Die Robophilosophy ist neben der ICSR die vielleicht wichtigste Konferenz, wenn es um philosophische und soziale Aspekte in der Sozialen Robotik geht. Der Begriff der Roboterphilosophie wird unterschiedlich verstanden. Während die Organisatoren ihn auf die Soziale Robotik beziehen, hat ihn Oliver Bendel – Technikphilosoph und Betreiber der Plattform robophilosophy.com – gegenüber der Robotik insgesamt geöffnet, bezieht also z.B. auch ontologische, ästhetische und ethische Aspekte der Industrierobotik und der Servicerobotik mit ein. Die Robophilosophy ist eine Biennale, die zuletzt in Aarhus und Helsinki stattfand. Dieses Mal trifft man sich vom 11. bis 14. August 2026 in Dublin. Am Nachmittag des ersten Tags wird Session 2 zu „Environmental Robotics and Society“ durchgeführt, mit Oliver Bendel als Chair. Janko Munjić referiert zum Thema „Posthuman Victims in the Anthropocene: Environmental Social Robots, Layered Harm, and the Edges of Criminal Law“. Oliver Bendel selbst hält den Vortrag „Towards a Discipline of Animal-Machine Interaction: Ethical and Design Challenges of Machines in Animal Habitats“. Es folgen Catherine F. Botha mit „Ecobots and Ecological Capabilities: Ethical Reflections on Robots as Functional Ecological Agents“ und Ghulam E. Mustafa Abro and Johanna Seibt mit „Aerial Robotics in Society: Energy, Ethics, and Accountability for Sustainable Monitoring“. Parallel findet Session 1 zu „Responsible Technology Development“ statt, mit Sun Park als Chair. Zu den Vortragenden gehört Katharina Kühne, die das Paper „No Red Romance for Robots? Investigating the Red Attraction Effect in Humanlike Robots“ von E. L. M. Waller, Diana P. Edenburger, Oliver Bendel, Martin H. Fischer und Katharina Kühne vorstellt.
Die Daimler und Benz Stiftung feierte am 24. Juli 2026 das Jubiläum ihres 40-jährigen Bestehens. Die Gäste strömten auf das Areal beim Carl-Benz-Haus in Ladenburg. Die Darstellerin Angela Pfenninger stieg als Bertha Benz in den Benz Patent-Motorwagen Nummer 3. Der Fotograf Jessen Oestergaard drückte ständig auf den Auslöser. Vorstand Prof. Dr. Lutz Gade ging in seinem Vortrag auf die Geschichte der Stiftung ein. Dabei hob er eine Tagung zur Roboterethik (und zur Maschinenethik) hervor, die am 24. November 2015 in Berlin stattgefunden hatte. Eingeladen hatten Cologne Center for Ethics, Rights, Economics and Social Sciences of Health (ceres) und Daimler und Benz Stiftung. Vor dem eigentlichen Programm mit Beginn um 10 Uhr wurde eine Pressekonferenz mit Prof. Dr. Eckard Minx, Prof. Dr. Christiane Woopen, Prof. Dr. Alin Albu-Schäffer und Prof. Dr. Oliver Bendel abgehalten. Im Karl-Storz-Besucher- und Schulungszentrum begann dann der wissenschaftliche Marathon. Minx begrüßte und eröffnete, Woopen führte ein, nicht in ihrer damaligen Funktion als Vorsitzende des Ethikrats, sondern als Leiterin von ceres. Die Grundlagen autonomer Systeme erklärte Albu-Schäffer in seinem Vortrag „Autonomie und Kognition für menschzentrierte Robotik“. Mit „Autonome Systeme und die Selbstbestimmung des Menschen“ war der nächste Komplex betitelt. „Roboterlernen ohne Grenzen?“ von Prof. Dr. Jochen Steil schuf weitere Grundlagen. Dann ging es tief in die Maschinenethik hinein. Bendel referierte über „Die Moral in der Maschine“, wobei er die Designstudien CLEANINGFISH und LADYBIRD und den Prototyp GOODBOT vorstellte, Prof. Dr. Catrin Misselhorn über „Maschinen mit Moral? Theoretische Grundlagen und eine Roadmap für autonome Assistenzsysteme in der Pflege“. Nach der Mittagspause waren Prof. Dr. Hartmut Hirsch-Kreinsen und Prof. Dr. Johannes Weyer an der Reihe. Prof. Dr. Norbert Lammert, damaliger Bundestagspräsident, sprach zur Rolle der Politik, wetterte gegen die Verwendung des Begriffs der Autonomie in den Technikwissenschaften und missverstand damit deren Autonomie bei der Begriffsbildung. Christiane Woopen rundete mit ihrem Schlusswort die Veranstaltung ab. Der Fotograf Matti Hillig war pausenlos umhergeeilt, um die schönsten Bilder einzufangen. All dies hatten diejenigen in Ladenburg wieder vor dem geistigen Auge, die vor elf Jahren in Berlin dabei gewesen waren und nun nach dem Vortrag von Gade begeistert applaudierten.
Abb.: Prof. Dr. Lutz Gade bei seinem Vortrag (Foto: Daimler und Benz Stiftung/Oestergaard)
The ACI 2026 International Conference will take place from December 2–5, 2026, on the FHNW campus in Brugg-Windisch, Switzerland, marking the first time the event is held in continental Europe. Registration is now open, with Early Bird rates available until September 30, 2026. The conference continues a tradition that has brought the Animal-Computer Interaction community to Glasgow, North Carolina, Newcastle, Bloomington, Milton Keynes, Haifa, and Atlanta, reinforcing its position as a leading venue for research at the intersection of animals and technology. As the field continues to grow, researchers and practitioners explore how technology shapes animals’ lives, welfare, cognition, and social dynamics while developing animal-centered systems and methods that embrace multispecies perspectives. The conference maintains its commitment to interdisciplinary collaboration across biology, technology, and cultural studies, supporting work that seeks to design ethically grounded, welfare-enhancing, and inclusive technological futures for all animals, humans included. ACI 2026 also features a Special Issue on Animal-Machine Interaction. The proceedings will be published in the ACM library. The conference will be hosted by Prof. Dr. Oliver Bendel, FHNW School of Business.
Fig.: At Campus Brugg-Windisch (Photo: Pati Grabowicz)
The University of Potsdam (PECoG) reports on Dr. Katharina Kühne’s presentations at ICSR + Art 2026 in London: „At the International Conference on Social Robotics (ICSR) in London, Dr. Katharina Kühne presented research on the perception of AI-generated art. The study was conducted in collaboration with Prof. Dominic Thompson (University of Nottingham) and Prof. Christoph Scheepers (University of Glasgow), sparking engaging discussions about creativity, perception, and the role of generative AI in society.“ (PECoG News) And further: „PECoG was also represented by Prof. Dr. Oliver Bendel (FHNW School of Business, Windisch, Switzerland), his brilliant student Sahan Hatemo, and Dr. Katharina Kühne, who presented their research on the recognition of authentic laughter by large language models (LLMs). The project explores the capabilities and limitations of LLMs in recognizing subtle social and emotional cues, contributing to our understanding of AI’s potential for social cognition.“ (PECoG News) Sahan Hatemo is the first author of the paper titled „Reading between the Laughs: A Human-Referenced Audio Evaluation of MLLMs for Social Robotics“. Oliver Bendel had served as the co-supervisor for Katharina Kühne’s doctoral dissertation and has been an associate researcher at PECoG since 2022. The article was published in July 2027 and can be accessed at www.uni-potsdam.de/en/pecog/news.
The 19th International Conference on Social Robotics (ICSR + Health 2027) will take place in July 2027 in Potsdam, Germany. ICSR is the leading international forum that brings together researchers, academics, and industry professionals from across disciplines to advance the field of social robotics. Hosted by the University of Potsdam, ICSR + Health 2027 will provide an international platform for scientific exchange, interdisciplinary collaboration, and innovation at the intersection of social robotics and health. The conference welcomes researchers, practitioners, industry partners, and students from around the world working in areas such as social robotics, embodied AI, human–robot interaction, cognitive science, healthcare, psychology, rehabilitation, design, ethics, and related disciplines. Participants will have opportunities to present their research, propose workshops or symposia, take part in the Grand Challenge, volunteer, or support the conference as sponsors. The General Chairs are Katharina Kühne of the University of Potsdam and the Potsdam Embodied Cognition Group (PECoG), Ilona Buchem of Berlin University of Applied Sciences (BHT), and Oliver Bendel of the FHNW School of Business (also associated researcher at the PECoG). The General Co-Chair is John-John Cabibihan of Qatar University. Further information, including calls for papers, workshops, the Grand Challenge, volunteering opportunities, sponsorship packages, registration details, and the exact conference dates, will be announced on the conference website: icsr2027.org.
Fig.: At the Neues Palais in Potsdam (Photo: Karla Fritze)
Die General Chairs der ICSR + Art 2026 vom 1. bis 4. Juli in London waren Hooman Samani und Saina Akhond, beide von der University of the Arts London, mit John-John Cabibihan, Qatar University, als General Co-Chair. Oliver Bendel hatte unterschiedliche Funktionen inne. In der einjährigen Zeit der Vorbereitung fungierte er als Publicity Chair. Er verfasste Basistexte zu wichtigen Ereignissen, die dann als Posts in seinen Blogs verwendet und vom Social Media Chair, Nihan Karataş, zu geeigneten Texten für die sozialen Medien transformiert wurden. Bei der Session 18 mit dem Titel „Identity, Narratives & Power“ am dritten Tag war er Chair zusammen mit Neziha Akalin. Bei der Design Grand Challenge und der Art Grand Challenge war er Mitglied der Jury, zusammen mit Pramidan Caleb-Solly, Alessandra Sorrentino, Sarah Shelby und Heather Knight. Als Wissenschaftler stellte er sein Paper „Kiss Me More: Artificial Lips for Intimate Encounters“ vor und war Drittautor des Papers „Reading Between the Laughs: A Human-Referenced Audio Evaluation of MLLMs for Social Robotics“ seines Data-Science-Studenten Sahan Hatemo und seiner ehemaligen Doktorandin Katharina Kühne. Ein Booklet der führenden Konferenz zur Sozialen Robotik verzeichnet alle Engagements, Events und Talks. Bei der ICSR + Art 2027 in Potsdam ist Oliver Bendel General Chair neben Katharina Kühne und Ilona Buchem.
Abb.: Oliver Bendel bei der ICSR + Art 2026 mit Ameca
Hosting ICSR + AI 2025 at the University of Naples Parthenope’s campus in the Centro Direzionale and ICSR + Art 2026 at London’s Senate House offers an intriguing architectural juxtaposition. The Parthenope building reflects the late twentieth century’s fascination with technology, functionality, and verticality. Its exposed structural elements, metallic cladding, and dramatic symmetry embody the modernist vision of Naples‘ business district, creating an atmosphere that is distinctly contemporary and forward-looking. In contrast, Senate House, completed in 1937, is one of London’s finest examples of Art Deco monumentalism. Designed by Charles Holden, its clean limestone façades, carefully proportioned massing, and restrained ornament express dignity, permanence, and institutional authority. While both buildings share a striking vertical emphasis and a commanding presence within their respective urban settings, they represent different architectural ideals. The Parthenope campus celebrates innovation and technological expression, whereas Senate House conveys intellectual tradition through timeless geometric order and classical monumentality interpreted in a modern idiom. Although the conference venues were, of course, chosen because they are university buildings rather than for their architectural symbolism, it is nevertheless an appealing coincidence that the futuristic setting of ICSR + AI 2025 is followed by the artistic and historic character of Senate House for ICSR + Art 2026. Together, the two venues provide memorable settings for consecutive ICSR conferences, illustrating how academic exchange can unfold in environments that reflect very different architectural visions.
Beim University:Future Festival 2026 hat Stefanie Hauske, Head of Digital Skills Academy an der ZHAW Zürcher Hochschule für Angewandte Wissenschaften, den Vortrag „Digital Skills Academy: Digitale Kompetenzen für den Hochschulalltag“ gehalten. Laut der Referentin verändert digitale Transformation die Arbeit an Hochschulen grundlegend, insbesondere für Mitarbeiter in der Verwaltung. Der Bedarf an Qualifizierung und Orientierung im digitalen Arbeitsalltag sei hoch, die Nachfrage nach Lernangeboten entsprechend groß. Gleichzeitig sei digitale Kompetenzentwicklung für Mitarbeiter häufig kein fest verankerter Bestandteil der Personalentwicklung: Angebote fokussierten auf Lehre, Forschung oder Führung. Der Input ging der Frage nach, wie digitale Kompetenzentwicklung unter diesen Bedingungen dennoch gelingen kann. Am Beispiel der Digital Skills Academy der ZHAW wurde gezeigt, wie Lernangebote für Hochschulmitarbeiter aufgebaut werden können und welche typischen Herausforderungen dabei sichtbar werden. Im Fokus standen übertragbare Gestaltungsprinzipien für lernförderliche und skalierbare Formate sowie die Frage, wie Legitimität, Sichtbarkeit und Dringlichkeit auch ohne formalen Top-down-Auftrag entstehen können. Die sechste Ausgabe des University:Future Festivals fand vom 22. bis zum 24. Juni 2026 unter dem Motto „Under Pressure“ statt. Man traf sich online – Stefanie Hauske war von Zürich aus zugeschaltet – sowie vor Ort in Berlin, Braunschweig, Essen, Graz, Hamburg und Nürnberg. Das University:Future Festival (U:FF) ist nach eigenen Angaben die größte Veranstaltung zur (digitalen) Zukunft der akademischen Bildung. Themen sind unter anderem KI, Future Skills, Didaktik und Strategieprozesse. Den Teilnehmern wurde ein Programm mit etwa 280 Beiträgen von rund 550 Speakern geboten. Das University:Future Festival ist eine Kooperation zwischen Hochschulforum Digitalisierung, Stiftung Innovation in der Hochschullehre und Stifterverband. Das Video kann seit Juli 2026 über www.youtube.com/watch?v=uJ6Tfzg9nIA aufgerufen werden.
„Nachrückende Generationen“ von Oliver Bendel wurde 2006 geschrieben und 2007 im Leipziger Literaturverlag (Edition ERATA) veröffentlicht. Es ist sozusagen ein Roman über die Generation Y, fast schon die Generation Z. Es tauchen darin mehr oder weniger moderne Phänomene auf, die auch in der Informationsethik behandelt werden, etwa Cyber- und Telefonsex. Der Roman wird dabei an keiner Stelle moralisch, so wie auch die Ethik nicht moralisch werden sollte, außer wenn man aus ihr heraus zur Diskussion anregen und deshalb Position beziehen will. Aus dem Klappentext: „Nelli ist 14. Sie und ihre Freundin Sara gehen ins Café, ins Kino, klauen in einer Boutique. Sie haben Cyber- und Telefonsex, langweilen sich auf Partys und begehen beinahe einen Raubüberfall auf offener Straße. Als Nelli den gleichaltrigen Robert kennenlernt, spürt sie so etwas wie Glück – aber zur gleichen Zeit entgleitet ihr das Leben. Sie und Sara verabreden sich im Chat mit einem Mann, der sie zu Hause fast vergewaltigt. Als Nelli schließlich Robert Gewalt antut, scheint dies für beide das Ende zu sein. Und doch geht es irgendwie weiter, ganz anders, als man vermutet.“ Das Buch ist als Printausgabe vergriffen, kann aber als E-Book über die üblichen Kanäle bezogen werden. Als Hörbuch wurde es von einem Tatort-Schauspieler eingesprochen – dieses Format dürfte allerdings vergriffen sein. 2008 folgte im gleichen Verlag „Künstliche Kreaturen“, 2009 „Verlorene Schwestern“.
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)
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)
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
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.
