Multi-dimensional fusion: transformer and GANs-based multimodal audiovisual perception robot for musical performance art.

Introduction: In the context of evolving societal preferences for deeper emotional connections in art, this paper explores the emergence of multimodal robot music performance art. It investigates the fusion of music and motion in robot performances to enhance expressiveness and emotional impact. The study employs Transformer models to combine audio and video signals, enabling robots to better understand music's rhythm, melody, and emotional content. Generative Adversarial Networks (GANs) are utilized to create lifelike visual performances synchronized with music, bridging auditory and visual perception. Multimodal reinforcement learning is employed to achieve harmonious alignment between sound and motion. Methods: The study leverages Transformer models to process audio and video signals in robot performances. Generative Adversarial Networks are employed to generate visually appealing performances that align with the musical input. Multimodal reinforcement learning is used to synchronize robot actions with music. Diverse music styles and emotions are considered in the experiments. Performance evaluation metrics include accuracy, recall rate, and F1 score. Results: The proposed approach yields promising results across various music styles and emotional contexts. Performance smoothness scores exceed 94 points, demonstrating the fluidity of robot actions. An accuracy rate of 95% highlights the precision of the system in aligning robot actions with music. Notably, there is a substantial 33% enhancement in performance recall rate compared to baseline modules. The collective improvement in F1 score emphasizes the advantages of the proposed approach in the realm of robot music performance art. Discussion: The study's findings demonstrate the potential of multimodal robot music performance art in achieving heightened emotional impact. By combining audio and visual cues, robots can better interpret and respond to music, resulting in smoother and more precise performances. The substantial improvement in recall rate suggests that the proposed approach enhances the robots' ability to accurately mirror the emotional nuances of the music. These results signify the potential of this approach to transform the landscape of artistic expression through robotics, opening new avenues for emotionally resonant performances.

Renovate my uterus: Aging queerly through performance art and karaoke.

Intimate Karaoke, Live at Uterine Concert Hall (IK-UCH) is a performance-based sound installation that examines vulnerability and shared intimacy through the site of my body by inviting audiences to sing their favourite karaoke song into my uterus while other audience members listen via stethoscope through my flesh. This article uses this project as a case study to examine the queering of the uterus as a site of production (not reproduction) and recoups the perceived uselessness of my middle-aging queer female body. This work connects to Linn Sandberg and Barbara Marshall's critique of the "problematic ways that aging and imagined futures are intertwined with heteronormativity in contemporary Western cultures" and how "some aging bodies and subjectivities are understood as desirable and taken-for-granted while others are constructed as unwanted and problematic" in their article, "Queering Aging Futures" (2). To make the body, vagina, cervix, and uterus structural materials for a venue is to renovate their functions outside of the logics of cisheteropatriarchy and reproductive futurity and further trouble mainstream perceptions of aging. I challenge heterocentric human reproduction as a marker of successful aging and as evidence of 'living a good life' by presenting queer feminist performance-based practices that centre my nonreproductive body as site for art production, presentation, and consumption.

Hypersymbiotics™: An artistic reflection on the ethical and environmental implications of microbiome research and new technologies.

This essay describes my ongoing series "Hypersymbiotics™," which began in 2012 and explores the potential ways in which our microbiome, genetics, epigenetics and even our environment could potentially be enhanced to turn us into human 'super-organisms.' The series includes performances and installations involving BioArt, as well as photographic documentation of ephemeral artworks and takes the form of a vehicle for public discussion about new healthcare technologies. The essay discusses artworks made using synthetic biology techniques including CRISPR genetic modification in bacteria and yeasts, and gene editing in plants, as well as using artificial intelligence and stem cell research. It critiques the role of the media and advertising in the promotion of complex new biomedical technologies. The "Hypersymbiotics™" series is deeply concerned with promoting public understanding of the ethical implications of new scientific developments and enabling reflection and debate. At its core the artwork is about knowledge, power, and control and where that resides.

Repetição e contingência na clínica da psicanálise e na arte da performance / Repetition and contingency in the psychoanalytical clinic and in the art of performance / La repetición y la contingencia en el psicoanálisis clínico y en el arte de la performance

Tanto Freud quanto Lacan deixaram um legado peculiar no que diz respeito à interface entre psicanálise e arte: utilizar o material estético como recurso para pensar a clínica psicanalítica. Nesta, os processos de subjetivação implicam o atravessamento da repetição significante pela pulsão. Lacan nomeia tiquê (τύχη) o retorno do real que incide sobre a repetição de signos (autômaton). De maneira análoga, há na arte - especialmente a contemporânea - um modo de apresentação de temas que não se atêm à categoria do sentido, mas que se abrem para o universo dos afetos e pulsões. O objeto estético, nesse sentido, pode ser pensado como objeto pulsional. A partir de alguns exemplos da obra de Marina Abramovic, artista sérvia que vem sendo descrita como a avó da arte da performance, veremos como isso se articula.

Both Freud and Lacan have left a peculiar legacy concerning the interface between psychoanalysis and art: the use of aesthetic material as a resource for thinking the clinic. Subjectivation processes in the psychoanalytical clinic imply the pulsion to traverse the repetition as a significant. Lacan names Tyche (τύχη) the return of the real that bears on the repetition of signs (automaton). In an analogous way, in art - especially contemporary art - there is a way of presenting themes not bound by the category of meaning, but open to the universe of affections and pulsions. One can think the aesthetic object, in this sense, as a pulsional one. By taking some examples from the work of Marina Abramovic, a Serbian artist who has been described as the grandmother of performance art, we will see how these processes connect.

Tanto Freud como Lacan han dejado un legado único en relación con la interfaz entre el psicoanálisis y el arte: el material estético empleado como recurso para pensar la clínica. En esta clínica, los procesos de subjetivación implican que la pulsión atraviese la repetición, en su papel de significante. Lacan nombra tyche (τύχη) el regreso de lo real que incide sobre la repetición de signos (autómata). De modo semejante, existe en el arte - sobre todo en el arte contemporáneo - una manera de presentar los temas que no se atienen a la categoría de sentido, sino que se abren al mundo de las emociones y de las pulsiones. El objeto estético, en este sentido, se puede considerar como un objeto pulsional. A partir de algunos ejemplos de la obra de Marina Abramovic, artista serbia que viene siendo descrita como la abuela del arte de la performance, vamos a ver cómo esto se articula.

Representations of epilepsy on the stage: From the Greeks to the 20th century.

Epilepsy is a disorder that has been used by dramatists in various ways over the ages and therefore highlights the views of the disorder as people saw it at the time the plays were written and performed. In the 6th century BC, links between tragedy and epilepsy were developed by Greek playwrights, especially Euripides, in Iphigenia among the Taureans and Heracles where epilepsy and madness associated with extreme violence occur together. Both Heracles and Orestes have episodes after a long period of physical exhaustion and nutritional deprivation. During the Renaissance, Shakespeare wrote plays featuring different neurological disorders, including epilepsy. Epilepsy plays a crucial part in the stories of Julius Caesar and Othello. Julius Caesar is a play about politics, and Caesar's epilepsy is used to illustrate his weakness and vulnerability which stigmatizes him and leads to his assassination. Othello is a play about jealousy, and Othello, an outsider, is stigmatized by his color, his weakness, and his 'seizures' as a form of demonic possession. In modern times, Night Mother portrays the hard life of Jessie, who lives with her mother. Jessie has no friends, her father has abandoned the family, and she has no privacy and is ashamed. Stigma and social pressures lead her to commit suicide. Henry James' novella, The Turn of the Screw, portrays a governess with dream-like states, déjà vu, and loss of temporal awareness who has been sent to the country to look after two small children and ends up killing one. This novella was turned into an opera by Benjamin Britten. Most recently, performance art has been portraying epilepsy as the reality of a personally provoked seizure. Both Allan Sutherland and Rita Marcalo have purposely provoked themselves to have a seizure in front of an audience. They do this to show that seizures are just one disability. Whether this provokes stigma in audiences is unknown. Whether the performance artists understand the potential for status epilepticus has not been discussed. This article is part of a Special Issue entitled "Epilepsy, Art, and Creativity".

The role of carmelita tropicana in the performance art of alina troyano.

ABSTRACT This article maps out the development and cultural meanings in the performance art of Alina Troyano, better known by her stage name, Carmelita Tropicana. Through such strategies as code switching, the avoidance of commodification, the development of alter egos, the breaking of heterosexist norms, and the creation of an intercultural discourse, Troyano has created a hybrid identity as an artist and performer.