Shifting the Conversation: trans-disciplinary practice regarding the socialisation of robots

 

In conversation: Mari Velonaki and Deborah Turnbull Tillman

Part I: 23 April 2020 | Part II: 27 April 2020

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PART I

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DTT: So we are meeting today to do an interview focused on the shifting conversation in trans-disciplinary practice regarding robotics and socialization, which is basically your specialty. So welcome to the interview. Did you want to give a brief introduction of yourself?

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MV: My work in the last 20+ years is in interactive systems. It's media art in social robotics. I started working with multi-sensor responsive systems as installation artist and then in 2003 I moved to social robotics, establishing this [social robotics] in Australia. My first robot was the Fish-Bird series [which] to me really [stands] for my undergraduate days, [whereas] now that I'm a Professor in Social Robotics. The question and the research focus remains the same: how do how humans interact with technological systems? Specifically around systems and how they communicate, do we require some sort of agency?

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DTT: That's where my interest and your interests overlap because I'm always looking at this 3-prong relationship between a creative practitioner, the curator and their audience.  Based on the materials that you're using, your practice simultaneously has a very contemporary feel and quite a historical presence.

Looking at the span of your work as a curator of interactive and new media art and the shifting conversation that we've been talking about. I just wanted to ask you some questions to draw out some themes or topics that can contribute to a larger dialogue or a larger discussion on this topic. The first question I wanted to ask you is fairly rudimentary. You did mention being both an artist and an academic. You're a fairly high up academic, but some of the conversations that we've had have been around how you lament the administrative part of your role as Professor. Can you comment and talk a little bit about what your day today is like?

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MV: Being both an artist and an academic can create tensions in your practice. It's interesting because as an artist researcher, what drives the creative aspect for me is the research part; there is a searching in something like that. It doesn't matter if it's in academia or it is an academic pursuit, because my lab is in academia and my collaborators are in academia. However, there's something very liberating about conducting research. That's why artists like myself are drawn to it; because its creation, it's moving to the unknown, it’s testing new concepts. Coming from an arts background, as an artist, I still think I'm doing the same thing, only bigger labs with more equipment. So, this is what drives me, this is why I think academia does for me and did for me. It gave me a home; it’s enabled me to shift between the studio and the lab.

Academia wasn't and isn’t an umbrella for my salary. It was/is a community and a space where I could grow my work because for many years I had my studio. But when you move to robotics, you need a very different infrastructure and a very different level of collaboration. Not only Technical Support, but proper collaboration. It’s another [higher] level.

People that do research in the same area, but maybe from different disciplines, need to spend a significant amount of time in developing these things. This creative part to me is the research, it’s the creative way we can continue this conversation 25 years later. That’s how I perceive creativity; it's the most active angle that I'm really interested in; in thinking things through as you're doing things.

Now there's another part, let's call it the fun part [sarcastic]. This is the part that's where everything started for me.  Academia was an enabling environment following my PhD. I got my first post doc position. I went my first big lab, the Australian Centre for Field Robotics, so it was an enabling mechanism. That was then. Now, I’m in my own lab and the National Facility, and working with people within academia and also as I'm getting older gracefully, providing all kinds of mentoring. I also think that people mentor me and it's an exchange and very important when building teams. You know you have to pay a little fee or a big fee and that's the administrative part [of making art]. It's [admin, and it’s] something that it's not my favourite thing to do, you know, writing grants, looking at maintenance and salaries. But it’s what we do. It's soft money, because we don't have an undergraduate teaching program.

[As a Professor] you have to bring your own mind, do your research [perform creatively] and pay for people, their salary in most cases. This can be stressful, and it takes up a lot of time, but I can deal with it when I think of the bigger picture and the bigger picture at this stage is two things. One, is my own research and, then [next] is a contribution to the field and social robotics as a multidisciplinary field that I'm very passionate about.

[The kind of research we do at] the new National Facility for HR Interaction Research is really important. This kind of vigorous testing and evaluation about new systems that we plan to embed within social structures, not only robotics, but every technological system.

I can have incredibly long days where I spent more than 16 hours in the lab because we're doing something new. We have an experiment, or we design a new robot with David Rye [collaborators]. Or it could be a day that it's a much shorter day, but all about numbers and figures; spread sheets of how much money we need for something or how much a project will cost; or what kind of contacts we need to make for the National Facility [to succeed] so it's a mix. But I always say to myself, “I chose this and that was my vision.” I'm supporting my vision. It's not that someone forced me to do it, and actually I'm grateful to the Academy because they gave me the space to do this; there is this kind of trust, a leap of faith. That's why, although I had many offers from industry, I still believe in Academia.

For us, if I create a robot, it's not a product, [if it] creates repulsion versus attraction, it's still new research and I can write about it and show it to people who have emotional reactions about what to do [in its presence]. It's not towards a product creation in that sense that it has to always be successful. Success is when we learn new things about what we should do, or not do, something about human behaviour in response to our work. Especially when it's not exactly expected. But a good interaction is not necessarily positive. You learn from both. It's an interesting question, and now we have the coronavirus and a pandemic is not ideal. It’s an interesting time for everyone [and provides another layer]. But I still think that academia with all these challenges [nothing is perfect], it gave me space. And in that space, my voice could be heard.

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DTT: And it's a strong voice. It's an important one. I think I'm a lot of people would agree. You came up very quickly. You came up in the same institution that you're working in now. Did you do your undergraduate also at UNSW?

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MV: Yes, I did my undergraduate immediately after I came from Switzerland. I started towards the end of 1994-95.

It was really interesting, because the reason I came to Australia was because of media, art, and the VNX matrix and Stelarc.  [Coming to] Australia in the 90s, with the very strong voice in media, art and women and technology; there was this kind of pioneering spirit. It was incredible luck. It was very liberating because I was coming from performance, and my idea of media in Switzerland was [synchronizing to slide projectors].

I remember my first class in Australia. [I was] very analog. I prefer things that that I can open up with a screwdriver and see what's inside. Actually, I remember 1995-96, I was the only woman and all the boys were learning all this software, and I was the slowest one. It took me forever to learn how to save my work and we had to bring external flip drives and I don't know [it felt complex], this external system to save our work.

But I moved to homemade electronics to customize and [create] installations because I was coming from working in/with space. It was installation art and performance, and I found it very difficult to see what was on the other side of the screen. This kind of virtual space that [existed] was the generation of the CD-Rom. I was the only one that was working on physical installations in that class.

My [father] used to say, “happy are the ignorant.” So, I started designing my own systems because I perceived them, not because I was so good at it. Technically I used to set something up, then set it on fire and [watch it] burn. But there was something about the tactility of the analogue. Putting a board together, soldering it; I didn't do it because I was more advanced.

I did it because I thought it was easier than finding the computer button [the physical] in the screen [and the virtual]. These things I couldn't see [within] an operating disk. [I found them] very strange and mysterious, so I thought if I could build it, I [could] understand it.

My first interactive installation was [based on] speech recognition called The Red Arm Chair series. I was one of the two artists, the other being Japanese [name?] In 1996. I did my first interactive installation using speech [recognition]. It was an installation and I use the software for digital dreams. [That we have to import of the state you know ask for the permission][?!]. It is work that was very exciting and that was my first solo show. A few years later, that was the that work was shown at Artspace, The Red Arm Chair series. And it started [part of] the conversation [about the aspects of the digital and new medias?].

The truth is that there was this mystery. You walk into a room dark room. There's a projection of a woman sat in a red arm chair [in the digital space]. You can see only her back. You sit in an identical red arm chair [in the physical space] and her back becomes your back, and there's a light box on the floor with the printed words like decay… damn… string...and you are transported between the two realms.

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DTT: That sounds beautiful

MV: And you use the microphone adjacent to the identical chair to create these sentences for her. You talk to her and for her and it was strong data [that transcended both spaces?].  In this approach, it doesn't matter what you say to her. This was my criticism of connection with technology; you never get to see her/your face, so she moves. [She does things like] spread her legs, you know it's one of these 360-styles. But you never see her/your face, and there's a moment that she stands up. But there's a card and you never see her face, so it [remains] a mystery.

This work [epitomised, was the catalyst for?] created my fascination with digital characters. I remember because it [the engagement] was one person at the time I needed to [get] the directory back. It was about space and for many years my relationship to that space and a very important curator. The Artspace Director was asking me if there was any hidden pornographic material in the in this, because there were no voices, and because people close the door and they spent such a long time in there.

To me it was really interesting this need to control the digital [space] to control [flirt with] this digital persona who’s face you cannot even see. Later on, there is a cinematic relationship revealed in the interactive installation. And even later on there's something about the projected other and the project itself.

First, I use both the theory of cinematographic apparatus and Plato's Cave Analogy, as one of the analogies as our need. Next, I [articulate the] need to connect, to seduce, to engage with something projected. It’s pre-cinematic [but present, in the budding new media consciousness].

Later, in 2003, after all this, my work with interactive installations will be discarded [set aside?]. I moved into robotics, but again about I was doing the same thing; creating actors, creating agents. But instead of being projected and taking space, installing in space all my work [became about] objects in a 3-dimensional space. So like Pin Cushion, they were objects or, as installations where you enter the space and things happen [like the projections], but also there are objects that we interact with [like the pins and the latex cushion]. What I've done instead of the character being projected as part of the object, that character becomes a kinetic object. That's how I moved to robotics. Because I wanted to shift from projected to kinetic characters that you can actually share the physical space with. Kinesis creates a very different dialogue when you share physical space.

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DTT: That's a really interesting trajectory. The questions that I planned for you start with how to deal with key points, key dates that you already mentioned. We're right at the beginning of those dates. My question around your schooling was:  What did you think you would be doing during your Masters and your PhD, and are you still doing that? Is it what you expected?

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MV: I did and I didn’t.  I shifted a little in terms of moving from installations to shared spaces, so my PhD was [aptly] on new interfaces. Specifically, new interfaces within responsive environments. The last chapter, the ‘future work’ part of my PhD [introduced the next work], Fish-bird.  After my PhD I was very fortunate; I got my first ARC Grant and I was also the chief investigator. I remember that as soon as I graduated, I took my PHD and I moved to the Australia Centre for Field Robotics to [realise] Fish-Bird. So, it was a very smooth continuation. And I'm still doing the same thing. The difference now from what I'm doing before, is that [it’s more] of a creative process. I see a very big need, especially because we're talking about social robotics, right?

But [this inquiry] should not exist only in the cultural space, the gallery or the museum space. They don't need justifications of extreme importance or [to have treasured places argued for them in] society. You cannot have a healthy society if you don't have culture and contemporary culture. Not when you’re talking about social robotics and about systems that in the near future are going to interact at different levels of within social structures. I think it's so important.

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DTT:  To interject, we're talking about the multi-disciplinary area, right?

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MV:  Yes, so you have artist-made; you have people from the arts and design; you have psychologists; you have you have AI-experts, you have robotics as mechatronics. In this field when we start designing systems for the future that have agency and interact with people and assist in protection, I think it's very important to rehabilitate. To inject in there this element of creativity and experiential design. That's what we've learned from media art, right? Experiential design in the everyday. How do we enhance this find? How do we have creative-artistic experiences here?

I'm talking about working all together from different fields. It's different when I do something different to designing something from Museum. [At a Museum] someone interacts with the work for maximum 20 minutes, half an hour, right? Or maybe revisit the work over time. Well, with Fish-Bird that happens because of all the writing [the poetic phrases the chairs printed out to communicate with each other]. This didn’t happen with any of my other works! People spend that much time because of the narrative and the fairy tale and the interaction and this performative aspect.

I'm giving an extreme positive scenario [for cultural or creative engagement]. It's very different to design something that people need to help them, or something that they need to share their space or the workplace with for the next 10 years. So again, you have creative systems and that system is one that can create an experience and has a sense of renewal in there and there is the learning that needs to be a part of it. Because we [humans] get bored very easily, we learn a lot from how people interact. Within a museum space as a curated artist with works in many, many different countries, we've learned a lot about principles. Now there's not some basic principles about engagement; but surprise come forward, an emotional kind of elevation that we can talk about, but it's much more than that. We start from there [an emotive reaction] and then you realize that every work is different. That's why I find it exciting. Also that aspect of creativity, I can [prioritise it as] more important, the museum or the museum is more important than [business outcomes]. But now with the [Creative Robotics] Lab and what we do at the [National Facility for HRIR], if we talk about this relatively new field of social robotics, it's by definition multi-disciplinary.

I'm trying to be an advocate that art and design are not there for decorative purposes. We are not there to make things look better. We’re not there to tick the politically correct box. We’re there because we know how to create an experience. Or maybe we know more than other groups because that's a big thing to create an experience. It's not something to be taken lightly.

DTT: I think there's something about culture and creativity that that in the coming years, with all these systems, there's going to be a space for innovation in a DaVinci kind of model. In places, outside of the more traditional and very important institutions like museums. I think it’s interesting, and if we could just pick up that thread about the different spaces in which we make and engage with people.

So, like you said, there's a performative aspect when you’re in a museum, but you're also taking note of what's happening. So, at the VNA at the summer, like at the Powerhouse, I don't know if you ever exhibited there.

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MV: …no, more at the Campbelltown Art Center for Lizzie [Muller] and Kathy Cleland’s great show Mirror States. We had a good conversation. I thought it was a really great group of artists.

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DTT: Where would you say your recent artworks are in the conversation about necessity of Multi- or Trans-disciplinarity? With arts being quite high in that conversation, or at least equal, would you say your key works were kind of developed at certain times? Do you even have key works in your mind? Or do you have any works that didn't really help the conversation at all?  I wonder if, reflexively, there's things that stand out for you.

MV: I have had exhibitions that have changed the way that I feel. And then I have exhibitions that it was my job to produce, so I did it.

DTT: I have some dates marked here. 2003- 2011 and then what you're working on now. I wondered if it works like that for you, or if that's the art historian in me [categorising as a way to understand your process].

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MV: The most important works, the seminal kind of works for me for my career and for my thinking…in terms of direction, the first one was The Red Armchair series (1996/97?). It was the first bit of interactive work. Then [maybe] probably Fish-Bird (2003?).

My graduate work was responsive work. I might have to remind you we’re talking about 1996/97, when you would use a mouse to engage with works.  But, back then I was building works with sensors that people could lean over and talk to, so they were quite progressive works.  Fish-Bird was my graduate work. That was also [the subject of] my first show at PICA, my first time selected for a national show. In terms of changing others, not my thing own career, it would be Pin Cushion (2000). Then Fish-Bird.

So, the question around multi- and trans-disciplinarity was there in 2000; and today I'm still asking it but now I use robotic vision to investigate [rather than projectors].  Also, with Still Life {!}, I use an organic interface, that of apples, with a digital character. And for Fish-Bird I use robotic vision for the first time with a still life, so it would be 1996-97; The Red Armchair 2000 and 2003; Pin Cushion 2003-5, it was finished in 2004 was the first time was exhibited at Ars Electronica and it was incredible. It’s now 16 years old and still touring.

It's incredible, that's the only word I can say for it is that it's incredible and after Fish-Bird, Genie(?!) coming also. We have to embrace what they are meant to be. But it wasn't robotic, it was; a light sensitive screen that was around 2004, but that's different. It's important work in terms of the memory of this screen with crystals, and [regular] memory.

But in terms of works to do with Robotics, Diamandini came out first in prototype; the first exhibition of anything was in 2011. We showed her as a prototype that people could tell you were operating in 2011 as part of ISEA in Instanbul. Kathy Cleland curated it and it was great because it was in the Taksim Square, in Instanbul [it has thousands and thousands of people passing through, as one of the busiest places].

So especially for a new work where we were recording how people understand how to operate her and you know how they move her [there is no performance or arteface?]. So that prototyping session influenced the movement in the kinetic language I developed for her here within codes for the work. Then Diamandini was in the V&A in 2012 or 13 [?!]. The other shows with Diamandini that we had were back to England too. A great show for her was also with Mike Stubbs at FACT in Liverpool [UK]. It was great because it was about modern work. She has a responsive and performative role that’s good to see, especially in an exhibition categorised as something other than being interactive.

I thought it was a great place for her as she becomes a more political object when she is performative.  [At the V&A] she was just responding to people in terms of avoiding them, but when she was doing this performance [at FACT] about modern life and work, she moves into the space and then it was a big projection of Facebook. Or of the very famous video artist Harun Farocki had his film Workers Leaving the Factory in 11 Decades (2006).

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MV: Because Diamandini stops at different parts of the exhibition, she then becomes the projection or focus of the work being exhibited. For example, with Farocki’s Workers Leaving the Factory in 11 Decades, she's covered with the work, so she and the work become a much more political conversation. And then there was a work that she looks at and explores the environment; including artefacts made in a factory by artist in China [?!]. I'm diverting from the conversation, but definitely Diamandini is a key work (2011-now).

DTT: I think the work on the software you've developed for Re/Pair (2017), when you created When I Will See You Again (2017), it's quite important for me because it deals with the representation of memory and how its’ presence is different with robotics.  I know that with some audience members, it had fairly devastating effects because it was an installation that you designed to be an immersion into Alzheimer’s, but I found it a fun work to pull together. What I remember is Iris (my producer) and I looking through websites and going to peoples’ houses to get the objects that you designed and described. I even pulled some from my own house as well (blankets and tables). And then in the Living Laboratory setting and the invitation for evaluative feedback from curators; they would just sit, they would get lost just sitting on the bed.

And it's because often they related to the work so strongly because they know somebody with Alzheimer's or dementia. It affected them and I don't know what happened with the Beijing Triennale, but it was accepted [so the work already has a trajectory from ideation to prototype]. I don't know if Brad [Miller] did any evaluation, but it would be interesting to understand the acquisition process with him; to understand the effect of the work on the audience if he did any observation.

But I also notice that a lot of your works they have a trajectory.  They don't just show once, and there's an iterative quality to them that makes learning within research possible. And even if you don't know that you're doing it, it's kind of an automatic reflection, and then a shift in perception and a shift in making an exhibit it again in a different way as part of another conversation. This is, I suspect, how your robots become social as well. Is that they're involved in multiple levels of social commentary at any given time.

MV: It is important and it’s a good point, but because for example like with Fish-Bird, every time we exhibited, we made [a site specific for the location so we could map the language of that area]. These were made from information maps about the location where we're going to go to. In doing this, [the robots] would get new vocabulary with the local language. It could also be something in the local language. For example, when last time was in Bilbao, there was many things in [the indigenous language there] so that the robot learns a new environment, a new language. They only started writing things in Boston and China, [and this integration to their environment through language] gave the sense of current or real time and would keep the [kinetic agents] connected by printing something from the local newspapers every morning.

We had to think of new ways to spend our research money, so now we're working on the sound component with Diamandini. We use the [robots] as demonstrators in the lab even when they're not in exhibitions, and when we're not maintaining them. They have parallel lives outside of the galleries. There are all these other experiments that can happen in parallel, but which are very different to the exhibition [scenario]. For me it's important to show something different to what has come before. So, after all these years Diamandini has a new component, but I would like to incorporate a different sound component that [she or other robots?] didn't have before.

I feel it’s important to give more back, to learn more, to use the platform for other people, to learn, to create, to improve. That's the new piece I’ve been working on since last year; it's been my new robot that I really love. The designer can't wait for it to finish; normally it would be ready by now, but because of the pandemic and the manufacturer being in Japan things slow down. Things also slow down also because I was making a lot of corrections myself. So, I was late in finishing aspects of the design.

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DTT: Can you talk a little bit about [the design] yet? Or not yet?

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MV: I gave a presentation so I can talk about it. I've made robots that appear like Fish-Bird, like familiar object with different identities. We had Diamandini who's like a humanoid but with different aspects. I don't say better, just a different aspect. She’s a humanoid that looks more sculptural. Then we have something like the new robot [as yet unnamed?] and it's more like a Post Cubist sculpture, but yet kinetic so there's the familiarity of an object that could be from that era, and yet is robot so [it’s relevant].

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DTT: So, it's more abstract. It's interesting to me that it's more abstract. Is this the robot that comes apart and sits with people at their desks? Part of that idea, the fracture, the dissolution of form and the then coming back together is really interesting to me in terms of technology as well. The way that we click on and click off of things, how we go away from each other and come back how we get together as people, but now and then go back to our technologies. But now the technologies come with us in a way that you again looked at human behaviour and your modelling of a piece of kinetic art or creative agent. Are these artworks physical actors with a virtual connection that mirrors human activity? And then you're observing, recording and anaylsing how people engage with it. To me, this is so fascinating. It's the most fascinating part of your practice, because I don't see other people doing this in the same way.

MV: Thank you. And no, they aren’t, not in the applied way, not in this carefully articulated way across multiple platforms with something as relevant as social robotics.

DTT: The social aspect of it is what you are always saying to us; the point of our studies is in our collaboration together. It's always on the human side. So, your interest is the human side; even though you're more comfortable with building with screwdrivers and making motherboards, you can do all of it.

MV: Yes, but I think that the software side is a mystery to me as well. I understand it a bit better now, but to me, it's just a bit like magic.

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Part II

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DTT: Next, at your request, I thought we could also talk about your trajectory through your making and how you thought and reflected on that through your projects and through your day-to-day as an artist, and now as an [senior] academic.

I had the questions that we didn't get to about materials and this is where we kind of shift a bit more to robotics and AI in participating in conversations about Trans-Disciplinarity. The first question that I wanted to ask you about is the materials you made and how you made them and where you felt comfortable making them. Have they changed from when you began from the 90s until now?

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MV: The material is the actual materials of robots. The server robot is different, but I wouldn't say the main thing is the materials. From 2003 onwards, the materials are more malleable, so we can do more customised things. It depends, though. If you mean the exterior of the robot, there are new materials with more possibilities in terms of electronics. Things are smaller [but have retained their strength]. We still struggle with battery life, but batteries having progressed about as much as we have wanted them to.

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The material is one [part of the making], but usually the way we work is the first thing we consider. I need to perceive what the new form is and if I would like to create the robot, and if so, what has changed [since the last time I created a robot]. It's not so much the materials that matter, because there are always new materials that you can use. The more important question is what are you using them for?  When considering the materials, this first happens when considering the situational context. Then we consider what the best materials, techniques, methods and which collaborators might be.

But what has changed [in materials] since 2003? I have this kind of artistic compositional freedom [that wasn’t there before][?!] It’s the research into art and robotics, connecting art to robotics, for example, with Fish-Bird. The question was about people and interaction. It was it was appearance versus behaviour.

As well as materials, the situational context is much more specific. I wouldn't design/make a robot for a museum [and present it to] Fuji Xerox. The new robot that we're building is highly influenced by the situational context of a shared office. So, the principles of designing it is very much around what it is not. It is not a robot that you can take into a museum [for short, individual or causal engagements]. Rather, it's a robot that will interact with people in long-term interactions. I find myself using a very different method. Instead of just knowing the creative principles in order to design a robot, instead this means extensive consultations with a team of users. It requires a very good understanding [of the space and the occupants’ relationship to that space], and that can take years to understand, this space of operation. I wouldn't call it called design, but co-influenced design.

It’s almost a process of discussion [or dialogue] with this robot about what it will be co-authoring with you [the designer] and with the people that use it. That's why I [consider] situational context because it's almost a custom build for a very specific location and user-group. Involving a sense of ownership with the people who are going to use this robot is very important for the long-term acceptance of a robot. The creative principles for me looks more like an interesting exterior that might change as different decisions get made around the robot. But learning is much more important. I think to learn and to involve the AI in that learning is more important than materials. Especially because we are considering present day and not 2003-2004.

I’m considering the interaction for 20 minutes for 5 minutes for 3 minutes. I'm considering what happens after a week. What happens after a month? What happens after a year and what don’t we know [about all these time frames]? Nobody knows about how much data we have with Fish-Bird and Diamandini. But when we talk about long-term interaction, we have the biggest data collection in the world [of people engaging with these robots over time]. And this interaction with robots is happening in cultural spaces. Yes, we can learn a lot, but only up to a point. What about non-cultural spaces?

When it comes to long term co-inhabitation, coexistence, acceptance, interest, boredom, [we don't know what happens within these parameters]. So that's very exciting. I think that's not so much the materials that they have changed, but my approach and my challenge as a creator has changed, it’s grown and evolved. I want to make things that people will hopefully use or co-evolve with. This is my goal.

This is new; it’s something I didn't have before. It is something with social robotics and for me it’s the biggest challenge at this stage of my life [what we do with the lab], understanding more about the systems side of things, the robots’ multi-sensor interfaces that are being implemented for everyday life. We already know about our culturally social robots deployed in museums and galleries and what happens in these culturally shared public spaces when people interact with new kinetic forms and their with new behaviours with curiosity.

DTT: But what about other spaces?

MV: The other spaces still require creativity, but they have to be many other things as well. So, I'm trying to develop principles that that we need to consider to co-create. This can influence the users, but I also want to co-create with different disciplines, some who might distrust trans-disciplinarity. What we have is this multi-disciplinary team of people looking at long-term interaction between humans and robots. That's why we need social scientists there from the beginning. That's why we need Ethics from the beginning, AI from the beginning.

Some of the principles, for example, are first about understanding situational context. Secondly, you would design experientially. It doesn't matter if that robot is for rehabilitation or experiencing it in a museum, it has to be a positive experience for the human. Because you can have a negative experience, but it’s not the desired outcome for long-term co-habitation.

One of the only things I've learned about human-machine and human-robot interaction, more than 25 years later is that people are unpredictable and that's what makes this research very exciting.  That was always the question. Since I started with my first interactive system in 1996-97 it's still the same, even harder because now you try to predict human behaviour based on what we haven’t done yet. What happens after few months when the novelty of ‘the new robot’ dies away? Let's say in a work environment. If you have a robot but you are also asking the question, why do we need the robot? You know, before you [initially] go to engage or [later] get used to having it, do we need the robot? And what does this robot represent?

Then it's about organising around some basic principles. As you know [across CRL and the Facility] we don't believe in relationships of replacement. We don't want robots to replace humans unless there's a very good reason; for example, rescue robots replacing people doing incredibly dangerous jobs. But jobs that assist or enhance experiences are different, jobs that encourage humans to extend or reconnect. This is around agents encouraging or working with humans rather than standing in for them.

This is something that I'm very conscious of, especially when I work with different fields; across design, created systems and social robots; for commercial companies or for government departments [like Defence]. What all these things have in common is the human experience. I think the core of what we're researching is how you might enhance the human experience [through social robotics] and how [this might be done by] making people feel more engaged, more safe.

 If it's something that helps them with the everyday, that’s better.

How do you create systems [that embody] the creative principles and we discussed before? It's why we have to be creative when you have artists and designers working on the experiential, designing these multi-disciplinary teams while the creative experience would be in the museum. I don't say that everything needs to be an artwork but there's something about creativity in the DaVinci model that it could [apply] to so many other areas.

00:13:04.590 --> 00:13:08.550

DTT: But since you have these big teams and all these expectations around systems and people, I think it's very important to think about the creative aspect. I think, too, that there's a lot of ways that creativity can be harnessed; in the practitioner, in the materials, in the application of the materials, in the relationship between the people, in the setup of the experiment. Creativity can exist, it can be [physically manifested rather than simply remain] an aesthetic concern as far as I'm concerned; it's beyond the aesthetics but takes them into consideration on the human side of things.

MV: The settings are important the first time you see something. In a true philosophical, Haegel sense of aesthetics, it is very important to consider aesthetics. But there's so many other things in there. The approach in application, for example… I think [that’s why it translates well] across arts in the materials that you're using is because there is that space for material creativity [including aesthetics] in robotics and in artificial intelligence.

00:14:16.365 --> 00:14:19.146

DTT: It struck me a little bit, the way that you were describing how you shifted from an aesthetic concern, from having free artistic reign to a more contemplative, designerly approach. The visual of the robot going between desks and giving pieces of itself for people to use and then going around and collecting those pieces back [which is what I understand, the future of this robot is,],it’s actually quite different from an artwork as it's got a design aspect of a problem to solve, rather than the exploration of an idea. These two aspects of the robot have to be approached really differently.

Are you starting with an idea, or you responding to a brief from a project, those are two really different approaches, right? One is an exploration and one is solving a problem. I think with the new robot, it appears to have both elements; it’s an artwork, but with a situated context and design brief to respond to, complete with a problem to solve.

00:15:12.920 --> 00:15:14.545

MV: With the new robot, it’s been very challenging and exciting because it wasn't about responding to a design brief or creating an artwork, it was about joint research [between a university and a corporation]. Yet the Fuji Xerox Project had both. That's why the responsibility was higher for me and the pressure was higher because it had to fulfil a brief but also had a lot of compositional freedom.

As such, we came up with something that could be a sculpture, but then it had to have all these other functions around learning about human-robot co-habitation. In a way, we will never know if it's successful or not. We need to test for years in order to test it thoroughly, to understand how these things works.

Inside of this I want to test the acceptance of different aspects of the robot, the form and the time spent in interacting with the robot, and its proxy within a museum in different countries. [In a way, the museums are our control to test ‘other’ environments against].

This was very different. I mean it was harder because I had to think for the stage to be stage set. It wasn't the company or the brief. It was really about the need we have in social robotics and that it was a great opportunity. To start, why not investigate what it means for a robot to grow up, to age. Or what does it mean for a robot to evolve? Does it evolve or devolve?

What's amazing to me as time passes by, is that I'm thankful to Fuji Xerox that they trusted me to take on this kind of crazy project. It was an application for things that we know it was not. It's the things that we don't know around distributed systems and a sense of ownership; about how something evolves or devolves over long-term experimentation and the difference between a successful and unsuccessful museum robot, fish-bird is a success, Diamandini is a success [and over time, they are still in demand long after their initial prototype and launch exhibition]. There's still a high demand for these robots to be seen, and sometimes we're too busy to exhibit and so we use them for different things. We say no to many exhibitions.

DTT: I remember, I invited you for ISEA 2013, but none of the spaces could manage the grid Diamandini or Fish-Bird need to run. It's interesting to me that they play a role in their downtime. When they're not being front facing catalysts for questions around cultural and social robotics, they actually have a research function. At the start of our conversation, you were talking about very specific things around usability and testing that you're still working on this in terms of materials. I think that your mind goes there because that's the problem that you're solving right now. So, there’s the art form, but in terms of multi-platform projects, that art object can exist in different platforms.

MV: Not all my work is like that, but some of it is; and I love this work where you move from platform to platform because as you do, you learn. And then in a spiral kind of research methodology it’s about iterative process, through testing, developing but also from one platform to another. One platform informs the other, so you hopefully start building something a little bit more concrete.

DTT: This is a really beautiful metaphor for the conversation that you feel like you've been having for the last 23 years. This metaphor that you mentioned, the spiral methodology and the multi-platform, these considerations include all these different disciplines that touch creative or social robotics; I'm mindful that as a metaphor for what we're talking about, so I just want to keep that in mind. I also want to talk about what’s different, and so that that thing about arts being in the conversation or design being in the conversation as much as engineering, or computer science, it's for as a no-brainer because we're on that side of things and we are engaging with these things as a material approach or a methodological approach when we can appropriate these tools. That’s very easy for us to do, but it might not be as easy from the other side and I wondered if you could talk a little bit about that, so from the robotics and AI side? What is the consideration or the conversation around creativity?

00:21:21.850 --> 00:21:26.038

MV: First of all, I would argue that there's a lot of creativity in Mechatronics [the mechanical?]. Not the way [artists would] understand creativity, but if you want to build something you have to have this this period of exploration. Also, how can you discuss the next generation of whatever you were doing without AI? I really like all these new behaviours and learning by demonstration and these elements of people understanding the creativity in their own field. Not something light, but something innovative. In this space, what we think of as creativity, we also think of as innovation. To me creativity and innovation form a kind of dialogue. It's a new compositional approach. To me the best term is to innovate within the design.

The key idea is that the Experiential design platform is innovating the materials, innovating the approach, innovating the AI, innovating the mechatronics, and so on…it was always easy for me to work in a multi-disciplinary area. It becomes trans-disciplinary by the definition that you need all these other disciplines to build something [you have to move across and through the disciplines]. It's easier because you have an end goal, even if you had designing and developing robots are big teams with people with different expertise; you just expand your team but because this is a big project everyone has a part is like a puzzle [as is the sculpture!].

Every piece of the puzzle is individual.  When you take away any one piece you can seethis. This is my part, but we all need to come together to complete the picture. So, I find [working in an inter-, multi-, trans-disciplinary way] very easy. Especially, when we talk about unpredictable human behaviours; the conversations we have about the developed researchers in AI are some of the most fruitful, most engaging and most out-there approaches. Learning about perception is not only about problem solving. Unfortunately, much of the time, people look at the more technological disciplines as problem solving in that they focus on resolving technical problems. We do that in the Arts too, I was doing that as a media artist for years before even doing my own boards, but you resolve this problem as you are trying to build something bigger or because of a larger vision.

You have to have the technical problem-solving angle in order to make the parts work. If you have an interactive installation with technical problems, you can't see their work. Their work doesn't exist, you know. And again, it's a theory of the apparatus [?!] that I've used and abused for all these years. Is the technological apparatus needs to work in order for the for the philosophical apparatus to be realised.

00:24:36.410 --> 00:24:38.700

DTT: I agree, that's great, Mari, thank you. You also spoke about how we really understand this or highlighted people that we might bring into our groups to expand into a larger collaborative field. I think we are all beginning to understand this. But where do you think our voices are missing in this conversation?

00:24:59.497 --> 00:25:03.367

MV: I think it’s in numbers. I think voices like ours are missing because we’re at the beginning of something new that we are trying to translate from other, individual disciplines. So, media art is working with people to bring in a few contracts to explore this new discipline of social robotics. I think we want to see more big collaborations, and we want this to become the norm. We don't want to be just the exotic group. Right now, we are niche within a few groups around the world, a few very important groups around the world and it's great, but it will be better when we are mainstream.

It's yet another platform and that's why I'm trying to do with this kind of the research methodology and why we're trying to publish on this topic. We are at the beginning of creating more awareness around this. We have to feel confident in our fields, within the media and interactive art, and contemporary directorship. That’s where there’s space for us not to change what we do, but to contribute in this new field.  This is not as AI experts, not as psychologists but as us (contemporary leaders, creative designers and artists).

00:26:25.020 --> 00:26:30.840

DTT: Yes, artists and curators that are interested in this kind of meeting point where people meet a technological agent; we need to work together to meet and see each other. What happens in that space? It's a model for a society at large, isn't it? It's about having a voice in the conversation, and they just beautifully said that because having a voice in the conversation, we have the word social in capital letters, social systems that are going to be implemented within societal structures. We all have a social responsibility, So, by creating this social awareness about how things can be done, you create a much stronger inter-, multi-disciplinary, or trans-disciplinary approach. An approach that pioneers the human side.

MV: It's not one size fits all, but it's about individuality in situational context. It's about experiential design as a better way of understanding people and their needs and their complexities. To me this is society. That's why the [larger] community don't call it creative robotics, a collage of social products created with robotics is what the lab stands for because we want to communicate creatively. As you know you're a pioneer in this. That creativity needs to [be deployed] in many, many different fields. Yeah, we can take it from the arts and influence different areas, but to me society and having a voice and an awareness is the biggest thing.

00:28:20.520 --> 00:28:24.350

DTT: Yes, I don't think there's enough awareness, but it’s good that we still have a platform. Maybe an interesting artwork in a Museum over a toy robot or something between a Hollywood movie and a sci-fi book scenario. And well, we're still us. It's not a speculation but I like a spectacle. The Human Robot Friendship Ball that I've been involved with, it's very much still a spectacle as part of the VIVID Ideas program. People are coming [to a local community space to] engage with robots because they don't have the chance to engage with robots in their everyday life. However, in a social or community setting, it's really safe to do so. It's safe to engage with robots. It's not strange because it’s a socially recognised setting (a library) that this is happening in. They're not going to come to a lab or an office to have a look at a robot, that would be too formal. But the general public seem quite happy to go to their local community library and spend the evening looking at robots.

00:29:33.490 --> 00:29:37.438

MV: Very few people [even today] come in contact with a developing robot outside of labs, so I think the social spaces are important. That's why it's so great to show things in places other than a gallery or museum space. All these people have different backgrounds and are there to explore; not to be judged, not to be part of experiments. The event and the platform are there to create awareness. Not everything can be taken to libraries local public spaces. But it's giving people a voice. Again, coming back to awareness; when you aware of something and you have an experience with something then you can be critical about it and raise your voice as to whether you like it or don’t.

00:30:21.090 --> 00:30:24.231

MV: All these programs are extremely important. With the National Facility, a space that can change modes, it’s state of the art and is non-intrusive. We can have all these experiences with immersive properties, like smell and touch and sight. We can get very important, very complex  and large data sets, but the Facility will never replace the terms of the engagement with/in community, the local library, the local gallery, the museum; social spaces that people take their kids to, that hosts a VIVID Ideas event in a neighbourhood centre. All these things are extremely important.

00:30:58.100 --> 00:31:01.895

DTT: Yes, the [general demographic of citizen scientists] take their kids, but they also bring their 97-year old parents. These parents saw people go to the moon and here they are cuddling Paro. The whole social awareness aspect, I think becomes part of our resource of really helpful information. I think the cross-generational aspect is very important to how we design. What’s that technological interface? What are the maintainers? What’s the interface for our kids? To us, to our parents, to our grandparents?  I think the next inquiry needs to be cross generational.

00:31:38.202 --> 00:31:41.162

MV: Thank you so much for the excellent questions. Thank you so much for being so articulate.

Please write all the things you said. There's so beautifully said and sophisticated. Think this is the beginning as first beginning of something I want us to take it further.

 

 

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