As Publicity Chair of ICSR + Art 2026, Oliver Bendel had the opportunity on the third evening to choose between two gifts, one larger and one smaller. Since he had traveled to London with only carry-on luggage, he opted for the smaller one. When he unpacked the cardboard box back home in Zurich, out popped a little bear. Pressing its stubby tail causes it to blow air through its mouth. In this way, it can cool down hot drinks and hot soups. The philosopher of technology tried it out on his terrace. The little bear blew what seemed like a hole right into his coffee. Its name is, by the way, Nekojita FuFu, and it is – like Qoobo and Mirumi – from Yukai Engineering. The Berlin Bear is the heraldic animal of Berlin and has adorned the city’s coat of arms for centuries. Just outside Germany’s capital lies Potsdam. The city is best known for its magnificent palaces, beautiful gardens, and its important role in German and European history. It is home to the University of Potsdam as well as several renowned research institutions, including the Max Planck Institute for Gravitational Physics. About 6 kilometers outhwest of Potsdam, in the village of Caputh (part of the municipality of Schwielowsee), stands the Einstein House. The famous physicist had this modest wooden house built in 1929 based on plans by the architect Konrad Wachsmann. Einstein and his family spent their summers there, and he worked there until the end of 1932. The University of Potsdam will host ICSR + Health 2027, where Dr. Katharina Kühne and the Potsdam Embodied Cognition Group (PECoG) will welcome the community with open arms. Incidentally, Potsdam’s coat of arms features a red eagle on a silver field.
Fig.: The bear creates a dent in the coffee by blowing on it
Registration for the 11th International Congress on Love and Sex with Robots (LSR 2026) is now open. Building on a conference series that began in 2011 and has helped establish the academic study of human-robot intimacy as an interdisciplinary field, LSR 2026 will take place on August 21–22 at the Université du Québec à Montréal (UQAM), with sessions hosted in the Pavillon J.A. DeSève in Montreal’s Latin Quarter. The conference is organized by Dr. Simon Dubé (Kinsey Institute, Indiana University Bloomington), Dr. David Levy, founder of the conference series, and Bobbi Bidochka (imagine ideation). The keynote speakers are Ellen M. Kaufman (Kinsey Institute, Indiana University Bloomington), Charlotte Poitras (multidisciplinary artist), and Valerie A. Lapointe (Université du Québec à Montréal), whose work spans informatics, psychology, media, and emerging technologies related to intimacy and AI. Further information on registration, the program, submissions, travel, and accommodation is available on the official conference website: www.lovewithrobots.com.
In 1977, Queen released the album „News of the World“. It included catchy hits like „We Are the Champions“ by Freddie Mercury and heartfelt ballads like „All Dead, All Dead“ by Brian May. 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“
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.
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.
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) 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)
On July 1, 2026, the 18th International Conference on Social Robotics (ICSR + Art 2026) officially opened in London. Participants were welcomed by the General Chairs, Hooman Samani and Saina Akhond of the University of the Arts London, as well as by several robots, including the humanoid robot Ameca and the companion robot Lovot. Following registration and breakfast, the conference immediately moved into its scientific program with several parallel sessions. The Main Track Papers were presented in Conference Hall 1 (Beveridge Hall), while Special Sessions took place in Conference Hall 2 (Chancellor’s Hall). At the same time, authors of Short Papers introduced their work during the Teaser Talks in the Debate Hall (Senate Room). Held from July 1–4, 2026, ICSR is the leading international forum for researchers, academics, and industry professionals working in the field of social robotics. This year’s edition places a special emphasis on the intersection of social robotics and the arts, highlighting artistic and creative applications of robotic technologies. In addition to the technical program, the conference features the Robot Fringe Festival, the Grand Challenge, artistic performances, industry events, and numerous opportunities for networking and collaboration with leading researchers and practitioners from around the world. Further information is available at icsr2026.uk.
The 18th International Conference on Social Robotics (ICSR + Art 2026) will take place from 1–4 July 2026. ICSR is the leading international forum that brings together researchers, academics, and industry professionals from across disciplines to advance the field of social robotics. This year’s conference combines cutting-edge research in social robotics with a unique focus on artistic and creative applications of robotics. The programme features keynote lectures, paper presentations, workshops, special sessions, debates, exhibitions, competitions, and networking opportunities, reflecting both the scientific and cultural dimensions of the field. Hosted at the historic Senate House of the University of London, ICSR + Art 2026 brings together experts from academia, industry, healthcare, design, the arts, and related disciplines. The conference theme highlights how robots can move beyond traditional functional roles to become creative partners and collaborators. At the same time, the event remains open to the full spectrum of social robotics research, including human-robot interaction, artificial intelligence, ethics, education, assistive robotics, and design. On the eve of the conference, anticipation is building for one of the festival’s artistic highlights. The dancer Silke Grabinger is preparing for her performance at 18:00 on 1 July, where she will share the stage with a robot that carries a deeply personal connection to her own past. Participants can look forward to a diverse programme that includes the Robot Fringe Festival, the Grand Challenge, artistic performances, industry events, and opportunities to engage with leading researchers and practitioners from around the world. Further information is available at icsr2026.uk.
Fig.: Silke Grabinger is preparing for her performance
Mirumi ist ein Wearable Social Robot von Yukai Engineering, der nach Angaben des japanischen Unternehmens entwickelt wurde, um kleine Momente emotionaler Verbundenheit zu schaffen. Mit seinen Armen klammert er sich am Taschenriemen oder an anderen Dingen fest. Er begleitet seinen Besitzer und dreht seinen Kopf mit einem schüchternen, neugierigen Blick, wenn er Geräusche wahrnimmt oder berührt wird. Manchmal macht er dies auch ganz von allein. Anstatt praktische Funktionen zu bieten, regt er zu spontanen sozialen Interaktionen an und zaubert oft ein Lächeln auf die Gesichter der Menschen in seiner Umgebung. Mirumi ist ein weicher Roboter, ähnlich wie Cupboo AI Robotic Pet (auch bekannt als Cupboo, Boo Boo und Booboo) und im Gegensatz zu Modellen mit festem Gehäuse wie AIBI oder Eiliko. Mit weichem Kunstfell überzogen, fühlt er sich eher wie ein Plüschtier an als wie eine Maschine. Mirumi kann auf Geräusche reagieren, versteht jedoch keine Sprache und erkennt keine Wörter. Er ist für Benutzer ab 15 Jahren gedacht und soll zeigen, wie einfache, ausdrucksstarke Reaktionen zwischenmenschliche Beziehungen im Alltag fördern können. Ein Demonstrationsvideo ist auf YouTube unter www.youtube.com/watch?v=PEtshGcvtRk zu finden. Weitere Informationen findet man auf der offiziellen Mirumi-Website unter mirumi.tokyo.
Abb.: Ein Model mit Mirumi (Foto: Yukai Engineering)
Wie schmälert man in Texten die Leistung von Mädchen und Frauen? Indem man an der falschen Stelle movierte Formen verwendet. Im Rahmen der Rechtschreibprüfung eines Empfehlungsschreibens schlägt ChatGPT vor, den Satz „Sie gehört zu den Wissenschaftlern ihrer Generation, die das Potenzial besitzen …“ abzuändern in „Sie gehört zu den Wissenschaftlerinnen ihrer Generation, die das Potenzial besitzen …“. Damit wäre sie nicht mehr so herausgehoben wie vorher, und sie dürfte sich nur noch an Frauen messen, nicht an Männern. Auf Seite 20 des Romans „What we can know“ von Ian McEwan steht: „Mary Sheldrake was among the most successful novelists of her generation.“ Dies könnte man übersetzen mit: „Mary Sheldrake gehörte zu den erfolgreichsten Romanautoren ihrer Generation.“ Erstaunlicherweise lautet die Stelle im deutschsprachigen Buch „Was wir wissen können“ (Diogenes) auf Seite 37 aber: „Mary Sheldrake war eine der erfolgreichsten Schriftstellerinnen ihrer Generation.“ Das macht sie unbedeutender, als sie ist – sie ist in ihrer Generation nicht nur unter den professionell schreibenden Frauen eine der erfolgreichsten, sondern unter allen, die professionell schreiben. Grundsätzlich können movierte Formen dieser Art ausschließlich auf weibliche Personen zielen. Sie können nicht generisch sein. Und es ist irreführend bzw. fehlerhaft, sie in der genannten Weise zu verwenden.
Abb.: Das Schmälern der Leistung von Mädchen und Frauen
The 18th International Conference on Social Robotics (ICSR + Art 2026) will take place in London, UK, from 1–4 July 2026. ICSR is the leading international forum that brings together researchers, academics, and industry professionals from across disciplines to advance the field of social robotics. This year’s conference combines cutting-edge research in social robotics with a unique focus on artistic and creative applications of robotics. The programme features keynote lectures, paper presentations, workshops, special sessions, debates, exhibitions, competitions, and networking opportunities, reflecting both the scientific and cultural dimensions of the field. Hosted at the historic Senate House of the University of London, ICSR + Art 2026 brings together experts from academia, industry, healthcare, design, the arts, and related disciplines. The conference theme highlights how robots can move beyond traditional functional roles to become creative partners and collaborators. At the same time, the event remains open to the full spectrum of social robotics research, including human–robot interaction, artificial intelligence, ethics, education, assistive robotics, and design. Participants can look forward to a diverse programme that includes the Robot Fringe Festival, the Grand Challenge, artistic performances, industry events, and opportunities to engage with leading researchers and practitioners from around the world. Please note that the deadline for regular registration is 15 June 2026. Registration details are available at: icsr2026.uk/registration/.
Das Buch „300 Keywords Weltraum“ von Oliver Bendel ist am 28. August 2025 bei Springer Gabler erschienen. Inzwischen gibt es über 11.000 Accesses. Es handelt sich um ein Grundlagenwerk zur Raumfahrt und zum Weltraum. Es enthält zahlreiche Exkurse, etwa zur Weltraumlyrik und zur Weltraumkunst – oder zum mythologischen Hintergrund der Benennung von Himmelkörpern und Galaxien. Damit dringt man auch in die Randbereiche des Weltraums vor. Zentrale Themen, die sich durch das ganze Buch ziehen, sind Ethik, Robotik und Umwelt. In diesen Bereichen ist der Technikphilosoph und Wirtschaftsinformatiker aus Zürich zu Hause. Man kann sich entweder von A wie Anthropozän bis Z wie Zwergplanet durchlesen oder sich einen der über 300 Begriffe aussuchen und von diesem aus weiterspringen. Es ist das sechste „Keywords“-Buch von Oliver Bendel, wobei zwei davon bereits in zweiter Auflage vorliegen, nämlich das zur Informationsethik und das zur Digitalisierung. Zuletzt erschien in dieser Reihe „300 Keywords Generative KI“. Das Buch kann über link.springer.com/book/10.1007/978-3-658-49287-8 heruntergeladen oder bestellt werden. Zudem ist es über den Buchhandel erhältlich.
The 18th International Conference on Social Robotics (ICSR + Art 2026) will take place in London, UK, from 1–4 July 2026. ICSR is the leading international forum that brings together researchers, academics, and industry professionals from across disciplines to advance the field of social robotics. The preliminary programme, now available, offers four days of scientific exchange, artistic exploration, and community building, featuring keynote lectures, paper presentations, special sessions, workshops, debates, a Grand Challenge, exhibitions, and a variety of networking opportunities. Reflecting the conference theme ICSR + Art, the programme highlights the growing intersections between social robotics and creative practice through events such as the Robot Fringe Festival, the Rising Stars in Social Robotics event, the premiere performance of Quantwin by Silke Grabinger, the 1001 Nights with Robots Show, Argos, and the Robot Fashion Show, while also covering the full breadth of contemporary social robotics research. Participants will have opportunities to engage with leading experts from academia, industry, healthcare, design, the arts, and other fields. Full details of the programme are available at icsr2026.uk/programme/.
Die Aktiven Seniorinnen und Senioren Hinwil (ASSH) bieten seit 1994 einen monatlichen Vortrag für die ältere Generation aus Hinwil und Umgebung an. Zu den Referenten gehörten Claude Nicollier, Astronaut und Wissenschaftler, Ulrich Tilgner, Nahostkorrespondent, Franz Hohler, Schriftsteller, und Erich von Däniken, Bestsellerautor. Am 17. Juni 2026 ist Oliver Bendel zu Gast. Im Anmeldeflyer heißt es im Teaser: „Professor Oliver Bendel ist laut Tages-Anzeiger der Schweizer Roboter-Flüsterer. Er erklärt uns, wie Roboter bei uns einziehen werden. Mit hilfreichen Fähigkeiten, aber auch zukünftigen Abhängigkeiten.“ Der Titel des Vortrags lautet „Soziale Roboter, Assistenzroboter und Allzweckroboter“. In seinem Vortrag beleuchtet Prof. Dr. Oliver Bendel die Rolle sozialer Roboter, gegenwärtiger Assistenzroboter und künftiger Allzweckroboter in der Pflege. Anhand zahlreicher aktueller Beispiele aus Forschung und Praxis zeigt er, wie Robotersysteme bereits heute Pflegekräfte unterstützen, Pflegebedürftige aktivieren und bei alltäglichen Aufgaben helfen können. Dabei geht es sowohl um soziale Interaktion und Unterhaltung als auch um konkrete Assistenzleistungen wie Handreichungen, Mobilisierung oder Unterstützung im Pflegealltag. Darüber hinaus widmet sich der Vortrag den ethischen und gesellschaftlichen Fragen, die mit dem Einsatz von KI-gestützten Robotern verbunden sind. Die Anmeldung erfolgt bis zum 12. Juni 2026 über www.hinwil-assh.ch. In seinem Buch „300 Keywords Weltraum“ hatte Oliver Bendel übrigens geschrieben: „Der schweizerische Autor Erich von Däniken nahm … an, dass Stonehenge als Landeplattform für Außerirdische gedient hat, was man als Unsinn bezeichnen darf.“
Vom 1. bis 4. Juli 2026 trifft sich die Community der Sozialen Robotik zur 18th International Conference on Social Robotics (ICSR + ART 2026) in London. Getagt wird im Senate House der University of London, einem der bekanntesten akademischen Gebäude Großbritanniens. Forscher, Entwickler, Künstler und Vertreter der Industrie diskutieren dort aktuelle Entwicklungen und zukünftige Perspektiven sozialer Roboter sowie animaloider, humanoider und mythomorpher Gestaltung. Besonders ist in diesem Jahr die Verbindung von Robotik und Kunst. Neben dem wissenschaftlichen Programm bietet die Konferenz mit Formaten wie der Grand Challenge, dem Robot Fringe, den Debates (die mit dem Debate Room einen exklusiven Ort haben) und einem Industry Day zahlreiche Möglichkeiten für Austausch und Erkenntnisgewinn. Die General Chairs Hooman Samani und Saina Akhond, beide von der University of the Arts London, und ihre Mitstreiter von Hochschulen auf der ganzen Welt setzen damit gezielt auf Interdisziplinarität, Innovation und Diskurs. Weitere Informationen sind über icsr2026.uk verfügbar.
Im Jahre 1977 erschien das Album „News of the World“ von Queen. Das Cover dürfte viele Jugendliche und Erwachsene dieser Zeit beeindruckt oder verstört haben, was auch in der Popkultur aufgegriffen wurde, etwa in der animierten Sitcom „Family Guy“, wo Stewie panische Angst davor hat. Es zeigt einen riesenhaften humanoiden Roboter, der zwei tote Menschen in seiner Rechten hält, während Blut von seiner Linken tropft. Der Science-Fiction-Künstler Frank Kelly Freas hatte ein ähnliches Motiv bereits in einer früheren Arbeit verwendet. Brian May betonte mehrfach, dass „News of the World“ eine bewusste stilistische Neuorientierung der Band war, direkter, roher und moderner. Das Cover passte offensichtlich genau dazu. Der Gitarrist war Science-Fiction ebenso zugetan wie der Realität des Weltraums. 2007 schloss er am Imperial College London nach langer Unterbrechung seine Doktorarbeit über interplanetaren Staub ab. Vor einigen Monaten wurde er für das Buch „RE:VIEW: Wozu die Menschheit retten?“ interviewt. Dieses bietet im ersten Teil umfangreiches Bildmaterial der ESA von der KI-gestützten Planetenschutzmission Hera, ergänzt um Werke der KI-Kunst. Im zweiten Teil wird das KI-System der Hera selbst zum Interviewer und „führt dreißig tiefgreifende Gespräche mit Personen aus Kunst, Wissenschaft, Philosophie und Gesellschaft“ (Verlagsinformation). Neben Brian May, der sich damit sowohl der Science-Fiction als auch der „Space-Reality“ widmen durfte, sind das z.B. die erste Weltraumtouristin Anousheh Ansari, der „Interstellar“-Visionär Paul Franklin, die PETA-Gründerin Ingrid Newkirk, der Ex-Gitarrist von Guns N‘ Roses Ron Bumblefoot Thal, der Science-Fiction-Autor Andreas Eschbach, der Künstler Jonathan Meese und der Technikphilosoph und Maschinenethiker Oliver Bendel. Das Buch wird vom Verlag We Mind Publishing und von der Agentur Jung von Matt umgesetzt, ist bereits bei Amazon verzeichnet und kommt im September 2026 heraus.
Abb.: Das Album erschien im Jahre 1977 (Bild: GPT Image 2)
