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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.
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Dissertation
01 Jan 2017

1 citations

Dissertation
01 Jan 2018

1 citations


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

  • ...E.g. “My schedule for today lists a six-hour selfaccusatory depression, Iran said” (Dick, 2010, p. 2)....

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  • ...It shows a banquet in progress; the entrée consists of boiled dog, stuffed with rice” (Dick, 2010, p. 82)....

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  • ...(Dick, 2010) We live in a world with technology advancing so fast and branching out in all sectors....

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  • ...With the further description of Baty having an air of “almost deliberate vulgarity” (Dick, 2010, p. 153), there arises an us-versus-them theme where the android function as a dangerous unknown capable of murder....

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  • ...We do find the novel’s Baty displaying human emotions, for example, when his wife dies: “he cries out in anguish” (Dick, 2010, p. 177)....

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Dissertation
01 Jan 2015
TL;DR: Ovim radom pokusat ce se prezentirati problem prikazivanja arhitekture and prostora na filmu, pri cemu ce se konzultirati neke teorije o prostornim problematikama postmoderniteta.
Abstract: Ovim radom pokusat ce se prezentirati problem prikazivanja arhitekture i prostora na filmu. Bit ce razmotren odnos arhitekture na filmu i arhitekture življenog, stvarnog svijeta, pri cemu ce se konzultirati neke teorije o prostornim problematikama postmoderniteta. Ogranicenje je postavljeno na žanr antiutopijske znanstvene fantastike zbog njegove konceptualne složenosti i vizualne atraktivnosti – razvijena žanrovska ikonologija koja žanr antiutopijske znanstvene fantastike cini zahvalnim objektom analize i interpretacije. Tema ovoga rada kao hibridna sfera interesa traži metodologiju u kojoj ce podjednako biti zastupljeni i teorijski i praktican pristup. Teorijsko pristupanje temi izvrsit ce se iscitavanjem dostupne literature iz podrucja antropologije arhitekture, filmologije i vizualne kulture kako bi se ustanovio odnos arhitektura – medij – iskustvo – doživljaj. Prakticni pristup odnosi se na analizu vizualnog sadržaja, tj. na nacin kako su vizije arhitekture i prostora na filmu konstruirane i artikulirane. Bit ce ponuđena objasnjenja nekih od temeljnih nacela prostornih uređenja tih filmova

1 citations

Proceedings ArticleDOI
07 Oct 2015
TL;DR: A commonplace object becomes the basis for an autonomous robotic artwork called Floribots that exhibits novel movement patterns that are highly engaging to its audience - leading the author to posit the phenomenon of emergence to explain unanticipated artwork behavior.
Abstract: A commonplace object becomes the basis for an autonomous robotic artwork called Floribots. The work exhibits novel movement patterns that are highly engaging to its audience - leading the author to posit the phenomenon of emergence to explain unanticipated artwork behavior. The limits of this explanation are mapped by creating a series of autonomous artworks of varying levels of complexity. A synthesis around the nature of created beings is extended with reference to anthropomorphism, robot mythology, and simulacra.

1 citations


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

  • ...My list of candidate robot mythologies includes widely known stories about made beings, such as: Mary Shelly’s Frankenstein [3] - the creature who becomes jealous of its creator; Pinocchio [4] - the wooden boy who wants to be real; Rachel - the replicant who thinks she’s a real woman [5]; Terminator - the robot from the future that becomes a surrogate father figure [6]; Golem - the clay being from Jewish mythology that is animated by an inscription but cannot itself talk; the Tin Man - who yearns for a heart to fill his empty chest [7]; and the robot doppelganger of Maria who unleashes lust-driven chaos and stirs dissent throughout Metropolis [8]....

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Book
01 Jan 2014
TL;DR: A new CAPTCHA system which can differentiate between humans and software agents pretending to be humans, based on their different contextual cognition, is proposed, which works without relying on the specific perceptual abilities of the users.
Abstract: CAPTCHA (Completely Automated Public Turing test to tell Computers and Human Apart) is now the de facto standard security technology to protect on-line registration systems from malicious software. CAPTCHA systems generate several kinds of AI (Artificial Intelligence) problems which are di fficult for software agents but easy for humans. A big social problem is that most visually-impaired people cannot pass current CAPTCHAs. Most conventional CAPTCHAs employ AI problems requiring visual recognition, so they are not accessible to visually-impaired people. Audio CAPTCHAs are an alternative to visual ones, but several researchers have pointed out that state-of-the-art audio ones are too di fficult for visually impaired people. In this paper, we propose a new CAPTCHA system, which generates tests in verbal style. Our CAPTCHA system can differentiate between humans and software agents pretending to be humans, based on their different contextual cognition. It therefore works without relying on the specific perceptual abilities of the users. In our test, we utilize open documents for material of the tests. Note that there is quite a large amount of documents on the web, so we can generate brand-new tests every time. This is di fferent from conventional studies. One criticism is that adversaries can look for the phrases of the tests from the Internet and obtain several hints. Our system hides the sources by substituting the consonants of the phrases against such adversaries. The mechanism is similar to the phenomenon of “consonant gradation” in natural languages. The substitutes make it harder for adversaries to look for the sources because they have difficulty finding the original phrases from the erroneous ones. We apply our idea to three kinds of verbal tests: (a) M rkov-chain Phrase Test , which involves distinguishing between natural and machine-synthesized phrases, (b) Machine-translated Phrase Test, which involves distinguishing between natural and machine-translated phrases, and (c) Topic Detection Test, which is a choice of the common topic from several short-texts. We then implement them as CAPTCHA programs, and evaluate their performances as follows: (1) ability to be used for a Turing test, which must be easy for humans to solve, (2) ability to generate new tests without limitation on amount, and (3) ability to hide the sources of the phrases which appear in the test. Consequently, we have clarified the feasibility of our proposal as CAPTCHA for the visuallyimpaired.

1 citations


Additional excerpts

  • ...バリアフリーな方式 Holmanら [22]は、サイレンや鳥などの身近な事物を画像と音声の両方で提示し、そのいずれによっ ても解答可能とする方式を提案した。ただし、事物の用意の手間に鑑みると、問題新規性要件を十分 に満たすことは難しい。 人間のもつ知識に依存したクイズを用いる方式 [38]も提案されている。しかし、IBM のWatsonや Appleの Siriといった自然言語で質問を受け付け、正しい解答をする人工知能の登場により、この方 式は無力化しつつあるとの意見 [19]がある。 文意文脈解釈問題の研究は、人工知能や認知科学の分野で古くから研究課題になっていた。 認知科学における「サリーとアン課題」[37]は、自分の知識の範囲と他者のそれとを区別できるか を問うテストが有名である。これも計算困難な問題であり、識別性要件を満たすだろう。 ディックのSF小説 [15]においては、「このカバンは官給品なんだ。赤ん坊の皮でできている。」など と、異様な内容の文章を聞かせ、異様部分に対する身体的・感情的反応の時間遅れを計測する “VoigtKampfftest”のアイデアが示されている。文意や文脈の理解と常識発揮の能力差を利用する例として は、先駆的なものと言えよう。 文意文脈理解能力に関する研究も盛んにおこなわれている。山本ら [41] は、人間が作った文章と 機械翻訳により生成される文章との間で、人間が感じる違和感を CAPTCHAに利用した。同様に、 鴨志田ら [23] の、人間が作った文章とマルコフ連鎖により自動合成された文章の比較の研究がある。 Christopher [27]は、複数の文の中から内容が関連するものとしないものを選択させる方式を提案した。 文意文脈理解能力に関する既存研究の問題は、問題新規性要件に関する検討が十分でない点であ...

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References
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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