2 03 2009



This paper is intended to introduce the system, which combines “BodySuit” and “RoboticMusic,” as well as its possibilities and its uses in an artistic application. “BodySuit” refers to a gesture controller in a Data Suit type. “RoboticMusic” refers to percussion robots, which are applied to a humanoid robot type. In this paper, I will discuss their aesthetics and the concept, as well as the idea of the “Extended Body”.


The system, which I introduce in this paper contains both a gesture controller and automated mechanical instruments at the same time. In this system, the Data Suit, “BodySuit” controls the Percussion Robots, “RoboticMusic” in real time. “BodySuit” doesn’t contain a hand-held controller. A performer, for example a dancer wears a suit. Gestures are transformed into electronic signals by sensors. “RoboticMusic” contains 5 robots that play different sorts of percussion instruments. The movement of the robots is based upon the gestures of the percussionist.

Working together with “BodySuit” and “RoboticMusic,” the idea behind the system is that a human body is augmented by electronic signals in order to be able to perform musical instruments interactively. This system was originally conceived in an art project to realize a performance/musical theater composition.

This paper is intended to introduce this system as well as the possibilities from my experiences in an artistic application.

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2 03 2009

Suguru Goto is a composer/performer, an inventor and a multimedia artist and he is considered one of the most innovative and the mouthpiece of a new generation of Japanese artists. He is highly connected to technical experimentation in the artistic field and to the extension of the existing potentialities in the relation man-machine. In his works the new technologies mix up in interactive installations and experimental performances; he is the one who invented the so called virtual music instruments, able to create an interface for the communication between human movements and the computer, where sound and video image are controlled by virtual music instruments in real-time through computers. Lately, he has been creating the robots, which perform acoustic instruments, and he is gradually constructing a robot orchestra.

He has been internationally active and has received numerous prizes and fellowships, such as Koussevitzky Prize, BSO fellowships, the first prize at the Marzena, Berliner Kompositionaufträge, a prize by the IMC International Rostrum of Composers in UNESCO, Paris, DIRECAM, French Cultural Minister, and so on. His works have been performed in major festivals, such as Resonaces/IRCAM, Sonar, CICV-Les Nuits Savoueuses, ICC, Electrofolie, Haus der Kultures der Welt – Haimat Kunst, ISEA2002, NIME 2004/2005/2006, Olhares-Outono, Ressonancias, Audiovisionen, Utopiales Festival, AV Festival, and Mixed Media Festival etc.

In 1995, his first opera “NADA (Media Opera)” was performed in Shauspielhaus, Berlin. At the same year, he moved to Paris in order to realize a project at IRCAM, Paris. In 1996, his “VirtualAERI” was given the first performance at Espace de projection, IRCAM. In 1998, he was invited to perform at Sonar, Barcelona. In 1999, he was invited to perform at ICC in Tokyo. In 2003, his concert was given at Pompidou Center, in Paris. In 2006, his “RoboticMusic” was commissioned by AV Festival in Newcastle, England and was enthusiastically received by the large public, as well as the mass medias. He has been producing computer music and researching at the group “Gestural Controller” in IRCAM, Paris since 1995. Lately, he has been working for Brass instrument robots with Artificial Mouth at IRCAM, as well.

Goto’s works have been shown in Canada, England, Germany, France, Italy, Portugal, ,Poland, Spain, Slovenia, Ukraine, Japan, and U.S.A. His works are published by “Edition Wandelweiser GmbH”(Germany). His “Giseion to Gousei” is recorded on CD, which is available from Akademie der Künste label (Germany) and his “Temps tressé III” from ALM Records (Japan).

Suguru Goto

82, rue Charles Nodier

93500 Pantin




1 03 2009



In 2005 an international, multi-disciplinary, inter-institutional group of researchers began a three-year research project that is attempting to use evolutionary and adaptive systems methodology (genetic algorithms, neural networks, etc…) to make an embodied robot that can exhibit creative behaviour by making marks or drawing (in the most general sense). The research is popularly known as the DrawBots Project. The research group is composed of computer and cognitive scientists, philosophers, artists, art theorists and historians. One outcome of the project will be a large-scale art installation of a group of DrawBots. Other outcomes will include the various research publications reflecting the vested interests of the group both as independent researchers and as a group.

There are a number of motivations for the project including the production of machine-created art and the exploration of whether it is possible to develop (minimally) creative artificial agents and the research has two, mutually dependent, contextual frameworks. One concerns methodologies for making an agent that has the potential for manifesting autonomous creative behaviour. The second concerns methodologies for recognising such behaviour. Another emphasis is attempting to place this work in an art historical context. Amongst the key concepts that the project is examining are: personality, autonomy, value, signature, purpose, novelty, embodiment, social context, environmental interaction, ownership and so on…

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28 02 2009

Paul Brown is an artist and writer who has specialised in art, science & technology since the late 1960s and in computational & generative art since the mid 1970s. His international exhibition record spans four decades and includes the creation of both permanent and temporary public artworks. He has participated in shows at major venues like the TATE, Victoria & Albert and ICA in the UK; the Adelaide Festival; ARCO in Spain and the Venice Biennale. His work is represented in public, corporate and private collections in Australia, Asia, Europe, Russia and the USA. He is currently (2005-08) visiting professor and artist-in-residence at the CCNR, University of Sussex where he is working on a project to evolve robots that can draw.


24 02 2009


The poem exists under extreme conditions in our time, taking its place in a medial and societal discourse where language has been enervated, if not exhausted, by neo-fascism, terrorism, fundamentalism, and global commerce. At the same time poetry itself, or formulaic language appropriating its name, has perhaps never been more ubiquitous, with virtual (networked) texts as well as affordable just in time, insty-printing and distribution, as well as monopolistic transnational publishing saturating every market segment.

Under such conditions it seems useful to consider the poem independent of the poet or the institutional and cultural construct of poetry. That is, to consider the poem as something of a stochastic process, fully non-deterministic and conjectural and, if not explicitly random, appearing so when encountered in the midst of overly-determined, exhausted, even hostile, regimes and discourses of the sorts mentioned above. The poem in isolation is always adaptive, mutative, generative, self-organizing. As such it shows itself to be well-posed in the mathematical sense, i.e., data-dependent and of a reasonable topology, despite what on first glance may seem its porosity.

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24 02 2009


Michael Joyce, USA, 1945, Professor of English and Media Studies, Vassar College, mijoyce(at) The New York Times termed Michael Joyce’s afternoon (1987) “the granddaddy of hypertext fictions” and he since has published numerous hypertext fictions on the web and on disk. Books include Moral Tales and Meditations: Technological Parables and Refractions, (2001), State University of New York Press and Othermindedness: the emergence of network culture (2000, University of Michigan Press. A print novella Was: annales nomadique /A novel of internet (2007) was published by Fiction Collective2. Recently he has been collaborating in multimedia work with LA visual artist Alexandra Grant.


22 02 2009


This paper chronicles the past five years of research and practice engaged in by the Trust Project Team, most recently working on site at the Stephen Hawking School for children and young people with complex multiple disabilities. TRUST seeks to offer young people with limited physical ability the tools with which to engage in rich 3d imaginative environments that encourage relaxation and healing. The project has to date been tested in various iterations in the Montefiore Hospital for Children (Bronx, New York), The CRC (Central Remedial Clinic Dublin), the KK Hospital for Children (with NTU Gamelab, Singapore) and the Stephen Hawking School, London. The haptic elements of the game and interaction design have been employed to great effect in the most recent iteration of our InterFACES Project as well. The results have been featured in the Science Museum (London) showcase on Future Games, and will soon be redesigned for more site specific installations.

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