In 1977, Queen released the album „News of the World“. Its cover likely fascinated or disturbed many teenagers and adults at the time, a reaction that later found its way into popular culture – for example, in the animated sitcom „Family Guy“, where Stewie is terrified of it. The artwork depicts a gigantic humanoid robot holding two dead people in its right hand while blood drips from its left. Science fiction artist Frank Kelly Freas had already used a similar motif in one of his earlier works. Brian May has repeatedly emphasized that „News of the World“ represented a deliberate stylistic shift for the band – more direct, rawer, and more contemporary. The cover art clearly reflected that new direction. The guitarist has always been as passionate about science fiction as he is about the reality of outer space. In 2007, after a long interruption, he completed his Ph.D. at Imperial College London with a dissertation on interplanetary dust. A few months ago, he was interviewed for the book „RE:VIEW: Wozu die Menschheit retten? (RE:VIEW: Why Save Humanity?)“. The book’s first section features extensive ESA imagery from the AI-supported planetary defense mission Hera, complemented by works of AI-generated art. In the second section, Hera’s own AI system takes on the role of interviewer, conducting „thirty in-depth conversations with figures from the worlds of art, science, philosophy, and society“ (publisher’s description, own translation). In addition to Brian May – who was thus able to discuss both science fiction and the reality of space – the interviewees include, among others, the world’s first female space tourist Anousheh Ansari, „Interstellar“ visionary Paul Franklin, PETA founder Ingrid Newkirk, former Guns N‘ Roses guitarist Ron „Bumblefoot“ Thal, science fiction author Andreas Eschbach, artist Jonathan Meese, and technology philosopher and machine ethics expert Oliver Bendel. The book is being published by We Mind Publishing in collaboration with the agency Jung von Matt. It is already listed on Amazon, where extensive information about the book is now available, and is scheduled for release in September 2026.
Fig.: Oliver Bendel with the album „News of the World“
Im Jahre 1995 wurde die Electronic Mall Bodensee (EMB) gegründet. Träger war ein grenzüberschreitendes Konsortium unter Federführung der Universität St. Gallen (HSG) und des Kantonalen Amts für Industrie, Gewerbe und Arbeit (KIGA) St. Gallen. Mit an Bord waren auch das Vorarlberger Technologie-Transferzentrum Dornbirn und die Universität Konstanz. Im Jahr darauf ging die Website online, bei der die wesentlichen Funktionen bereits vorhanden waren. Geprägt wurde das Projekt von Hans-Dieter Zimmermann (Universität St. Gallen) und Rainer Kuhlen (Universität Konstanz). Bereits 1995 veröffentlichten Josef Herget und Rainer Kuhlen den Artikel „Elektronische Märkte: Stand und Perspektiven dargestellt am Beispiel der Electronic Mall Bodensee“. Beteiligt waren an der Universität Konstanz auch Wolfgang Semar und Andrea Kroschel. Einzelne Recherchearbeiten führte Oliver Bendel durch. Mit ihm schrieb Rainer Kuhlen 1998 das Buch „Die Mondlandung des Internet“, worin die Aktivitäten von Politik und Parteien zur Bundestagswahl 1998 im Netz dokumentiert wurden. Die EMB sollte einen regionalen elektronischen Marktplatz darstellen, Unternehmen aus Deutschland, Österreich und der Schweiz miteinander vernetzen und öffentliche Informationen anbieten, etwa zu Tourismus, Kultur, Bildung, Wirtschaft oder Verwaltung. Zimmermann beschrieb die Electronic Mall als einen offenen elektronischen Marktplatz im Sinne der antiken Agora. Sie sollte nicht nur den Handel ermöglichen, sondern alle Formen des Informationsaustauschs und der Kommunikation zwischen kommerziellen und privaten Teilnehmern unterstützen. Wirtschaftlich konnte sich die EMB nicht halten. Um 2002/2003 wurde der Verein zur Förderung der Electronic Mall Bodensee aufgelöst.
The Victory sign (V sign) first gained worldwide recognition during World War II as a symbol of victory before becoming the iconic gesture of the hippie movement, representing peace. Since then, it has become part of popular culture, appeared in business settings, and today remains a favorite pose among many people in Generation Z. One detail matters, especially in the UK: with the palm facing outward, the gesture means victory or peace. With the back of the hand facing outward, however, it is considered an offensive gesture. At ICSR + Art 2026 in London, Oliver Bendel (Generation X, FHNW School of Business) and Jana Figge (Generation Z, Hochschule Ruhr West) celebrated their presentations on social robots with the same gesture. Across generations, the Victory sign expressed shared success, relief, and the pleasure of seeing their work received with genuine interest by the research community. Do humanoid robots use the Victory sign as well? They certainly can perform expressive hand gestures, but a widely documented example of a robot intentionally using the V sign as a social gesture is surprisingly hard to find. Perhaps that is a small challenge for the next generation of social robots.
Fig.: Oliver Bendel and Jana Figge at ICSR + Art 2026 (Photo: Hooman Samani)
On June 19, 2024, Oliver Bendel gave a presentation at the IDEepolis 2024 conference in Stuttgart entitled „Es wird ein Mensch gemacht: Die Vision des universellen Roboters“ („A Human Is Being Made: The Vision of the Universal Robot“). The scholar of German studies and philosophy opened his talk with a quotation from Goethe’s „Faust II“: „MEPHISTOPHELES: Willkommen! es ist gut gemeint. WAGNER: Willkommen zu dem Stern der Stunde! Doch haltet Wort und Atem fest im Munde, Ein herrlich Werk ist gleich zustand gebracht. MEPHISTOPHELES: Was gibt es denn? WAGNER: Es wird ein Mensch gemacht.“ („MEPHISTOPHELES: Welcome! It is well meant. WAGNER: Welcome to the star of the hour! But hold your words and your breath, A magnificent work is about to be completed. MEPHISTOPHELES: What is it then? WAGNER: A human is being made.“). Oliver Bendel then explained what general-purpose robots are and how they could evolve into universal robots. He also discussed androids such as Harmony. At ICSR 2026, he encountered Euclid, another android, developed by Dr. Carl Strathearn, Assistant Professor of Computer Science, and Emilia Sobolewska, Lecturer and Researcher. It was Emilia Sobolewska who, in the Debate Hall of the Senate House, playfully twirled a piece of facial skin before placing it into the hands of the session participants. Oliver Bendel kneaded the face in his hands and thought: „Es wird ein Mensch gemacht!“ („A Human Is Being Made!“). The article based on the presentation will be published later in 2026 in the book „Mensch – Maschine revisited“ („Human – Machine Revisited“), edited by Petra Grimm, Kai Erik Trost, and Oliver Zöllner.
Im Jahre 1999 wechselte Oliver Bendel von einem Institut in Trier an die Universität St. Gallen, auf eine Stelle als Projektleiter und Doktorand. Zunächst wollte er seine Arbeit über Lern- und Wissensportale schreiben. Schnell entschied er sich aber für ein anderes Thema. Seit jeher hatten es ihm Chatbots, Sprachassistenten und soziale Roboter angetan. Einige kannte er aus der Science-Fiction, einige auch aus eigener Anschauung und Anwendung. Faszinierend waren nicht nur die Dialogsysteme selbst, mit denen er bereits seit 1996 experimentierte, sondern auch die Visualisierungen und Verkörperungen. Er widmete sich pädagogischen Agenten, also Chatbots, Sprachassistenten und KI-Agenten in Lernumgebungen. Auch Systeme mit Emotionserkennung waren im Blick und erste soziale Roboter. Der Firma Artificial Life widmete er mehrere Seiten. Sie war ab 1999 mit Einstein bekannt geworden, einer Lernanwendung auf einer CD-ROM. Der Chatbot war mit einem realistisch aussehenden Avatar verbunden und führte durch das Leben und die Arbeit des berühmten Physikers aus Ulm. Anfang des neuen Jahrtausends kam die Firma mit einem weiteren Produkt in die Schlagzeilen, der virtuellen Freundin (Virtual Girlfriend) für das Handy, für das damals gerade eingeführte 3G-Netz. Man konnte sich um sie kümmern wie um ein Tamagotchi, das ein paar Jahre vorher auf den Markt gekommen war, und ihr Geschenke machen, natürlich kostspielige. Unter v-girl.com war sie jahrelang zu erreichen. Etliche Firmen hatten bereits Erfahrungen damit gesammelt, dass Benutzer die Chatbots mit ihren Avataren umwarben, sie fragten, wie alt sie sind, ob sie einen Freund haben, ob sie Interesse an einer Beziehung haben. Artificial Life setzte nun genau auf diese Beziehung und schuf ein ebenso visionäres wie problematisches Artefakt, darauf ausgelegt, weitgehende Abhängigkeit in einer einseitigen Beziehung herzustellen. Solchen Themen widmete sich Oliver Bendel dann in zahlreichen Artikeln und Buchbeiträgen. 2020 erschien sein Buch „Maschinenliebe“ bei Springer Gabler. Es fasste den damaligen Stand der Forschung zu Chatbots, Liebespuppen und Sexrobotern zusammen.
Abb.: Das Virtual Girlfriend im Jahre 2004 (Bild: Screenshot der Website von Artificial Life)
After four inspiring days, the 18th International Conference on Social Robotics (ICSR + Art 2026) came to a close in London. Hosted at Senate House, part of the University of London in the heart of the city, the conference found a venue that proved to be far more than just a location. In retrospect, the building itself became one of the defining features of the event – its brain, its heart, and its stomach from beginning to end. Each morning, the distinctive silhouette of Senate House served as the landmark, guiding participants as they arrived. Throughout the day, the benches in the square outside became a place to relax between sessions, continue conversations, or simply enjoy a quiet moment in the middle of a busy conference schedule. Inside, every hall contributed its own unique atmosphere. The magnificent Crush Hall, with its grand staircase flanked by the ICSR banners, welcomed attendees and provided the setting for the artistic performances. The spacious Beveridge Hall hosted the main tracks, while the Chancellor’s Hall was home to the special sessions. The McMillan Hall became the social hub during coffee breaks and meals, where scientific discussions blended naturally with informal conversations. Finally, there was the Debate Hall, also known as the Senate Room, whose walls seemed to echo the spirit of past debates, disagreements, and reconciliations. This time, it witnessed encounters not only between people, but also between people and robots. For many visitors, the building was also familiar from popular culture. Senate House has appeared in several major productions, including „Batman Begins“, „The Dark Knight Rises“, „Fast & Furious 6“, „No Time to Die“, and „The Crown“, and is said to have inspired George Orwell’s depiction of the Ministry of Truth in „Nineteen Eighty-Four“. During ICSR + Art 2026, however, it became something different: a living space for science, art, and human interaction – and an unforgettable part of the conference itself.
Fig.: Jana Figge and Oliver Bendel in front of Senate House (Photo: Hooman Samani)
Der Playboy hat Ende Juli 2025 mit Prof. Dr. Oliver Bendel über Beziehungen mit Chatbots, Liebespuppen und Sexrobotern gesprochen. Die Playboy Special Edition erschien anlässlich der Ausstellung „SEX NOW“, die vom 5. September 2025 bis zum 3. Mai 2026 stattfand. Sie lag ab dem 11. September 2025 vor Ort im NRW-Forum Düsseldorf aus und konnte über die Website des Verlags erworben werden. Das Magazin ist ein Augenschmaus und zeigt Sprachlust auf allen Seiten. In „Große Kunst im Playboy“ findet sich eine „kleine Schau bedeutender bildnerischer Künstlerinnen und Künstler und ihrer Werke im Zeichen des Hasen“. Gezeigt werden Aktaufnahmen von Dalí bis Warhol. „Die Tabulose“ ist Beate Uhse, die laut Playboy „die sexuelle Revolution zur deutschen Normalität“ machte. Das Magazin bringt eine „Ode an eine Aufklärerin und Geschäftsfrau“. „Unser zweitbester Freund“ ist der Vibrator, dessen Kulturgeschichte „mehr über das Verhältnis zwischen den Geschlechtern“ erzähle „als jedes soziologische Lehrbuch“. In einem vierseitigen Beitrag ist ein dreiseitiges Interview mit Oliver Bendel abgedruckt, Technikphilosoph aus Zürich. Geführt hat es Christina Weiß. Im Inhaltsverzeichnis werden in diesem Zusammenhang „Sexgeräte“ erwähnt. Es geht um manchmal aufregende, stets einseitige Beziehungen mit Chatbots, Liebespuppen und Sexrobotern. Mit freundlicher Genehmigung des Chefredakteurs von Playboy Deutschland, Florian Boitin, kann der Beitrag seit dem 7. Juli 2026 hier heruntergeladen werden.
The 18th International Conference on Social Robotics (ICSR + Art 2026) took place from July 1–4, 2026, bringing together researchers, academics, and industry professionals from around the world to discuss the latest advances in social robotics. On the opening day, the ICSR Grand Challenge presentations, including optional demonstrations, took place in the Debate Hall. One of the standout projects was Labububot, presented by Miranda Li and developed by Miranda Li, Jake Read, Dimitar Dimitrov, and Cynthia Breazeal at the Massachusetts Institute of Technology. According to the MIT Media Lab, „This is Labububot — one of the rarest monsters on Earth. Twelve Labubu heads are reconstituted into a single spherical form: a Frankenstein’s Monster of pop culture iconography. Labububot is a playful critique of social robots, and a question made physical – what do the monsters we make reveal about the monsters we are?“ … Instead of following the familiar approach of designing social robots to be cute, friendly, and emotionally unambiguous, Labububot deliberately embraces monster theory and explores the productive potential of the uncanny. From the perspective of Oliver Bendel’s robot classification, Labububot can be regarded as a mythomorphic robot. It consists of twelve monster figures and also belongs to the category of soft robots, although it incorporates rigid structural elements. By combining unconventional design with references to popular culture and fashion, Labububot became one of the most memorable projects presented during the Grand Challenge. Rumor has it that the idea for the spherical monster emerged after its creators had enjoyed a few drinks too many, although this anecdote is best taken as part of the project’s growing mythology rather than established fact.
The 18th International Conference on Social Robotics (ICSR + Art 2026) took place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to explore the latest advances in social robotics. As in previous years, the conference featured an extensive and impressive exhibition showcasing a wide range of social robots and related technologies. Among the highlights was LOVOT, the companion robot developed by GROOVE X, which exemplifies the concept of Emotional Robotics by focusing not on productivity but on strengthening the human capacity for affection and attachment. Equipped with more than 50 sensors, multiple processors, deep learning capabilities, cameras, microphones, touch sensors, and autonomous navigation, LOVOT continuously perceives its environment and adapts its behavior in real time rather than following fixed scripts. Its expressive eyes, lifelike vocalizations, and highly responsive movements create the impression of interacting with a living creature. Particularly striking are its exceptionally soft body and its warm surface, maintained at a temperature similar to that of a human, making holding and hugging the robot feel surprisingly natural. Another remarkable aspect is Robot Enhancement through clothing and accessories. LOVOT can be dressed in a wide variety of outfits, allowing owners to personalize its appearance and reinforce their emotional bond with the robot. This combination of advanced artificial intelligence, sophisticated sensing, physical softness, warmth, and customization makes LOVOT one of the most distinctive examples of contemporary social robotics.
The 18th International Conference on Social Robotics (ICSR + Art 2026) took place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to explore the latest advances in social robotics. As in previous years, the conference featured an extensive and impressive exhibition showcasing a wide range of social robots and related technologies. In addition to the official exhibits, some attendees and guests brought their own robots to demonstrate and discuss with other participants. Among the robots on display were Furhat, Euclid, Ameca, LOVOT, Qoobo, and Mirumi, illustrating the remarkable diversity of current approaches to social robotics. One of the most distinctive robots at the exhibition was Qoobo, a therapeutic robot by Yukai Engineering designed as a soft cushion with a lifelike tail. Instead of using facial expressions, speech, or a display, Qoobo communicates entirely through subtle tail movements. When gently stroked, the tail waves softly; when rubbed, it swings playfully, and from time to time it wags spontaneously as if greeting its owner. With its soft fur, comfortable size, and realistic movements inspired by animal behavior, Qoobo is designed to provide a calming and emotionally comforting experience. Studies presented by its developers have shown that interacting with Qoobo can help reduce stress and encourage communication, particularly in elderly care settings, making it an innovative example of how simple, non-verbal interaction can foster emotional well-being. With Mirumi, Yukai Engineering is expanding its classic lineup with another robot that is sure to win over women in particular.
In his paper „Love Dolls and Sex Robots in Unproven and Unexplored Fields of Application“, published in Paladyn, Journal of Behavioral Robotics, Oliver Bendel of the FHNW School of Business discussed prisons as one of several potential application areas for such products. In 2024, his student Tamara Siegmann proposed exploring the use of collaborative and social robots in correctional facilities, focusing on whether they could and should be deployed in such environments. Together with Oliver Bendel, she wrote the paper „Social and Collaborative Robots in Prison“ for the International Conference on Social Robotics (ICSR) in Odense, which was published in the 2025 Springer ICSR proceedings. This work subsequently inspired Jean Paul Smit of Delft University of Technology and his co-authors to write the paper „Social Robot Supporting Visitor Mood and Staff Situation Awareness in a Security Waiting Room“, which he presented at ICSR + Art 2026 in London. The paper describes the development and evaluation of a social robot designed to improve visitors‘ emotional well-being in security waiting rooms while supporting staff through enhanced situation awareness. In 2025, Tamara Siegmann submitted a proposal to a Swiss funding organization based on the prison robotics research. As part of the initiative, inmates at a Swiss correctional facility will receive access to an offline chatbot serving as a companion. The chatbot was developed by Stephan Vonschallen with feedback from Tamara Siegmann and Oliver Bendel, and the project has now entered its main implementation phase. At ICSR + Art 2026, several researchers expressed strong interest in the prison-related projects, suggesting that this promising area of research is likely to receive growing attention in the years ahead.
Fig.: Jean Paul Smit, Stephan Vonschallen, and Oliver Bendel at ICSR 2026
„Speziesismus ist die Ungleichbehandlung und Benachteiligung von Lebewesen im Zusammenhang mit dem Umstand, dass sie nicht zur Art des Homo sapiens gehören. Häufig geht er einher mit Ausbeutung, Misshandlung und Tötung, etwa mit dem Ziel, Leder oder Fleisch zu produzieren. Kritisiert wird von Tierrechtlern und Tierethikern, dass die Interessen von Tieren verletzt und ihre Empfindungs- und Leidensfähigkeit oder ihr Lebenswille ignoriert werden.“ Mit diesen Worten beginnt ein Beitrag von Oliver Bendel, der am 2. Juli 2026 im Gabler Wirtschaftslexikon erschienen ist. Auf die Einleitung folgen die Abschnitte „Hintergrund und Beispiele“ und „Kernpunkte des Konzepts“. Am Ende, in „Kritik und Ausblick“, heißt es: „Speziesismus wird von den einen für eine Notwendigkeit und Selbstverständlichkeit gehalten, von den anderen für eine Ungeheuerlichkeit, die man abschaffen muss. Man kann sich einerseits fragen, ob es nicht gerechtfertigt ist, dass eine Art ihre Angehörigen bevorzugt. Tatsächlich kann man emotionale Aspekte geltend machen, die keine irrationalen Merkmale aufweisen müssen, zudem rationale Argumente, die etwa auf das Überleben der eigenen Spezies zielen. So können ein massenhafter Befall oder die Ausbreitung invasiver Arten durchaus Lebensgrundlagen und -weisen bedrohen. Andererseits kann Antispeziesismus als Form der Aufklärung gelten, mit der man Jahrtausende der Gewohnheit und Grausamkeit hinter sich lässt sowie der Ungleichbehandlung und Benachteiligung von Tieren entgegentritt.“ Am Ende folgt eine Einordnung in die verschiedenen Bereichsethiken. Der ganze Beitrag kann über wirtschaftslexikon.gabler.de/definition/speziesismus-177796 aufgerufen werden.
The 18th International Conference on Social Robotics (ICSR + Art 2026) took place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to explore the latest advances in social robotics. As in previous years, the conference featured an extensive and impressive exhibition showcasing a wide range of social robots and related technologies. In addition to the official exhibits, some attendees and guests brought their own robots to demonstrate and discuss with other participants. Among the robots on display were Furhat, Euclid, Ameca, LOVOT, Qoobo, and Mirumi, illustrating the remarkable diversity of current approaches to social robotics. One particularly noteworthy platform was Furhat, a robotic head whose facial features – including the eyes, mouth, and facial expressions – are projected onto interchangeable face masks from within. These masks are available in a variety of designs, representing adults, children, and even animals. This projection-based approach enables highly convincing facial expressions without relying on complex motorized mechanisms or conventional displays. The robotic head is connected to a large language model, allowing it to engage in sophisticated conversations while demonstrating extensive knowledge across a wide range of topics. Furhat can also be customized with accessories such as wigs and hats, providing a simple yet effective form of robot enhancement that further expands its expressive capabilities. Further information is available at icsr2026.uk.
The 18th International Conference on Social Robotics (ICSR + Art 2026) took place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to explore the latest advances in social robotics. Among the many impressive humanoid robots on display, both Euclid and Ameca attracted considerable attention, each representing a very different approach to humanoid robotics. While Euclid demonstrated what can be achieved through an innovative low-budget development approach, Ameca showcased the capabilities of a highly sophisticated commercial platform. Developed by the British company Engineered Arts, Ameca is an advanced humanoid robot designed primarily for research into human–robot interaction. Equipped with an artificial intelligence system and 27 facial and motion actuators, it is capable of remarkably lifelike facial expressions and gestures. Ameca comes pre-programmed with more than 50 realistic facial expressions, allowing it to convey a broad spectrum of natural human emotions. Through Engineered Arts‘ web-based Tritium platform, every degree of freedom of its eyes, mouth, eyebrows, and cheeks can be individually customized and fine-tuned, enabling an extraordinary level of expressive precision. Although intended primarily as a stationary platform, Ameca was undoubtedly one of the highlights of ICSR 2026, drawing crowds throughout the conference in the entrance hall of Senate House. Visitors eagerly lined up to take photographs, capturing moments in which the robot appeared face-to-face with people or turned toward them with what seemed like genuine curiosity and openness. Occasionally, Ameca developed a slight cross-eyed gaze, an endearing imperfection that made it seem even more approachable. Its neutral skin tone and deliberately androgynous appearance resist conventional categories of identity, yet with relatively simple enhancements such as a wig or makeup, it could easily be transformed to present a distinctly male or female appearance. Further information is available at icsr2026.uk.
The 18th International Conference on Social Robotics (ICSR + Art 2026) took place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to explore the latest advances in social robotics. Hosted by Hooman Samani and Saina Akhond from the University of the Arts London, the conference welcomed around 350 participants who presented their latest research in the main track and special sessions while engaging in lively discussions with both humans and robots in the Debate Room. Teams also competed in the Grand Challenge, showcasing innovative concepts and working prototypes that demonstrated the future potential of social robotics. A series of inspiring keynote presentations explored emerging technologies as well as important methodological questions shaping the field, while robot performances and a memorable robot dance featuring Silke Grabinger added an artistic dimension to the event. Throughout the conference, attendees had the opportunity to meet an impressive range of social robots, including Furhat, Ameca, Euclid, LOVOT, and Mirumi. Furhat and Ameca represented highly expressive humanoid platforms capable of remarkably lifelike interactions, while Euclid attracted particular attention as an open-source humanoid robot built for only a few hundred dollars, proving that affordable hardware can compete with well-known androids such as Sophia and Erika. In contrast, Lovot and Mirumi showcased the softer side of social robotics. Mirumi, a small furry wearable companion robot, charmed visitors with its ability to cling to the handle of a handbag using its tiny arms and is expected to appear soon in pop-up stores, particularly targeting girls and women. On the third evening, after a thought-provoking panel discussion and another series of robot performances, enthusiastic participants left the illuminated Senate House inspired by several days of groundbreaking research, creative collaboration, and a shared vision of how humans and robots will shape the future together. Further information is available at icsr2026.uk.
The 18th International Conference on Social Robotics (ICSR + Art 2026) is currently taking place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to explore the latest developments in social robotics. Among the highlights of the second conference day was a live demonstration of Euclid, an advanced humanoid robot developed by Dr. Carl Strathearn, Assistant Professor of Computer Science, and Emilia Sobolewska. Strathearn’s work focuses on developing autonomous humanoid robots powered by artificial intelligence that look, behave, and interact in ways that closely resemble humans. Creating lifelike humanoid robots is particularly valuable because the human face remains the most natural interface for communication, emotional expression, and learning. By replicating these familiar conditions, researchers can make AI technologies more intuitive and accessible for people from a wide range of backgrounds, ages, and abilities. Euclid embodies this vision as a fully autonomous social robot equipped with automatic speech recognition, computer vision, generative AI, skin sensors, and a unique robotic mouth that uses machine learning to generate realistic visemes for speech. The robot has been specifically designed for social and assistive interactions with older adults, where natural communication and trust are essential. What makes Euclid especially remarkable, however, is its appearance. While many well-known female humanoid robots, such as Sophia, Erika, and Harmony, feature smooth, almost flawless faces that reflect conventional beauty stereotypes, Euclid deliberately takes a different approach. The robot realistically portrays the deeply lined facial features and weathered skin of an older man. This design choice is both technically demanding and artistically sophisticated, demonstrating that age, character, and authenticity can be just as aesthetically compelling as youthful perfection. In doing so, Euclid challenges established conventions in humanoid robot design while presenting a more diverse and human-centered vision of social robotics. At the ICSR, scientists had the opportunity to talk with Euclid and ask him about his identity and charisma. Further information is available at icsr2026.uk.
Fig.: Oliver Bendel in conversation with Euclid (Photo: Nihan Karataş)
The 18th International Conference on Social Robotics (ICSR + Art 2026) is currently taking place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to explore the latest developments in social robotics. The conference serves as an international platform for exchanging ideas on how intelligent systems can better understand, interact with, and support people in everyday life. On the second day of the conference, Sahan Hatemo, a student at the FHNW School of Computer Science, presented the paper „Reading Between the Laughs: A Human-Referenced Audio Evaluation of MLLMs for Social Robotics“, co-authored with Dr. Katharina Kühne (University of Potsdam) and Prof. Dr. Oliver Bendel (FHNW School of Business). The study investigates whether today’s leading multimodal large language models (MLLMs) can distinguish authentic from non-authentic laughter using audio signals alone. As laughter is an important social cue, the ability to recognize its authenticity could significantly improve how robots and AI systems communicate with people in social settings. The researchers found notable differences in how the evaluated AI models interpreted laughter. OpenAI models showed a clear tendency to classify most laughter as genuine, while Gemini models were generally more skeptical in their assessments. Despite these contrasting biases, several models performed significantly better than chance, with Gemini 2.5 Pro achieving the strongest overall performance. A closer analysis also revealed qualitative differences in the models‘ decision-making. Less capable models appeared to rely on superficial acoustic features, such as pitch, and were more likely to classify higher-pitched laughter as less authentic. In contrast, the best-performing model seemed to focus on more sophisticated aspects of voice quality, indicating a deeper understanding of the characteristics that distinguish genuine from non-authentic laughter. The findings demonstrate the growing potential of multimodal AI for social robotics. As robots increasingly become part of everyday environments, the ability to accurately interpret subtle social signals such as laughter could play a crucial role in fostering trust, improving communication, and strengthening human-robot relationships. Further information is available at icsr2026.uk.
The 18th International Conference on Social Robotics (ICSR + Art 2026) is currently taking place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to discuss the latest advances in social robotics. One of the conference formats is a series of debates held in the Debate Hall of Senate House. On the second day, attendees had the opportunity to engage with Euclid, an android developed by Carl Strathearn and Emilia Sobolewska, as part of the session „Innovation Through Creation: The Case for Building Our Own Social Robots for HRI Research“. Euclid is a fully autonomous social robot equipped with automatic speech recognition, computer vision, generative AI, skin sensors, and a robotic mouth that uses machine learning to generate realistic visemes. Designed for social and assistive interactions with older adults, the android demonstrated how advances in artificial intelligence and robotics are enabling increasingly natural human-robot communication while providing a compelling platform for human-robot interaction research. Further information is available at icsr2026.uk and www.carlstrathearn.co.uk.
Fig.: Oliver Bendel and Euclid at ICSR + Art 2026 (Photo: Nihan Karataş)
The 18th International Conference on Social Robotics (ICSR + Art 2026) is currently taking place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to discuss the latest advances in social robotics. The evening program on the first day of the conference opened with the premiere performance of QUANTWIN by artist Silke Grabinger. The work explores the idea of twins, inspired by Grabinger’s own unborn twin sibling, through an immersive digital twin embodied in a soft robotic entity that interacts with the performer. Rather than creating a perfect copy of oneself, QUANTWIN examines the encounter with the “Other” and the emergence of new hybrid identities. Drawing on the many-worlds interpretation of quantum physics, the performance presents the robotic twin as a possible expression of an alternative reality, inviting the audience to reflect on identity, technology, and human-machine relationships. The premiere demonstrated how art, robotics, and philosophy can come together to open new perspectives on social robotics. Further information is available at icsr2026.uk and www.silkegrabinger.com.
The 18th International Conference on Social Robotics (ICSR + Art 2026) is currently taking place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to discuss the latest advances in social robotics. On the second day of the conference, researchers presented their latest work during the poster session, including Oliver Bendel’s paper „Kiss Me More: Artificial Lips for Intimate Encounters“. The title is a tribute to Doja Cat’s hit „Kiss Me More“, reflecting the paper’s focus on technology-mediated intimacy. The paper introduces the concept of the KissMachine, a next-generation telekissing device with artificial lips designed to enable more intimate remote interactions while addressing the technical, social, and ethical challenges of such technology. It also pays tribute to the Kissenger, invented by Hooman Samani in 2012, one of the pioneering telekissing systems that inspired subsequent research in this field. The exchange between Bendel and Samani highlighted both the evolution of telekissing technology over the past decade and the continuing interest in human-centered approaches to social robotics. Further information is available at icsr2026.uk.
Fig.: Oliver Bendel and Hooman Samani at ICSR 2026
The 18th International Conference on Social Robotics (ICSR + Art 2026) is currently taking place in London from July 1–4, bringing together researchers, academics, and industry professionals from around the world to discuss the latest advances in social robotics. On the second day of the conference, the CEO of Yukai Engineering introduced Mirumi, a wearable social robot designed to create small moments of emotional connection in everyday life. Covered in soft artificial fur, Mirumi clings to a bag strap with its arms and accompanies its owner, turning its head with a shy, curious expression when it hears sounds, is touched, or sometimes simply on its own. Rather than offering practical functions, it encourages spontaneous social interactions and often brings smiles to people nearby. Unlike rigid-bodied robots, Mirumi belongs to a new generation of soft robots, similar to Cupboo AI Robotic Pet, combining plush-like materials with expressive behavior. It can respond to sounds but does not understand speech or recognize words, demonstrating how simple, nonverbal interactions can strengthen human relationships. The live demonstration attracted considerable interest and highlighted the growing role of soft robotics in social robotics research. Further information is available at icsr2026.uk.
The 18th International Conference on Social Robotics (ICSR + Art 2026) is currently taking place from July 1–4, 2026, bringing together researchers, academics, and industry professionals from around the world to discuss the latest advances in social robotics. As the leading international forum in the field, ICSR features a broad range of presentations and demonstrations. On the first day of the conference, the ICSR Grand Challenge presentations, including optional demonstrations, took place in the Debate Hall. One of the standout projects was Labububot, presented by Miranda Li and developed by Miranda Li, Jake Read, Dimitar Dimitrov, and Cynthia Breazeal at the Massachusetts Institute of Technology. Instead of following the familiar approach of designing social robots to be cute, friendly, and emotionally unambiguous, Labububot embraces monster theory and deliberately explores the productive potential of the uncanny. The project argues that robots capable of provoking curiosity, discomfort, or surprise may ultimately foster deeper and more authentic long-term engagement than those designed solely to reassure. From the perspective of Oliver Bendel’s robot classification, Labububot can be regarded as a mythomorphic robot. It consists of twelve monster figures and also belongs to the category of soft robots, although it incorporates rigid structural elements. By combining unconventional design with references to popular culture and fashion, Labububot has become one of the most memorable projects presented during the Grand Challenge on the opening day of ICSR + Art 2026. Further information about the conference is available at ICSR 2026, while technical details about Labububot can be found in the project’s GitHub repository.
Fig.: Oliver Bendel with Labububot (Photo: Stephan Vonschallen)
