DOCSLIB.ORG

DEUS EX MACHINA Towards an Aesthetics of Autonomous and Semi-Autonomous Machines by ELIZABETH ANN JOCHUM B.A., Wellesley College, 2001

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DEUS EX MACHINA Towards an Aesthetics of Autonomous and Semi-Autonomous Machines by ELIZABETH ANN JOCHUM B.A., Wellesley College, 2001 DEUS EX MACHINA Towards an Aesthetics of Autonomous and Semi-Autonomous Machines by ELIZABETH ANN JOCHUM B.A., Wellesley College, 2001 M.A., University of Colorado, 2007 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosophy Department of Theatre and Dance 2013 This thesis entitled: Deus Ex Machina: Towards an Aesthetics of Autonomous and Semi-Autonomous Machines written by Elizabeth Ann Jochum has been approved for the Department of Theatre and Dance Professor Oliver Gerland III Professor Todd Murphey Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. iii Jochum, Elizabeth Ann (Ph.D., Theatre, Department of Theatre and Dance) Deus ex Machina: Towards an Aesthetics of Autonomous and Semi-Autonomous Machines Thesis directed by Associate Professor Oliver Gerland III Robots and puppets are linked by a common human impulse: the desire to give life to nonliving objects through the animation of material forms. Like puppets, robots are technological objects capable of revealing aspects of the human experience and have demonstrated the ability to provoke the suspension of disbelief and evoke agency. While the role of puppets and automata in theatre history is well established (Segel 1995, Jurkowski 1996, Reilly 2011), the study of robots in theatre performance is largely unexamined. Citing the presence of autonomous and semi- autonomous machines in live performance and technological developments that result in increasingly responsive and interactive robots, I argue that these technological players warrant critical investigation and study of their methods of representation. Given their ontological link, I use puppetry to construct a phenomenological understanding of robots by considering the following questions: “Does robotic performance constitute a creative act?” and “Can engineers use puppetry to develop robots that better exhibit behaviors are identified with creative performance?” Using States’ concept of “binocular vision” and Dennett’s concept of “intentional iv systems,” I propose that robots evoke agency by demonstrating expressive and responsive behaviors. Contrary to the imitative approach which uses realism and life-like features as a starting point, I suggest that engineers adopt the method of puppetry which utilizes movement as the primary means of expression. This approach results in machines that produce motions that appear less rigid and mechanical and are more likely to avoid the Uncanny Valley (Mori 1970). Citing recent theatrical productions (How to Train Your Dragon, King Kong), and my contributions to a robotic marionette system (Pygmalion Project), I outline how entertainment robotics can use puppetry-inspired choices to create intuitive interfaces for designing and operating robots. I advocate for an approach that acknowledges binocular vision and minimizes the role of mechanical reproduction in favor of essential and abstracted movements. For tele-operated machines, I propose a gesture-based control system that more tightly couples the interaction of the operator’s motions with those of the puppet. I anticipate that these methods will lead to robots that are more dynamic and more likely to evoke agency. For Ravenna & Saar vi ACKNOWLEDGEMENTS This study was partly supported by the George F. Reynolds Fellowship, a Graduate School Summer Fellowship from the University of Colorado, and the National Science Foundation (under award IIS-0917837). Any opinions, findings, conclusions, or recommendations expressed in this material are those of the author and do not necessarily reflect the views of the National Science Foundation. The robotic system used in the Pygmalion Project was developed in collaboration with Lanny Smoot at Disney Research (patent pending). Choreography for the Pygmalion Project was developed with Joy French and Jessica Damon (CU Boulder), and Stephanie Johnson and Stephen Loch (Brooks & Co Dance). I wish to thank Beth Osnes and Sarah Bay-Cheng for their advice, Annie Zink at the Denver Puppet Theatre who taught me the art of marionettes, Sarah Crockarell for her assistance with building puppets, and Elliot Jonson and Jarvis Schultz for technical explanations and their patience in delivering them. I am deeply grateful to Todd Murphey for inviting me to participate in this exciting project, and for teaching me to never stop asking questions. I am also grateful to Oliver Gerland for his enthusiasm for the project and his diligent direction. Jim Symons taught me a love for scholarship and helped me gain the confidence to pursue it. I thank my parents for teaching me the pleasure that comes from hard work, Markus for teaching me that if you can’t laugh about it then it’s not the right way, and Saar and Ravenna for making the journey joyous. vii CONTENTS CHAPTER I. INTRODUCTION ........................................................................ 3 Arrangement of the Thesis .................................................. 36 II. MACHINE AESTHETICS ........................................................ 43 Chapter Overview ................................................................ 44 Review of the Literature ...................................................... 46 A Theory of Performance ....................................... 46 The Aesthetics of Puppets..................................... 54 Intentional Systems .............................................. 64 Chapter Summary………………………………………………79 III. PROTO-ROBOTIC ACTORS .................................................... 81 Chapter Overview ................................................................ 82 Machine Aesthetics and the Historical Avant-Garde ......... 84 Theories of Autonomous Art Objects ................................... 95 Mechanical Scenery ........................................................... 105 Mechanical Bodies ............................................................. 123 IV. REPRESENTING HUMANS .................................................. 155 Chapter Overview .............................................................. 156 Human-Inspired Robots ..................................................... 158 Kinesis in the Age of Mechanical Reproduction ............... 168 The Pygmalion Project ....................................................... 179 viii The Aesthetics of Autonomy .............................................. 202 V. REPRESENTING ANIMALS……………………………………..214 Chapter Overview……………………………………………...215 Animal-Inspired Robots ..................................................... 218 Becoming-Animal ............................................................... 225 A Tale of Two Puppets ....................................................... 247 Reanimating the Animated…………………………………..274 VI. SUMMARY OF FINDINGS………………………………………286 WORKS CITED……………………..………………………….………………...303 ix FIGURES Figure 1. Uncanny Valley, Mori……………………………………………………….12 2. Robo-Thespian by Engineered Arts………………………………………164 3. Geminoid F by Hiroshi Ishiguro and ATR………………………...…….164 4. RoboKind by Hanson Robotics…..………………………………………...166 5. Brooks & Co Dancers using motion capture technology………………189 6. Computer rendering of marionette (Pygmalion Project)..……………..190 7. Galatea and robotic actuators (Pygmalion Project)……………………193 8. Pygmalion and Galatea marionettes (Pygmalion Project)…………….194 9. Paro Seal……………………………………………………………………....221 10. Sony AIBO…………………………………………………………………….221 11. Leonardo………………………………………………………………………221 12. Giraffe by Julie Taymor (The Lion King)…………………………………258 13. Giraffe by Handspring Puppet Company…………………………………259 14. Joey (foal) puppet by Handspring Puppet Company (War Horse)……..262 15. Joey (full-size) puppet by Handspring Puppet Company (War Horse)..263 16. Toothless puppet by Global Creatures (HTTYD)…………………………280 17. Flying Toothless marionette by Global Creatures (HTTYD)…………....280 18. Voodoo puppeteering rig (Global Creatures)………………………………282 19. KinEtre Project (Microsoft Labs)……………………………………………299 x Art lies halfway between scientific knowledge and mythical or magical thought. -Claude Lévi-Strauss 1 CHAPTER I INTRODUCTION 2 In Theatre, Performance, and Technology Christopher Baugh traces the important links between scientific discoveries, technical developments, and their presentation throughout theatre history by calling attention to the profound ways in which science and technology have contributed to evolving modes of narrative and representation: Our thinking, our philosophies, and modes of expression and understanding of humanity have been frequently governed by current technology and the capabilities of machinery. […] Inevitably, therefore, technologies used in theatre and performance cannot exist in isolation from the larger issues of natural philosophy and science that, since Copernicus and Galileo, have attempted to explain the existence of the world, the behavior of materials and objects, and of humanity. (Baugh 8) Technological innovation and theatrical representation have been linked since the beginning of theatre history: from the use of mechane and deus ex machina on classical Greek stages to the staging of humanoid robots in contemporary productions, the use of emerging technologies in live performance reflects the shifting complexities of human values and beliefs concerning scientific discovery and
Load more

Recommended publications
  • L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
    Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie.
    [Show full text]
  • Limits of the Human
    Limits of the human Machine s without limits? Phot. Geminoid F. Hiroshi Ishiguro ATR Laboratories © International Symposium Limits of the human, machines without limits? Contemporary stage and robotics: exchanges and collaborations October 6, 7, 8, 2021 University of Lausanne, Switzerland Organised by: Dr Izabella PLUTA, Colloquium Leader, University of Lausanne - Centre d'études théâtrales and Laboratoire de cultures et humanités digitales Dr Salvatore Maria ANZALONE, University Paris 8 - CHArt Laboratory Dr Gunter LÖSEL, Zurich University of the Arts - Institute for the Performing Arts and Film Dr Erica MAGRIS, University Paris 8 - Theatre Department Symposium office: Théo Arnulf (PhD Candidate, University Paris 8, Theatre Department), Stéphanie BARBETTA (Master’s Degree, University of Geneva, and independent artiste). To contact the office : [email protected] Supporting institution: Centre for Theatre Studies (Unil), Partners: College of Humanities Unil-EPFL, Zurich University of the Arts, Paris 8 University - Theatre and CHArt Laboratory Keywords: stage, robotics, prosthesis, robotic devices, creation, scientific research, uncanny valley, programming, creation process, neurosciences, transhumanism, digital humanities Scientific Committee: Prof. Marc Atallah (Univ. of Lausanne, Lausanne, Switzerland), Prof. Matteo Casari (Univ. of Bologna, Bologna, Italy) Dr. Ester Fuoco (Univ. of Genoa, Genoa, Italy), Dr. Aurélie Gallois (Espace culturel Nymphéa, Amiens, France), Dr. Simon Hagemann (PRAG, Univ. of Lorraine, Nancy, France), Dr. Louise LePage (Univ. of York, UK) Dr. Piotr Mirowski (DeepMind, UK) Prof. Anna Maria Monteverdi (Univ. of Milan, Milan, Italy), Prof. Emanuele Quinz (Univ. Paris 8, Paris 8, France), Prof. Zaven Paré (Uni. of Rio de Janeiro, Brazil) Prof. Thomas Riccio (University of Texas at Dallas, USA) Argumentation Many artists today have introduced robots into their creations, questioning aesthetic visions and exploring trans- and posthumanism.
    [Show full text]
  • Fictionality
    COPYRIGHT NOTICE: Edited by Franco Moretti: The Novel, Volume 1 is published by Princeton University Press and copyrighted, © 2006, by Princeton University Press. All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher, except for reading and browsing via the World Wide Web. Users are not permitted to mount this file on any network servers. Follow links for Class Use and other Permissions. For more information send email to: [email protected] CATHERINE GALLAGHER The Rise of Fictionality No feature of the novel seems to be more obvious and yet more easily ig­ nored than its fictionality. Like prose, fictional is one of those definitive terms (“a novel is a long, fictional prose narrative”) that most historians of the form have tacitly agreed to leave unexamined; we tend to let it lie dormant in our critical analyses as well. And yet we all know that it is active and de­ termining in our culture, for we cannot walk into a bookstore or read the Sunday papers without noticing that the primary categorical division in our textual universe is between “fiction” and “nonfiction.” Perhaps we imagine that a distinction so pervasive and secure can get along without our help, that it would be redundant to define such a self-evident trait. Or, perhaps we find that the theories of fictionality debated by philosophers and narratolo­ gists finally tell us too little about either the history or the specific properties of the novel to repay the difficulty of mastering them.
    [Show full text]
  • ENGLISH 2810: Television As Literature (V
    ENGLISH 2810: Television as Literature (v. 1.0) 9:00 – 10:15 T/Th | EH 229 Dr. Scott Rogers | [email protected] | EH 448 http://faculty.weber.edu/srogers The Course The average American watches about 5 hours of television a day. We are told that this is bad. We are told that television is bad for us, that it is bad for our families, and that it is wasting our time. But not all television is that way. Some television shows have what we might call “literary pretensions.” Shows such as Twin Peaks, Homicide: Life on the Street, The Wire, Buffy the Vampire Slayer, Firefly, Veronica Mars, Battlestar Galactica, and LOST have been both critically acclaimed and the subject of much academic study. In this course, we shall examine a select few of these shows, watching complete seasons as if they were self-contained literary texts. In other words, in this course, you will watch TV and get credit for it. You will also learn to view television in an active and critical fashion, paying attention to the standard literary techniques (e.g. character, theme, symbol, plot) as well as televisual issues such as lighting, music, and camerawork. Texts Students will be expected to own, or have access to, the following: Firefly ($18 on amazon.com; free on hulu.com) and Serenity ($4 used on amazon.com) LOST season one ($25 on amazon.com; free on hulu.com or abc.com) Battlestar Galactica season one ($30 on amazon.com) It is in your best interest to buy or borrow these, if only to make it easier for you to go back and re-watch episodes for your assignments.
    [Show full text]
  • Robot Theatre Marek Perkowski 1
    Towards Robot Theatre Marek Perkowski 1. History of robot theatre 2. Modern robot theatre 3. Robot theatre at PSU 4. Models of robot theatre 5. Research topics on Robot Theatre 6. Future Robot Theatre History of Robot Theatre From antiquity until 1996 Heron’s Book Automata Robot Theatre of Hero • A collection of constructions called miracles of Alexandria (thaumata) for temples. • Heron describes automatic rotating objectives, noise such as thunder, automatic opening doors. • Philon from Byzanz describes the existence of automata in his book Mechaniki syntaxis, that includes pneumatic apparatus and automatic astronomical devices as early as 300 BC. Albertus Magnus and his robot head Albertus is recorded as having made a mechanical automaton in the form of a brass head that would answer questions put to it. Knight of Leonardo Da Vinci 1. Leonardo's robot refers to a humanoid automaton designed by Leonardo da Vinci around the year 1495. 2. The design notes for the robot appear in sketchbooks that were rediscovered in the 1950s. 3. It is not known whether or not an attempt was made to build the device during da Vinci's lifetime. 4. Since the discovery of the sketchbook, the robot has been built faithfully based on Leonardo's design; this proved it was fully functional. Duck of Vaucanson • The Canard Digérateur, or Digesting Duck, was an automaton in the form of a duck, created by Jacques de Vaucanson in 1739. • The mechanical duck appeared to have the ability to eat kernels of grain, and to metabolize and defecate them Constructed and unveiled in 1770 by Wolfgang von Turk of Kempelen Kempelen (1734–1804) to impress the Empress Maria Theresa • The Turk was in fact a mechanical illusion that allowed a human chess master hiding inside to operate the machine.
    [Show full text]
  • The Expression of Orientations in Time and Space With
    The Expression of Orientations in Time and Space with Flashbacks and Flash-forwards in the Series "Lost" Promotor: Auteur: Prof. Dr. S. Slembrouck Olga Berendeeva Master in de Taal- en Letterkunde Afstudeerrichting: Master Engels Academiejaar 2008-2009 2e examenperiode For My Parents Who are so far But always so close to me Мои родителям, Которые так далеко, Но всегда рядом ii Acknowledgments First of all, I would like to thank Professor Dr. Stefaan Slembrouck for his interest in my work. I am grateful for all the encouragement, help and ideas he gave me throughout the writing. He was the one who helped me to figure out the subject of my work which I am especially thankful for as it has been such a pleasure working on it! Secondly, I want to thank my boyfriend Patrick who shared enthusiasm for my subject, inspired me, and always encouraged me to keep up even when my mood was down. Also my friend Sarah who gave me a feedback on my thesis was a very big help and I am grateful. A special thank you goes to my parents who always believed in me and supported me. Thanks to all the teachers and professors who provided me with the necessary baggage of knowledge which I will now proudly carry through life. iii Foreword In my previous research paper I wrote about film discourse, thus, this time I wanted to continue with it but have something new, some kind of challenge which would interest me. After a conversation with my thesis guide, Professor Slembrouck, we decided to stick on to film discourse but to expand it.
    [Show full text]
  • Modelling User Preference for Embodied Artificial Intelligence and Appearance in Realistic Humanoid Robots
    Article Modelling User Preference for Embodied Artificial Intelligence and Appearance in Realistic Humanoid Robots Carl Strathearn 1,* and Minhua Ma 2,* 1 School of Computing and Digital Technologies, Staffordshire University, Staffordshire ST4 2DE, UK 2 Falmouth University, Penryn Campus, Penryn TR10 9FE, UK * Correspondence: [email protected] (C.S.); [email protected] (M.M.) Received: 29 June 2020; Accepted: 29 July 2020; Published: 31 July 2020 Abstract: Realistic humanoid robots (RHRs) with embodied artificial intelligence (EAI) have numerous applications in society as the human face is the most natural interface for communication and the human body the most effective form for traversing the manmade areas of the planet. Thus, developing RHRs with high degrees of human-likeness provides a life-like vessel for humans to physically and naturally interact with technology in a manner insurmountable to any other form of non-biological human emulation. This study outlines a human–robot interaction (HRI) experiment employing two automated RHRs with a contrasting appearance and personality. The selective sample group employed in this study is composed of 20 individuals, categorised by age and gender for a diverse statistical analysis. Galvanic skin response, facial expression analysis, and AI analytics permitted cross-analysis of biometric and AI data with participant testimonies to reify the results. This study concludes that younger test subjects preferred HRI with a younger-looking RHR and the more senior age group with an older looking RHR. Moreover, the female test group preferred HRI with an RHR with a younger appearance and male subjects with an older looking RHR.
    [Show full text]
  • The Marriage of Mimesis and Diegesis in "White Teeth"
    University of New Mexico UNM Digital Repository 2019 Award Winners - Hulsman Undergraduate Jim & Mary Lois Hulsman Undergraduate Library Library Research Award Research Award Spring 2019 The aM rriage of Mimesis and Diegesis in "White Teeth" Brittany R. Raymond University of New Mexico, [email protected] Follow this and additional works at: https://digitalrepository.unm.edu/ugresearchaward_2019 Part of the Literature in English, British Isles Commons, and the Other English Language and Literature Commons Recommended Citation Raymond, Brittany R.. "The aM rriage of Mimesis and Diegesis in "White Teeth"." (2019). https://digitalrepository.unm.edu/ ugresearchaward_2019/5 This Article is brought to you for free and open access by the Jim & Mary Lois Hulsman Undergraduate Library Research Award at UNM Digital Repository. It has been accepted for inclusion in 2019 Award Winners - Hulsman Undergraduate Library Research Award by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Raymond 1 Brittany Raymond Professor Woodward ENGL 250 28 April 2018 The Marriage of Mimesis and Diegesis in White Teeth Zadie Smith’s literary masterpiece, White Teeth, employs a yin-yang relationship between Mimesis and Diegesis, shifting the style of narration as Smith skillfully maneuvers between the past and present. As the novel is unfolding, two distinctive writing styles complement each other; we are given both brief summaries and long play-by-play descriptions of the plot, depending on the scene. Especially as the story reaches its climax with Irie, Magid and Millat, Smith begins to interchange the styles more frequently, weaving them together in the same scenes. These two literary styles are grounded in Structuralist theory, which focuses on the function of the language itself.
    [Show full text]
  • ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
    Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details.
    [Show full text]
  • Sustainable Development As Deus Ex Machina
    Biological Conservation 209 (2017) 54–61 Contents lists available at ScienceDirect Biological Conservation journal homepage: www.elsevier.com/locate/bioc Discussion Sustainable development as deus ex machina Claudio Campagna a,b,⁎,DanielGuevarac, Bernard Le Boeuf d a Wildlife Conservation Society, Marine and Argentina Programs, Amenábar 1595, 1426 Buenos Aires, Argentina b Department of Ecology and Evolutionary Biology, University of California, Santa Cruz, California 95064, United States c Department of Philosophy, University of California, Santa Cruz, California 95064, United States d Department of Ecology and Evolutionary Biology, Institute for Marine Sciences, University of California, Santa Cruz, California 95064, United States article info abstract Article history: The advocacy of sustainable development (SD) by governments, NGOs and scientists over the last three decades Received 3 August 2016 has failed to diminish the alarming species extinction rate fueled by overuse and habitat destruction. Attempts to Received in revised form 9 January 2017 satisfy worldwide demands for economic growth and development have, in fact, thwarted conservation efforts Accepted 25 January 2017 and greatly diminished the diversity and abundance of life forms, including key iconic species. Here, we argue Available online xxxx that this crisis is one of values rooted in a discourse that justifies development and downplays the morality of human-caused extinction of life forms. The language of SD does not convey the loss—worse, it masks or rational- Keywords: Language izes it as blameless or necessary. The language of SD represents the loss in biodiversity as fallout from the reduced Conservation discourse capacity of ecosystems to provide services for human benefit, while providing no sense of the values necessary Species crisis for conserving life for its own sake.
    [Show full text]
  • Employing Animatronics in Teaching Engineering Design
    AC 2011-190: EMPLOYING ANIMATRONICS IN TEACHING ENGINEER- ING DESIGN Arif Sirinterlikci, Robert Morris University ARIF SIRINTERLIKCI received B.S. and M.S. degrees in Mechanical Engineering from Istanbul Tech- nical University, Turkey, and a Ph.D. degree in Industrial and Systems Engineering from the Ohio State University. Currently, he is a Professor of Engineering as well as Co-Head of Research and Outreach Cen- ter at Robert Morris University in Moon Township, Pennsylvania. His teaching and research areas include rapid prototyping and reverse engineering, robotics and automation, bioengineering, and entertainment technology. He has been active in ASEE and SME, serving as an officer of the ASEE Manufacturing Division and SME Bioengineering Tech Group. c American Society for Engineering Education, 2011 Employing Animatronics in Teaching Engineering Design Introduction This paper presents a cross-disciplinary methodology in teaching engineering design, especially product design. The author has utilized this animatronics-based methodology at college and secondary school levels for about a decade. The objective was to engage students in practical and meaningful projects. The result is an active learning environment that is also creative. The methodology was also employed for student recruitment and retention reasons. The effort has spanned two universities and included a senior capstone project1, an honors course2, multiple summer work-shops and camps3,4,5,6,7 as well as an introduction to engineering course. The curriculum encompasses the basics of engineering and product design, and development as well as team work. Students follow the following content sequence and relevant activities through concept development, computer-aided design (CAD), materials and fabrication, rapid prototyping and manufacturing, mechanical design and mechanisms, controls and programming.
    [Show full text]
  • Are You There, God? It's I, Robot: Examining The
    ARE YOU THERE, GOD? IT’S I, ROBOT: EXAMINING THE HUMANITY OF ANDROIDS AND CYBORGS THROUGH YOUNG ADULT FICTION BY EMILY ANSUSINHA A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Bioethics May 2014 Winston-Salem, North Carolina Approved By: Nancy King, J.D., Advisor Michael Hyde, Ph.D., Chair Kevin Jung, Ph.D. ACKNOWLEDGMENTS I would like to give a very large thank you to my adviser, Nancy King, for her patience and encouragement during the writing process. Thanks also go to Michael Hyde and Kevin Jung for serving on my committee and to all the faculty and staff at the Wake Forest Center for Bioethics, Health, and Society. Being a part of the Bioethics program at Wake Forest has been a truly rewarding experience. A special thank you to Katherine Pinard and McIntyre’s Books; this thesis would not have been possible without her book recommendations and donations. I would also like to thank my family for their continued support in all my academic pursuits. Last but not least, thank you to Professor Mohammad Khalil for changing the course of my academic career by introducing me to the Bioethics field. ii TABLE OF CONTENTS List of Tables and Figures ................................................................................... iv List of Abbreviations ............................................................................................. iv Abstract ................................................................................................................
    [Show full text]