Robotic Geese are remote controlled goose robots that enable participants or robotic goose drivers (aka goosers) to interact with actual geese in urban contexts. The robotic goose interface allows people to approach the birds, follow them closely and interact in a variety of ways that would not otherwise be possible without this interface. The goose drivers can 'talk to' the geese, issuing utterances through the robotic interface, delivering prerecorded goose 'words,' their own vocal impersonations, or other sounds (such as goose flute hunting calls). Each utterance via the robotic goose triggers the camera in the robot's head to capture 2-4 seconds of video recording the responses of the actual biological geese. These video samples upload to the public web-based goosespeak database that the participants can annotate, i.e. "the goose was telling me to go away," "he was saying Hi." As this database of goose responses accretes, redundancy and correlations in the annotations may provide robust semantic descriptors of the library of video clips.
Note: Robotic Geese is part of the artist's ongoing project Ooz.
The duck takes picture when it detects flash light/ and also everytime it exits 'mode' of operation. There are few modes including 'driving', 'waiting', and 'printing'. Therefore some pictures are obviously of people taking picture at the duck and others are accidental.
Music randomly generated by dipping ducks (AKA happy birds, drinking birds, dippy birds, happy ducks... etc)
Using the basic parts of a keyboard, each duck is hooked up to a note of the octave. As their beak touches the water in the glass the circuit is completed and the sound is produced.
The spring show of ITP, New York University’s Interactive Telecommunications Program, which was open to the public last Sunday and Monday, was a like science fair, with students eager to show the results of their projects, and also like a job fair, with middle-aged men in suits prowling for fresh-faced innovators. There’s an atmosphere of authentic creative exploration surrounding the projects displayed, but more often than not the starting point is a vaguely corporate-sounding buzzword: Sustainability! Wearable technologies! Arduino! Connecting to nature was a particularly hot topic, with variations on it ranging from urban botany—like the iPhone app Twigster that helps users identify species of plant life they encounter in parks—to the New-Age crunch of Root Boots, bark-covered footwear that encourages the wearer to stand still and contemplate nature by providing pleasant, low-frequency vibrations when at rest and making scary uprooting sounds when lifted. Voice from the Past also followed the trend of adapting technology to slow the pace of life down; the program lets callers leave a voice message and designate a time in the near or distant future when the recipient will be notified of it. The inverse of that was the whimsical Traveling Sound Museum, with sounds of events like the 1293 sacking of Jaisalmer by the emperor Ala-ud-din Khilji and the 1835 arrival of European explorers in Galapagos in mason jars displayed on an antique wooden cart. (The creator cagily batted away questions about what the burlap in the jars was hiding, and where they “really” came from.) Other projects let computers and audience share the credit for art-making. The “cobots” ShadowBot and SoundBot moved in response to environmental light or noise, respectively, to create messy, Spirogram-like doodles. With the heavy crowds at the ...
In the 1960s and 1970s, Nam June Paik, and many of his pioneering video artist colleagues and Fluxus collaborators took the visionary work of Wiener, the electric prophesies of McLuhan and Gregory Bateson and the utopic designs of Buckminster Fuller and concurred that the new video medium would usher in a social utopia that would extend far beyond the spheres of the 1970s experimental art world. For these early media artists, the feedback loops, live circuits, and video flows, coupled with the electronic image’s immediate and physiological stimulations, when used in distinction to commercial models, posited potent possibilities for cybernetic consciousness, ecological human-machine systems, and an end to top-down power relations. In short, the rise of an egalitarian, democratic society through electronic media. In order to fully appreciate Paik’s work, we must remember this historical context. A solo show is now on view at the James Cohan Gallery in Chelsea, "Nam June Paik: Live Feed: 1972 -1994." The show features several of Paik’s older and more recent video installations, all of which reflect his cybernetic ambitions for video technology.
Texas group ArcAttack make music by manipulating electrical arcs generated by Tesla coils. In these two videos, they perform "Creepy Circus Song." The first video is live from a show at the Maker Fair last year.
Scene designer and robot artist Roland Olbeter developed and crafted the unique ensemble "The Sound Machines," an automated, electrical string quartet with a drum. The four string instruments sound and function like electric guitars, the difference being that each sound machine only has one string.
21 micro-cylinders from Festo are used in each sound machine. The micro-cylinders imitate the mechanical movements of a musician's left hand on the string instruments, determining the pitch of the tone by changing the length of the strings. Various drumsticks and a jazz brush are moved on the drum by micro-cylinders.
"Fast Blue Air," the music composed especially for the Hanover Fair by Australian composer Elena Kats-Chernin, explores the range of sounds generated by the sound machines including the noises produced by the pneumatics.
Just in time for the holiday season comes an exhibition inspired by the heartwarming Brian Aldiss short story "Super-Toys Last All Summer Long" in which a robotic boy is deceived into believing he's human and loving his fake mom. It's a tale for the ages. And now Bristol's Arnolfini gallery has mounted "Supertoys," a chance for a group of artists to flesh-out the fakery behind humans' relations to their playthings. In fairness, part of the show's agenda is an effort to look at how human/ object relationships can become more reciprocal as robots become increasingly intelligent and the possibility for not only learning but also emotion creeps into the picture. Codemanipulator reflect directly on the eponymous "Supertoys" story and present us with a binary toybox full of zero's and one's, with which viewers can play like building blocks. Natalie Jeremijenko's Robotic Geese and Ducks (2008) and Feral Robotic Dogs (2005) prompt us to remember puppy love and other animal affections while considering the important social roles played by these creatures. Her dogs sniff out pollution, while the fowl illustrate the life of the decoy. Despite most of the American nuclear tests being given macho code names like "Romeo," Dunne & Raby's Huggable Atomic Mushroom (2007) brings out the softer side of these curvy explosions by making cuddly, squishy, femininely-gendered toys. This play of difference highlights the role of machine culture in cultivating or quelling paranoia and false rationality. These and other works by Chris Cunningham, Kahve Society, Alex McLean, Philippe Parreno, Unmask Group, and guest robots Swarm Systems and Heart Robot use the approachability of cute objects to address often untouchable topics, in this exhibition. - Marisa Olson
Image: Natalie Jeremijenko, Feral Robotic Dogs, 2005
Juried Exhibition: Earth, at 440 Gallery, Brooklyn
Digital Arts and New Media (DANM) Technical Coordinator