public, especially young people.

Using complex technological tools, the world of innovation is also touched upon. Artists working with technologies increase the possibilities for using such technologies. Thus new potentials emerge that can be exploited economically.

Focusing on some key figures, between artists and scholars, we will work to create a network that fosters the exchange in a network that goes beyond the single project, building a web of international contacts, conducive for mutual knowledge and information. In this way creating a connective tissue, supporting experiences of all kinds, from residences to common project elaborations.

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Festival Robotics

Seven days at the end of November 2018, in Trieste - European Capital of Science 2020. In the newly rebuilt area of Porto Vecchio and with events taking place in schools, universities and galleries in Trieste. With the involvement of: Companies, Artists, Research Institutes, Schools. And with a Preview in Mexico City, September 2018.

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