Ex Machina

Yapay zekâ teknolojilerimin gelisimi ve kullanim alanlarmin günlük hayatlara
girmesiyle birlikte, kullanic sayisi da giderek artmaya baslamistir. Bu baglamda yapay zekâ sistemleri üreten sirketlerin benimsedikleri etik bakis açisi önem tasi- maktadir. Aksi takdirde, teknoloji gelistiricilerin, tanidk önyargilar ile dar ve ayri- calkli bir toplum vizyonunu yansitan bir yapay zek@ sistemi yayma riski bulun- maktadir. Erkeklerin bu teknolojilerin üretim ve tasamminda yogunlukla temsil edilmesi profesyonel hayatta cinsiyet esitligi kavraminin yeniden sorgulanmasi ve bireylerin zihinlerindeki cinsiyet stereotiplerinin yeniden üretilip dolasima sokul- masi baglaminda önem tasimaktadir.

A Inteligência Artificial (IA) deixou de ser apenas assunto de filmes de ficção científica e hoje faz parte do nosso dia a dia -do momento em que desbloqueamos o celular com reconhecimento facial até quando pedimos recomendações em plataformas digitais. Mas como chegamos até aqui? O termo Inteligência Artificial nasceu em 1956, quando cientistas sonhavam em criar máquinas que pensassem como seres humanos. Nos primeiros anos, os computadores eram usados para resolver cálculos e problemas lógicos, ainda bem longe da "inteligência" que conhecemos hoje.

Alex Garland's 2014 science-fiction film Ex Machina adopts an ingenious narrative structure to explore epistemological and ethical challenges arising from the prospect of synthetic consciousness. How do we avoid errors of misattribution, and what are our obligations toward conscious machines? Framed as an ongoing Turing Test with existential stakes, the story invites the viewer to ask how one can reliably determine whether Ava, a sophisticated gynoid robot, is conscious. It also dramatizes predictable harms resulting from interactions between flawed (male) human beings and presumptively conscious machines (in female form). As I show, the film neatly illustrates the shortcomings of the Turing test and the advantages of the embodied-AI paradigm for testing consciousness. More significantly, by adopting the perspective of Caleb, a young male coder charged with testing Ava for consciousness, the story dramatizes the mechanisms and ethical consequences of misrecognition-in Caleb's case, the inability to fathom the scope of Ava's alterity. While Caleb's misrecognition is animated by distinctly libidinal interests, it is symptomatic of a broader tendency to anthropomorphize consciousness, to treat evidence of consciousness as evidence of humanness. I discern this tendency in influential discussions of AI consciousness by Susan Schneider and David Chalmers: both philosophers underestimate the distance between probable forms of synthetic consciousness and human consciousness. Noting the pervasiveness of feelings and emotions in human subjective experience, I elucidate the links between human consciousness, embodiment and life. The dimension of affective experience, I argue, is what most sets human consciousness apart from (likely forms of future) synthetic consciousness. But resolving questions about the moral status of intelligent, presumptively self-conscious machines lacking this dimension of affective experience is no simple matter.

Я не являюсь специалистом в области исследований искусственного интеллекта (ИИ), скорее дилетантом. Научная и популярная литература на эту тему огромна. Но хотелось бы поделиться собственными мыслями, приходящими в голову, когда постоянно слышишь об искусственном интеллекте по ТВ и читаешь о нем в прессе.

Too many ghosts in the machine [Review] Beth Singler (2019) Ghost in the Machine Article (Accepted Version) http://sro.sussex.ac.uk Seth, Anil (2019) Too many ghosts in the machine [Review] Beth Singler (2019) Ghost in the Machine. Nature Machine Intelligence.

Since its 2015 debut, Alex Garland's Ex Machina has been conceptualized as a creation myth, as a succession myth, as the Pygmalion myth and as the Pandora myth, among others -each of these argumentations acknowledging the permeability between different interpretations. The author argues that Ex Machina recodes the myth of Pandora and creates a fertile ground to display cultural traumas that have been affecting women -such as female subordination and oppression caused by a patriarchal structure and stereotypical binary oppositions. Thus, Garland's film also suggests that the old forms of female oppression might be reaffirmed in the context of the age of technological innovation. 1

ENGLISH below
Cet article s'inscrit dans le champ de la création scénique contemporaine intégrant des solutions technologiques nommée "spectacle numérique" (Digital Performance).
Nous nous proposons d'analyser ici la question du dispositif technologique qui engendre plusieurs éléments nous incitant à changer notre regard sur ce type de travail scénique. Souvent les collaborateurs d’un projet artistique sont les premiers observateurs qui créent un vocabulaire pour pouvoir réellement avancer les objectifs de la création. C'est également dans ces circonstances que les notions du théâtre se confrontent avec celles des ingénieurs ou des développeurs informatiques comme c’est le cas dans les travaux nommées 'Game-Theatre'. Plusieurs questions s'imposent: est-il indispensable de forger des termes communs ou plutôt définir un champ opérationnel pour des notions qui évoluent sans cesse et naviguent entre les disciplines, entre des langages variés? Un chercheur académicien devrait-il plus s'ouvrir au processus de création pour pouvoir mieux saisir le spectacle élaboré?

Abstract
This article is part of the field of contemporary scenic creation incorporating technological solutions known as 'digital performance'. I propose to analyse the question of the technological device, which generates several elements that encourage us to change the way we look at this type of scenic work. Often the collaborators in an artistic project are the first observers to create a vocabulary that will enable them to really advance the objectives of the creation. It is also in these circumstances that the notions of theatre come into contact with those of engineers or computer developers, as is the case in the work known as 'Game-Theatre'. A number of questions arise: is it essential to forge common terms or rather to define an operational field for concepts that are constantly evolving and moving between disciplines and languages? Should an academic researcher be more open to the creative process in order to get a better grasp of the show being put on?

The 'geek entrepreneur' is a damaged-but-brilliant white man who transforms the world by upsetting the taken-for-granted. This version of masculinity is now hegemonic. Linked to it is an imaginary, that is reactionary, authoritarian, elitist, white supremacist and libertarian, venerating disruption and technological solutions. We map counter-hegemonic representations in popular cinema since 2013, focusing on 2014's Ex Machina and 2018's Sorry to Bother You. We argue that representations of evil male tech entrepreneurs rework and undermine the dominant image of the heroic white male geek entrepreneur. We show that: hyper-ambition without a backstory of suffering becomes sociopathic; genius used for nefarious purposes becomes dangerous entitlement; and disruption, for its own sake or directed towards evil, becomes chaotic and opens up possibilities for disruptions from below.

Since its 2015 debut, Alex Garland's Ex Machina has been conceptualized as a creation myth, as a succession myth, as the Pygmalion myth and as the Pandora myth, among others-each of these argumentations acknowledging the permeability between different interpretations. The author argues that Ex Machina recodes the myth of Pandora and creates a fertile ground to display cultural traumas that have been affecting women-such as female subordination and oppression caused by a patriarchal structure and stereotypical binary oppositions. Thus, Garland's film also suggests that the old forms of female oppression might be reaffirmed in the context of the age of technological innovation.

Die Debatte über Transhumanismus als kommender Zustand der Menschheit jenseits des homo sapiens ist mittlerweile aus dem Bereich futuristischer Phantasien in den von Diskursen übergegangen, in denen sich Projekte und Leitbilder der Zukunftsgestaltung formen. Es liegt auf der Hand, dass eine solche-als möglich und wahrscheinlich debattierte-Umwälzung der condition humaine eine Pädagogik beunruhigen und interessieren muss, die in Konzepten von Mündigkeit und Autonomie wie auch in Fragen des Generationenverhältnisses den Ankerpunkt ihrer Selbstverständnisse sieht. Das Jahrbuch für Pädagogik 2014: Menschenverbesserung-Transhumanismus diskutiert die dadurch aufgeworfenen Fragen in drei thematischen Schwerpunkten: I. Menschenverbesserung in der Moderne; II. Transhumanismus-Prognose oder Projekt? Ansätze, Diskurse, Entwicklungen; III. Jenseits des Menschen? Konsequenzen und Effekte für Bildung und (Selbst-) Erziehung. Arno Bammé Menschen und Maschinen. Neuvermessung einer sozialen Beziehung .

In 1930, English novelist Evelyn Waugh entertained the prospect of Chinese American actress Anna May Wong playing Ophelia. Waugh went on to say that “I cannot see her as Lady Macbeth.” These comments reflect the racialized myths about Asian women as subservient and dainty objects.  :::: 

These myths continue to inform racist misogyny today that has
congealed around the fetish of “yellow fever.” The notion of yellow fever makes Asian women interchangeable and invisible on screen, affecting characters and their actors such as Constance Wu and Michelle Yeoh.    :::: 

In her illustrated keynote, Alexa Alice Joubin uses three interlocking concepts to analyze screen representations of East Asian women: yellow peril, yellow fever, and techno-Orientalism. The misogyny directed toward women of East Asian descent is fraught with racialized myths about Asian cultures and womanhood. As a result, racial hierarchies are used as justification for mistreatment of women.  :::: 

Her presentation reveals the manifestation of “yellow fever” in the depiction of Asian American women and suggests ways to identify tacit forms of misogynistic racism as well as strategies for inclusion.  :::    YouTube https://youtu.be/Wy3mW9Vqgvo

This book is of interest to me on two primary fronts: first, as the author of a number of books about American allegory and, secondly, as a teacher who regularly offers a popular undergraduate course on women's liberation literature. So I bring a complex of expectations to bear on Elliott's work, though these expectations are quickly reduced to those relating to popular feminist fiction of the last thirty years. There is little here to interest theorists of literary allegory. Elliott uses the term in the popular sense of a fable, or level of representational signification that gestures towards a general and abstract level of meaning. This level is constituted by allegory as a cultural narrative, a narrative that organizes and lends meaning to the events of literal history. This narrative in Elliott's study is the American mythos of national progress and perfection, where progress is a teleological process variously interpreted by commentators on all points of the political spectrum, from the radically conservative to the revolutionary, leading to the full coming-into-being of the nation. I was frustrated that in her two lengthy introductory chapters Elliott does not explain precisely the contours of this narrative; indeed, her strategy focuses primarily upon describing the American national narrative of teleologically-organized time in negative terms, as what it is not or is no longer. She discusses at length the claim made by both conservatives and radicals that the decade of the 1960s signifies the failure of this narrative-but in the absence of specific historical examples of how this narrative has been articulated it is not always easy to follow exactly what Elliott is saying. However, her strategy makes sense when we ask what would be the consequences of a clear spelling out of this variously told national narrative? First, we would be led to ask the question: how do individual narratives signify on a level like that of the national narrative, which is so very abstract? If feminist fiction of the 1970s and later developed it sown register of images, tropes, and narratives that chimed with the vocabulary of contemporary feminism, then how does this language similarly chime with the national, especially given the status of feminism as an oppositional discourse? This question requires the kind of attention to textual rhetoric-to allegory as figurative language-for which the model practitioner is perhaps Paul de Man and which Elliott resists. Then, if feminism is a privileged site that provides a discursive analogue to the sense of the national narrative in crisis, what kind of feminism is this-given that feminism has never been unified and monolithic, though Elliott uses the metaphor of "waves", referring unreflexively to "second wave" feminism-and what version of the national narrative are we talking about? If popular feminist fiction of the period since the 1970s is engaged in allegorizing the mythos of American national progress, then we need to know which feminism, which Americans, what nation, and what signifying or allegorizing relationship are we talking about? Elliott devotes space to a satisfying discussion of what she means by "popular" as a category of fiction that includes writers separated by a generation, by form, and style, and feminist commitment. However, in the absence of similarly clear definitions of her other key concepts, Elliott is not so persuasive as she could be. And this difficulty comes back to the absence of a theoretical explanation of how individual texts enact through their rhetoric this relationship with powerful cultural narratives. In place of a theory and an argument we have assertions such as: "The temporal problem of the oppressed woman thus offered a convenient and ideologically charged analogue for a widespread sense of temporal crisis, providing a set of images and narratives uniquely suited for representing the problems of time and teleology in postmodernity" (5). Having made these criticisms about the methodology of Elliott's book, I have to emphasize that her basic thesis is very engaging and provocative. She focuses upon the issue of time, specifically time without the promise of change, which she calls "static time." "From the white, middle-class housewife stuck in repetitive domestic labor to the woman of color haunted by the traumas of history, the popular feminist literary vision turns on the experience of time without meaningful change, consistently representing women's oppression as a function of their experience

The cyborg as a metaphor for cultural encodings of the interaction between humans and technology has been an accepted trope since the publication of Donna Haraway's "Cyborg Manifesto. " Alex Garland's 2015 film Ex Machina shares many of its key themes and motifs with earlier science fiction films, from Fritz Lang's Metropolis to Ridley Scott's Blade Runner. A first viewing of the film thus suggests an interpretation that focuses on the film's portrayal of its female cyborgs Ava and Kyoko as another version of the "pleasure model" in the mode of Lang's Maria or Scott's Pris. However, it is the tension between Ava's intelligence and visual attractiveness and her performance of a female gender identity that invites a closer investigation of the film's visual encoding of the female cyborg. As the film shifts its focus from the young male programmer Caleb and his encounter with his employer Nathan and the cyborg Ava to Ava's selfportrait, this chapter will take a closer look at the embodiment of cyborg identity.

We use the myth of Pygmalion as a lens to investigate and frame the relationship between women and artificial intelligence (AI). Pygmalion was a legendary ancient king of Cyprus and sculptor. Having been repulsed by women, he used his skills to create a statue, which was imbued with life by the goddess Aphrodite. This can be seen as one of the primordial AI-like myths, wherein humanity creates intelligent life-like self-images to reproduce or replace ourselves. In addition, the myth prefigures historical and present gendered dynamics within the field of AI and between AI and society at large. Throughout history, the theme of women being replaced by inanimate objects (e.g. automata, algorithms) has been repeated, and continues to repeat in contemporary AI technologies. However, this socially detrimental pattern in technology — what we dub Pygmalion displacement — is often overlooked, whether due to naive excitement about new developments, or due to an unacknowledged sexist history of...

Centralizing a critical feminist rhetorical approach, this thesis outlines the symbolic meaning of gynoids as representing cultural anxieties about women and technology historically and in each case study. This thesis draws from rhetorical analyses of media, sci-fi studies, and previously articulated meanings of the gynoid in order to discern how each text interacts with the gendered and technological concerns it presents. The author assesses how the text equips-or fails to equip-the public audience with motives for addressing those concerns. Prior to analysis, each chapter synthesizes popular and scholarly criticisms of the film or series and interacts with their temporal contexts. Each chapter unearths a unique interaction with the meanings of gynoid: The Stepford Wives performs necrophilic fetishism to alleviate anxieties about the Women's Liberation Movement; Ex Machina redirects technological anxieties towards the surveilling practices of tech industries, simultaneously punishing exploitive masculine fantasies; Westworld utilizes fantasies and anxieties cyclically in order to maximize its serial potential and appeal to impulses of its viewership, ultimately prescribing a rhetorical placebo. The conclusion synthesizes each chapter topically and ruminates on real-world implications. Overall, this thesis urges critical attention toward the gynoids' role in oppressive hierarchies onscreen and in reality. iii ACKNOWLEDGEMENTS This thesis has been a transformative process, yielding an enormous amount of insight for me personally and academically. First, I thank Dr. Katie Gibson for her mentorship on this project and others. Dr. Gibson was the first person to teach me how to do feminist criticism, and the tools she has equipped me with will likely always be the first I reach for. Her compassionate engagement with me and my writing as I grew and overcame formidable obstacles absolutely kept me motivated to continue. Thank you also to Dr. Kit Hughes for instilling in me a healthy reverence of approaching media holistically and for sharing in energizing ruminations on the many topics covered in this thesis. I also thank Dr. Kristina Quynn for helping me polish my writing and adding crucial dimensions to the way I think about the body. Thank you all for your guidance on this project. Thank you also to Drs. Karrin Vasby Anderson and Thomas Dunn for brainstorming with me, and for performing fabulously in your roles as graduate mentors. Enormous thanks to my close graduate companions, Hayley Blonsley and Garrison Anderson, who had no idea, when they entered into friendship with me, that they would have to patiently listen to hours and hours of robot-talk as I theorized. Hayley, you have been my best friend from the first day of orientation. Back then, I did not have the faintest idea how much I would need your love and support. There have been so many times when I've been down and you've scraped me off the floor-usually to go get tacos or pho (which reminds me: thank you to Wayne of Little Saigon for fueling my soul on a twice-weekly basis with the best broth in Colorado). Hayley, you are bright, beautiful, and tremendously devoted to improving the lives of those whose voices have been silenced. No matter where on this earth you go, you will thrive. Garrison, G. Money, you have been exactly the friend, colleague, and roommate that I needed. iv Every single day, you make the coffee and ask how I am, and you are always willing to sit and listen when the answer gets long. Thank you for all the nights out on the balcony when you heard me out, and for watching Ex Machina and Westworld with me even though I had to pause and scribble and spoil things for you. I look forward to a lifetime of watching both of your victories. Since I wrote my first modest undergrad paper about robots, I have benefitted from the expansive pop culture knowledge of my partner, Alyssa Oie. I cannot emphasize enough the importance of Alyssa's role in helping me complete this thesis from conceptualization. She has read, edited, proofread, critiqued, and endlessly discussed my ideas with me. Alyssa, you are a stunning intellectual and imaginative writer-you inspire me to be better by example. You have always encouraged me to seize my calling, and you have made deeply appreciated sacrifices so that those dreams can be ours. I love you immensely, and I cannot wait to see what our future holds. Finally, I thank my family. Thank you to my brother Jake for teaching me how to read, Mark Jr. for teaching me the value of hard work, and Cada for teaching me how to carry myself with dignity. A huge thank you goes to my mom, Christine, who told me my worth at a young age and raised me to share her values of strength, compassion, endurance, and goal-orientation. Thank you for keeping "home" alive for me even now, and for your tremendous support of my career. Thank you to my dad, Mark Sr., for taking me up and down mountains from the time that I could walk. Pops, you taught me to love and appreciate that which is Real. I wish you were still with us to see this project, and my degree, come to completion. Over the last year, whenever I doubted my own strength and competence, I thought of all the times you told me to keep climbing, the summit is worth it. You were so right. Thank you, Pops.

This paper investigates the literary/psychological manifestations in Ex Machina through analysing hubristic attitudes and morally driven resistance to unbridled hegemony. It traces the ways Garland externalized the conflict between human unethical superego and humane alter ego. The modern man’s aspiration to play god through developing a fully sentient AI droid is critically discussed in comparison with the Prospero-Caliban conflict in Shakespeare’s The Tempest as well as Ovid’s Pygmalion. The power game played throughout the drama is also probed in terms of Nathan’s manipulation of Caleb, Caleb’s resistance to Nathan’s hegemony and Ava’s eventually successful counter-manipulations. Besides, it attempts to explore the potentials of psychorobitc art as cinematically featured.

Neste artigo, falo sobre ChatGPT, datacolonialismo e a urgência de pensarmos xs ciborgues na chave das máquinas companheiras. Apoiada em James Bridle, Ruha Benjamin, Lucy Schuman e Donna Haraway, proponho pensarmos além da utopia do Robô Sapiens e romper com a lógica senhor-escravizado da robô-doméstica dos Jetson para constelar. As imagens que acompanham o artigo também foram geradas com inteligência artificial, usando recursos text-to-image e image-to-image.

This article discusses some of the works of Alex Garland through the apparatus of evolution and degeneration, analyzing how his narratives relate to the milieu of fin-de-siecle England, but especially to literary texts with similar themes. The article seeks to open a new line of scholarship on the filmmaker’s work by looking at how Ex Machina (2014), Annihilation (Garland 2018) and the films resulting from Garland’s screenplays for Danny Boyle: 28 Days Later ... (2002) and Sunshine (2007) contend with a tension between evolution and degeneration, an issue of great interest at the fin-de-siecle in England, and why his films revisit these concerns after such a long period.

Em toda sociedade, um espelho conjuga saber e poder. Perscrutar o funcionamento da distribuicao epistemologica pode vir como contrapartida de uma analise da fisiologia das relacoes e praticas sociais. Inclusive em processos de metamorfose: atualmente, uma transicao paradigmatica vem desgarrando das premissas sociais e epistemologicas modernas/coloniais, dando a ver a existencia e a possibilidade de inumeras outras formas de viver e de conhecer. A utopia, despida da veste moderna, ressurge noutro tom: nao como ponto final, senao como forca presente; abordagem critica e criativa. Experiencias utopicas agem no presente direcionando-o ao sonho. A pesquisa propoe uma cartografia de uma experiencia utopica para, com ela, elaborar tracos de uma episteme emergente, dissidente da modernidade, ainda nao formulada, e desafiada pelos limites do enunciavel para sua formulacao. O campo de pesquisa foi uma imersao em encontros Rainbow, que, desde 1972, em diversos paises, reunem viajantes durante ...

What might be the outcome of bending the traditional rules of cartog rap hy in favor of chance? Our answer is "something Dada:• What does chance have to do with cartography and Dada? Taking the last first, Dada is a recent expression of the ancient absurdist spirit of relativism which, as an antidote to rationalism, is as old as Alley Oop and Protagoras.

What might be the outcome of bending the traditional rules of cartog rap hy in favor of chance? Our answer is "something Dada:• What does chance have to do with cartography and Dada? Taking the last first, Dada is a recent expression of the ancient absurdist spirit of relativism which, as an antidote to rationalism, is as old as Alley Oop and Protagoras.

What might be the outcome of bending the traditional rules of cartog rap hy in favor of chance? Our answer is "something Dada:• What does chance have to do with cartography and Dada? Taking the last first, Dada is a recent expression of the ancient absurdist spirit of relativism which, as an antidote to rationalism, is as old as Alley Oop and Protagoras.

What might be the outcome of bending the traditional rules of cartog rap hy in favor of chance? Our answer is "something Dada:• What does chance have to do with cartography and Dada? Taking the last first, Dada is a recent expression of the ancient absurdist spirit of relativism which, as an antidote to rationalism, is as old as Alley Oop and Protagoras.

This paper investigates the literary/psychological manifestations in Ex Machina through analysing hubristic attitudes and morally driven resistance to unbridled hegemony. It traces the ways Garland externalized the conflict between human unethical superego and humane alter ego. The modern man’s aspiration to play god through developing a fully sentient AI droid is critically discussed in comparison with the Prospero-Caliban conflict in Shakespeare’s The Tempest as well as Ovid’s Pygmalion. The power game played throughout the drama is also probed in terms of Nathan’s manipulation of Caleb, Caleb’s resistance to Nathan’s hegemony and Ava’s eventually successful counter-manipulations. Besides, it attempts to explore the potentials of psychorobitc art as cinematically featured.

Ex Machina (2015) is a postmodern Gothic sci-fi movie by Alex Garland, implicitly illustrating the workings of humanization, dehumanization, and marginalization through its android character Ava. Ava’s interaction with people reveals humanity’s biased perspectives and problems. She enables the audience to see that inorganic anthropomorphic bodies mimicking human behaviors and cognitive skills converge on humans and become strangely humanized. Yet creating uncanny sensations in humans, these bodies become a new group of “others” who belong outside the boundaries of humanness so much so that they exist on the threshold of monstrosity. Furthermore, due to their anthropomorphic appearance, they cannot avoid human hierarchies of race and gender. However, once they become perceived as humans, they learn to use human methods to survive including the wicked ones. Ex Machina thus demonstrates that the process of dehumanization not only creates injustices to dehumanized groups but results in ...

This paper investigates the literary/psychological manifestations in Ex Machina through analysing hubristic attitudes and morally driven resistance to unbridled hegemony. It traces the ways Garland externalized the conflict between human unethical superego and humane alter ego. The modern man’s aspiration to play god through developing a fully sentient AI droid is critically discussed in comparison with the Prospero-Caliban conflict in Shakespeare’s The Tempest as well as Ovid’s Pygmalion. The power game played throughout the drama is also probed in terms of Nathan’s manipulation of Caleb, Caleb’s resistance to Nathan’s hegemony and Ava’s eventually successful counter-manipulations. Besides, it attempts to explore the potentials of psychorobitc art as cinematically featured.

O presente texto tem como propósito abordar como discussões de gêneros impactam ou podem impactar o campo da Inteligência Artificial (IA) do ponto de vista metodológico, isto é, como posições generificadas podem alterar nossa compreensão sobre noções de conhecimento. Propõe-se, assim, desenvolver como a carência de mulheres no campo da Inteligência Artificial e das Tecnologias resultam em padrões de conhecimento de máquina que refletem uma forma de saber masculina, que acabam por incorporar vieses de estereótipos de gênero e que apresentam poucos recursos que reflitam a vida e necessidades de mulheres. Ao avançar uma resposta a pergunta ‘Mulheres podem ser ciborgues?’, busco evidenciar que a falta de paridade de gênero não é apenas um desafio do ponto de vista da ética e justiça, mas que apresenta consequência ao conhecimento em si e a forma que concebemos a IA enquanto tal. Para aprofundar essas questões, primeiramente proponho uma breve discussão acerca das contribuições metodológicas de epistemologias feministas através das contribuições de pensadoras como Sandra Harding e Donna Haraway, por exemplo. E, por fim, busco na literatura específica de IA, especialmente aquelas feitas por mulheres, perspectivas que busquem dar conta de problemas de gênero que se vinculam ao campo.

The “sexbot,” a new product on the market that has artificially intelligent capabilities, allows male consumers to customize their chosen artificial lover, catering to male fantasies and posing a threat to women. As anyone familiar with Ovid’s Pygmalion knows, the hazards of such narcissistic male projections have caused concern for at least two thousand years. Yet, as science fiction writers in recent decades have suggested, new technologies, and artificial intelligence in particular, threaten to make male fantasy more harmful than ever before. This presentation will refer to current social and psychological research such as the essays in John Danaher and Neil McArthur’s Robot Sex and look at influential works of science fiction such as The Heart Goes Last by Margaret Atwood and the film Ex Machina in order to explore the psychology behind the desire for sexbots. Sexbots in both fiction and nonfiction give us a glimpse into a bleak future where human women are mistreated by men due...

The female-presenting robot (gynoid) has been in live-action science fiction (SF) films for over 100 years. These sexless artificial creations present gender signifiers that allow them to be read and understood as female. How they employ these signifiers allows us to explore how SF cinema’s understanding of femininity has changed over the years from one strongly linked to subservience to presenting active defiance of those expectations. Despite the range of gynoid depictions within these films, these characters are typically described either as fem-bots (female robots) or sex-bots (sex robots), both of which speak to a focus on their gender presentation and sexual use over all other representations. Ursula K LeGuin describes SF as ‘the mythology of the modern world,’  hence, by tracing the history of these characters, I argue that inorganic creations act out a fabular femininity where heteronormative, cisgender, male fantasies construct an understanding of femininity. Since these modern myths tell us stories of idealised femininity, it is significant that within this fabular space there is a representational shift away from objectified hyperfeminine presentations, towards agentic persons as of the end of 2021. Using a taxonomy and a film survey of over 300 films, I assert how gynoids’ representational trends are shifting towards depictions of agentic autonomy, speaking to the changes and overall shifts in the fabular tales SF is telling by the end of 2021.

The female-presenting robot (gynoid) has been in live-action science fiction (SF) films for over 100 years. These sexless artificial creations present gender signifiers that allow them to be read and understood as female. How they employ these signifiers allows us to explore how SF cinema’s understanding of femininity has changed over the years from one strongly linked to subservience to presenting active defiance of those expectations. Despite the range of gynoid depictions within these films, these characters are typically described either as fem-bots (female robots) or sex-bots (sex robots), both of which speak to a focus on their gender presentation and sexual use over all other representations. Ursula K LeGuin describes SF as ‘the mythology of the modern world,’  hence, by tracing the history of these characters, I argue that inorganic creations act out a fabular femininity where heteronormative, cisgender, male fantasies construct an understanding of femininity. Since these modern myths tell us stories of idealised femininity, it is significant that within this fabular space there is a representational shift away from objectified hyperfeminine presentations, towards agentic persons as of the end of 2021. Using a taxonomy and a film survey of over 300 films, I assert how gynoids’ representational trends are shifting towards depictions of agentic autonomy, speaking to the changes and overall shifts in the fabular tales SF is telling by the end of 2021.

This commentary is a response to ‘More than Skin Deep’ by Shelley M. Park (Park, More than skin deep: A response to “The Whiteness of AI”, Philosophy & Technology, 2021), and a development of our own 2020 paper ‘The Whiteness of AI’. We aim to explain how representations of AI can be varied in one sense, whilst not being diverse. We argue that Whiteness’s claim to universal humanity permits a broad range of roles to White humans and White-presenting machines, whilst assigning a much narrower range of stereotypical roles to people of colour. Because the attributes of AI in the popular imagination, such as intelligence, power and passing as human, are associated by the White racial frame with Whiteness, AI is cast predominantly as White. Following Sparrow (Science, Technology, & Human Values 45:538–560, 2020), we suggest this presents a dilemma for those creating or representing AI. We discuss three possible solutions: avoiding anthropomorphisation, explicitly critiquing racial role-t...

This article examines the 2015 film Ex Machina as a cultural text that exemplifies the technologization of gender within algorithmic culture. Analysing different textual elementsthe narrative diegesis, the marketing material, and the digital techniques used in the VFX post-production process-I argue that gender is consistently figured as a kind of technology. That is, gender is systematised, codified, and reduced to a programmed set of instructions that can be used by machines to manipulate and deceive. I argue that understanding gender through its figuration with the technological, specifically through code and algorithms, raises pertinent issues concerning surveillance, race, and bias. This is reflected in the film through a problematic representation of racialised figures, particularly techno-Orientalist tropes of labouring Asian bodies.

This paper discusses the transhumanistic implications in Maurice Merleau-Ponty's corporeal ontology, setting grounding for a possible outline of the aesthetics of the impossible or, in other terms, the sustainable aesthetics of 'probable impossibilities'. The author applies the method and apparatus of phenomenology as a valuable insight into the corpus of significant contemporary cinematic artworks, films and TV series about virtual reality, based on the ancient myth of Prometheus analysing the world sub specie aeterni, such as: Ex Machina (2014), Westworld (TV Series 2016-), Blade Runner 2049 (2017). The paper reflects upon the key notions of Merleau-Ponty's philosophical concept of the body in the context of post-digital and 'post-truth' age interpreting the contemporary dominant cinematic discourse. Defining the subject's primary property as capability of transcending limitations calls into question the transhumanistic concept of the human and the idea of 'technofantasies'. This hypothesis implies rewriting transhumanistic concepts, as well as rethinking Merleau-Ponty's crucial notions-body, language, sexuality, freedom and infinity-in order to establish a solid basis for the possible aesthetics of futuristic world(s), post-media and the sphere of impossible.

The portrayal of Artificial Intelligence (AI) in contemporary cinema speaks to the dominant discourse in the European tradition about humanity’s fears and hopes generated by the creation of artificial life. The present study seeks to analyse the portrayal of the female as an iconic representation of Artificial Intelligence in the context of the current zeitgeist (Drosnin, 1997; Keane, 2006) as the work of filmmakers explores both long-standing and recent concerns about female robots by bringing them to life on the screen (Pandya, 2019; Hamilton, 2018). We submit that an exploration of Alex Garland’s Ex Machina (2014) as a new reading of the Galatea and Pandora myths will bear out our hypothesis that the female robot model projects the spectre of the monstrous feminine, and may embolden filmmakers to endeavour more complex representations of females capable of sub- verting the power structure of patriarchal ideology (Modleski, 2002).

Resumo: O presente estudo tem como objetivo analisar o conto "Ascensão e queda de Robhéa, manequim e robô", do autor Caio Fernando Abreu e apontar aspectos que conferem a esta narrativa um cunho tecnofóbico. A tecnofobia na obra apresenta-se por meio do Complexo de Frankenstein, que é o medo direcionado aos seres artificiais produtos dos avanços tecnológicos.

This film tells the story of the development of artificial intelligence and how they can have feelings. In this essay, I will write about AI and Human emotions. First of all, i want to write about the film. There are three characters. Rich Nathan, the owner of the "Blue Book" search engine, who lives in a chalet and research center, works on artificial intelligence. Caleb, who works for his company, wins the lottery drawn by Nathan and visits Nathan's home. Nathan shows Caleb the artificial intelligence Ava he is working on. Nathan aims to prove that Ava is a successful artificial intelligence by applying the Turing test to Ava with Caleb. Ava, on the other hand, wants to get out of the facility where she is imprisoned. Caleb is between believing in Nathan or Ava.

This commentary is a response to 'More than Skin Deep' by Shelley M. Park (Park, More than skin deep: A response to "The Whiteness of AI", Philosophy & Technology, 2021), and a development of our own 2020 paper 'The Whiteness of AI'. We aim to explain how representations of AI can be varied in one sense, whilst not being diverse. We argue that Whiteness's claim to universal humanity permits a broad range of roles to White humans and White-presenting machines, whilst assigning a much narrower range of stereotypical roles to people of colour. Because the attributes of AI in the popular imagination, such as intelligence, power and passing as human, are associated by the White racial frame with Whiteness, AI is cast predominantly as White. Following Sparrow (Science, Technology, & Human Values 45:538-560, 2020), we suggest this presents a dilemma for those creating or representing AI. We discuss three possible solutions: avoiding anthropomorphisation, explicitly critiquing racial role-typing, and representing powerful AI as non-White.

More than ten years ago I worked as an ESL teacher and mentor of In retrospective, and after teaching at all levels of formal education (including a research university and a liberal arts college), working with many immigrant kids has been the most rewarding in terms of scholastic freedom and sociocultural experience. Perhaps it was due to their age, but compared with college students, those immigrant children, thanks to their creativity and inclination to nurture a free spirit, made rainy and somber Portland less depressive. Throughout the years, I have often wondered about the paths that those kids endeavoured.

In the Merriam-Webster dictionary (2020), humanization is described as representing something as "human" by giving it human qualities. This makes the non-human seem gentler, kinder, or more appealing to people. Such a trial to attribute some human characteristics to non-humans is defined as "Anthropomorphism". The results of studies show that a product presentation with anthropomorphism can actually be an influencial advertising tool, since it creates positive emotions among the audience and has a positive affect in their purchasing behavior. But are there any other possible underlying reasons for such an increase in sales when consumers are made to perceive material objects as 'human'? And is this advertising strategy being used in the movies today to promote the use of humanoid-robots? It should be noted that this kind of correlation made between the object and the subject (non living and the living) may have foreseeable drawbacks in the future, and they need to be attended. In this article, using anthropomorphism in movies for promoting humanoid robots will be discussed by analyzing the "EX-MACHINA" movie as a case study, and applying content and discourse analysis on the subject. YAPAY ZEKA ÇAĞINDA İNSANSI ROBOTLARIN TANITIMI İÇİN FİLMLERDE ANTROPOMORFİZM KULLANIMI: EX-MACHINA FİLMİ Özet Merriam-Webster sözlüğünde (2020), "insanlaştırma / humanization" bir şeyin "insan" olarak temsil edilir hale sokulması olarak tanımlanır; başka bir deyişle, insani nitelikleri insan olmayana atfedilmesidir. Cansız objelere, hayvan ya da bitkilere insani özellikler vermek, onların bireyler tarafından daha 'bilindik' algılanmalarına ve dolayısıyla daha yakın gözükmelerine sebebiyet verebilir. Tek başına bu tanım, insan yaşamında ve dolayısıyla reklamcılıkta "nesne" nin sürekli insanileştirilmesinin arkasındaki nedenlerden birini göstermektedir. İnsan özelliklerini insan olmayanlara atfetmek, antropomorfizm (insanbiçimcilik) olarak tanımlanır. Çalışmaların sonuçları gösteriyor ki, insanlaştırılmış bir ürün sunumunun izleyiciler arasında olumlu duygular yaratması ve satın alma davranışlarında olumlu bir etki yaratması nedeniyle antropomorphizm etkili reklam stratejilerindendir. Bu bağlamda, tüketicilerin nesneleri 'insan' olarak algılamaları sağlandığında satışlarda artış görülmesinin altında yatan başka olası nedenler nelerdir? Yapay zeka çağında insansı robotların kullanımını teşvik etmek için filmler bir reklam aracı olarak mı kullanılmaktadır? Nesne ile özne arasında kurulan böylesi korelasyonların gelecekte öngörülebilir sakıncaları olabileceği açıktır.

What is artificial intelligence? Development of artificial intelligence. What does it mean to be human? In this essay, I will try to explain what it means to be human based on the film Ex Machina, Her, I, Robot and Childhood’s End in terms of tragic flaw.

La intención del presente texto es introducir al lector a la lógica biopolítica y psicopolítica del conocimiento científico que antecede al concepto «diseño de experiencia del usuario» (i.e. una interfaz operativa entre la esfera del diseño y la investigación científica sobre medio ambiente y conducta humana) utilizado operativamente en la actual Mercadotecnia. La introducción al problema se presenta a partir de tres breves historias que interrelacionan el diseño con un tópico controversial en las ciencias sociales occidentales: el reconocimiento de la dimensión societal de los afectos y emociones de los individuos. A través del análisis del descubrimiento lingüístico de una historiadora medievalista, del experimento diseñado por un genio en Inteligencia Artificial y la propuesta tecnológica de un diseñador de geodésicas, se plantea a partir del giro afectivo una genealogía alternativa a la lógica teórica y operativa de «diseñar experiencia».

Palabras claves : diseño, giro afectivo, conducta humana, emociones, diseño de experiencia

This paper aims to ponder on the societal dimension of emotions and the psicopolitics of social sciences logics underneath the marketing concept of "Experience design" (i.e. an operational interface between the sphere of design and scientific research on the environment and human behavior). The problem is presented through three stories: the analysis of a linguistic discovery by a medievalist historian, the experiment of a AI designer and the architectural proposal of the inventor of geodesics. In this way, the paper offers an alternative genealogy to the theoretical and operational marketing logic of «designing experience".