scispace - formally typeset
Search or ask a question
Book

アンドロイドは電気羊の夢を見るか? : Do androids dream of electric sheep?

TL;DR: A TURTLE WHICH EXPLORER CAPTAIN COOK GAVE TO THE KING OF TONGA IN 1777 DIED YESTERDAY. It was NEARLY 200 YEARS OLD as mentioned in this paper.
Abstract: A TURTLE WHICH EXPLORER CAPTAIN COOK GAVE TO THE KING OF TONGA IN 1777 DIED YESTERDAY. IT WAS NEARLY 200 YEARS OLD. THE ANIMAL, CALLED TU'IMALILA, DIED AT THE ROYAL PALACE GROUND IN THE TONGAN CAPITAL OF NUKU, ALOFA. THE PEOPLE OF TONGA REGARDED THE ANIMAL AS A CHIEF AND SPECIAL KEEPERS WERE APPOINTED TO LOOK AFTER IT. IT WAS BLINDED IN A BUSH FIRE A FEW YEARS AGO. TONGA RADIO SAID TU'IMALILA'S CARCASS WOULD BE SENT TO THE AUCKLAND MUSEUM IN NEW ZEALAND.
Citations
More filters
01 Jan 2013
TL;DR: The authors examined how the memories of the 1945 nuclear attack on Hiroshima has been reposed and performed in modern fiction and argued that the memory of Hiroshima and the wealth of nuclear science fiction made the non-event familiar.
Abstract: The aim of this paper is to examine how the memories of the 1945 nuclear attack on Hiroshima has been reposed and performed in modern fiction. Although Jacques Derrida termed nuclear war a ‘non-event’, I argue that the memory of Hiroshima and the wealth of nuclear science fiction made the ‘non-event’ familiar. This article offers a fresh interpretation of nuclear history with reference to how nuclear concerns have significantly influenced literature and presented an understanding of the ‘non-event.’ Knowledge of the 1945 atomic bombing was the only exposure many members of the public had to the nuclear threat and the ramifications of nuclear technology; consequently authors relied on historical and emotive facts from Hiroshima to inform their war stories. Science fiction seeks to represent the ‘non-event’ and craft a reality out of it. The genre partly exists to offer preparatory texts to help ensure the ‘non-event’ remains ‘fabulously textual’ and the literary apocalypse does not become a reality (Derrida 1984, p.23). If part of the memory of Hiroshima acts as a warning ‘Never again’ and ‘No More Hiroshimas’ then fictional texts representing nuclear war, nuclear apocalypse and nuclear extinction expose the fear of ‘more Hiroshimas.’

2 citations

Journal ArticleDOI
01 Jan 2001

2 citations

Journal ArticleDOI
01 Jan 2016-J3ea
TL;DR: In this article, a papier presente lenseignement d'un module de robotique mobile donne dans le cadre de la Licence Professionnelle Mecatronique en alternance de l’IUT de Rennes.
Abstract: Ce papier presente l’enseignement d’un module de robotique mobile donne dans le cadre de la Licence Professionnelle Mecatronique en alternance de l’IUT de Rennes. Du fait de son entourage industriel, cette Licence s’est tout naturellement interessee a la robotique mobile. Dans ce papier nous verrons que, dans un premier temps, les choix du contenu de la formation et de celui de la cible pratique ont ete lies directement au public vise par la Licence Professionnelle. Le contenu de la formation mele une conference donnee par un ingenieur specialiste dans le domaine et une serie de 20 h de Travaux Pratiques sur une cible Robotino de la societe Festo. En fin de cycle de TP, nous avons egalement programme une evaluation formelle de la formation par les etudiants. Les conclusions de cette evaluation nous semblent tres encourageantes

2 citations


Cites background from "アンドロイドは電気羊の夢を見るか? : Do androids dre..."

  • ...le titre de l’article est librement inspiré de [2]....

    [...]

DissertationDOI
01 Jan 2014
TL;DR: Webb et al. as discussed by the authors explored the relationship between storytelling, witnessing, and lived experience in Nalo Hopkinson's Midnight Robber, which explores the intersection of black feminism, speculative fiction, and slave narratives in the backdrop of the Haitian Revolution.
Abstract: Title of Document: “NOTHING ABOUT THE RAPE:” GENERATIVE SILENCING IN NALO HOPKINSON’S MIDNIGHT ROBBER Calvin Allan Webb III, Master of the Arts, 2014 Directed By: Associate Professor Edlie Wong, Department of English This project, which focuses on Nalo Hopkinson's Midnight Robber, explores the relationship between storytelling, witnessing, and lived experience. By interrogating the intersection of black feminism, speculative fiction, and slave narratives in the backdrop of the Haitian Revolution, Hopkinson's work shows that some silencing can be constructive, even essential, for survival. “NOTHING ABOUT THE RAPE:” GENERATIVE SILENCING IN NALO HOPKINSON’S MIDNIGHT ROBBER

2 citations

Dissertation
01 Jul 2018
TL;DR: In this article, the authors develop a "robopoetics" for reading and writing lyric poetry, which is both an exploration of the lyric voice/voicing and a cultural study of the robot as icon.
Abstract: This thesis develops a ‘robopoetics’ for reading and writing lyric poetry. The thesis is both an exploration of the lyric voice/voicing and a cultural study of the robot as icon. The central premises of this robopoetics are these: robots and poems share lyric substance; lyric voicing renders the voicer indeterminate and lyric poems effectively make robots of poets; we can hear lyric voice in the way we hear robot voices; these voices are uncanny. The thesis first establishes the im/material substance of the robot, its status of both metaphor and ontology as anthropomorphic man-machine and person simulator. Lyric poems share this im/material substance and anthropomorphic function in that they too confirm and construct the human subject. The thesis shows that the ambiguous in/humanness of robots forms the basis of their uncanny vocal effects; it identifies a group of uncanny voice-forms through analysis of robots in popular culture and argues that, because of their material identity and anthropomorphic function, these forms can be heard in lyric poems too. The thesis expounds a view of lyric as ritual voice event and of the lyric subject as a principle of unity whose voicing renders the writing subject indeterminate, so that poems in effect automate the poet. Lyric poetry can be understood as simulation and lyric voicing as ventriloquism, so that the writing subject can neither fully own nor disown the lyric voice. These ideas are demonstrated via analysis of the work of four poets, to which the voice-forms audible in robot voice are applied to explore sounding/silence and absence/presence. The purpose of this robopoetics is not to discredit the lyric subject nor to dehumanise the writing subject; it is to suggest a modern way of approaching the lyric subject, and to seriously consider the humanity of the writing subject such as it manifests in lyric poetry.

2 citations

References
More filters
23 Mar 2017
TL;DR: In this article, the authors argue that the best way to contribute to the establishment of an evidence-based first paradigm, is by adopting a research through design approach, and they describe the creation of two Design Fictions through which they consider the relationship between narrative and Design Fiction and argue that links between the two are often drawn erroneously.
Abstract: Design Fiction has garnered considerable attention during recent years yet still remains pre-paradigmatic. Put differently there are concurrent,but incongruent, perspectives on what Design Fiction is and how to use it. Acknowledging this immaturity, we assert that the best way to contribute to the establishment of an evidence-based first paradigm, is by adopting a research through design approach. Thus, in this paper we describe ‘research into design fiction, done through design fiction’. This paper describes the creation of two Design Fictions through which we consider the relationship between narrative and Design Fiction and argue that links between the two are often drawn erroneously. We posit that Design Fiction is in fact a ‘world building’ activity, with no inherent link to ‘narrative’ or ‘storytelling’. The first Design Fiction explores a near future world containing a system for gamified drone-based civic enforcement and the second is based on a distant future in which hardware and algorithms capable of detecting empathy are used as part of everyday communications. By arguing it is world building, we aim to contribute towards the disambiguation of current Design Fiction discourse and the promotion of genre conventions, and, in doing so to reinforce the foundations upon which a first stable paradigm can be constructed.

92 citations

Journal ArticleDOI
TL;DR: In this paper, two principles for ethical AI design recommend themselves: (1) design AIs that tend to provoke reactions from users that accurately reflect the AIs' real moral status, and (2) avoid designing AIs whose moral status is unclear.
Abstract: There are possible artificially intelligent beings who do not differ in any morally relevant respect from human beings. Such possible beings would deserve moral consideration similar to that of human beings. Our duties to them would not be appreciably reduced by the fact that they are non-human, nor by the fact that they owe their existence to us. Indeed, if they owe their existence to us, we would likely have additional moral obligations to them that we don’t ordinarily owe to human strangers – obligations similar to those of parent to child or god to creature. Given our moral obligations to such AIs, two principles for ethical AI design recommend themselves: (1) design AIs that tend to provoke reactions from users that accurately reflect the AIs’ real moral status, and (2) avoid designing AIs whose moral status is unclear. Since human moral intuition and moral theory evolved and developed in contexts without AI, those intuitions and theories might break down or become destabilized when confronted with the wide range of weird minds that AI design might make possible. Word count: approx 10,000 (including notes and references), plus one figure

63 citations

23 Sep 2017
TL;DR: Hacking the Future as discussed by the authors proposes a spatially attuned reading protocol to assist scholars engaging twenty-first century post-colonized science fiction, arguing that postcolonial writers use Earth-spaces to "hack" into constructions of the future, establishing postcolonial SF as a type of literary activism.
Abstract: This dissertation offers a spatially attuned reading protocol to assist scholars engaging twenty-first century postcolonial science fiction. “Hacking the Future” first explores the boom in postcolonial SF since 2004, considering the instigations of digital publishing, community-building platforms, and the event RaceFail09. It then examines how spatial studies, particularly the concept of Edward Soja’s thirdspace, the geocriticical lens of Bertrand Westphal, and the political attentiveness of Doreen Massey, synchronize with the worldbuilding reading practices proposed by SF theorists Darko Suvin and Samuel Delany. “Hacking the Future” activates this newly spatialized reading practice in the arenas of inquiry highlighted by postcolonial studies to examine how physical, conceptual, and lived spaces function as types of critical revision. Science fiction (SF) is a speculative genre capable of reaching ‘escape velocity’ from Earth and its histories of violence. Yet, when writing in this imaginative genre, contemporary postcolonial SF authors overwhelmingly produce Earthside stories. Utilizing this dissertation’s proposed combinative protocol allows us to access the interventions and innovations of this new subgenre of writing. By creating SF, postcolonial writers reclaim their right to not only produce genre fiction, but imagine alternative futures for previously colonized people. ”Hacking the Future” contends that by challenging the ethnographic stare of traditional SF, SF authors of the Global South productively shift away from underlying ideologies of the inferior “Other.” Through close examination of Octavia E. Butler’s Dawn and “Amnesty,” Silvia Moreno-Garcia’s “Them Ships,” Nnedi Okorafor’s Lagoon, and Samit Basu’s Turbulence, this dissertation demonstrates how postcolonial SF spatially revises societal hierarchies, corrupt politics, the Futures Industry, “third contact” narratives between sections of human society, Afropessimism, and citizenship scales. As an additional contribution to the archive surrounding postcolonial SF, “Hacking the Future” includes personal interviews with postcolonial SF writers Samit Basu, Lauren Beukes, Nalo Hopkinson, Silvia Moreno-Garcia, Vandana Singh, and SF book cover illustrator Joey Hi-Fi. Using these interviews as critical sources encourages interdisciplinary considerations that bridge creative-critical divides. This project argues that these writers use Earth-spaces to “hack” into constructions of the future, establishing postcolonial SF as a type of literary activism.

40 citations

Journal ArticleDOI
TL;DR: Although it is unclear whether, by ‘fantasy,’ Butler intended a narrow deŽnition (generic fantasy, i.e., imitation Tolkien heroic or epic fantasy and sword ’n’ sorcery) or a broad de’nition as mentioned in this paper, such statistics nonethless make the need for a Marxist theory or preferably, Marxist theories of the fantastic selfevident.
Abstract: Although it is unclear whether, by ‘fantasy’, Butler intends a narrow deŽnition (generic fantasy, i.e., imitation Tolkien heroic or epic fantasy and sword ’n’ sorcery) or a broad deŽnition (the fantastic genres, i.e., generic fantasy, sf (science Žction), horror, supernatural gothic, magic realism, etc.), such statistics nonethless make the need for a Marxist theory – or preferably, Marxist theories – of the fantastic selfevident. The last twenty or thirty years have witnessed a remarkable expansion in the study of fantastic texts and genres. Literary studies has embraced the gothic, fairy tales and sf, and screen studies has developed a complex critique of horror and is now beginning

36 citations

Proceedings ArticleDOI
23 May 2016
TL;DR: In this paper, the authors consider the plausibility of design fictions, looking at examples that are (1) obviously design fiction, (2) identified as design fiction and (3) whose status is either ambiguous or concealed.
Abstract: Since its inception the term ‘design fiction’ has generated considerable interest as a future-focused method of research through design whose aim is to suspend disbelief about change by depicting prototypes inside diegeses, or ‘story worlds’. Plausibility is one of the key qualities often associated with suspension of disbelief, a quality encoded within the artefacts created as design fictions. In this paper we consider whether by crafting this plausibility, works of design fiction are inherently, or can become, deceptive. The notion of deception is potentially problematic for academic researchers who are bound by the research code of ethics at their particular institution and thus it is important to understand how plausibility and deception interact so as to understand any problems associated with using design fiction as a research method. We consider the plausibility of design fictions, looking at examples that are (1) obviously design fiction, (2) identified as design fiction, and (3) whose status is either ambiguous or concealed. We then explore the challenges involved in crafting plausibility by describing our experience of world- building for a design fiction that explores the notion of empathic communications in a digital world. Our conclusions indicate that the form a design fiction takes, and pre- existing familiarity with that form, is a key determinant for whether an audience mistake it for reality and are deceived. Furthermore we suggest that designers may become minded to deliberately employ deceitful strategies in order help their design fiction reach a larger audience.

35 citations