BiblioVault - Books about Androids

Androids in the Enlightenment

Mechanics, Artisans, and Cultures of the Self

Adelheid Voskuhl

University of Chicago Press, 2013

The eighteenth century saw the creation of a number of remarkable mechanical androids: at least ten prominent automata were built between 1735 and 1810 by clockmakers, court mechanics, and other artisans from France, Switzerland, Austria, and the German lands. Designed to perform sophisticated activities such as writing, drawing, or music making, these “Enlightenment automata” have attracted continuous critical attention from the time they were made to the present, often as harbingers of the modern industrial age, an era during which human bodies and souls supposedly became mechanized.

In Androids in the Enlightenment, Adelheid Voskuhl investigates two such automata—both depicting piano-playing women. These automata not only play music, but also move their heads, eyes, and torsos to mimic a sentimental body technique of the eighteenth century: musicians were expected to generate sentiments in themselves while playing, then communicate them to the audience through bodily motions. Voskuhl argues, contrary to much of the subsequent scholarly conversation, that these automata were unique masterpieces that illustrated the sentimental culture of a civil society rather than expressions of anxiety about the mechanization of humans by industrial technology. She demonstrates that only in a later age of industrial factory production did mechanical androids instill the fear that modern selves and societies had become indistinguishable from machines.

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Living with Robots

Paul Dumouchel and Luisa DamianoTranslated by Malcolm DeBevoise

Harvard University Press, 2017

Living with Robots recounts a foundational shift in the field of robotics, from artificial intelligence to artificial empathy, and foreshadows an inflection point in human evolution. Today’s robots engage with human beings in socially meaningful ways, as therapists, trainers, mediators, caregivers, and companions. Social robotics is grounded in artificial intelligence, but the field’s most probing questions explore the nature of the very real human emotions that social robots are designed to emulate.

Social roboticists conduct their inquiries out of necessity—every robot they design incorporates and tests a number of hypotheses about human relationships. Paul Dumouchel and Luisa Damiano show that as roboticists become adept at programming artificial empathy into their creations, they are abandoning the conventional conception of human emotions as discrete, private, internal experiences. Rather, they are reconceiving emotions as a continuum between two actors who coordinate their affective behavior in real time. Rethinking the role of sociability in emotion has also led the field of social robotics to interrogate a number of human ethical assumptions, and to formulate a crucial political insight: there are simply no universal human characteristics for social robots to emulate. What we have instead is a plurality of actors, human and nonhuman, in noninterchangeable relationships.

As Living with Robots shows, for social robots to be effective, they must be attentive to human uniqueness and exercise a degree of social autonomy. More than mere automatons, they must become social actors, capable of modifying the rules that govern their interplay with humans.

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My Fair Ladies

Female Robots, Androids, and Other Artificial Eves

Wosk, Julie

Rutgers University Press, 2015

Runner-up for the 2015 Science Fiction and Technoculture Studies Book Prize

The fantasy of a male creator constructing his perfect woman dates back to the Greek myth of Pygmalion and Galatea. Yet as technology has advanced over the past century, the figure of the lifelike manmade woman has become nearly ubiquitous, popping up in everything from Bride of Frankenstein to Weird Science to The Stepford Wives. Now Julie Wosk takes us on a fascinating tour through this bevy of artificial women, revealing the array of cultural fantasies and fears they embody.

My Fair Ladies considers how female automatons have been represented as objects of desire in fiction and how “living dolls” have been manufactured as real-world fetish objects. But it also examines the many works in which the “perfect” woman turns out to be artificial—a robot or doll—and thus becomes a source of uncanny horror. Finally, Wosk introduces us to a variety of female artists, writers, and filmmakers—from Cindy Sherman to Shelley Jackson to Zoe Kazan—who have cleverly crafted their own images of simulated women.

Anything but dry, My Fair Ladies draws upon Wosk’s own experiences as a young female Playboy copywriter and as a child of the “feminine mystique” era to show how images of the artificial woman have loomed large over real women’s lives. Lavishly illustrated with film stills, artwork, and vintage advertisements, this book offers a fresh look at familiar myths about gender, technology, and artistic creation.

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