Solo choreography for an orange industrial robot to Monteverdi’s aria from L’Orfeo in which Orpheus sings out his sorrow over Euridice’s death, vowing to descend to the underworld to bring her back to earth.
This 170 cm high and 500 kg heavy robot consists of three segments, three joints and a grip. The robot movements are choreographed in the Swedish computer program Motographicon.
Below the first 20 seconds of the choreography, where the Motographicon code is translated to the ABB-robot code.
(bodyturn (r 0)(d 50))
(rwrist (r 0)(v 0)(d 50))
(RELBOW (R 0) (D 50))
(RARM (V 90) (D 50))
(WAIST (V 0) (D 50))
(rarm (v 155)(d 750))
(rarm (V 0)(D 100))
(bodyturn (dr 170)(d 750))
(RARM (V 155) (D 750))
ABB ROBOT CODE
WaitTime DT( 1.0);
MoveAbsJ [[0,0,0,0,0,0],ep], vmax \T:=DT( 1.5), fine, tool0;
WaitTime DT( 7.0);
MoveAbsJ [[0,0,-60,0,0,0],ep], vmax \T:=DT(14.5), tz, tool0;
MoveAbsJ [[0,0,65,0,0,0],ep], vmax \T:=DT(15.5), tz, tool0;
MoveAbsJ [[-110,-45,-55,0,0,0],ep], vmax \T:=DT(20.0), tz, tool0;
Honorary mention to
for “The Lamentations
— An installation whose compelling aesthetic relies on the sophistication of its principal element, an industrial robot whose choreographed movement are attuned to music from Monteverdis L´Orfeo.
We described your work in the presentation as a beautifully executed metaphor for alife, and I think that it really does capture our human projections onto machines in an exquisite way. We pointed out that i tremains a metaphor because the robot is not autonomous in its environment, in fact it is very visibly controlled and so it makes an ironic twist on a familiar cultural interdependence between choreographer and dancer. To me it implies an interesting relational equality between human and robot, so although as an image it reminds me of the famous pixar luxor lamp, it acquires its lifelikeness in a more subtle way.
LIFE 2.0 is the first international competition seeking exellence in artistic creation that has embedded in it the practices of Artificial Life (A-Life). We are looking for art works that are premised on the strategies of A-Life research, its conceptual approaches as well as its methods of digital synthesis, art that reflects upon the panorama of potential interaction between synthetic “life” and organic life.”