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MAIN EXHIBITION | |
簡介 /
人與機械的關係
密法亞·家保、馬典娜·海斯及真·察邦於2000年在卡爾斯ZKM藝術及媒體中心成立robotlab。自此，robotlab一直以獨立藝術小組的身份在ZKM視覺媒體中心進行研究，以工業機械人作為裝置藝術及表演的媒介。這些工業生產的機械人成為robotlab的創作原料。在robotlab的裝置裡，機械的角色是自主而具創造力的，他們的作品於不同層面探討了人與機械的關係。剛開始時，robotlab透過建立公共實驗室和配置來創造與機械不同的互動模式。這些機械實驗室其後發展成眾多裝置及表演，當中機械人不斷侵佔新的主題或文化範疇。
人與機械的關係
密法亞·家保、馬典娜·海斯及真·察邦於2000年在卡爾斯ZKM藝術及媒體中心成立robotlab。自此，robotlab一直以獨立藝術小組的身份在ZKM視覺媒體中心進行研究，以工業機械人作為裝置藝術及表演的媒介。這些工業生產的機械人成為robotlab的創作原料。在robotlab的裝置裡，機械的角色是自主而具創造力的，他們的作品於不同層面探討了人與機械的關係。剛開始時，robotlab透過建立公共實驗室和配置來創造與機械不同的互動模式。這些機械實驗室其後發展成眾多裝置及表演，當中機械人不斷侵佔新的主題或文化範疇。
作品 /
手繪肖像自動臂
自動臂於2002年製成，在博物館提供與眾不同的服務。他單手舉筆，繪畫人像；畫板置於身前，為模特兒而設的坐椅亦已放好。只要有人上坐，自動臂就會開始繪畫。
此機械藝術家把他鏡頭的目光，集中在模特兒的臉孔上；手起手落，肖像隨即畫成。完成的畫作，各有不同，出奇不已。其繪畫技巧，及識別臉部特徵的能力，令自動臂的畫風自成一格。每次畫作完成，自動臂就會把畫作擦掉。他冷酷無情，對一直坐着等待自動臂作畫的人，不作留戀，畫成即毀之。手繪肖像自動臂令機械人和訪者的關係，成為繪畫者和繪畫對象，又或是藝術家和主體。由自動臂而生的「創作」，令影像複製本身，成為展現人類創意的意象。
手繪肖像自動臂
自動臂於2002年製成，在博物館提供與眾不同的服務。他單手舉筆，繪畫人像；畫板置於身前，為模特兒而設的坐椅亦已放好。只要有人上坐，自動臂就會開始繪畫。
此機械藝術家把他鏡頭的目光，集中在模特兒的臉孔上；手起手落，肖像隨即畫成。完成的畫作，各有不同，出奇不已。其繪畫技巧，及識別臉部特徵的能力，令自動臂的畫風自成一格。每次畫作完成，自動臂就會把畫作擦掉。他冷酷無情，對一直坐着等待自動臂作畫的人，不作留戀，畫成即毀之。手繪肖像自動臂令機械人和訪者的關係，成為繪畫者和繪畫對象，又或是藝術家和主體。由自動臂而生的「創作」，令影像複製本身，成為展現人類創意的意象。
問與答 /
自動臂花最多時間畫臉孔那部份？
手繪肖像自動臂所畫的肖象都出乎意料。當有 人坐到機械人前，肖象畫以規則系統方式衍生，而這 又受繪畫對象、服裝，及燈光影響。因此，若繪畫對 象膚色較白，頭髮卷曲而深色，自動臂就會多花時間 在頭髮上；若繪畫對象身穿花襯衫，自動臂就會多放 時間繪畫衣服。
為何你們令自動臂每次完成畫作後，就立即擦走？
把畫作擦走， 是此作品概念的一部份。一般來 說，robotlab的作品將科技發明和藝術扯上關係。 透過令機器自主，機器變得獨立或具創意。手繪肖像 自動臂這台機器不如其他同類，為人類服務。它固意 被設計成像工業生產般，製作產品；整個繪畫的過程 相當隔絕，只能從裝置外觀察。模特兒和其肖象畫的 濃厚關係，以及模特兒渴望擁有自身肖象畫，但又因 自動臂擦掉畫作而永不能實現，都強調機器的自主性 和獨立性。
既然電腦已能打敗象棋世界冠軍， 那你覺得有朝一日，機械人會取代藝術家嗎？
不會，大概人類對藝術的探求仍會繼續。
自動臂花最多時間畫臉孔那部份？
手繪肖像自動臂所畫的肖象都出乎意料。當有 人坐到機械人前，肖象畫以規則系統方式衍生，而這 又受繪畫對象、服裝，及燈光影響。因此，若繪畫對 象膚色較白，頭髮卷曲而深色，自動臂就會多花時間 在頭髮上；若繪畫對象身穿花襯衫，自動臂就會多放 時間繪畫衣服。
為何你們令自動臂每次完成畫作後，就立即擦走？
把畫作擦走， 是此作品概念的一部份。一般來 說，robotlab的作品將科技發明和藝術扯上關係。 透過令機器自主，機器變得獨立或具創意。手繪肖像 自動臂這台機器不如其他同類，為人類服務。它固意 被設計成像工業生產般，製作產品；整個繪畫的過程 相當隔絕，只能從裝置外觀察。模特兒和其肖象畫的 濃厚關係，以及模特兒渴望擁有自身肖象畫，但又因 自動臂擦掉畫作而永不能實現，都強調機器的自主性 和獨立性。
既然電腦已能打敗象棋世界冠軍， 那你覺得有朝一日，機械人會取代藝術家嗎？
不會，大概人類對藝術的探求仍會繼續。
Introduction /
THE RELATIONSHIPS BETWEEN HUMAN AND MACHINE
robotlab was founded in 2000 by Matthias Gommel, Martina Haitz and Jan Zappe at the ZKM Center for Art and Media in Karlsruhe. Since then, they have been working as a group of independent artists at ZKM’s Institute for Visual Media. robotlab develops installations and performances with industrial robots. These robots, normally used for industrial production, are integrated as ready-mades into the group’s projects. In robotlab’s installations, the role of the machine is always defined as that of an autonomous and creative agent. Their works discuss the human-machine relationships on many different levels. In the beginning, robotlab focused on creating public experimental laboratories and configurations offering the users a wide spectrum of different modes of interaction with the robots. These robot laboratories were followed by numerous installations and performances with which the robots invaded ever new thematic or cultural contexts.
THE RELATIONSHIPS BETWEEN HUMAN AND MACHINE
robotlab was founded in 2000 by Matthias Gommel, Martina Haitz and Jan Zappe at the ZKM Center for Art and Media in Karlsruhe. Since then, they have been working as a group of independent artists at ZKM’s Institute for Visual Media. robotlab develops installations and performances with industrial robots. These robots, normally used for industrial production, are integrated as ready-mades into the group’s projects. In robotlab’s installations, the role of the machine is always defined as that of an autonomous and creative agent. Their works discuss the human-machine relationships on many different levels. In the beginning, robotlab focused on creating public experimental laboratories and configurations offering the users a wide spectrum of different modes of interaction with the robots. These robot laboratories were followed by numerous installations and performances with which the robots invaded ever new thematic or cultural contexts.
Work /
AUTOPORTRAIT (2002)
This robot was built in 2002. He offers an unusual service in museums. With a pen in one hand, he draws human portraits. A drawing board sits in front of him, and a chair stands ready for his models. Once a visitor is seated on that chair, the robot begins to work.
This machine-artist fastens his camera eye on the model’s face, and with striking hand movements, he draws a human portrait. The resulting images are individual and unpredictable. With both technical ability and the capability to recognize the characteristics of a human face, the robot hand forms his own style. After each drawing process, the robot wipes out the drawing. Callously he leaves no remembrance of the person who sits through the whole drawing process and attends the erasure of the image. In ‘autoportait’, the robot and the visitors are placed in the relationship of portrait-maker and model and of artist and subject. Though the act of creation originates from the robot, the function of image-reproduction is in itself an image of human creativity.
AUTOPORTRAIT (2002)
This robot was built in 2002. He offers an unusual service in museums. With a pen in one hand, he draws human portraits. A drawing board sits in front of him, and a chair stands ready for his models. Once a visitor is seated on that chair, the robot begins to work.
This machine-artist fastens his camera eye on the model’s face, and with striking hand movements, he draws a human portrait. The resulting images are individual and unpredictable. With both technical ability and the capability to recognize the characteristics of a human face, the robot hand forms his own style. After each drawing process, the robot wipes out the drawing. Callously he leaves no remembrance of the person who sits through the whole drawing process and attends the erasure of the image. In ‘autoportait’, the robot and the visitors are placed in the relationship of portrait-maker and model and of artist and subject. Though the act of creation originates from the robot, the function of image-reproduction is in itself an image of human creativity.
Q & A /
Which part of the human face does the Robot spend the most time drawing?
The portraits made by “autoportrait” are not predictable. The drawings are generated algorithmically in real time while a person is sitting down on the stool in front of the robot. They depend on the person, the clothes and the lighting conditions. Hence, for example, if the person has light skin and curly dark hair the robot will spend some time with the hair. If, as another example, the person wears a patterned shirt, the robot will place emphasis on that part.
Why would the engineer design the robot to that it wipes out the drawing with its own hand at the end of each drawing?
The deletion of portraits is part of the artistic concept. Generally, in the work of “robotlab” technical development and invention get associated with artistic ideas. By bringing the machine in autonomous situations it becomes an individual or creative position. In “autoportrait” the machine is not in service for humans as usual. It is liberated from delivering products like in industry. The whole portrait-making is a self-contained process which can only be observed from outside of the installation. The strong link between a portrayed person and his/her portrait, the consequent wish to possess the image of oneself but the impossibility to get it set a focus on the autonomy and independence of the machine.
As a computer has beaten the best human chess player in the world, do you think that one day robots will replace all human artists?
No. Presumably the quest will go on.
Which part of the human face does the Robot spend the most time drawing?
The portraits made by “autoportrait” are not predictable. The drawings are generated algorithmically in real time while a person is sitting down on the stool in front of the robot. They depend on the person, the clothes and the lighting conditions. Hence, for example, if the person has light skin and curly dark hair the robot will spend some time with the hair. If, as another example, the person wears a patterned shirt, the robot will place emphasis on that part.
Why would the engineer design the robot to that it wipes out the drawing with its own hand at the end of each drawing?
The deletion of portraits is part of the artistic concept. Generally, in the work of “robotlab” technical development and invention get associated with artistic ideas. By bringing the machine in autonomous situations it becomes an individual or creative position. In “autoportrait” the machine is not in service for humans as usual. It is liberated from delivering products like in industry. The whole portrait-making is a self-contained process which can only be observed from outside of the installation. The strong link between a portrayed person and his/her portrait, the consequent wish to possess the image of oneself but the impossibility to get it set a focus on the autonomy and independence of the machine.
As a computer has beaten the best human chess player in the world, do you think that one day robots will replace all human artists?
No. Presumably the quest will go on.
