In my week 8 post and week 9 presentation, I discussed Margo K. Apostolos and her choreographed robot arm dances and how she uses this different approach to help progress the capabilities of robot arm movement. The fact that they were programmed to have more fluid and precise motions became the template in which programmers approached the movement capability in robot arms in all areas of work, from industrial lines to surgery assisting arms. In week 9, there was a discussion in class about robotics and artificial intelligence and the seemingly inevitable fate of robotics making humans obsolete and AI’s becoming self-aware. While I do agree that there’s a possibility this may happen some time within our future, I do not necessarily believe that robots and artificial intelligence would be able to function autonomously. I used Apostolos as an example to describe how robots, or any technological advancement for that matter, cannot function to its fullest capabilities without human interactivity. I thought it was significant that she used industrial robot arms for these dances, for they are what arguably started the conversation of robots taking over the workplace and making physical labor obsolete.
Inspired by this topic, I will be discussing Margo Apostolos’ robot arms and the advancements she has been able to make due to interacting with this technology in an artistic manner. It’ll be the background to set up my discussion on artists: Daniel Franke, Char Davies, and the cooperative artists Christa Sommerer and Laurent Mignonneau. Daniel Franke is a German collaborative artists who explores the relationship between sight and technology. In his work, Durchsehen, Exp. 01 (augmented perspective), Franke creatively explores the symbiotic relationship between the artwork and the viewer, for the artwork cannot exist without a viewer gazing upon it. Similarly, Char Davies’ work, Osmose, require user interactivity to explore the coded world that she and numerous programmers worked so hard to achieve. Lastly, I will be discussing Christa Sommerer and Laurent Mignonneau’s A-volve, where audience interaction is key in order to create artificial life organisms.
I will be exploring the necessary interactivity between audience and work in the context of art and technology. I will attempt to stray from the topic of robots and artificial intelligence eventually taking over the world. I will instead write on how humans interact with these technologies and how these artworks cannot be autonomous because they need human interaction. These works serve to give audiences a newer perspective on how meaningful interactions cannot only be obtained through interpersonal communication.
Christa Sommerer and Laurent Mignonneau: