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
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


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

  • ...Dick, Philip K. (1968). Do androids dream of electric sheep? New York: Doubleday....

    [...]

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

References
More filters
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

Proceedings ArticleDOI
30 Jul 2017
TL;DR: The authors discuss how the project explores the aesthetic qualities of the disembodied gaze of the neural network and describe how the autoencoder is also capable of reinterpreting films it has not been trained on, transferring the visual style it has learned from watching Blade Runner.
Abstract: In this paper, the authors explain how they created Blade Runner---Autoencoded, a film made by training an autoencoder---a type of generative neural network---to recreate frames from the film Blade Runner. The autoencoder is made to reinterpret every individual frame, reconstructing it based on its memory of the film. The result is a hazy, dreamlike version of the original film. The authors discuss how the project explores the aesthetic qualities of the disembodied gaze of the neural network and describe how the autoencoder is also capable of reinterpreting films it has not been trained on, transferring the visual style it has learned from watching Blade Runner (1982).

6 citations

Dissertation
15 May 2009
TL;DR: In this article, Jadro":""},{"PRACE je rozdelene na styri casti, casto paranoidne predstavy americkej verejnosti týkajuce sa======vystupňovania vojny do katastrofických scenarov.
Abstract: Tato praca sa zaobera popisom a analýzou prvkov studenej vojny vo vybraných romanoch americkej vedecko-fantastickej literatury 50-tych a 60-tych rokov. Jadro prace je rozdelene na styri casti. Cieľom prace je poukazať na sposoby akými autori zobrazovali jednotlive, casto paranoidne predstavy americkej verejnosti týkajuce sa vystupňovania vojny do katastrofických scenarov.

6 citations

Proceedings ArticleDOI
01 Sep 2006
TL;DR: This paper investigates the merits of conscience as a design primitive for social Robots and proposes that for social robots to function in real social relationships with human beings, it is necessary to understand the nature of human beings themselves from beyond an engineering perspective of objects of a certain kind.
Abstract: For humanlike robots to behave like human beings, they would have to be designed to perform as the latter would in ethical relationships. This, however, is more than an engineering question. According to the phenomenological approach explored in this paper, every relationship is an existential relationship in which each person confirms the existence of the other as just that type of entity that can be in an ethical relationship in the first place ? quite unlike, say, the relation one may hold with a rock. This paper investigates the merits of conscience as a design primitive for social robots and proposes that for social robots to function in real social relationships with human beings, it is necessary to understand the nature of human beings themselves from beyond an engineering perspective of objects of a certain kind. For an android to have a conscience, it will have been necessary for its human creators to appreciate the ontological requirements of the concept in the first place.

6 citations

Journal ArticleDOI
TL;DR: In this article, the transhumanist Bahis and transhumanism is used to describe a transhumanization of the human body and its relationship with the human brain, which is called transhumanizm.
Abstract: 21. yuzyilin yeni bir edebi egilimi, insanlarin hem gecmisini hem de gelecegini icine alan belirli bir duzeye ulasti. Biz buna “transhumanizm” egilimi diyoruz ve transhumanizm, insanin varligini, tekillik ve olumsuzluk fikirlerini birlestirmek icin bilim ve teknolojiyi edebiyatin fantastik unsurlarinin filtrelenmesi yoluyla birlestirmeye gayret eder. Uc cagdas romanin secimi, yani Cesur Yeni Dunya , Androidler Eletrikli Koyun Dusler Mi? , ve Transhumanist Bahis , transhumanizmin baslatilan hareketine literaturde bir butunlestirme getiriyor. Bu nedenle, bu makalenin ilk amaci, secilmis cagdas eserlerde, transhumanizmin temel mantiginin nasil olustugunu ortaya koymaktir. Bu yuzden, yeni bir yaklasim oldugu icin, transhumanizmin farkli algilarinin aciklanmasindan sonra, eserlere transhumanist bir analiz uygulanacaktir. Bu metnin ikincil bir amaci, 21. yuzyildaki tekillik ve olumsuzluk fikrinin bedelinin odenerek bu ebedi arzunun yolculugunu sergilemektir. Bu ozlemin eski caglardan baslayarak kendi basina devam etmesi sasirtici bir sey degildir, ancak bu arzunun kendini bilim ve edebiyat araciligiyla surdurdugu ve tezahur ettigi seylerden bahsetmek ise kayda degerdir.

6 citations