PLANT BOT
plant bot is a time based interactive art installation where the fates of a living plant and a computer are interdependent. Essentially the plant attempts to train a computer using image recognition. Through this process the computer will learn to recognize when the plant needs water based on images it takes of the plant. If the plant appears healthy, the computer will maintain a regular water regiment. If the plant does not appear healthy to the computer it will attempt to aid the plant by adjusting to what it “thinks” the plant needs based on the images gathered. As the computer becomes more intelligent and hence more adept at caring for the plant, the plant will conceivably thrive and grow in proportion. If the computer is unsuccessful, conceivably the opposite will occur.

Lauren
J’essaie de devenir une version humaine d’Amazon Alexa, une intelligence domestique intelligente pour les personnes dans leur propre maison. Le spectacle dure jusqu’à une semaine. Cela commence par l’installation d’une série d’appareils intelligents en réseau conçus sur mesure (y compris des caméras, des microphones, des commutateurs, des serrures de porte, des robinets et d’autres appareils électroniques). Je surveille ensuite la personne à distance 24h/24 et 7j/7 et contrôle tous les aspects de son domicile. Je vise à être meilleur qu’une IA car je peux les comprendre en tant que personne et anticiper leurs besoins. La relation qui s’en dégage s’inscrit dans l’espace ambigu entre homme-machine et homme-humain.

Ferme automatique
FILE FESTIVAL
À mesure que les choses deviennent plus intelligentes et connectées, leur rôle dans la vie des gens est remis en question. Les choses se rapprochent de plus en plus de nous, finissant par devenir elles-mêmes des «utilisateurs». Comment comprendrons-nous les besoins et les perspectives des objets et comment les concevoirons-nous?

Le Paradoxe de Xerox
La mode interrogative à l’ère des devoirs super intelligents. Le « paradoxe de Xerox » est l’effet inverse de la technologie. Craignant un avenir sans papier, une enquête de Xerox Parc a conduit, entre autres, à l’IUG (Graphical User Interface) qui, à son tour, a entraîné une augmentation substantielle de la production de matériel imprimé.

Impression de Roche
Le monde est « sur le point d’être révolutionné » par l’impression 3D depuis des années maintenant, mais à part le prototypage rapide, les selfies 3D et la maison imprimée en 3D occasionnelle, nous n’en voyons pas grand-chose tous les jours. Alors pourquoi cette technologie n’a-t-elle pas révolutionné les infrastructures modernes ? L’une des raisons est qu’il doit encore concurrencer le béton, l’un des matériaux les moins chers, les plus polyvalents et les plus efficaces de l’histoire de l’architecture. Lors de la Biennale d’architecture de Chicago, le Self-Assembly Lab du MIT et Gramazio Kohler Research de l’ETH Zurich ont présenté un processus qui pourrait enfin assembler le béton, en utilisant uniquement une extrudeuse d’impression 3D, des roches, des cordes et une conception intelligente.

Nuvola
Nuvola è un’opera di architettura sperimentale: un tetto galleggiante fatto semplicemente di gas elio, acqua e sapone; un baldacchino immediatamente dispiegabile per conversazioni all’ombra. Credo che in futuro l’architettura sarà leggera, intelligente e semplice, come le nuvole. L’esperimento Cloud riguarda l’inizio di quel processo per scoprire il futuro dell’architettura. Forse possiamo portare un edificio in tasca?

Étude humaine #1
L’installation interactive Human Study #1 de Patrick Tresset se compose de trois robots dessinateurs. Les visiteurs peuvent s’asseoir comme des modèles pour être visuellement enregistrés et représentés par les trois machines. Chacun des trois robots dessine dans son propre style et manie le stylo d’une manière différente. A côté du bras de dessin, chaque robot est équipé d’une caméra mobile. Ils les utilisent pour observer alternativement le modèle et le dessin résultant. Tresset n’est pas intéressé à utiliser les robots pour simuler un style de dessin humain. Il examine plutôt les différences entre l’exécution humaine et robotique. Tresset décrit les capacités de ses machines comme « non intelligentes ». Ils donnent seulement l’impression d’agir de leur propre gré. Ils font preuve d’un comportement humain, mais basé sur un programme ne stipulant qu’un ensemble restreint d’actions.

Niet toegestaan ​​voor algoritmische doelgroepen
Een groot aantal online kijkers bestaat tegenwoordig voor het grootste deel uit algoritmen. De algoritmen zijn getraind op auditieve informatie, die door mensen wordt geproduceerd en geladen. In de video “Niet toegestaan ​​voor het algoritmische publiek” vertoont een intelligente persoonlijke assistent (IPA), gevestigd in Athene, Griekenland, vreemd gedrag. Hij leent een avatar en verschijnt voor zijn gebruikers. Voor een korte periode, zeven opeenvolgende dagen voordat het voor altijd uitgaat, gaat het in zeven monologen. Tijdens zijn duur is de digitale assistent erin geslaagd om de volledige inhoud van internet te scannen en allerlei soorten informatie te verzamelen, informatie die hij wil delen.

Not allowed for algorithmic audiences
Un gran numero di spettatori online oggigiorno è principalmente costituito da algoritmi. Gli algoritmi sono addestrati sulle informazioni uditive, che vengono prodotte e caricate dagli esseri umani. Nel video “Non consentito per il pubblico algoritmico”, un assistente personale intelligente (IPA), situato ad Atene, in Grecia, mostra un comportamento strano. Prende in prestito un avatar e appare davanti ai suoi utenti. Per un breve periodo di tempo, per sette giorni consecutivi prima che si spenga per sempre, va in sette monologhi. Durante la sua durata, l’assistente digitale è riuscito a scansionare l’intero contenuto di Internet e raccogliere ogni tipo di informazione, informazioni che desidera condividere.

In the robot skies
In the Robot Skies is the world’s first narrative shot entirely through autonomous drones. In collaboration with the Embedded and Artificially intelligent Vision Lab in Belgium the film has evolved in the context of their experiments with specially developed camera drones each programmed with their own cinematic rules and behaviours. The film explores the drone as a cultural object, not just as a new instrument of visual story telling but also as the catalyst for a new collection of urban sub cultures. In the way the New York subway car of the 80’s gave birth to a youth culture of wild style graffiti and hip hop the age of ubiquitous drones as smart city infrastructure will create a new network of surveillance activists and drone hackers. From the eyes of the drones we see two teenagers each held by police order within the digital confines of their own council estate tower block in London. A network of drones survey the council estates, as a roving flock off cctv cameras and our two characters are kept apart by this autonomous aerial infrastructure.

Gespräche mit Bina
Die Künstlerin Stephanie Dinkins und Bina48, einer der fortschrittlichsten sozialen Roboter der Welt, testen diese Frage anhand einer Reihe laufender Gespräche auf Video. Dieses Kunstprojekt untersucht die Möglichkeit einer langfristigen Beziehung zwischen einer Person und einem autonomen Roboter, die auf emotionaler Interaktion basiert und möglicherweise wichtige Aspekte der Mensch-Roboter-Interaktion und des menschlichen Zustands aufdeckt. Die Beziehung wird mit Bina48 (Breakthrough Intelligence via Neural Architecture, 48 Exaflops pro Sekunde) aufgebaut, einem intelligenten Computer der Terasem Movement Foundation, der zu unabhängigem Denken und Emotionen fähig sein soll.

Vessel
les corps se rassemblent alors pour former les vaisseaux de naissance. Avec un mélange de jambes et de bras, la forme des danseurs crée des roches comme des entités vaginales, d’où émergent de nouvelles créatures. C’est une scène de prison. Il est intelligent et vient clairement d’esprits exceptionnellement créatifs.

Conversations with Bina 48
Artist Stephanie Dinkins and Bina48, one of the worlds most advanced social robots, test this question through a series of ongoing videotaped conversations. This art project explores the possibility of a longterm relationship between a person and an autonomous robot that is based on emotional interaction and potentially reveals important aspects of human-robot interaction and the human condition. The relationship is being built with Bina48 (Breakthrough Intelligence via Neural Architecture, 48 exaflops per second) an intelligent computer built by Terasem Movement Foundation that is said to be capable of independent thought and emotion.

The form of becoming
In this abstract system, each intelligent agent is embodied as a motor, the states in its environment is represented as an angular range of rotation and the actions as one of two directions in which each agent can move a linear actuator. Each linear system holds a segment of a long black string, this translates as a point in the represented line. Once the system runs, each agent learns, from informational equivalents of pain and pleasure, to move towards the highest values within its environment, this means ultimately to displace its position from point A to B. In order for an agent to learn, it needs time, generations of exploration, each agent will get punished for bad decisions and rewarded for appropriate ones. Every time a learning generation is finished, a light will blink for that particular agent, indicating the end of a cycle and the achievement of new knowledge; the agent becomes more intelligent. Once all agents learned to be and stay in point B, the system, as a collective, has successfully mutated into a stable, balanced, symmetric and silent form; a straight line. Finally, after a few seconds, the sculpture forgets, all agents are rebooted and the cycle of creation, chaos and order restarts, this time with a totally different and unique behavior.

ROBOTICS
Robotics is the art and commerce of robots, their design, manufacture, application, and practical use. Robots will soon be everywhere, in our home and at work. They will change the way we live. This will raise many philosophical, social, and political questions that will have to be answered. In science fiction, robots become so intelligent that they decide to take over the world because humans are deemed inferior. In real life, however, they might not choose to do that. Robots might follow rules such as Asimov’s Three Laws of Robotics, that will prevent them from doing so. When the Singularity happens, robots will be indistinguishable from human beings and some people may become Cyborgs: half man and half machine.

Electric Chair

The distinctive work of Sam Buxton is dominated by his innovative use of advanced materials and technologies. From his immensely popular MIKRO series (miniature fold-up sculptures, laser cut into thin strips of stainless steel through an acid etching process) to his explorations concerning interactive intelligent surfaces on the familiar objects around us, his work has continually managed to blur the lines between art, science and design.Through his work, which has regularly involved relatively common objects ranging from business cards to a dining table, Buxton has demonstrated an ability to see potential in what others take for granted. His on-going efforts in developing objects that can communicate, display information and react to the actions of the user, demonstrate his commitment to investigating the delicate relationship between the human body and its environment. Buxton’s fusion of art and science has resulted in a highly innovative and unique range of personal designs, many of which, have utilized the latest, most advanced materials and technologies available.

artificially intelligent painter

罗斯·洛夫格罗夫
רוס לאבגרוב
ロス·ラブグローブ
로스 러브그로브
Liquid Crystal
Inspired by the logic and beauty of nature his design possess a trinity between technology, materials science and intelligent organic form, creating what many industrial leaders see as the new aesthetic expression for the 21st Century.

SPACIAL SOUNDS

Spatial Sounds (100dB at 100km/h) is an interactive installation that is capable of very intelligent behavior. Not only can the arm spin quickly or slowly, it can also make very well-defined movements in both directions. On the one hand, Spatial Sounds (100dB at 100km/h) lives a life of its own; on the other, it reacts very directly to the people in its space. The sensor can detect how close the visitors are and where they are in relation to the arm. When the installation scans the space, it makes inspecting movements and generates sounds that symbolize this scanning. It produces remarkably short, loud pulses and ‘listens’ to the reverberations from the empty space. The pulses combine different frequency ranges and rhythmical patterns. When visitors enter the room, they are detected immediately. The installation reacts in both a musical and a gestural way. The sounds relate directly to both the position of the arm and the dynamic ‘map’ of the space and the visitors. These sounds are very physical. For example, when the speaker is pointing at someone, it will generate a specific sound. This is also the case at high speeds and with several people in the room. However, the sounds and movements of the arm also tempt visitors to move around. Different locations in the space represent different sounds, as does the distance of the visitors to the rotating arm.

bio intelligence quotient house
Dubbed the Bio Intelligent Quotient (BIQ) House, the approximately €5 million building was designed by Splitterwerk Architects and funded by the Internationale Bauausstellung (IBA), a long-running exhibition series showcasing cutting edge techniques and architectural concepts, for this year’s International Building Exhibition – 2013.
A total of 129 algae culturing tanks are affixed to the East and West sides of the building via an automated external scaffolding structure that constantly turns the tanks towards the sun. The plant cultures are fed through an integrated tubing system, CO2 is pumped in as well. According to Arup’s Europe Research Leader, Jan Wurm, who collaborated with Splitterwerk on the project:The algae flourish and multiply in a regular cycle until they can be harvested. They are then separated from the rest of the algae and transferred as a thick pulp to the technical room of the BIQ. The little plants are then fermented in an external biogas plant, so that they can be used again to generate biogas. Algae are particularly well suited for this, as they produce up to five times as much biomass per hectare as terrestrial plants and contain many oils that can be used for energy.Not only do these tanks provide shade for every level of the building during the summer and biogas for heating during the winter, the facade itself collects excess heat not being used by the algae, like a solar thermal system. That heat can then either be used immediately or stored in 80-meter-deep, borine-filled borehole heat exchangers located under the structure. Total fossil fuels used in this process: zero.

Aquaplayne
file festival

Aquaplayne lays out a new field of expression by extending the framework for immediate experience. The horizontal plane bypasses recognition and “sets up” an interactive surface, making a play of art by providing the viewer with instant access to the creative flow. In the movement from observation to participation we interface with an intelligent canvas through the automatic rendering of action into effect. The “body in motion” plays across a field of sensation, making the ripples of possibility appear as an ever-changing artwork. Unlike the action painter, whose technique is to offload creative energy in the painterly gesture, the activator retrieves what has already been deposited as data and brings it to the surface, aquaplaning on a stream of information. The virtual is restored to the actuality of expression, brought back to life in the flux between cause and effect, between code and composition. The calibrated experience of Aquaplayne is the art of permutation, the programmed initiative played and replayed as the artwork in formation.