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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?
01 Jan 1995-
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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01 Dec 2014
TL;DR: The universe is made of stories, not of atoms as mentioned in this paper, and the universe is not made of atoms, but of stories and stories. " Muriel Rukeyser.
Abstract: " The universe is made of stories, not of atoms. " Muriel Rukeyser
6 citations
22 Jun 2014
TL;DR: A new scheme of CAPTCHA that does not become a perceptual barrier for disable people is proposed, designed to imitate the phenomenon called “consonant gradation” of natural languages.
Abstract: We propose a new scheme of CAPTCHA that does not become a perceptual barrier for disable people. Our CAPTCHA system generates the tests in verbal style, so its use is not limited in specific perceptual channels. The tests are composed of several phrases and there are two kinds of tests: Human users try to (1) distinguish a phrase of strange meaning from others, and (2) identify the common topic among them.In our test we utilize open documents for material. Note that there is quite a large amount of documents on the net, so we can generate brand-new tests every time. One may say that adversaries can look for the phrases over the Internet and get several hints. Our system hides the sources by substituting the consonants of the phrases against such an attack.The mechanism is designed to imitate the phenomenon called “consonant gradation” of natural languages.
6 citations
Cites background from "アンドロイドは電気羊の夢を見るか? : Do androids dre..."
...In Dick’s novel, he showed an idea of Voigt-Kampff [8], which submitted eccentric phrases and checked fluctuations of one’s feeling....
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DOI•
01 Jan 2016
TL;DR: In this paper, the authors trace the evolution of mechanical life, predicated as much on movement as consciousness, via the construction of automata, and examine people's reactions when objects that look human are treated like human.
Abstract: Automata ("self-moving" machines) and reborn dolls (hyperrealistic baby dolls) individually conjure up questions of dynamic and aesthetic realism-external components of the human form as realistically represented or reproduced. As simulacra of humans in movement and appearance, they serve as sites of the uncanny exemplifying the idea in which as varying forms of the cyborg imbue them with troubling yet fantastical qualities that raises questions about our own humanness.. My first essay, “Automaton: Movement and Artificial/Mechanical Life” directly addresses the characteristics that define humanness, principally the Rene Descartes mind-body dichotomy, by tracing the evolution of mechanical life, predicated as much on movement as consciousness, via the construction of automata. “Dis/Playing with Dolls: Stigmatization and the Performance of Reborn Dolls” takes the discussion a step further and examines people’s reactions when objects that look human are treated like human. I compare observable behaviors of dolls owners via social mediums like videos posted on YouTube, message boards, blogs, and news sources with responses by observers of this type of doll play, and superimposing a theory of play over this interaction. Whether or not automata and reborn dolls are socially accepted as signifiers of humanness, they already exist within our social space and reality. It is the recognition and acknowledgement of their presences in our everyday life and their agency that puts them squarely in the discourse of life.
6 citations
TL;DR: In this article, a metaphorical approach for critically interrogating two important complexity concepts, order-through-fluctuations and autopoiesis, is presented. But the authors focus on the metaphorical use of complexity concepts for organizational analysis.
6 citations
Cites background or result from "アンドロイドは電気羊の夢を見るか? : Do androids dre..."
...Similarly, classic works by Vernor Vinge (Vinge, 2000), William Gibson (Gibson, 1996), Robert Heinlein (Heinlein, 2008) and Philip K. Dick (Dick, 2000) all have this ‘contemporary’ significance despite being first published at least twenty years ago....
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...Dick (Dick, 2000) all have this ‘contemporary’ significance despite being first published at least twenty years ago....
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31 Oct 2008
TL;DR: In this paper, the authors propose an economic definition of creativity, which is based on three distinct things: creativity, culture and intellectual alienability, which are found combined in the Creative Industries in an advanced form, but they also exist separately outside it.
Abstract: This paper was presented on October 31 to a seminar as part of the Freeman Centre Seminar series organised by the Science Policy Research Unit at Sussex University, with the kind support of CENTRIM, of the University of Brighton. The seminar series can be accessed at http://www.sussex.ac.uk/spru/1-4-11.html and the presentation slides at http://www.sussex.ac.uk/spru/documents/freeman_slides.ppt
The paper’s aim is to propose an economic definition of creativity.
I begin by analysing the distinct economic roles of culture and creativity in the ‘Creative Industries’. Lax usage has made this term a synonym for three distinct things: creativity, culture and intellectual alienability. My aim is to distinguish Creative Labour, of which this sector is a specialist user, from Cultural Outputs, which it produces. These are found combined in the Creative Industries in an advanced form, but they also exist separately outside it. In order to understand their wider economic impact – in particular, their relation to innovation and Intellectual Property – it is necessary to distinguish them.
I begin from the empirical reality of the ‘Creative Industries’ as currently defined. I show that this establishes it as an ‘industrial sector’, in the economically meaningful sense that it is a specialised branch of the division of labour. Its definition, however, has yet to be aligned with this reality. Using the term Cultural and Creative Sector (CCS) better to capture its nature, I show that it is the outcome of two processes: the revolutions in service sector productivity which have culminated in the age of the internet, and the separation of mechanical from creative labour, which we inherit from the age of machines.
Creative labour is a general economic resource, employed both inside and outside the CCS. In the CCS, creative labour is found in its most advanced and specialised form, and has applied to maximum effect the new service technologies which have emerged with the internet age. This sector is therefore the appropriate place to study creative labour. However, in order properly to assess its wider impact, the latter has to be defined independent of the assumption that it only produces cultural products. This paper proposes such a definition. It outlines, on the basis of this definition, how the economic contribution of creative labour to society might be assessed.
This paper updates the paper "Culture, Creativity and Innovation in the Internet Age" presented at the Birkbeck College DIME conference earlier in 2008
6 citations
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
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
TL;DR: Although it is unclear whether, by ‘fantasy,’ Butler intended a narrow denition (generic fantasy, i.e., imitation Tolkien heroic or epic fantasy and sword ’n’ sorcery) or a broad denition 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 denition (generic fantasy, i.e., imitation Tolkien heroic or epic fantasy and sword ’n’ sorcery) or a broad denition (the fantastic genres, i.e., generic fantasy, sf (science ction), 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
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