Half a century since the concept of a cyborg was introduced, digital cyborgs, enabled by the spread of wearable robotics, are the focus of much research in recent times. We introduce JIZAI ARMS, a supernumerary robotic limb system consisting of a wearable base unit with six terminals and detachable robot arms controllable by the wearer. The system was designed to enable social interaction between multiple wearers, such as an exchange of arm(s), and explore possible interactions between digital cyborgs in a cyborg society. This paper describes the JIZAI ARMS’ design process, an interdisciplinary collaboration between human augmentation researchers, product designers, a system architect, and manufacturers, to realize a technically complex system while considering the aesthetics of a digital cyborg. We also provide an autobiographical report of our first impressions of using the JIZAI ARMS and use our findings to speculate on a model of potential social interactions between digital cyborgs.

In this paper, we provide insights into a design approach for non-anthropomorphic robots. The diversity of robot design methods is becoming increasingly important. As the applications of robots become more diverse, how these robots interact with humans is also changing. Focusing specifically on non-anthropomorphic robot designs, we created a spherical robot called “Face on a Globe.” This robot uses a novel and innovative mechanism to smoothly deform and reveal a flat surface that represents an abstract face. We used this mechanism to switch between a pure sphere and a lifelike robot. In the first two studies, we investigated the factors related to the impression of the robot as being “lifelike”. The third study added an autonomous motion that turned the robot's plane to face the direction of a sound. We compared the lifelike impression of this robot with previous iterations. Results demonstrated that the motion gave our robot a stronger lifelike impression. Moreover, we found that even though the lifelike impression of our robot increased with autonomous movements, the contrasting impression of the robot as being “artificial” remained high. Finally, we discuss the possibility of a robot that switches between two forms using a smooth deformation mechanism.

As an industrial designer I have worked in collaboration with various researchers and scientists since the beginning of this century. I have made many prototypes showing the possibility of their leading edge technologies, and exhibited them in these years. As the archives of academic documents and papers have became open, and the internet gave public access to the recordings of various experiments being conducted throughout the world, technology in laboratories are now constantly exposed to the public. In this context, prototypes are becoming more important as the medium that bridges between advanced technology and society. Now a prototype is not merely an experimental machine. It is a device created to present user experience in advance, to share the benefits of the technology with many others. The role of a prototype is not limited to just sharing of values within the development team, but goes beyond that: it is a medium used to voice the significance of research and development to society; an inspiration to stimulate future markets; and also a tool to secure development budgets. A prototype is the physical embodiment of speculative story that connects people to technology that has yet to be brought to society. I would like to introduce some of the prototypes we developed and share the future vision they invoke.

With the advancement of technology, the number of domestic robots used in day-to-day life is expected to increase. We think that it is important for people to perceive animacy in robots in order to develop relationships with them. In this study, we report the proposal and development by our research of a group of five robots shaped like cubes, and equipped with a simple mechanism that allowed them to move in a straight line in order to test certain hypotheses. We showed our group of robots at several exhibitions, where visitors interacted with them. We analyzed how participants' impressions of the robots changed as they began to move. To this end, we used the semantic differential (SD) method in questionnaires. The results revealed that our robot system could convey the impression of being animate to users because of its movement, in spite of its abstract shape and simple mechanism. We also determined that such movement can help improve the relationship between a human user and a robot.

There are body-powered hooks and myoelectric prosthetic hands that trans-radial amputees can use for work. Though the body-powered hooks have good workability for complex operations, the design of the hook is unappealing and the harness is cumbersome. The myoelectric prosthetic hand has a natural appearance similar to the human hand and intuitive operability using a myoelectric control system. However, it is expensive and heavy. Because of these problems associated with prostheses for work, many amputees use cosmetic prostheses. In this paper, we report a lightweight, low-cost electric trans-radial prosthesis with three opposed fingers. A simple mechanism to control the fingers by a linear actuator contributes to its good workability, lightweight, and low-cost. An operation system using an inexpensive distance sensor allows intuitive operability equivalent to the myoelectric control system. A socket makes the prosthesis easily removable. The total weight of the hand and socket is 300 g, and both can be produced with a 3D printer. An evaluation using the Southampton Hand Assessment Procedure (SHAP) demonstrated that an amputee was able to operate abstract objects which require six types of grasps with the developed prosthesis.