I was thinking about Spaceweaver’s post about immortality and remembered that in the early 80’s I was introduced to the book and film “The man who fell to Earth”.

Not only because of David Bowie (who I was immersing into music, work and discovering his interesting personality in that moment) but because of strange and beautiful story about an extraterrestrial who (as the title says) fell to Earth seeking for a way to load water to his dried and almost dead planet.



Even today is quite amazing how this science fiction story written in 1963 has this issues like climate changes, nuclear wars, drought, recycling, technology and much more. I do recommend the book and the film!



By the way Spaceweaver, he doesn’t age but I have to check if he was immortal watching the film again.
I just remember his … and ...
I won’t tell!
;-)

by Kristin Feireiss (Editor), Lukas Feireiss (Editor)



"Editorial Reviews
Product Description
Today s architects and engineers are increasingly being asked to address issues
of sustainability in our changing world. Architecture of Change presents outstanding
architectural projects that combine creativity, scientific knowledge,
technical innovation, social engagement and a strong sense of responsibility
to address environmental challenges. The book is based on the Zumtobel Group
Award for Sustainability and Humanity in the Built Environment.
Architecture of Change features recently built and realised projects that in
addition to their exceptional architectural quality make a notable contribution
to a liveable and sustainable future. But the book also covers current initiatives
that promote innovative research in this sector and thus encourage an emerging
generation of environmentally aware architects and urban planners.
Architecture of Change contains over forty international projects by architects
that include Pritzker Prize winner Thom Mayne, Steven Holl, Kenneth Yang,
Sauerbruch & Hutton, Architecture for Humanity and Rural Studio. The included
work ranges from development projects in Bangladesh, Nepal and Africa to open
source Internet platforms, experimental approaches to flood prevention and
modern high-rises for an urban context. The book also includes essays by and
interviews with internationally renowned experts in architecture, science, economics
and politics.
"Its impressive examples of pioneering architectural projects make Architecture
of Change an inspiring book for all those interested in contemporary architecture
and questions of sustainability. Because it shows visionary solutions that are
improving our environment in real ways, the publication is a relevant reference
for both a professional and general audience."

The first pages of the book are designed to inspire with landscape art - “Around the Corner,” also by Patrick Dougherty, 2003. Photo by Doyle Dean. From “Architecture of Change”. © Gestalten 2008

"Dougherty's works allude to nests, cocoons, hives, and lairs built by animals, as well as the manmade forms of huts, haystacks, and baskets, created by interweaving branches and twigs together. Many of his works look 'found' rather than made, as if they were created by the natural force of a tornado sweeping across the landscape. He intentionally tries for this effortless effect, as if his creations just fell or grew up naturally in their settings.
" Linda Johnson, Curator"

You can also read an interview with Kristin Feireiss and Lukas Feireiss for Ping Mag.

RoboGames (formerly ROBOlympics) is happening this weekend in San Francisco, CA - MAKE is a sponsor!



"RoboGames is the world's largest open robot competition. We invite the best minds from around the world to compete in over 70 different events. Combat robots, walking humanoids, soccer bots, sumo bots, and even androids that do kung-fu. Some robots are autonomous, some are remote controlled - but they're all cool! As an open event, anyone can compete - this means you.
Hundreds of participants, vendors, cool workshops, nifty exhibits and people just like you who have bent, engineered, tweaked, fiddled and built their way to the Olympics Of Robots!"

Few weeks ago I was reading one of a dozen bulletins that I subscribe and also thinking about a post. I read about the new show of vintage Japanese robots opening at the Sci Fi Museum which interest me a lot (but Seattle is quite far from me at this moment) and also I surfed into Lisa’s blog where I read, “The first robot in the world was an Edo period miniature humanoid that served tea, circa 17th century.” Lisa Katayama



I was waiting for an approval from another person, from another site, to post about it. As she didn’t reply, I had to change my text and images. Such a shame... But that’s OK.

Karakuri Ningyo - 17th Century!

The Edo period is a division of Japanese history running from 1603 to 1868. Is also known as the beginning of the early modern period of Japan. The Edo period indeed saw an exchange of technology between East and West. In peaceful Edo period, Japanese culture civilized.



Japanese Karakuri, circa 1800, photographed at the British Museum

Karakuri Ningyō was the first automata in Japan created on Edo period.

Karakuri are mechanized puppets. The word 'Karakuri' means a "mechanical device to tease, trick, or take a person by surprise". It implies hidden magic, or an element of mystery. In Japanese ningyō is written as two separate characters, meaning person and shape. It may be translated as puppet, but also by doll or effigy. The dolls' gestures provided a form of entertainment. They influenced the Noh, Kabuki and Bunraku theatre.

Karakuri-zui was written by Hosokawa Hanzo Yorinao, and was published in the Edo period (1798). This Japan's oldest manuscript of mechanical engineering is consisted of three volumes, and they were reprinted in Osaka and Kyoto afterwards. This book details the structure and the making process of clocks and Karakuri mechanical dolls, and it explains not only about the techniques, but also about the spirit of making these mechanical devices. In those days, the technique was passed down to apprentices from their masters, and it was never allowed to go out public. When it was exhibited for the first time, it influenced the next generation of Karakuri masters, and even Hiraga Gennai was astonished by its mechanism. European was also amazed for Japanese technology without using steam, and it became known as the best technology in the world.



A filosofia das Karakuri está concentrada na tecnologia para evocar sentimentos e emoções.

O Japão tem uma longa história de rituais e dramaticidade no uso de bonecos. Eles representam a consciência da relação entre matéria e espírito. Até o final do século XIX eles não eram jogados fora ou reciclados, mas sim enterrados em cemitérios, em sinal de respeito. Também por serem moldados nas “formas humanas”, representam a consciência de que enquanto matéria e espírito podem parecer de diferentes ordens, mas uma vez que o espírito encontra a forma material, a matéria não pode retornar a simples matéria. Uma boneca não é uma mera soma de partes – cabeça, braços, pernas…

A visão de que tudo tem espírito é ainda muito forte no Japão. Eles acreditam que não só animais, mas também a natureza e os objetos inanimados tem espírito. Por isso tendem a projetar este sentido em robôs e máquinas. Mesmo criaturas virtuais, que no ocidente são chamadas de “virtual reality”, no Japão são chamadas de “intimate presence”.

Robôs são como amigos com inteligência superhumana e sentimentos reais. O Japão é o maior produtor de robôs e sua visão de século XXI é o da co-existência com eles. Robôs são parte da cultura japonesa e não apenas ferramentas industriais, eletrodomésticos ou brinquedos.

Karakuri é de grande influência na cultura japonesa até hoje, justamente pela mistura da tradição, da filosofia espiritual e da tecnologia.

O pensamento tradicional Budista também tem inspirado novas aproximações com a robótica e automação.

Masahiro Mori is a Japanese roboticist noted for his pioneering work on the emotional response of humans to non-human entities, as well as for his views on religion and robots. He has published many books on his specialty as well as on Buddhism. Mori founded The Mukta Institute that operates as a think tank, made up of technology specialists providing consultation to corporations on automation, robotisation and product development. They promote the fusing of Japanese spirit and technology and creative thinking. Members regularly meet to recite Buddhist scriptures, meditate and consider different problems in new ways.

THE BUDDHA IN THE ROBOT
A Robot Engineer's Thoughts on Science and Religion
by Masahiro Mori

Why does a robot engineer say, "I believe robots have the Buddha-nature within them—that is, the potential for attaining Buddhahood," as Masahiro Mori does in this book? How does an engineering specialist look at Buddhism? What relationship does he find between science and religion? What value does Buddhism have in our present technological age? As a scientist who attracts his reader through his practical approach and engaging style, Dr. Mori does not take them up into the high mountains to expound abstract philosophy. Instead, he keeps his feet firmly on level ground and his gaze focused on concrete matters. In graphic demonstrations of Buddhist principles at work, he offers a reliable guide for living in the complex world of modern society. "What Dr. Mori writes about merits reflection; and his writing charms and delights." —The Middle Way

wikipedia.org

Interessados podem comprar Karakuri dolls.

Realistically this work makes me think about poverty, because I’m a Brazilian and is kind of common to see architectural materials patchwork “building” what poor people could call home - it’s the Brazilian famous favela. (Shantytown?)

In the other hand, makes me think about a futuristic no frontiers life. Not in a nomad way, but in the dreamer way of no countries, no Governmental limits, this sort of thing…

But waking up of this web “Esperanto” dream, I see another future: the hard one. Where this artwork shows the possible results of the war ‘humans against nature’. And only one freezing poor world.

Please, let me know what do you think about it! (And sorry, because my English is not that good!)

Artwork
Antarctic Village - No Borders, ephemeral installation in Antarctica
Lucy & Jorge Orta, 2007

Materials:
50 Dome dwellings, hand stitched with nation flags, fragments of clothing, webbing, silkscreen print

Exhibition history:
2007 Antarctica; 2007 Biennial al Fin del Mundo

Concept:
From February-March 2007, Lucy + Jorge Orta installed ‘Antarctic Village’ in Antarctica, traveling from Buenos Aires aboard the Hercules KC130 flight on an incredible journey. Taking place during the Austral summer, the ephemeral installation coincided with the last of the scientific expeditions before the winter months, before the ice mass becomes too thick to traverse. Aided by the logistical crew and scientists stationed at the Marambio Antarctic Base situated on the Seymour-Marambio Island, (64°14’S 56°37’W), Jorge Orta scouted the continent by helicopter, searching for different locations for the temporary encampment of their 50 dome-shaped dwellings. Antarctic Village is a symbol of the plight of those struggling to transverse borders and to gain the freedom of movement necessary to escape political and social conflict. Dotted along the ice, the tents formed a settlement reminiscent of the images of refugee camps we see so often reported about on our television screens and newspapers. Physically the installation Antarctic Village is emblematic of Ortas’ body of work, composed of what could be termed modular architecture and reflecting qualities of nomadic shelters and campsites. The dwellings themselves are hand stitched together by a traditional tent maker with sections of flags from countries around the world, along with extensions of clothes and gloves, symbolizing the multiplicity and diversity of people. Here the arm of face-less white-collar worker’s shirt hangs, there the sleeve of a children’s sweater. Together the flags and dissected clothes emblazoned with silkscreen motifs referencing the UN Declaration for Human Rights make for a physical embodiment of a 'Global Village'.

About Lucy and Jorge:
Founded in 1991, Studio-Orta based in Paris operates as a research and development studio for artworks and limited editions by contemporary artists Lucy Orta and Jorge Orta and an administrative bureau for their exhibitions and commissions.
The two artists work in partnership sharing a common research directive, and independently on special projects. This trilogy offers a unique diversity to Studio-Orta team of curators, designers, architects, engineers, musicians, artisans, fabricators, production assistants and technicians.
Employing a range of techniques from sculpture, object making, couture, painting, printing, light projections and communication strategies such as performance, interventions and public events, the team investigate crucial themes of the world today: the community and the social link, dwelling and habitat, nomadism and mobility, sustainable development, ecology and recycling.

Today I was reading an interesting style website and they report that analyses:

Robot love (related to transformation, net narcissism and more…)
As they say:
“Robots are being used to assist humans, from household routine to psychological and emotional support…” and then
“Market forces will push the acceptance of robot relationships…”

To illustrate this article, is mentioned a recent book

“Love and Sex with Robots: The Evolution of Human-Robot Relationships”
By David Levy
Publisher: Gerald Duckworth & Co Ltd (10 April 2008)

So you can check this link as I did.






“Robot Love

“David Levy, an expert on Artificial Intelligence, comes to the ICA to make the controversial argument that we are headed inexorably towards a society where human affection and human desire are extended into psychological and physical relationships with robots. Love and sex with robots, he argues, is only a natural extension of the relationships, which we have already cultivated, first with pets, then with virtual pets, then with virtual avatars in Second Life.

“DAVID LEVY is an internationally recognized expert on artificial intelligence. He is president of the International Computer Games Association and in 1997 led the team that won the Loebner Prize - the world championship for conversational computer software. He is also the author of Robots Unlimited. He lives in London.

“David Levy shows how automata have evolved into the electronic androids of the modern age, and how human interactions with technology have changed over the years. He explores the reasons why we fall in love, form emotional attachments to animals and virtual pets, and how these same attachments will extend to love for robots. He also examines sexual fulfillment through relationships with objects, tracking the development of life-sized dolls, machines, and other sexual devices, and demonstrating how society’s ideas about what constitutes normal sex have changed, and will continue to change, as sexual technology becomes increasingly sophisticated.

‘My thesis is this: Robots will be hugely attractive to humans as companions because of their many talents, senses, and capabilities. They will have the capacity to fall in love with humans and to make themselves romantically attractive and sexually desirable to humans. Robots will transform human notions of love and sexuality… Love and sex with robots on a grand scale is inevitable. This book explains why."

Love And Sex With Robots is published by Duckworth, RRP
Paperback: 320 pages

In interview to We Make Money Not Art, by Regine, Bart Hess talks about this amazing work which breaths.

"With a Hunt for Hightech I made a collection of fake fur that touches on elements of fetishism, human instinct and new animal archetypes. With that collection I did not try to mimic real animal kingdoms but create a fantasy world of my own. The way this started was through the process of imagining fantasy animals; animals that could be genetically manipulated, part robot, part organic, how they would move in their environment and what they felt like to touch. I then took my (imagined) gun and 'hunted' them, looking for their extra ordinary, high tech furs. I thought about tactile qualities like reflection, the way the hair grows and three dimensionality and took these characteristics, magnified them, manipulated and exaggerated them.

"I used materials that were not organic or commonly seen in the fashion world, and blended plastics, metallic's, silicon's and technical foils. With these materials I tried to manipulate and re-create the same qualities and tactile feeling my fantasy animal kingdom has."

See the website of this Dutch guy and also read the complete interview.

http://www.barthess.nl/

http://www.we-make-money-not-art.com/archives/2008/04/-found-little-info-about.php










Bart and another one:
Grow on You

......

See those lovely font robots:

http://www.invdr.com/invdr_portfolio_fontbots.html

"About
I'm Jonathon Yule, a freelance designer currently studying in the York/Sheridan Bachelor of Design program in Toronto, Ontario.
I'm particularly interested in typography, grids and the intertwinement of design and play."

Is any Brazilian here to share comments with me?






The Star Wars exhibition that I am talking about isn't that nice here in Brazil.
Most of the objects are not in the proper light and proper scenery. Looks too much dark to cover something. Why? Actually I paid for the opportunity to check details, not for a dark sensation of fake a film set. And also looks like the Star Wars pieces which we have here in Sao Paulo are not the very very special ones.

Maybe I am wrong, that's why I would like to comment with Brazilians.