University professors combine ‘robotics with theater’

October 25, 2011
Red and Black

University professors combine ‘robotics with theater’
By Lisa Glaser

Brandon Raab, a first-year graduate student in dramatic media from Chicago, said he has to “flip a switch” in his mind between his classes on Tuesdays and Thursdays. He leaves a Ph.D. class discussing innovative playwrights like Harold Pinter and Samuel Beckett — and then learns about robots and how to make one theatrically perform.

Raab is enrolled in Interactive Media and Live Performance, taught by David Saltz, the head of the theatre and film studies department, as well as the executive director of Ideas for Creative Exploration (ICE), a University research initiative in the arts.

“Combining robotics with theater is so immediately fun,” Saltz said. “It’s so playful. … And you have to learn the computer stuff to make that happen and it’s just totally gratifying and fun. It makes it so much easier to gain those technical skills when there’s a real reward and immediate satisfying feedback.”

Saltz, along with three other University professors from different departments, spoke Monday night at the Miller Learning Center about their work with robotics. Saltz began using a robot in his class, with students learning how to program it to perform in various ways, this semester after Chi Thai, a biological and agricultural engineering associate professor reached out to him about working together with the robot. The class’s midterm consisted of a group project creating a performance with the robot.

“You’re trying think creatively, trying to think artistically,” Raab said. “For our project, we had a scene and there was a character and trying to think of how to make the relation lifelike and work on the dialogue, but then there’s the coding and programming that goes into it.”

Thai, along with Walter Potter, a computer science professor and director of the Artificial Intelligence Institute, and Jason Cantarella, a mathematics associate professor, lectured at the robotics seminar.

“[The seminar] was a great example of how expansive the field is right now,” Raab said. “If you’re excited in robotics, just how many ways there are to think about even just the concept of robotics, the mathematics, the science, the philosophy, the art, the performance behind it, there’s many different ways to approach it.”

Michael Meindl, a recent graduate of the MFA in dramatic media program and first year computer science master’s student from Butternut, Wisc., agreed with the idea that robotics can be an all-encompassing field. Meindl has taken classes taught by both Saltz and Thai.

“I think each person really gave us a sense of what they’re interested in, in terms of themselves, but also in terms of their particular department,” Meindl said. “Each one comes from a very distinct a separate department that don’t really talk to one another all that often, so I think the ability to have this kind of roundtable or seminar with people who don’t normally talk in the same timeframe, is really cool.”

Saltz wants the robot, named ZeebZob, to be used in other classes and for other projects in the future. He said he wants to create a robotics performance class, which touches on his own interests in puppetry and animation.

“It’s not just for class projects,” Saltz said. “[We’re] trying to create something that isn’t just interesting as an academic exercise or as an engineering exercise, but is really, really fun to watch.”

Meindl sees robotics as field which connects many other fields, whether it’s Potter discussing how robots can be used practically in years to come from a computer science perspective or Cantarella discussing thinking theoretically about robots and how they navigate their environment.

“[A robot] is just an inanimate object, so what can we layer on top it?” Meindl said. “In terms of performance, in terms of computer science, in terms of philosophy, in terms of cultural ideas, in terms of history, so you get that all combined and it becomes a really interesting, exciting nucleus of people and interests. That anybody can walk into a robotics class or environment and find something that they can contribute, I think that’s really what’s exciting for me.”

For Saltz, the use of robotics in the classroom is an extension of what he already loves and teaches – theater.

“The idea of really taking something and making it come alive, I think that’s what theater is all about,” Saltz said. “It’s amazing.”

ICE-Vision: Big Trouble in Little China

ICE-Vision: Big Trouble in Little China (John Carpenter, 1986)
Thursday, October 27 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“Big Trouble in Little China is a 1986 American martial arts comedy film directed by John Carpenter. It stars Kurt Russell as truck driver Jack Burton, who helps his friend Wang Chi (Dennis Dun) rescue Wang’s green-eyed fiancee (Suzee Pai) from bandits in San Francisco’s Chinatown. They go into the mysterious underworld beneath Chinatown, where they face an ancient sorcerer named Lo Pan (James Hong).” -Wikipedia

“Big Trouble in Little China is the all-American rabbit hole, full of intrepid female journalists, flashy restaurant managers in Chevy sedans the size of big-rigs, and tour bus drivers (“bus for tourists!”) as the transcendental sages of the hour. A fringe mob battles the forces of evil with all the merrymaking slack of a sub-culture indifferent to its own achievements; only the inevitable destruction of a city block clues in the outside world. Even then, no one believes the story about magicians and gods and underworld spirits. The spectacle is there for us alone, faithful to the myth of romance in the guise of an impossibly big Freight liner creeping through the narrow alleys and produce stands of backstreet Chinatown…The movie is a craftsman’s holiday, sending our eyes languidly to the corners of the screen while our hero wrestles for his life with street gangs and demons. More importantly, the film has not dated; its homages are reinventions, its script a rejoinder to cynics and pretenders, and its heavy heart the soft landing for the excess in its fun.” -Reverse Shot

ICE Seminar: Robotics


ICE Seminar: Robotics
Monday, October 24 at 7 PM
Miller Learning Center Room 248

Researchers from a wide array of disciplines will present their work with robotics in a seminar hosted by Ideas for Creative Exploration (ICE), an interdisciplinary initiative for advanced research in the arts at the University of Georgia. This event is free and open to the public.

Dr. David Z. Saltz is the Head of the Department of Theatre and Film Studies, and the Executive Director of ICE. He is a specialist in modern drama, performance theory, the philosophy of art, and directing. His primary research focus has been the interaction between live performance and digital media, including robots.

Dr. Walter D. Potter is a Professor of Computer Science and Director of the Artificial Intelligence Institute. He is a member of the robotics research group, the main focus of which is the development of autonomous mobile robots (AMRs).

Dr. Jason Cantarella is an Associate Professor of Mathematics at UGA. his mathematical interests lie between geometry and topology, including optimal geometry problems such as “What is the shape of a tight knot?” He is also interested in the arts, especially in computer graphics and in sculpture.

Dr. Chi Thai is an Associate Professor of biological and agricultural engineering. His areas of specialty include spectroscopy and spectral imaging for biosystems, computer-mediated learning technologies, and educational humanoid robotics. Additionally, he is a robotics instructor for the UGA-Duke TIP program and directs the Robotics Club at UGA.

ICE-Vision: The Tenant

ICE-Vision: The Tenant (Roman Polanski, 1976)
Thursday, October 20 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“Roman Polanski’s 1976 English-language, Paris-set creepfest was adapted from a novel by the French graphic artist Topor, but it may be the director’s quintessential movie. It’s an exercise in urban paranoia and mental disintegration that echoes or anticipates everything from Repulsion and Rosemary’s Baby to Bitter Moon and The Pianist. Indeed, the movie is a true psychodrama: Polanski himself plays the eponymous protagonist, a furtive Polish-born Frenchman named Trelkovsky who rents the apartment of a recent suicide and is gradually driven mad by his mysteriously hostile neighbors.” -J. Hoberman (Village Voice)

“Movies about madness tend to lose me after a certain point. The tension vanishes when one realizes that any absurdity, any trick, is available to the film maker. The director and his audience must share a set of rules for what passes for ordinary behavior if suspense is to be maintained. These rules do not exist in ‘The Tenant.'” -New York Times

ICE-Vision: Playtime

ICE-Vision: Playtime (Jacques Tati, 1967)
Thursday, October 13 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“The most visually inventive film of the 60s is also one of the funniest. For this remarkable 1967 comedy about man and his modern world, Jacques Tati attempted nothing less than a complete reworking of the conventional notions of montage and, amazingly, he succeeded. Instead of cutting within scenes, Tati creates comic tableaux of such detail that, as film scholar Noel Burch has said, the film has to be seen not only several times, but from several different points in the theater to be appreciated fully. Within the film’s three large movements, Tati’s M. Hulot goes from fear of his ultramodern, glass-towered environment to a poetic transcendence of it. A masterpiece among masterpieces, and certainly the last word on Mies van der Rohe. In French with subtitles. 124 min” -Dave Kehr (Chicago Reader)

Poetry Reading with O.B. Bassler

Poetry Reading with O.B. Bassler
Selections from “Catalogue of Noise”
Thursday, October 6 at 5 PM
Ideas for Creative Exploration (ICE)
Lamar Dodd School of Art Room S160

O. B. Bassler teaches in the Philosophy Department at UGA. He will read poetry for one hour, including selections from a volume in progress called “Catalogue of Noise.” Noise is a central concept in mathematics (information theory) and philosophy of music (as explored by Jacques Attali and others). Math and music intersect in poetry, which Louis Zukofsky defined as an integral whose lower limit is speech and whose upper limit is music. But what if noise creeps into the integrand? Come see what happens.

Poster design by Justine Stevens