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TheFutureisFemale:GynoidianSkinsand ProstheticExperience ǡǡ Ǥ Ǥ ʹͲͳ Abstract ǡǮǯǡ Ǥ ǡ ǯǮ ǯ ǯǮ ǯǡ Ǥ ǯHerȋʹͲͳ͵Ȍǡ ǯExMachinaȋʹͲͳͷȌǡ ǯLucy ȋʹͲͳͶȌǮ ǯȋȌ ǣ ǡǡ Ǥ ǡ Ǯ ǯǡǯ Ǥ ǡ Ǥ
ʹ Acknowledgements ǡ ǡǡ Ǥ ǡǡ ǡ ȋǨȌ Ǥ ǡ ǯ Ǥ Ǥ ǢǢǢǢ ǣǡ Ǥ ǡ ǡ ǡ Ǯ ǯ Ǥ ǯǡ Ǥ ǡ Ǥ Ǯǯ ǡ Ǥ ǡ ǡ Ǥ Ǥ ǡ ǡ Ǥǯ ǡ Ǯ ǯǢ ǯ Ǥ ǡ Ǣ ǡ Ǣ ǡ Ǥ ǡ ǡǡ ǡ ǡǤ
͵ Contents Abstract...... 2 Acknowledgements...... 3 Introduction...... 5 CaseStudies ThePhenomenologicalApproach LiteratureReview ChapterOne:Gynoids...... 26 I.I Cyborg/Android I.II Autonomy/Dependence I.III Human/Robotic I.IV Built/NaturalEnvironments I.V Skin/Machine ChapterTwo:Skins...... 57 II.I FeelingSkins:Haptics II.II GynoidianSkins II.III ScreenSkins ChapterThree:Prostheses...... 90 III.I “Let’sDance”:ExMachina,DressesandFemaleForms III.II “IWishICouldTouchYou”:DisembodimentandVoice III.III “ThePastisJustaStoryWeTellOurselves”:Prosthetic Memory III.IV “Followme,F***head”:HapticGaming Conclusion...... 138 WorksCited...... 145
Ͷ Introduction
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ͳͶ LiteratureReview
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Bodies&Gender
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ʹͷ ChapterOne:Gynoids ǯ
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ǣ
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dz
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ͷͷ ǡ ǮǯǤ
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ǯ
Ǥǡǯ
Ǥ
ͷ ChapterTwo:Skins
ǡ ǡ
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Ǧ ǣ
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ǡ Ǥ
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ǣ Dz dz
ȋʹͳȌǤ ǡ Her,ExMachina Lucy,
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Ǯ ǯ
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ͳͶͶ WorksCited
ǡǤArtificialKnowing:GenderandtheThinkingMachineǤǡ ͳͻͻͺǤǤ ǡǡ ǡǤThinkingThroughtheSkinǤǡʹͲͲ͵Ǥ Ǥ Aliens.Ǥ Ǥ ǡͳͻͺǤ Ǥ ǡ ǤDz ǣ dzǤEnvironmentandPlanningA,ǤͶͳǡ ʹͲͲͻǤʹͳͲͷȂʹͳʹͶǤǤ ǡ ǤTheTactileEye:TouchandtheCinematicExperienceǤ ǡʹͲͲͻǤǤ ǡ ǤStepstoanEcologyofMind. ǣ ǡͳͻʹǤǤ ǡ ǤMatterandMemory.ǣƬǡͳͻͳͻǤǤ ǡ ǤCruelOptimismǤǡʹͲͳͳǤǤ ǡǤCinemaandSensation.ǣǡʹͲͲǤǤ BladeRunner.Ǥ ǤǤǡͳͻͺʹǤ Ǥ ǡ ǤGenderTroubleǤǡʹͲͲʹǤǤ ǦǦǦǤ̶ ǣ Ǥ̶TheatreJournalǡͳͻͺͺǤͷͳͻǦͷ͵ͳǤǤ ǡ ǤFilm,ASoundArt.Ǥ Ǥǣ ǡʹͲͲ͵ǤǤ ̵ ǦǡǤL’EveFuture.ǣǡ ͳͻͺͳǤǤ ǡǤ̶ ǣ ǡ Ǥ̶ FilmǦPhilosophyͳǤͳȋʹͲͳʹȌǣͳǦʹͻǤǤ ǡ ǤSuspensionsofPerception:Attention,SpectacleandModern Culture. ǡͳͻͻͻǤǤ ǯǡǤDz ǣ dzǡKinestheticEmpathyinCreativeandCulturalPractices,Ǥ Ǥǣ ǡʹͲͳʹǤǤ
ͳͶͷ ǡǤDz ǯdzǤTheBestofLesterdelRey.ǣ ǡ ͳͻͺǤǤ ǡ ǤCinemaII:TheTimeǦImage.ǣƬ ǡʹͲͲͷǤǤ ǡǤAVoiceAndNothingMoreǤǡǣ ǡ ʹͲͲǤǤ ǡǤThePhenomenologyofAestheticExperience.ǣ ǡͳͻ͵ǤǤ ExMachina.Ǥ Ǥ ǡʹͲͳͷǤ Ǥ ǡ ǤDz dzǤDiacritics,ǤͳǤͳǡͳͻͺǤʹʹǦʹǤǤ ǦǦǦǤDisciplineandPunish:TheBirthofthePrisonǤǡͳͻǤǤ ǡǤBodiesinCode:InterfaceswithDigitalMediaǤǡʹͲͳʹǤ Ǥ ǡ ǤSimians,Cyborgs,andWomen:TheReinventionofNatureǤ ǡʹͲͳ͵ǤǤ ǡǤǤDz dzǤOctober,Ǥǡ ͳͻͻ͵ǤǦͻͳǤǤ ǦǦǦǤHowweBecamePosthuman:VirtualBodiesinCybernetics,Literatureand Informatics. ǡͳͻͻͻǤǤ Her.Ǥ Ǥ ǡʹͲͳ͵Ǥ Ǥ ǡǤǤǤDzdzǤDieNachtstücke. ǡͳͺͳǤǤ ǡǤǤǡǤGender/Body/Knowledge:Feminist ReconstructionsofBeingandKnowing.ǣǡͳͻͺͻǤǤ ǡ ǤTheGenderedCyborg:AReaderǤ ǡʹͲͲͲǤǤ ǡǤBodiesinPain:EmotionandtheCinemaofDarrenAronofskyǤ ǡʹͲͳͷǤǤ ǦǦǦǤFeelingCinema:EmotionalDynamicsinFilmStudiesǤǡʹͲͳͳǤǤ ǡǤProstheticMemory:TheTransformationofAmerican RemembranceintheAgeofMassCulture.ǣǡʹͲͲͶǤǤ
ͳͶ ǦǦǦǤǮ ǣ ǯǤ MemoryandPopularFilm,Ǥ ǡͳͶͶǦͳǤ ǣ ǡʹͲͲ͵ǤǤ ǡǡ ǡ̶ ǣ ̶ǡProceedingsof the1stInternationalconferenceonTangibleandEmbeddedInteraction(TEI)Ǥ ǡǡǡ ǤͳͷǦͳǡʹͲͲǤʹͳǦʹͺǤǤ ǡǡǡǤǤGenderandTechnology:A ReaderǤ ǡʹͲͲ͵ǤǤ ǡǤDz ǣ dzǤ FeministMediaStudies.ǤͳͳǤ͵ǡʹͲͳ͵Ǥ͵ʹͳǦ͵ͶͷǤǤ Lucy.Ǥ ǤΪǡʹͲͳͶǤ Ǥ ǡǤTheSkinoftheFilm:InterculturalCinema,Embodimentandthe Senses.ǡʹͲͲͲǤǤ ǦǦǦǤTouch:SensuousTheoryandMultisensoryMedia. ǡʹͲͲʹǤǤ ǦǦǦǤDz dzǤScreen͵ͻǤͶǡͳͻͻͺǤǤ ǡȋǤȌǡ ǤAThousandPlateaus: CapitalismandSchizophrenia.ǣǡʹͲͲͶǤǤ ǦǦǦǤParablesfortheVirtual:Movement,Affect,SensationǤǡ ʹͲͲʹǤǤ Metropolis.Ǥ Ǥ ǡͳͻʹǤ Ǥ ǡǤ ǤEnergyǡȋͶȌǡ͵͵Ǧ͵ͷǤǤ ǡǤVisualandOtherPleasures:SecondEdition.ǣ ǡʹͲͲͻǤǤ ǡ ǤǮ ȀǯǤ MemoryandPopularFilm,Ǥ ǡʹ͵ǦͷǤ ǣ ǡʹͲͲ͵ǤǤ ÇƴǡǤDeleuzeandtheCinemasofPerformance:PowersofAffectionǤ ǣǡʹͲͲͺǤǤ ǡ ǦǤEssaysinAesthetics.ǣǡͳͻǤ Ǥ ǡǤPostCinematicAffectǤ ǡʹͲͳͲǤǤ
ͳͶ ǡǤTheAcousticMirror:TheFemaleVoiceinPsychoanalysisand Cinema. ǣ ǡͳͻͺͺǤǤ ǡǤCarnalThoughts:EmbodimentandMovingImageCulture. ǣǡʹͲͲͶǤǤ ǦǦǦǤDzdzǤ ȋǤȌǡTheGenderedCyborg:AReader. ǤʹͲͲͲǤǤ ǦǦǦǤTheAddressoftheEye:APhenomenologyofFilmExperience.ǣ ǡͳͻͻʹǤǤ ǡǤAloneTogether:Whyweexpectmorefromtechnologyandless fromeachotherǤ ǡʹͲͳʹǤǤ ǦǦǦǤ̶ǣ Ǥ̶Continuing HigherEducationReview,ǤͷǡʹͲͳͳǤʹͺǦ͵ͳǤǤ ǡǤ̶ ǣ ǡǡ Ǥ̶FilmQuarterly,ͳͻͻͳǣ ʹǦͳ͵ǤǤ ǡ ǤMyFairLadies:FemaleRobots,Androids,andotherArtificialEves. ǣ ǡʹͲͳͷǤǤ ǡǤSingingtheBodyElectric:Therecordedvoice,themediatedbodyǤ ǡʹͲͲǤǤ
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