Małopolska Garden of Arts | Rajska 12
23-28/10/2018 | 10:00 – 20:00
Contemporary Art Gallery Bunkier Sztuki | Pl. Szczepański 3A
23-28/10/2018| 11:00 – 19:00
AGH, Faculty of Foundry Engineering Reymonta 23
27/10/2018 | 12:00 – 20:00
Human Study is a futuristic drawing lesson. In Patrick Tresset’s piece, the human is the sitter and the inspiration, and the robots take the role of the artists. Drawing sessions resemble a performance and they last around thirty minutes. During the Patchlab Festival anyone can be a sitter, just by registering online. There are five robots, all of them named Paul. They all look alike except for the eyes, which are individualized – old-fashioned digital cameras and low-resolution webcams. They draw obsessively, and the sound of their motors creates an improvised soundtrack that makes us feel as if we were listening to a noise band. The installation comes as the effect of research on perceptive, cognitive, and motor processes occurring while humans draw. The way the robots draw are based on Tresset’s technique, and the way the creator of the installation cares for the quality of the generated works is highly important. Tresset is constantly working on the computational system controlling the robots’ drawing behaviour, and for each exhibition the systems are fine-tuned so that they can produce more interesting drawings. 5RNP was premiered at the Merge festival in association with Tate Modern in London in 2012, and it has since been exhibited at Ars Electronica (Linz), BIAN (Montreal), Japan Media Festival (Kyoto), and Update_5 (Ghent) where it was awarded Prix du Public and 3rd Prix du Jury. The drawings are the property of Ateliers Patrick Tresset Ltd. They can be copied in the form of a digital photo. They become a part of a work entitled The Collection, which already consists of over 30,000 drawings.
Senster is a robot sculpture by Edward Ihnatowicz, a Polish artist who created interactive art with electronic technologies to computers. At this year’s Patchlab Festival we will have an opportunity to see his most important creation for the first time in decades.
Senster is a gigantic hydraulically activated steel robot with three legs and a long neck. It was the first robotic sculpture to be controlled by a computer. Because of the installed microphones and radars, this programmed cybernetic animal reacted to sound, movement, and emotions in its vicinity. It followed delicate and gentle stimuli, and backed away when it sensed rapid movements or high-pitched sounds – the robot would stand vertically upright and stiffen. In the mid 1970s, the sculpture was disassembled and its skeleton was placed in front of the headquarters of a company in the Netherlands. In 2017, a team coordinated by the University of Science and Technology (AGH) in Krakow and the Faculty of Intermedia at the Academy of Fine Arts (ASP) brought it to Poland and renovated it.
Senster is thought to be a work that initiated the robotic art movement, together with Shuya Abe and Nam June Paik’s Robot K-456 (1964) and Tom Shannon’s Squaw (1966).
Intelligent machines do not presently celebrate the anniversary of their creation. They do not celebrate birthdays. But maybe such anniversaries would help us understand them better? Artist Kevin Greenan imagines a reality in which humanoid robots not only live among us, helping us, but also have their rituals.
Mechanical Bonds is an installation that registers and records all the physical processes that take place in its surroundings. Next, this data is used to create a photographic representation. The installation might be compared to medical research, using sensors to see inside the human body, acquire information and process it into various types of “images.”
The system consists of six mechanical objects, and another special object that serves as a camera obscura, recording the movements. The collected data goes to a black cube – a robotic darkroom, in which a small robot reads and processes data and uses photosensitive material. The resulting image is developed and presented in the form of photographs.
This work by Aga Szuścik consists of fifteen photographs and a film that takes a behind-the-scenes look at these images, combined with a theoretical mini-lecture. Each painting is a futurological creation based on an in-depth scientific study. Unlike mainstream science-fiction movies that depict metaphorical and unreal worlds, Szuścik focuses on minor situations in family and professional life. Her interests include the impact of new technologies on human communication and social relations, the process of growing up, and the hierarchy of values. 2081 is less a dystopian work than a contemplation of the rather hysterical future. The premiere of the project was held during an individual exhibition at the Krakow Cultural Forum as part of the KRAKERS Krakow Gallery Weekend.
Activists is a performance in which mobile robots take over the exhibition space. They move with banners and issue their demands. They also react to visitors and other works, adapting to the nature of the event in which they participate. Their protest sometimes seems grotesque, but this grotesque concerns people and life in a society. The robots are protesting for their rights and to improve the human-machine relationship. The creators of Activists explore the persuasive power a protesting robot can have, and whether its postulates can be taken seriously.
Drone Aviary is a film by the Superflux collective. It is about a futuristic, smart city, where technology is ubiquitous. The main protagonists are five drones living in a birdhouse. They do not have a military role, but rather special tasks, such as advertising, monitoring traffic or collecting information from the world, like reporters. We see completely new aspects of the urban infrastructure: landing girders, charging sockets, data collection, and transfer points, as well as geofencing devices (which determine virtual boundaries). Drone Aviary examines the impact of new technologies on society and culture. The collective imagines a world in which important decisions about our lives are made by increasingly autonomous machines.
A “reversed” work of art. It is not you, the human being, who judge it, but it who judge you. The Beholder looks at you and gives you an opinion about your aesthetic qualities. The algorithms involved could be considered more objective than human classifications. Are you sure? Does the trained machine not reflect the preferences and prejudices of its author? In this case, the Beholder evaluates you through the eyes of his creator and evaluates you according to his taste.