A Delicate Balance: New Aesthetics of Coexistence in Robotics, AI, Art, and Creativity from Giuseppe Di Morabito to Roberto Pugliese

By Valentina Gioia Levy

As Milan Fashion Week draws to a close, one of the most talked-about shows was undoubtedly that of Giuseppe Di Morabito. His latest collection masterfully balanced fluid, organic silhouettes with striking metallic elements, including corsets and bustiers crafted from polished tin, alongside metallic floral brooches and jewelry. This interplay between nature and artificiality set the stage for an even greater surprise—the appearance of Ameca, the world's most advanced humanoid robot, capable of displaying astonishing, albeit pre-programmed, emotions.

Throughout the show, models paraded past Ameca, who observed them with what seemed to be genuine curiosity. The grand finale featured model Yasmin Wijnaldum approaching the humanoid and mirroring its gestures and expressions, creating a mesmerizing dialogue between human and machine. Enhanced with artificial intelligence and an unparalleled capacity for human-like expression, Ameca represents the latest and most sophisticated generation of robotics. Its presence in Di Morabito’s show serves as a striking reminder of how AI, machine learning, and robotics are increasingly infiltrating creative domains.

The incorporation of technology as both an artistic medium and a subject of inquiry is not a recent phenomenon. Avant-garde movements were among the first to explore the intersection of art and technology, and throughout the 20th century—especially from Nam June Paik onward—artists have continually engaged with these themes. In fashion, one of the most unforgettable instances occurred in 1999, when Alexander McQueen’s show concluded with an iconic scene: model Shalom Harlow spinning in a white tulle dress as robotic arms dramatically spray-painted it.

However, in recent years, the emergence of increasingly human-like technologies has introduced a new layer of complexity that transcends the traditional discourse on technology as a mere tool. Rather than focusing solely on automation or augmentation, it compels a deeper reflection on our evolving interactions with AI. Moving beyond the simplistic notion of machines replacing human labor, the discussion now revolves around the nature of human-machine collaboration and coexistence.

Despite ongoing debates about the potential for AI to replace human roles—sparking a mix of fear, curiosity, horror, and excitement—it is undeniable that technology will play a pivotal role in shaping the future. As digital artist Refik Anadol once stated, technology is neither inherently good nor bad; it only becomes harmful in the wrong hands. This perspective raises pressing questions about the future of human-machine relationships and the delicate balance between the organic and the artificial—a dynamic that has been evolving since the dawn of the Industrial Revolution.

Meanwhile, in Naples, artist Roberto Pugliese recently unveiled his latest installation, Industrial Equilibrium, at the Church of San Severo al Pendino. Known for his exploration of sound in the visual arts, Pugliese frequently examines the intersection of art and technology. His new work, supported by various public and private partners, including Kawasaki, orchestrates a dynamic interaction between two robotic arms. By manipulating a microphone and a speaker, Pugliese generates an acoustic feedback loop—commonly known as the Larsen effect—which, in turn, influences the robots’ movements through an AI-powered software of his own design.

Pugliese’s installation offers a poetic meditation on the coexistence of human and robotic presences, particularly within a historical and baroque environment. The juxtaposition of the fluid, organic ornamentation of the Baroque church with the mechanical precision of robotic arms creates a striking visual and conceptual tension. This interaction highlights the broader dialogue between past and future, between the human craftsmanship of historical heritage and the calculated, automated precision of contemporary technology. It raises the question: does the essence of artistic expression lie solely in human intention, or can technology, when properly orchestrated, exhibit its own form of creative agency?

Through this lens, Industrial Equilibrium is more than just a technological experiment; it is a deeply philosophical reflection on the nature of coexistence. Rather than presenting human creativity and robotic automation as opposing forces, the work suggests they may evolve into a symbiotic relationship—one where mechanical precision and organic aesthetics exist in a harmonious yet thought-provoking equilibrium. This interplay mirrors the ongoing negotiation between tradition and innovation, prompting critical discussions on the role of artificial intelligence not only in industry but also in cultural and artistic heritage.

Roberto Pugliese, Industrial Equilibrium, robotic arms, microphone, speaker, audio system, computer, software, 2024. Photo by Antonio Battiniello.