In this paper the authors describe the pioneering robot designed by Arcangel Constantini, called the Nanodrizas (2006). Nanodrizas is a cluster of small robots resembling extraterrestrial flying objects. They are introduced into an ecosystem for water recycling, among other effects. The result of a seriocomic robotic device like the Nanodrizas is to make the viewer aware of the specific technology that would one day allow humans to invite machines and artificial life-systems to save an environment that is precariously balanced on the edge.

ABSTRACT The authors identify some of the theoretical premises of biocybernetic art objects, with reference to the works of Nam June Paik, Edward Ihnawitz, Ulrike Gabriel, and most notably, Gilberto Esparza, the Mexican biocybernetic artist. Systems theory anticipates stochastic convergences in nature, defying the classic certitude of the teleological notion of form. Evidence for this paradigmatic shift is found in the biocybernetic creatures conceived by these roboticists. In much biocybernetic art, beauty emerges in the form of adaptive mechanisms, such as in robotic tetrapods or self-organizing artificial plants. Such structures provide a template for survival mechanisms in an increasingly entropic environment.