I V Anthropomorphic Attachments in U.S. Literature, Robotics, And
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Anthropomorphic Attachments in U.S. Literature, Robotics, and Artificial Intelligence by Jennifer S. Rhee Program in Literature Duke University Date:_______________________ Approved: ___________________________ Kenneth Surin, Supervisor ___________________________ Mark Hansen ___________________________ Michael Hardt ___________________________ Katherine Hayles ___________________________ Timothy Lenoir Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Literature in the Graduate School of Duke University 2010 i v ABSTRACT Anthropomorphic Attachments in U.S. Literature, Robotics, and Artificial Intelligence by Jennifer S. Rhee Program in Literature Duke University Date:_______________________ Approved: ___________________________ Kenneth Surin, Supervisor ___________________________ Mark Hansen ___________________________ Michael Hardt ___________________________ Katherine Hayles ___________________________ Timothy Lenoir An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Literature in the Graduate School of Duke University 2010 Copyright by Jennifer S. Rhee 2010 Abstract “Anthropomorphic Attachments” undertakes an examination of the human as a highly nebulous, fluid, multiple, and often contradictory concept, one that cannot be approached directly or in isolation, but only in its constitutive relationality with the world. Rather than trying to find a way outside of the dualism between human and not- human, I take up the concept of anthropomorphization as a way to hypersaturate the question of the human. Within this hypersaturated field of inquiry, I focus on the specific anthropomorphic relationalities between human and humanoid technology. Focusing primarily on contemporary U.S. technologies and cultural forms, my dissertation looks at artificial intelligence and robotics in conversation with their cultural imaginaries in contemporary literature, science fiction, film, performance art, and video games, and in conversation with contemporary philosophies of the human, the posthuman, and technology. In reading these discourses as shaping, informing, and amplifying each other and the multiple conceptions of the human they articulate, “Anthropomorphic Attachments” attends to these multiple humans and the multiple morphologies by which anthropomorphic relationalities imagine and inscribe both humanoid technologies and the human itself. iv Contents Abstract.............................................................................................................................. iv List of Figures.................................................................................................................... ix Acknowledgements............................................................................................................. x Introduction: The Double-Articulation of the Human........................................................ 1 1 Misidentification’s Promise: The Turing Test in Richard Powers’ Galatea 2.2, Joseph Weizenbaum’s ELIZA, and Emily Short’s Galatea......................................................... 10 1.1 Anthropomorphization, Perverse Metaphor, and Turing’s Imitation Game......... 13 1.1.1 Gender between the Turing Test and Turing’s Test ........................................ 20 1.1.2 The Standard Turing Test: The Human Cut on the Bias ................................. 25 1.2 The Richard Test as Binding Narrative ................................................................ 28 1.2.1 The Turing Test Meets the Richard Test ........................................................... 37 1.3 From Sputnik to ELIZA: A Brief History of Natural Language Artificial Intelligence.................................................................................................................. 41 1.4 The Loebner Prize: Anthropomorphization Foreclosed ....................................... 46 1.4.1 The Anthropomorphic Imaginary: Misidentifications, Determination, and Desire ........................................................................................................................ 58 1.5 Intimacy and Distributed Agency in Emily Short’s Galatea ................................ 59 2 Intelligence Embodied, Worlded, and Emergent: Rudy Rucker’s Software and Rodney Brooks’ Robotics .............................................................................................................. 65 2.1 “Picture a ‘brain in a vat’...” ................................................................................. 67 2.2 Brains, Bodies, and Boppers................................................................................. 76 2.2.1 The Body in Multiples ..................................................................................... 77 2.2.2 The Matter and the Memory ............................................................................ 82 v 2.3 Pure Body and Becoming-Robot .......................................................................... 85 2.3.1 Embodiment, Situatedness, and Emergent Intelligence................................... 92 2.4 Brain in a Vat Redux: A Coda on Consciousness................................................. 98 3 Worlds beyond the Uncanny Valley: Philip K. Dick and the Robots of Cynthia Breazeal and Dave Hanson ............................................................................................................ 103 3.1 Design Choices and the Uncanny Valley............................................................ 104 3.2 Kismet: Animal, Infant, and Lowering the Threshold........................................ 110 3.2.1 Affect-Emotion, Anthropomorphization, and Breazeal’s Sociable Robots... 113 3.3 The Face I See and The Face You Know: Intersubjectivity and Recognition.... 115 3.3.1 Intersubjectivity as Indistinguishability: The Rubber Hand Illusion and Self- Face Recognition: ................................................................................................... 117 3.4 Affect-Emotion ................................................................................................... 120 3.4.1 Sociable Robots and Affect-Emotion ............................................................ 123 3.4.2 Affective Anthropomorphization................................................................... 125 3.4.3 HRI and Leonardo.......................................................................................... 128 3.5 Beyond the Uncanny Valley: David Hanson and Philip K. Dick....................... 132 3.5.1 Life, Simulacrum, and De-Anthropomorphization in Dick’s We Can Build You ................................................................................................................................. 141 3.5.2 Sympathy and the Simulacrum ...................................................................... 146 3.5.3 Affect-Emotion and the Limits of the Face ................................................... 149 3.5.4 Alterity, Fugues, and Agency ........................................................................ 152 3.5.5 Initial Dis-articulation in Do Androids Dream of Electric Sheep?................ 154 3.5.6 Do Androids Dream of Electric Sheep? and the Construction of Empathy .. 156 3.5.7 Anticipation as Invention: Dave Hanson’s Philip K. Dick Android.............. 163 vi 3.5.8 Post-Script: An Expansion of the Cultural Imaginary ................................... 167 4 Anthropomorphization Incorporated and Abjected: Stelarc’s Extra Ear..................... 168 4.1 The Visibility of Obsolescence: Stelarc’s Obsolete Body.................................. 170 4.2 Stelarc’s Extra Ear .............................................................................................. 176 4.2.1 Iteration 1: Extra Ear on the Face.................................................................. 176 4.2.2 Iteration 2: Extra Ear: ¼ Scale ...................................................................... 178 4.2.3 Iteration 3: Extra Ear on the Arm.................................................................. 179 4.3 The Abject........................................................................................................... 182 4.3.1 Abjection of the Living.................................................................................. 185 4.4 The Double Invisibility of the Senses................................................................. 188 4.5 McLuhan and the Senses .................................................................................... 192 4.6 Stelarc, McLuhan, and the Role of the Artist ..................................................... 195 5 Anthropomorphic Transduction and Speculation: Spielberg’s A.I. and Microsoft’s Milo ......................................................................................................................................... 199 5.1 The Humanoid Transduced................................................................................. 200 5.2 Milo, Molyneux, and the Creation of the Human............................................... 203 5.2.1 What Claire Knew.......................................................................................... 204 5.2.2 What Claire Felt............................................................................................. 209 5.2.3 Where Claire Is .............................................................................................. 212 5.2.4 What Claire Drew .........................................................................................