Emcar: Embodied Controller for Animating Robots

When designing robots' nonverbal behaviors, many researchers have turned to arts-based insights, such as Disney's Animation Principles. Yet, while these principles bear key insights into the design of like-life characters, their application to robot design is inherently limited, in part because animation is not constrained by real-world physics, and in part because animation principles focus on low level animation mechanics and not high-level design considerations for physically embodied, interactive characters. In contrast, little attention has been paid to art forms like puppetry, despite their long history of exploring morphological, behavior, and interaction design of physically embodied, interactive characters. As such, in this work we leverage puppetry texts and practicing puppeteers' expert knowledge knowledge to derive a set of puppetry principles with key insights for robot design. As we show, these insights go beyond -- and uniquely complement -- the prior insights provided by theater, dance, and animation.

When will robots have their ChatGPT moment? Such a breakthrough requires a general-purpose robot that can handle unfamiliar tasks in unfamiliar environments, remain controllable over long interactions, and learn from experience. Today's embodied systems largely follow an end-to-end observation-to-action path. Despite rapid progress, they remain far from this goal: their generalization depends heavily on the coverage of robot training data, while long task execution remains difficult to control and inspect. To realize this goal, we introduce the Embodied Task Agent (ETA), a new paradigm for extending digital agents into the physical world, and release OpenETA as its open-source implementation. ETA centers the robot around a Planner that chooses one Tool call at a time, an Interface that controls execution, and a World that returns the result and a fresh observation. This loop allows the agent to verify outcomes, adapt its plan, and turn successful and failed interactions into reusable experience. OpenETA provides replaceable Planners, composable Tools and Skills, auditable memory, replayable trajectories, and common interfaces for simulation and real robots. For Codex, OpenETA can operate as a lightweight plugin that exposes only observe, mark_point, and move_to.

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.