Giorgio Grioli

Anna Pace, Giorgio Grioli, Alice Ghezzi et al.

Biped robots usually adopt feet with a rigid structure that simplifies walking on flat grounds and yet hinders ground adaptation in unstructured environments, thus jeopardizing stability. We recently explored in the SoftFoot the idea of adapting a robotic foot to ground irregularities along the sagittal plane. Building on the previous results, we propose in this paper a novel robotic foot able to adapt both in the sagittal and frontal planes, similarly to the human foot. It features five parallel modules with intrinsic longitudinal adaptability that can be combined in many possible designs through optional rigid or elastic connections. By following a methodological design approach, we narrow down the design space to five candidate foot designs and implement them on a modular system. Prototypes are tested experimentally via controlled application of force, through a robotic arm, onto a sensorized plate endowed with different obstacles. Their performance is compared, using also a rigid foot and the previous SoftFoot as a baseline. Analysis of footprint stability shows that the introduction of the transverse arch, by elastically connecting the five parallel modules, is advantageous for obstacle negotiation, especially when obstacles are located under the forefoot. In addition to biped robots' locomotion, this finding might also benefit lower-limb prostheses design.

Do Won Park, Samuele Bordini, Giorgio Grioli et al.

As with every emerging technology, new tools in the hands of artists reshape the nature of artwork creation. Current frameworks for robotics in arts deploy the robot as an autonomous creator or a collaborator, thus leaving a certain gap between the human artist and the machine. Now, we stand at the dawn of an era where artists can escape physical limitations and reshape their creative identity by inhabiting an alternative body. This new paradigm allows artists not only to command a robot remotely, but also to {\it be} a robot, to see and feel through it, experiencing a new embodied reality. Unlike virtual reality, where art is created in a digital dimension, in this case art creation is still firmly grounded in the material world: clay molded by mechanical hands, paint swept across a canvas or gestures performed on a physical stage alongside human actors. Through the robot avatar Alter-Ego, we explore the Alter-Art paradigm in dance, theater, and painting; it integrates immersive teleoperation and compliant actuation to enable a first-person creative experience. Analyzing qualitative artistic feedback, we investigate how embodiment shapes creative agency, identity and interaction with the environment. Our findings suggest that artists rapidly develop a sense of presence within the robotic body. The robot's physical constraints influence the creative process, manifesting differently across artistic domains. We highlight embodiment as a central design principle, contributing to social robotics and expanding the possibilities for telepresence and accessible artistic expression.