Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems
Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems
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DOI：
10.3390/arts7020011
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发表时间：
2017-12
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影响因子：
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通讯作者：
A. LaViers;Catie Cuan;Madison Heimerdinger;Umer Huzaifa;Catherine Maguire;R. McNish;Alexandra Q. Nilles;I. Pakrasi;Karen Bradley;Kim Brooks Mata;Novoneel Chakraborty;I. Vidrin;Alexander Zurawski
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文献类型：
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作者：
A. LaViers;Catie Cuan;Madison Heimerdinger;Umer Huzaifa;Catherine Maguire;R. McNish;Alexandra Q. Nilles;I. Pakrasi;Karen Bradley;Kim Brooks Mata;Novoneel Chakraborty;I. Vidrin;Alexander Zurawski
随着机器人系统从工厂的工作单元转移到面向人类的环境中，编排问题成为其设计，放置和应用的核心。有人类观察者或对应物存在，系统将自动在上下文、运动风格和形状因子内被人类解释为其环境的有生命的元素。这个人类对应的解释是至关重要的系统的集成的成功：旋钮上的系统需要有意义的人类对应;人工代理应该有一种方式通知人类对应的系统状态的变化，可能通过运动配置文件;和人类对应的运动可能有重要的上下文线索任务完成。因此，专业的编舞家，舞蹈实践者和动作分析师对机器人技术的研究至关重要。他们拥有符合人类观众感知的运动设计方法，可以识别人机交互目标的简化运动特征，并详细了解人类运动的能力。本文提供了一个研究实验室所采用的方法，对技术和艺术项目的具体影响，以及可能指导未来此类工作的原则。背景部分报告了编舞，躯体的观点，即兴，拉班/巴特尼耶夫运动系统和机器人。从这方面的方法，包括体现练习，写作提示，社区建设活动已经开发，以促进跨学科的研究。这项工作的结果是作为一个领域的项目，如高层次的运动规划，运动的快速原型，艺术输出和用户研究，帮助了解人们如何解释运动的软件开发的概述。最后，提出了可供其他群体采用的指导原则。
As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.