--- title: "Background on The Uncanny Robots Project" url: "https://bergmann.ai/writing/background-on-uncanny-robots/" type: "writing" date: "2019-10" description: "The Uncanny Robots Project (2019) began as a concept of exploring what kind of performance could be possible utilizing the new KUKA KR150 industrial robot acquired by the university for the upcoming Creative Technology Lab, now known as the Design + Technology Lab at The Creative School." image: "https://bergmann.ai/img/h2255450-03-Uncanny-Robots---Photo-01.jpg" author: "Michael F Bergmann" --- # Background on The Uncanny Robots Project ## Excerpted from “Cultivating Empathy through Robotic Performance”, forthcoming in the Proceedings of the Limits of the human, machines without limits? conference proceedings. The Uncanny Robots Project (2019) began as a concept of exploring what kind of performance could be possible utilizing the new KUKA KR150 industrial robot acquired by the university for the upcoming Creative Technology Lab, now known as the Design + Technology Lab at The Creative School. The project was a collaboration between myself as (director and visual designer), Linda Zhang (led the robot choreography and environmental design, School of Interior Design), Louis Laberge-Côté (choreographer, School of Performance), and Belinda McGuire (dancer and choreographer, Belinda McGuire Dance Projects). The performance was highlighted by the University’s Research & Innovation office and was included in their Innovation newsletter. As a research-creation activity, the project aimed to examine the performance/audience relationship, being human/non-human, and the venue itself acting as both a site of creation and an interactive character. The medium of dance was chosen for the performance. With technology affecting so many areas of our experience, we aimed to see how a technological actor can not only contribute to this physical performance mode but also influence our understanding of ourselves and the role of technology. The project was initially conceived as a design lab environment where the tools and techniques were available to learn about the limitations and surprises during experimentation. This exploration led to new directions to pursue further research and performances and pivot toward additional projects. Combining team members from performance and interior design in a transdisciplinary perspective encouraged various angles and points of interest that forced us not to fall into a traditional theatrical creation practice. Soon after beginning, we were commissioned to create a performance for the opening event of the Creative Technology Lab in October 2019. This set us with an end goal and structured the research direction. While we had just begun experimenting with smaller KUKA robots and learning what the movement vocabulary and interactions could be, we were now faced with the challenge of scaling it up to a full-sized performance. Between the Lab being under construction and members of our team split between Toronto and New York City, the entire project was created remotely with intensive days in-person to test and develop ideas. Although still under construction, in April 2019, we were given our first tour of the space, a two-story-high robotics bay with the KUKA KR150 permanently installed at the centre. While elements of the space were conceived to allow performances to happen, it did not have the infrastructure to support traditional theatrical production elements, such as lighting, sound, and projections. However, the room defined itself as a character: an audience member entering it would instinctively understand that this structure was purposely built as a creation environment. After more time exploring the kinds of movements possible by the KUKA, the team developed the first choreographic ideas. In May 2019, Linda created the initial 3D scans of Belinda’s choreography using an iSense scanner and further manipulated them in Rhinoceros 3D, creating artistic interpretations of the movement. The scans would form the basis of a movement vocabulary from which various performance elements reinterpreted motifs. Further scanning was done using drone-based systems to collect more movement data and visual reference and video content for the projection design. With the data collected, the team members could develop their elements based on this dataset, such as choreography, music, projection elements, and scenic gestures. The next in-person residency occurred during two days in July 2019. This was the first chance for Linda to try the programming on the KUKA directly and for Belinda to explore movement with the robot. We started to get a sense of the relationship between Belinda and KUKA, while improvising around the movements of both. We experimented with timing, the feeling of who was in control, and the limits of the human body versus the machine body. Both Belinda and the KUKA performed the earlier choreographic phrases, and new choreography was later developed based on variations of the initial one. Other performance elements were also brought in and tested. For example, a custom end-of-arm device was designed for the KUKA that Belinda could hold on to, and a wood mockup was tested. Also, examining the space as a character continued, and it was decided that either side of the KUKA would be where the movements could be expressed through projection and scenic elements. On one side would be sand that Belinda could trace the movements into, while the other side would have a projection on the ground of the phrase recorded from the drone footage. This disposition of the scenery would thus articulate both human, robot and space while all simultaneously performing the same movement This residency ended with a run-through of the piece up to this point. We could finally operate more freely a month later when we returned in late August 2019 since the Lab was no longer under construction. The end-of-arm device was completed in steel, and Belinda could now grab onto and be lifted by the robot. Further programming was happening offline in the editor and tested on the KUKA. The performance structure was starting to come together, containing three main parts that required a shift in the playback technique of the robot during the show. After a few days off, an intensive last day at the beginning of September would be the last programming session in the performance space with Belinda. This day was heavily documented, as we would be working offline and remotely until the day before the performance. For the remainder of September, other production elements would be developed. For instance, with a crew of students from the production program at the School of Performance and the help of the School’s staff, we developed a lighting plot, rewired the existing lighting in the space, and added a new lighting pipe. Additionally, a projector was hung, the projections were created, and a multi-zone sound system was installed for the two audience viewing areas and within the bay: either directly viewing into the robot bay on the other side of a glass wall and/or from the floor above. Moreover, costumes were designed and created, taking inspiration from the KUKA aesthetic. As the planning for the opening event and performance was coming along, it was decided that there would be two performances of the work and two areas from which the audiences would view them. Furthermore, as these production elements were coming together, Belinda created a video of the final performance phrases based on the recordings, and Linda completed the final robot programming to match. It was also decided that documentation of the performance would be captured the night before the actual performance to allow for multiple camera angles. This final performance video is available to be watched. Following the filming, the next day had a few last-minute changes and preparations, and the launch event of the Creative Technology Lab began. The audience in attendance was a mix of researchers from the university and professionals from industries related to digital fabrication, including a representative from KUKA Canada. The performances were a success and served multiple purposes. First, it centred the Lab’s work at the intersection of technology and creative research. Secondly, from my perspective, it forced the audience to reconsider the space, tools, and interaction with the robots. Audience reactions were very positive, and unprompted comments included discussions around the emotions felt by watching the duet, especially towards the robot. They remarked specifically feelings of empathy for the robot, heightened by the music and production elements, and of course, the choreography and performance.