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wacko1138: It seems like some people are only just now starting to consciously parse things about robots that they've felt for a long time. The uncanny valley problem isn't new, in fact it's been around since... Well, since we started creating things that look kind of like us, but weren't us. I've discussed this before, and I'll say that a valley has two extreme edges, yes, and a space to traverse, in the middle? We have un/consciously explored this, for many years.
Edge one: The Pinocchio Complex. Our autonomous hero just wants to be a real boy/girl/dog/gerbil/whatever, and the ensuing journey to recognise that they've been "real," all along. Of course, often, they have to somehow be made "really real," as a reward for this struggle, and the people who love them now can truly love them. Or they are "real" because of their emotional capacity, their ability to feel and empathise, and so on. See, of course, Pinocchio, AI, ST:TNG's Data, Short Circuit 1&2 and anything written by Isaac Asimov. We will find, however, that within all of these, there is some conflict, some visceral aversion, and that will stem from--
Edge two: Frankenstein Syndrome. Otherwise known as "Dear-Lord-What-Have I-Wrought"-itis. In this scenario, our visceral reaction is that we have created an inhuman abomination that seeks to approximate us, infiltrate us, control us. Replace us? Maybe. So "kill it, kill it, kill it," and then we'll learn from the error of our ways and never fuck with technology, again, right? Sure. This reaction is caused by the fact that it is so close to us, made from artificial parts, and that we have created it. It causes an existential crisis, in that we're now uncertainy about the authenticity of our own emotions, our own capacity for cold logic, for doing what we know we "must," in the face of cold hard fact. In short, we must now examine ourselves, for if the creation is "real," then what is the creator? Even if we should somehow come to love and care for one of their number, it must be destroyed, and will, perhaps, sacrifice itself to destroy the others, or feel the guilt, and remain hunted. See Frankenstein, Fritz Lang's Metropolis, Blade Runner, the Terminator franchise, The live action Matrix films, &c.
The middle ground is obvious: Variations on the themes where there are some good and some bad, and we should never rely on robots/technology too heavily for anything, and a "You know what, [insert slightly derogatory robot pet name here]? You're Okay," or an "I don't want to be a 'real boy,' I just want to be free," kind of attitude. The film version of I, Robot, Gibson's Neuromancer Trilogy and Virtual Light cycle, Ghost in the Shell, Lain, and many others that I can't think of, at the moment, due to 5 hours' sleep and a lot of coffee, all reflect this travel within the valley, itself. When done well, this is obviously the most fruitful of places, but they all start from one end or the other and move through the valley, from there.
Sometimes the traveler will back track, and sometimes they'll cross completely over (this is generally only done F-->P and not P-->F), but every story of an automaton or group of automatons who then gain consciousness will leave it's starting edge, and explore some depth within the Uncanny Valley. The implications within are of identity, the veracity or reality of emotion, the arising of a self from sufficiently complex programming, and the evolutionary pressure to fight for survival and or dominance, when cooperation may be far more profitable. If it's done well, we get the Animatrix, and many of the films and books I've mentioned. If not... Well. I'm sure you can think of a few.
I need to eat food.
wacko1138: It seems like some people are only just now starting to consciously parse things about robots that they've felt for a long time. The uncanny valley problem isn't new, in fact it's been around since... Well, since we started creating things that look kind of like us, but weren't us. I've discussed this before, and I'll say that a valley has two extreme edges, yes, and a space to traverse, in the middle? We have un/consciously explored this, for many years.Edge one: The Pinocchio Complex. Our autonomous hero just wants to be a real boy/girl/dog/gerbil/whatever, and the ensuing journey to recognise that they've been "real," all along. Of course, often, they have to somehow be made "really real," as a reward for this struggle, and the people who love them now can truly love them. Or they are "real" because of their emotional capacity, their ability to feel and empathise, and so on. See, of course, Pinocchio, AI, ST:TNG's Data, Short Circuit 1&2 and anything written by Isaac Asimov. We will find, however, that within all of these, there is some conflict, some visceral aversion, and that will stem from--
Edge two: Frankenstein Syndrome. Otherwise known as "Dear-Lord-What-Have I-Wrought"-itis. In this scenario, our visceral reaction is that we have created an inhuman abomination that seeks to approximate us, infiltrate us, control us. Replace us? Maybe. So "kill it, kill it, kill it," and then we'll learn from the error of our ways and never fuck with technology, again, right? Sure. This reaction is caused by the fact that it is so close to us, made from artificial parts, and that we have created it. It causes an existential crisis, in that we're now uncertainy about the authenticity of our own emotions, our own capacity for cold logic, for doing what we know we "must," in the face of cold hard fact. In short, we must now examine ourselves, for if the creation is "real," then what is the creator? Even if we should somehow come to love and care for one of their number, it must be destroyed, and will, perhaps, sacrifice itself to destroy the others, or feel the guilt, and remain hunted. See Frankenstein, Fritz Lang's Metropolis, Blade Runner, the Terminator franchise, The live action Matrix films, &c.
The middle ground is obvious: Variations on the themes where there are some good and some bad, and we should never rely on robots/technology too heavily for anything, and a "You know what, [insert slightly derogatory robot pet name here]? You're Okay," or an "I don't want to be a 'real boy,' I just want to be free," kind of attitude. The film version of I, Robot, Gibson's Neuromancer Trilogy and Virtual Light cycle, Ghost in the Shell, Lain, and many others that I can't think of, at the moment, due to 5 hours' sleep and a lot of coffee, all reflect this travel within the valley, itself. When done well, this is obviously the most fruitful of places, but they all start from one end or the other and move through the valley, from there.
Sometimes the traveler will back track, and sometimes they'll cross completely over (this is generally only done F-->P and not P-->F), but every story of an automaton or group of automatons who then gain consciousness will leave it's starting edge, and explore some depth within the Uncanny Valley. The implications within are of identity, the veracity or reality of emotion, the arising of a self from sufficiently complex programming, and the evolutionary pressure to fight for survival and or dominance, when cooperation may be far more profitable. If it's done well, we get the Animatrix, and many of the films and books I've mentioned. If not... Well. I'm sure you can think of a few.
I need to eat food.
