{"title":"机器人阵营的历史:超越恐怖谷的表演,从二十世纪早期的自动机到当代科幻戏剧","authors":"Cole Remmen","doi":"10.1080/14682761.2021.1959182","DOIUrl":null,"url":null,"abstract":"ABSTRACT In this work, I intervene in discussions of robot performance, pointing to a history of a performance mode I classify as ‘robot camp’ that, in offering techniques that overcome potential affective repulsion to these near-human machines, shifted the trajectory of the relationship between humans and robots. I first invoke ideas of theatre artists Edward Gordon Craig and Oriza Hirata, along with theatre scholar Louise LePage’s reinterpretation of Judith Butler’s ‘performativity’, in order to offer a consideration of the robot as a performer. This leads to a reframing of Steve Dixon’s ‘metallic camp’ in conversation with Masahiro Mori’s concept of the uncanny valley (and through a return to Susan Sontag’s foundational ‘Notes on “Camp”’), through which I theorize the performance strategy of robot camp. I trace robot camp throughout the history of performative robot portrayals, primarily early twentieth-century automaton exhibitions and Elizabeth Meriwether’s contemporary science fiction play Heddatron, foregrounding how techniques of robot camp have been successfully employed to overcome affective uneasiness toward the robot (i.e., manifestations of the uncanny valley); in doing so, I highlight how live theatre has shaped public engagements with and imaginings of the robot from its early origins.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2021-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A history of robot camp: performing beyond the uncanny valley, from early twentieth-century automata to contemporary science fiction theatre\",\"authors\":\"Cole Remmen\",\"doi\":\"10.1080/14682761.2021.1959182\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT In this work, I intervene in discussions of robot performance, pointing to a history of a performance mode I classify as ‘robot camp’ that, in offering techniques that overcome potential affective repulsion to these near-human machines, shifted the trajectory of the relationship between humans and robots. I first invoke ideas of theatre artists Edward Gordon Craig and Oriza Hirata, along with theatre scholar Louise LePage’s reinterpretation of Judith Butler’s ‘performativity’, in order to offer a consideration of the robot as a performer. This leads to a reframing of Steve Dixon’s ‘metallic camp’ in conversation with Masahiro Mori’s concept of the uncanny valley (and through a return to Susan Sontag’s foundational ‘Notes on “Camp”’), through which I theorize the performance strategy of robot camp. I trace robot camp throughout the history of performative robot portrayals, primarily early twentieth-century automaton exhibitions and Elizabeth Meriwether’s contemporary science fiction play Heddatron, foregrounding how techniques of robot camp have been successfully employed to overcome affective uneasiness toward the robot (i.e., manifestations of the uncanny valley); in doing so, I highlight how live theatre has shaped public engagements with and imaginings of the robot from its early origins.\",\"PeriodicalId\":42067,\"journal\":{\"name\":\"Studies in Theatre and Performance\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2021-07-29\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studies in Theatre and Performance\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/14682761.2021.1959182\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Theatre and Performance","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/14682761.2021.1959182","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 0
摘要
在这项工作中,我介入了对机器人性能的讨论,指出了一种我归类为“机器人阵营”的性能模式的历史,这种模式通过提供技术来克服对这些接近人类的机器的潜在情感排斥,改变了人类与机器人之间的关系轨迹。我首先引用了戏剧艺术家Edward Gordon Craig和Oriza Hirata的想法,以及戏剧学者Louise LePage对Judith Butler的“表演性”的重新诠释,以提供机器人作为表演者的考虑。这导致在与Masahiro Mori的恐怖谷概念的对话中重新构建Steve Dixon的“金属阵营”(并通过回归Susan Sontag的基础“关于“阵营”的笔记”),通过它我将机器人阵营的表演策略理论化。我追溯了整个机器人表演的历史,主要是20世纪早期的自动机展览和伊丽莎白·梅里韦瑟的当代科幻小说《海德顿》,展望了机器人营地的技术如何成功地克服了对机器人的情感不安(即恐怖谷的表现);在此过程中,我强调了现场戏剧如何从早期起源就塑造了公众对机器人的参与和想象。
A history of robot camp: performing beyond the uncanny valley, from early twentieth-century automata to contemporary science fiction theatre
ABSTRACT In this work, I intervene in discussions of robot performance, pointing to a history of a performance mode I classify as ‘robot camp’ that, in offering techniques that overcome potential affective repulsion to these near-human machines, shifted the trajectory of the relationship between humans and robots. I first invoke ideas of theatre artists Edward Gordon Craig and Oriza Hirata, along with theatre scholar Louise LePage’s reinterpretation of Judith Butler’s ‘performativity’, in order to offer a consideration of the robot as a performer. This leads to a reframing of Steve Dixon’s ‘metallic camp’ in conversation with Masahiro Mori’s concept of the uncanny valley (and through a return to Susan Sontag’s foundational ‘Notes on “Camp”’), through which I theorize the performance strategy of robot camp. I trace robot camp throughout the history of performative robot portrayals, primarily early twentieth-century automaton exhibitions and Elizabeth Meriwether’s contemporary science fiction play Heddatron, foregrounding how techniques of robot camp have been successfully employed to overcome affective uneasiness toward the robot (i.e., manifestations of the uncanny valley); in doing so, I highlight how live theatre has shaped public engagements with and imaginings of the robot from its early origins.