Autopoiesis

In his 2011 The Chronicle Review article “Programmed for Love” Jeffrey R. Young interviews Professor Sherry Turkle about her experience with what she calls “sociable robots”. Turkle has spent 15 years studying robotics and its social emergence into society. After extensive research and experimenting with the robots, she believes that soon they will be programmed to perform specific tasks that a human would normally do. While this may seem like a positive step forward to some people, Turkle fears the worst. The article states that she finds this concept “demeaning, ‘transgressive,’ and damaging to our collective sense of humanity.” (Young, par. 5). She accredits this to her personal and professional experience with the robots. Turkle and her

At work, people are claiming to be too busy on their devices to be able to have conversations. In fact, they do not want to have the face to face interaction, but would “rather just do things on [their] blackberry” (136). Moreover, a “sixteen-year-old boy who relies on texting for almost everything says wistfully, ‘Someday, someday, but certainly not now, I’d like to learn how to have a conversation’” (136). The reliance on technology has increased significantly and the necessity for conversation has pivoted. A teenage boy confesses that he feels more comfortable talking to an “artificial intelligence program” (138) about dating instead of his own father. Similarly, many people want “Siri, the digital assistant on Apple’s iPhone, [to become] more advanced, [because] ‘she’ will be more and more like a best friend” (138). Robots are being given more credit for comforting humans than humans themselves. Not only are the younger generations thinking this, but also the elders. When Turkle brought a baby seal robot to a nursing home, an elder woman began to speak to it and feel comforted by it. It is a tragedy that humans are feeling a deeper connection with robots than other humans. Humans have the experiences and the feelings that the robots are not capable of having. Hence, there is confusion about the difference between conversation and

Customarily, popularized scientific sources purposes are for transferring objective knowledge to the masses, to ascertain communal civilization's apprehension of current medical, environmental, and technological advances and epidemics. These popular texts have a vital animus, for they must inform the public on composite scientific material while elucidating the data and exposition. Our daily lives are influenced to an eminent degree by scientific knowledge. In the article, Sense of Touch Recreated for Amputees in Their Prosthetics, Francie Diep explores the scientific strategy behind regenerating feeling within prosthetic limbs. She seeks the disparate contexts in which knowledge disseminates by taking into consideration not only scholarly learning mechanisms, but accent the presence of different voices in scientific texts especially through techniques linked to non-academic audiences. The collective

Our appearance is the first thing someone sees. Thus it is the first chance they have to make an opinion of us and set an expectation for us based on that initial opinion. This idea is one of the main premises of the novel “The Automatic Detective”, by A. Lee Martinez. The main character is a giant robot made for destruction and death named Mack Megaton. Even though Mack has gained self awareness; he is often overlooked as a mere robot who is incapable of thinking outside the binary world. Mack has to constantly prove that he is more then what he looks like. Mack does not let the worlds expectations of him keep him down but grows, and become more human as the novel progresses. Throughout the novel he shows us time and time again that he is a robot capable of loving and caring for people. Mack has it harder because he is initially thought to not be more then metal and electronics. No matter how low the world put its expectations of him; he does not care to be stuck down there but strives to climb to new heights.

Starting with the skin, the author discusses the multi-functions of the skin. Being the cover of the body, in addition to having an innumerable amount of nerve endings, the skin serves an invaluable purpose. The skin performs functions that machines today would struggle to do! Also, the bones serve an amazing function in the body. The ribs, although sometimes neglected, are a literal cage that protect the vital organs of the body! As Wayne Jackson states, if one were to discover a machine that had protective covering, sensory nerves, and an inner structure that protects the vital parts that it needs to work, they would affirm that the design shown in the machine demands a designer! According to Jackson, the human body is far more detailed and exhibits even more examples of design—it demands a Designer. He also goes into the intricacy of the muscle system and how without muscles, we cannot move our bodies. Diving in a step deeper, he further explains how each individual muscle has its own supply of “high-grade fuel,” which is accumulated by food that is consumed. It is said to perform the function of the spark and the piston, which were designed by a designer. Jackson then makes the case that the even more intricately designed muscle system must have been designed as well.

The solution may lie in the oversaturation of the living dead in mainstream media today; our inclination has changed from being frightened at a mere thought to having amiable or even favorable disposition towards them. A review of popular culture may have the answer in preventing human-like robots from evoking a feeling of “strangeness,” in the form of desensitization through constant exposure and can be explained through Ernst Jentsch’s theory of “intellectual uncertainty.” Masahiro Mori’s The Uncanny Valley proposes an objective solution to a subjective issue with feelings of “strangeness” deriving from human-like robots, but a deeper examination into the subjective aspect using Ernst Jentsch’s theory of “intellectual uncertainty” from On the Psychology of the Uncanny suggests a likely solution to the phenomena found in robotics

Online worlds and role-playing games ask you to construct, edit and perform a “robot” self. When we perform a life through our avatars, we express our hopes, strengths, and vulnerabilities. “A Second Life” gives an opportunity to see what we wish for and what we might be missing. But more than this,

The idea of traveling from the internal to the external is also visible in Synaesthesia (2016),which featured in the Interlude Gallery exhibition Ideally Yes (September, 2016). Here wax and pigment were placed into plastic bags creating a skin-like material that stretched around the screens. A two-channel video work played on the screens. Born from experimentation with materials, this video also examines the artificial materials with which we surround ourselves. Plastic is at once destructive and terrible for our environment, but also possesses strange, artificial skin-like properties. Through the use of a macro lens, Long and Kai Wasikowski captured different movements and processes of the body in minute detail. These parts of the body took

Man alone has a hand. He uses it as a gadget, as a picture, and as a weapon. A whole composition of legend, old stories, superstition, and myth have been made around the human hand. An organ of execution which serves as eyes for the visually impaired, the peaceful chat with it, and it has transformed into a picture of welcome, supplication, and judgment. The hand has impact in the contemporary vicinity of each known society and it has come to be run of the mill or illustrative of the whole individual in calling in appear and in the move. Substitutes of otherworldly sorts have utilized the hand for gathering and the association in the middle of mental and manual artfulness. Along these lines, the hand perhaps in light of the way that it is furthermore overall in the domain of movement has come to be deciphered and saw best in its social viewpoints.

In doing this the machine begins to take on the human characteristics of looking and breathing, this more basic human-like machine represents very fundamentally how the machine can begin to represent the human, and the human can begin to represent the machine, thus beginning to introduce Philip K. Dick's (the author of Do Androids Dream of Electric Sheep? upon which the film is based) views on how as humans we can sometimes function very mechanically, and the dangers of doing so;

The Body as a Biological Organism – Describing the body as the “…principal locus” of our being in the world, from which our world extends out from, Johnson discusses the intricate coordination of biological systems that provides the palette for all experiences from which we infer meaning in life. Our experience of life is also linked to our physical “posture and movement”, which provides the possibility of interaction. Referring to Putnam’s ‘brain in a vat’ hypothesis,

His only constant pleasure was not to eat the perfect food or absorb his mother’s stories of Rome but to take his mother’s face between his hands and kiss her pink rounded checks. She never returned the kiss nor even gave a hug. She would simply submit to his kisses in the ways of a robot that was not programmed to feel. Human touch was his need that slipped from awareness long ago leaving him a reason to develop his only outlet and comfort to satisfaction. He discovered pleasure in disruption but never lost those symbols that would give him

Today I visit the David Zwirner Gallery. I came to see the Jordan Wolfson installation. Jordan Wolfson is an American artist living and working in New York and Los Angeles. His work is known for social commentary and entertainment, using film, sculpture, installation and performance. The Installation I saw “The Man-machine” was a giant robot hung by chains. While watching the performance, I noticed that the robot was falling apart and getting back together over again. The chains were dragging the robot across the room while strange music was playing. I’m not sure what this means, but I believe this represents humans in our society today. I think this performance arts shows the idea of “freedom” but not really being free, being control by

The justification was to extricate the dysfunctional behavior like greed and egotism, To inaugurate an alternative network that promotes new identifications and values suitable for the organizational tasks. This latter point can sustain scientists to reconsider the importance of teamwork and an ecosystem, by which it suits for humanoid robots to function via the social hierarchy-diagram. This part of the creative paper does not aim to render a solution to this technical issue; but, tends to suggest a more coherence portrayal of the Transhumanism social

Is this an “it” or a “he/she”? Some of us can’t distinguish between some materialistic things. As time goes on, I have seen people get more emotionally attached to things, as if the thing shouldn’t be considered an “it” but in fact a “he/she”. Is this going to be a good thing down the road? That human created things, holds higher values than that of a human beings life? Question one has to consider, as technologies advances, and emotion becomes more lenient on the side of humanizing things that cannot stand on their own, sort of speak. In the movie, to my attention it was made clear that humans and robot were very similar to the point that one had to run a test on the machine to determine that it was not human. Thus leading to the fact that the emotional attachment to the machine will seem more acceptable in the relevance that one does not know who or what it is being emotionally attached to. The boundaries of “it” and “he/she” arises an emergence of a new categories,