Book•
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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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
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....
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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
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Posted Content•
TL;DR: The results show that the perception of a conversational agent is dramatically altered when the agent is voiced by an actual, tangible person, and the resulting hybrid an “echoborg.”
Abstract: his paper demonstrates how to interact with a conversational agent that speaks through an actual human body face-to-face and in person (i.e., offscreen). This is made possible by the cyranoid method: a technique involving a human person speech shadowing for a remote third-party (i.e., receiving their words via a covert audio-relay apparatus and repeating them aloud in real-time). When a person shadows for an artificial conversational agent source, we call the resulting hybrid an “echoborg.” We report a study in which people encountered conversational agents either through a human shadower face-to-face or via a text interface under conditions where they assumed their interlocutor to be an actual person. Our results show that the perception of a conversational agent is dramatically altered when the agent is voiced by an actual, tangible person. We discuss the potential implications this methodology has for the development of conversational agents and general person perception research.
2 citations
DOI•
01 Jan 1999
TL;DR: In this paper, the function and politics of various narratives of technoculture are explored, and the focus is on how these narratives help articulate and sustain various figurations of technologically-implicated identity.
Abstract: This thesis explores the function and politics of various narratives of technoculture. In particular, the focus is on how these narratives help articulate and sustain various figurations of technologically-implicated identity. The most important of these is Man; a hybrid figure made up of the legacy of the modernist project, the Enlightenment, and evolutionary narratives, and who has an interest in sustaining his dominion over the Other. This work traces the recuperation of these conservative narratives in the technocultural realm, a realm characterised by both desires and fears towards machines. While logocentrism describes the philosophical guarantee on which many of these narratives and figurations rely, this logocentrist system is challenged by new technological artefacts and practices. This causes the feminist historian of science Donna Haraway to suggest hopefully: 'Perhaps we can learn from the fusions with animals and machines how not to be Man, the embodiment of western logos'. 1 Like the trope of the cyborg, science fiction is a boundary-crossing genre with its intermingling of traditionally distinct generic categories: science and fiction. It provides, in this way, a particularly rich source of anxious and desiring narratives about technologically-mediated change which I will use as my primary lens into this technocultural realm. Most of the texts I examine do not provide rich new cyborg figurations, or ones which have learnt to be other than Man. On the contrary, they are good at recuperating conservative metanarratives about humanist individuality, agency, the relationship to Otherness, the relationship of the mind to the body, to name just a few. Many technocultural texts such as Gattaca, Metropolis and Blade Runner problematise technologically-mediated change as a movement toward disorder, before resolving this crisis in a corresponding movement towards order in the services of recuperating logocentric taxonomies.
2 citations
Posted Content•
TL;DR: The Matrix as discussed by the authors adds a new twist in that machines are able to project an alternate reality that hides the role reversal between the creators and the created, rendering the power of nation-states and the people they represent illusory.
Abstract: Popular culture has presented a series of what Harlan Ellison might call "dangerous visions" wherein man's creations become his master. This trope is as old as speculative fiction, but The Matrix adds a new twist in that machines are able to project an alternate reality that hides the role reversal between the creators and the created. The marketocracy, government by transnational corporations, has projected just such an alternate reality, rendering the power of nation-states and the people they represent illusory. The problems become whether individuals and nation-states need to take the red pill and what that would mean for criminal justice policy.
2 citations
14 May 2014
TL;DR: The authors present leituras, interpretacoes e representacoes da cultura japonesa bem variadas, complexas e "integradoras" dessa tematica no contexto literária brasileiro.
Abstract: Ha uma presenca notavel de temas japoneses na atual literatura brasileira, sem que os autores – no caso Bernardo Carvalho, Adriana Lisboa e Joao Paulo Cuenca – tenham ligacao biografica com o Japao; um fenomeno que apresenta leituras, interpretacoes e representacoes da cultura japonesa bem variadas, complexas e “integradoras” dessa tematica no contexto literario brasileiro. Trata-se de leituras do Japao que ainda tem ligacao com a dimensao historica da imigracao japonesa no Brasil e com questoes da identidade brasileira, mas que tratam principalmente dos significados universais das culturas japonesa e brasileira no contexto do seculo XXI.
2 citations
01 Jan 2018
TL;DR: This research presents a novel and scalable approach that combines reinforcement learning with reinforcement learning to solve the challenges of image recognition and speech recognition in the rapidly changing environment.
Abstract: Machine learning methods have become powerful tools used in multiple industries. They have been successfully applied to problems such as image recognition, speech recognition and machine translatio ...
2 citations