Boston Dynamics, BTS, and Ballet: The Next Act for Robotics
There is a scene I Swan Lake Where Hunky, the protagonist of Crossbow Totting, Prince Siegfried, loses his swan princess, Odette, in a magical forest. Suddenly, he encounters several identical ballerina swans. Confused and confused, Siegfried runs aimlessly and seeks out his son as Doppelger. He is deceived by the multiplicity of geese and their combined, robotic precision scales.
by the time Swan Lake It premiered in the late nineteenth century, playing the central role of the kingdom among the many harmonious ballerinas. Romantic ballets are full of such moments, but they can also be found in more modern choreographs. American directors became famous for films like Busby Berkeley 42nd Street In which dozens of dancers were given the feature of performing the same movements in an extraordinary way. In the last few decades, Rocket and any boy’s band have brought a similar style to the stage. And throughout history, military marches, parades, and public demonstrations have taken the strategy to the streets. Choreographing groups is also a technique and tactic so this part works perfectly.
This van is on ballet, boy bands and battalions through the Arigram intersection where we can consider the latest dance video “Spot K On” by robotics maker Boston Dynamics. This clip, which commemorates the acquisition of the company by Hyundai Motor Company, features four people dancing to “IONIQ: I am on”, promoting the company’s odd electric car, “IONIQ: I am on”. “Spot” robots are introduced. In the series video, numerous spot robots beep with amazing harmony, despite the attraction of a dystopian minute and 20 seconds.
The video opens with five robots in a row, one behind the other, so that only the front spot is fully visible. The music begins: a new Age of Cadence supported by the word “IONIQ”, like the prayers of the saints and BTS. With the music, the robot’s head rises and blossoms, automatically forming a shaving star, then a helix, then a flower pose that breathes along the melody line. Their scope for the robot’s accuracy allows otherwise simple gestures (head lift, 90 degree rotation, opening the “mouth” of the spot) so that all the actors in the robot can be photographed. “The spot is on it,” said La Busby Berkeley, making it difficult to distinguish between robots, and sometimes it’s not clear which head the robot belongs to.
The choreography, by Monica Thomas, takes advantage of the robot’s ability to move Absolutely Like any other rocket, BTS, and many bulls, individual virtue is a function of one’s ability to transmit a distinction within an individual. Spot robots, however, are, in practice, sincere and visually identical. Human actors can play with such a demonstration, but robots fully embody it. This is the rugged valley of Sage Fred in the middle of Robot Ballet.
From a technical point of view, the robots ‘ability to change mobility reflects the growing sophistication of Boston Dynamics’ choreography software, which aptly called “choreography” a component of the Spot Software Development Kit (SDK). ” is called. In it, the robot user can select the Corio robotic movement setting as defined in the SDK “sack” – as “ballet-like hanging taps” – its relative speed, wow and stand Can edit the length of. In the whole dance application, a move, such as a “sack”, can be upside down, upside down, mirrored, wide or narrow, fast or slow, with increasing or decreasing distortion throughout the group. Thomas’s choreography uses this ability to perform all kinds of kaleidoscopic effects.
Signs of such complexity and subtlety are “spot on” as a major departure from Boston Dynamics’ previous dance. First and foremost, there’s a fast-paced preparation behind this video: there’s a friendly corporate blog post with “Spot On This” that, for the first time, describes how Boston Dynamics deploys choreography in its marketing and engineering processes. It was also, in particular, the first time Thomas was publicly acclaimed as a choreographer for Boston Dynamics dances. Her hard work in viral videos like “Uptown Spot” and “Do You Love Me?” Practically invisible, so the decision to highlight the role of Thomas of Boston Dynamics in this latest video is a significant change in currency. Scholar Jessica Rajko has previously pointed to the company’s ambiguous labor politics and ambiguous rationale for not trusting Thomas, as opposed to choreographic researchers such as Currie Kuan and Amy Lavers, who have clearly danced in their work. Clearly presented the partnership. “Spot on Eight” hints at Boston Dynamics’ intricate engagement with depth and choreography.
Although Boston Dynamics’ dancing robots are currently in the realm of branded spectacles, I’m constantly impressed with the company’s choreographic steps. In the hands of artists, these machines are able to express themselves significantly through performance. Boston Dynamics is a company that takes dance seriously, and, according to its blog post, uses choreography as “a form of high-speed lifecycle testing for hardware.” It’s all about having fun dancing And Functional.