Research and didacticsEducation and involvement of schools, international meetings, testimonies.
In the multiplicity of forms undertaken today by robotics, human replica certainly appears particularly impressive, taking also into account the historical, literary, mythological past 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.
An international meeting on the theme: “Human intelligence, artificial intelligence, the man of the future”. With the participation of scholars, researchers, university professors including professors Paolo Gallina, Giuseppe O. Longo (University of Trieste), Giuseppe Mussardo (Sissa), Francesco Varanini, Pier Luigi Capucci and possibly also Oliver Grau (Danube Univ., Krems , Austria), Sean Cubitt (Goldsmith Univ. London), Martin Kemps (Oxford University), Ryzsard Kluszczynsky (Univ. Lodz).
Education and involvement of schools
A laboratory project with innovative educational processes such as “project working and outdoor training” with the collaboration of experts in the field, artists and specialists in the field of training. Exhibition and awards to the best works. (Liceo Artistico, E.U.Nordio of Trieste, Istituto Malignani of Udine, or Liceo Artistico Sello).
On the importance of Robotic Art
Robotics and art. Two terms: one that defines a technology, the other a practice. Art and technology, this is the meaning: a combination that has always been viewed with suspicion in the humanist tradition. Especially today, the great multinationals also speak of art and technology. And it is no coincidence that large companies such as Microsft, Facebook, Adobe, Samsung, have all started to create residences of artists, to ensure that artists experimenting with the company’s technologies create innovation, even commercial innovation. An economic process that is very far from the classical system of contemporary art (galleries, museums, etc.) but which today determines a reality still to be analyzed.
The first examples of robotic art can be found in the 1960s thanks to projects such as the Robot K-456 (1964) by Nam June Paik and Shuya Abe, Squat (1966) by Tom Shannon and The Senster (1969-70) by Edward Ihnatowicz: works that open a new way of conceiving the relationship between man and machine, a final new way of conceiving the role of art and of the artist in our society. The Senster, for example, was a work financed by a company like Philips – already used in this kind of funding, see the example of Le Corbusier for the Philips Pavilion at the Brussels Expo in 1958 – for the permanent exhibition “Evoluon” in Eindhoven. The installation was 4 meters long and at the most 4 meters high: a huge structure that reacted and moved, thanks to the sensors placed on the head, reacting on the sounds and noises of the environment. The Senster followed the movements of the spectators representing one of the first interactive works in the history of media art.
It will only be in the eighties, however, with the progress of studies on robotics, that this discipline begins to materialise and give itself a more specific form. In the eighties and nineties we find important works such as the always open project The Helpless Robot (1985) by Norman White, interested in building robot communities, or the interactive robots of House Plants (1984) by James Seawright, up to the use of networks and of remote controls in the 1990s with works such as the TeleGarden (1995) by Ken Goldberg, Joseph Santarromana, George Bekey, Steven Gentner, Rosemary Morris, Carl Sutter and Jeff Wiegley. TeleGarden allowed everyone to plant and water a Web garden through a mechanical arm.
A tradition that should not be forgotten, and that Poetronicart, in complementing the Robotic project, does not want to forget. Especially today when robotics and artificial intelligence live with us and relate to us. The artistic approach can help us to develop a new way of looking at technology: to see not a defined field but a place of intertwining and possibilities, of openness to other things yet to be explored.
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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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