In a widely-trailed CBS ’60 minutes’ interview, the A.I-pioneer-cum-venture-capitalist Kai-Fu Lee makes the sorts of heady predictions about job replacement/displacement that the media like to lap up. The automative imagination of ‘automation as progress’ in full swagger…
We should perhaps see this in the context of, amongst other things, geopolitical machinations (i.e. China-USA) around trade and intellectual property; a recently published book; a wider trend for claims about robotic process automation (especially in relation to ‘offshoring‘); and a large investment fund predicated upon ‘disruption’.
I came across the most recent film by Keichii Matsuda which concerns a possible future of work, with the protagonist embedded in an (aesthetically Microsoft-style) augmented reality of screen-surfaces, and in which the narrative denouement is a sort of trans-human ‘uploading’ moment.
I like Matsuda’s work. i think he skilfully and playfully provokes particular sorts of conversations, mostly about what we used to call ‘immersion’ and the nature of mediation. This has, predictably happened in terms of human vs. AI vs. eschatology (etc etc.) sorts of narratives in various outlets (e.g. the Verge). The first time I encountered his work was at a Passenger Films event at which Rob Kitchin talked about theorisations of mediation in relation to both Matsuda’s work and the (original) Disney film ‘Tron‘.
What is perhaps (briefly) interesting here are two things:
The narrative is a provocative short story that asks us to reflect upon how our world of work and technological development get us from now (the status quo) to an apparent future state of affairs, which carries with it certain kinds of ethical, normative and political contentions. So, this is a story that piggybacks the growing narrative of ‘post-work’ or widespread automation of work by apparently ‘inhuman’ technologies (i.e. A.I) that provokes debate about the roles of ‘technology’ and ‘work’ and what it means to be ‘human’. Interestingly, this (arguably) places “Merger” in the genre of ‘fantasy’ rather than ‘science fiction’ – it is, after all, an eschatological story (I don’t see this final point as a negative). I suppose it could also be seen as a fictional suicide note but I’d rather not dwell on that…
The depiction of the interface and the interaction with the technology-world of the protagonist– and indeed the depiction of these within a 360-degree video –are as important as the story to what the video is signifying. By which I mean – like the videos I called ‘vision videos’ back in 2009/10 (and (in some cases) might be called ‘design fiction’ or ‘diagetic prototypes’) – this video is also trying to show you and perhaps sell you the idea of a technology (Matsuda recently worked for Leap Motion). As I and others have argued – the more familiar audiences are with prospective/speculative technologies the more likely we are (perhaps) to sympathise with their funding/ production/ marketing and ultimately to adopt them.
Sophia is not the first show robot to attain celebrity status. Yet accusations of hype and deception have proliferated about the misrepresentation of AI to public and policymakers alike. In an AI-hungry world where decisions about the application of the technologies will impact significantly on our lives, Sophia’s creators may have crossed a line. What might the negative consequences be? To get answers, we need to place Sophia in the context of earlier show robots.
The tradition extends back to the automata precursors of robots in antiquity. Moving statues were used in the temples of ancient Egypt and Greece to create the illusion of a manifestation of the gods. Hidden puppeteers pulled ropes and spoke with powerful booming voices emitted from hidden tubes. This is not so different from how show robots like Sophia operate today to create the illusion of a manifestation of AI.
For me, the biggest problem with the hype surrounding Sophia is that we have entered a critical moment in the history of AI where informed decisions need to be made. AI is sweeping through the business world and being delegated decisions that impact significantly on peoples lives from mortgage and loan applications to job interviews, to prison sentences and bail guidance, to transport and delivery services to medicine and care.
It is vitally important that our governments and policymakers are strongly grounded in the reality of AI at this time and are not misled by hype, speculation, and fantasy. It is not clear how much the Hanson Robotics team are aware of the dangers that they are creating by appearing on international platforms with government ministers and policymakers in the audience.
I recently saw the Chemical Brothers new-ish video for the song “Free Yourself”, featuring androids/robots apparently going feral and raving in a warehouse and it made me consciously think about something I’ve known for some time – there are quite a few music videos with ‘robots’ in them.
I’ve had about six months of reading various versions of speculative/science fiction after not having read in that genre for a little while… so here’s a selection of books I’ve read (almost exclusively on an ereader) that have more-or-less been selected following the ‘people who read [a] also read [b]’ lists.
I’m not sure these books necessarily offer any novel insights but they do respond to the current milieu of imagining automation (AI, big data, platform-ing, robots, surveillance capitalism etc etc) and in that sense are a sort of very partial (and weird) guide to that imagination and the sorts of visions being promulgated.
I’d like to write more but I don’t have the time or energy so this is more or less a place-holder for trying to say something more interesting at a later date… I do welcome other suggestions though! Especially less conventionally Western ones.
ADD. Jennie Day kindly shared a recent blogpost by David Murakami Wood in which he makes some recommendations for SF books. Some of these may be of interest if you’re looking for wider recommendations. In particular, I agree with his recommendations of Okorafor’s “Lagoon“, which is a great novel.
I am looking forward to visiting Plymouth (tomorrow) the 17th October to give a Geography department research seminar. It’s been nearly twenty years (argh!) since I began my first degree, in digital art, at Plymouth so I’m looking forward to returning. I’ll be talking about a couple of aspects of ‘The Automative Imagination’ under a slightly different title – ‘New geographies of automation?’ The talk will take in archival BBC and newspaper automation anxieties, management consultant magical thinking (and the ‘Fourth Industrial Revolution’), gendered imaginings of domesticity (with the Jetsons amongst others) and some slightly under-cooked (at the moment) thoughts about how ‘agency’ (what kinds of ‘beings’ or ‘things’ can do what kinds of action).
Do come along if you’re free and happen to be in the glorious gateway to the South West that is Plymouth.
A few more bits on how automation gets gendered in particular kinds of contexts and settings. In particular, the identification of ‘home’ or certain sorts of intimacy with certain kinds of domestic or caring work that then gets gendered is something that has been increasingly discussed.
Two PhD researchers I am lucky enough to be working with, Paula Crutchlow (Exeter) and Kate Byron (Bristol), have approached some of these issues from different directions. Paula has had to wrangle with this in a number of ways in relation to the Museum of Contemporary Commodities but it was most visible in the shape of Mikayla, the hacked ‘My Friend Cayla Doll’. Kate is doing some deep dives on the sorts of assumptions that are embedded into the doing of AI/machine learning through the practices of designing, programming and so on. They are not, of course, alone. Excellent work by folks like Kate Crawford, Kate Devlin and Gina Neff (below) inform all of our conversations and work.
Here’s a collection of things that may provoke thought… I welcome any further suggestions or comments 🙂
Alexa is female. Why? As children and adults enthusiastically shout instructions, questions and demands at Alexa, what messages are being reinforced? Professor Neff wonders if this is how we would secretly like to treat women: ‘We are inadvertently reproducing stereotypical behaviour that we wouldn’t want to see,’ she says.
it has been reported that female-sounding assistive chatbots regularly receive sexually charged messages. It was recently cited that five percent of all interactions with Robin Labs, whose bot platform helps commercial drivers with routes and logistics, is sexually explicit. The fact that the earliest female chatbots were designed to respond to these suggestions deferentially or with sass was problematic as it normalised sexual harassment.
A fascinating and very evocative example of the ‘automative imagination’ in action in the form of an advertisement for the “Vector” robot from a company called Anki.
How to narrate or analyse such a robot? Well, there are lots of the almost-archetypical figures of ‘robot’ or automation. The cutesy and non-threatening pseudo-pet that the Vector invites us to assume it is, marks the first. This owes a lot to Wall-E (also, the robots in Batteries Not Included and countless other examples) and the doe-eyed characterisation of the faithful assistant/companion/servant. The second is the all-seeing surveillant machine uploading all your data to “the cloud”. The third is the two examples of quasi-military monsters with shades of “The Terminator”, with a little bit of helpless baby jeopardy for good measure. Finally, the brief nod to HAL 9000, and the flip of the master/slave that it represents, completes a whistle-stop tour of pop culture understandings of ‘robots’, stitched together in order to sell you something.
I assume that the Vector actually still does the kinds of surveillance it is sending up in the advert, but I have no evidence – there is no publicly accessible copy of the terms & conditions for the operation of the robot in your home. However, in a advertorial on ‘Robotics Business Review‘, there is a quote that sort of pushes one to suspect that Vector is yet another device that on the face of it is an ‘assistant’ but is also likely to be hoovering up everything it can about you and your family’s habits in order to sell that data on:
“We don’t want a person to ever turn this robot off,” Palatucci said. “So if the lights go off and it’s on your nightstand and he starts snoring, it’s not going to work. He really needs to use his sensors, his vision system, and his microphone to understand the context of what’s going on, so he knows when you want to interact, and more importantly, when you don’t.”
If we were to be cynical we might ask – why else would it need to be able to do all of this? –>
Regardless, the advert is a useful example of how the bleed from fictional representations of ‘robots’ into contemporary commercial products we can take home – and perhaps even what we might think of as camouflage for the increasingly prevalent ‘extractive‘ business model of in-home surveillance.