Key Takeaways
- Human‑technology connection is becoming as important as traditional metrics like productivity and cost savings.
- Artist‑roboticist Madeleine Gannon argues that altering robot movement can evoke emotion and make machines feel “alive” through the “human in the loop.”
- Her work with the industrial robot Mimus shows how reprogramming motion transforms functional equipment into an expressive, interactive exhibit.
- Multidisciplinary artist Victoria Fard emphasizes that storytelling remains a core human impulse, even as the tools for creating and sharing stories evolve.
- Fard builds immersive, high‑resolution digital worlds using algorithmic design and advanced visualization, but she stresses that artistic intent—not the technology—drives emotional impact.
- Both creators highlight that technology’s future will be shaped by deliberate human choices about how we design, move, and narrate with machines.
- Redefining success metrics to include feelings of connection could lead to more humane, engaging, and socially resonant technologies.
Introduction
As emerging technologies become woven into the fabric of daily life, the conversation is shifting from pure performance metrics to the quality of the relationship between people, systems, and hardware. At the Annual Meeting of New Champions 2026 in Dalian, China, artists and technologists examined how deeper emotional bonds can be forged with robots, AI, and digital media. Their insights suggest that the next wave of innovation will prioritize feeling and experience alongside efficiency.
Madeleine Gannon on Human‑Robot Connection
Madeleine Gannon, an artist‑roboticist, opened her session Robots in Rhythm With Us by questioning why robots often trigger anxiety about obsolescence. She contended that automation is not an inevitable force but a series of societal choices that can be redirected. By foregrounding the human experience of machines, Gannon believes developers can alleviate fear and cultivate trust. Her central thesis is that the future of robotics will be less about what robots do and more about how they feel to the people who interact with them.
Re‑programming Movement for Emotional Resonance
To illustrate her point, Gannon described how subtle changes in a robot’s motion can dramatically shift human perception. She cited the project Mimus, which began as an Autoline industrial robot in Birmingham, UK. By rewriting its movement patterns, she transformed it into an interactive exhibit at London’s Design Museum. The altered choreography invited visitors to project their own vitality onto the machine, creating a feedback loop where the robot seemed to respond with life‑like presence.
Feeling Over Function: The “Human in the Loop”
Gannon emphasized that the “human in the loop” is what truly animates a machine. Rather than viewing robots as mere tools, she advocates for designing their kinematics to evoke empathy—sometimes by mimicking animal gaits rather than human ones. This approach leverages our innate tendency to read intention and emotion from movement, allowing the technology to become a mirror of our own expressive tendencies. When people sense a reciprocal emotional exchange, the machine ceases to be alien and becomes a partner in shared experience.
Victoria Fard on Storytelling Through New Mediums
In a parallel session titled Algorithmic Storytelling, multidisciplinary artist Victoria Fard reflected on the timeless role of narrative in human culture. Long before written text, stories circulated around fires, tables, and circles, living in voice, gesture, and collective attention. Fard argued that while the tools have changed—now ranging from algorithmic design to 16K visualization—the fundamental urge to share stories remains unchanged.
Immersive Digital Spaces and Advanced Visualization
Fard’s practice harnesses algorithmic design, advanced visualization, and emerging technologies to create immersive digital environments. Her works achieve resolutions up to 16K, enabling display on massive screens such as those in Times Square and Outernet London. These spaces are not merely technical feats; they are crafted to envelop viewers in narrative worlds that can be felt as much as seen. By controlling parameters like lighting, texture, and temporal flow, Fard shapes experiences that resonate on an emotional and cognitive level.
The Dialogue Between Artist and System
A central insight from Fard’s talk is the dynamic dialogue between creator and system. She noted that the technology itself does not assign value to one artistic choice over another; it simply executes instructions. Therefore, the responsibility for meaning rests with the human artist who decides which elements—color, rhythm, interaction—matter most. This perspective reinforces the idea that technology is a medium, not an author, and that authentic connection emerges from intentional human curation within the technological framework.
Conclusion: Toward a More Human‑Centric Technological Future
The perspectives of Gannon and Fard converge on a compelling message: as AI, robotics, and digital media become ubiquitous, success must be measured not only by output and cost but also by the sense of connection they foster. By reshaping robotic movement to elicit emotion and by using cutting‑edge tools to amplify timeless storytelling, creators demonstrate that technology can be softened, made relatable, and imbued with human warmth. Policymakers, engineers, and business leaders who adopt this mindset may unlock innovations that are not only efficient but also deeply resonant, fostering a future where machines feel less like threats and more like partners in our shared narrative.