@article{ART002937098},
author={Hakyoung Shin},
title={Where did all that AIBO go?: The ‘Death’ Theory of AI Robots},
journal={The Journal of Aesthetics and Science of Art},
issn={1229-0246},
year={2023},
volume={68},
pages={58-80},
doi={10.17527/JASA.68.0.03}
TY - JOUR
AU - Hakyoung Shin
TI - Where did all that AIBO go?: The ‘Death’ Theory of AI Robots
JO - The Journal of Aesthetics and Science of Art
PY - 2023
VL - 68
IS - null
PB - 한국미학예술학회
SP - 58
EP - 80
SN - 1229-0246
AB - This article examines the meaning of the relationship between humans and AI robots, focusing on various present aspects that appear abandoned, that is, “death.” AIBO Funeral shows that AI robots are basically non-human beings and are not human-centered instrumental objects, and humans are building new relationships with them. They doubly project the ghost as “dead labor” implied by the existing capitalist commodity economy and the ghost where a “non-human object” accumulates human experiences in the process of relating to humans. The movie Sayonara, produced by Hiroshi Ishiguro and starring “Geminoid F” raises these questions. This movie depicts a departure from the relationship of “controlling human/controlled nonhuman” by preparing for the death of both. However, when considering the relationship between human and non-human beings as such an individual relationship, there is a point that is invisible. It is an aspect of the convergence and propriety of current technologies. An AI robot called DX9, described in Yusuke Miyauchi’s Johannesburg Angels, was initially developed as music-producing artificial intelligence, but various convergences occur in the process of popularizing the technology. This novel critically examines the fact that technology is used in different ways by humans, but humans cannot know the full extent of the system and control its use.
KW - AIBO Funeral;Artificial Intelligence Robot;Geminoid F;Johannesburg Angels;Sayonara
DO - 10.17527/JASA.68.0.03
ER -
Hakyoung Shin. (2023). Where did all that AIBO go?: The ‘Death’ Theory of AI Robots. The Journal of Aesthetics and Science of Art, 68, 58-80.
Hakyoung Shin. 2023, "Where did all that AIBO go?: The ‘Death’ Theory of AI Robots", The Journal of Aesthetics and Science of Art, vol.68, pp.58-80. Available from: doi:10.17527/JASA.68.0.03
Hakyoung Shin "Where did all that AIBO go?: The ‘Death’ Theory of AI Robots" The Journal of Aesthetics and Science of Art 68 pp.58-80 (2023) : 58.
Hakyoung Shin. Where did all that AIBO go?: The ‘Death’ Theory of AI Robots. 2023; 68 58-80. Available from: doi:10.17527/JASA.68.0.03
Hakyoung Shin. "Where did all that AIBO go?: The ‘Death’ Theory of AI Robots" The Journal of Aesthetics and Science of Art 68(2023) : 58-80.doi: 10.17527/JASA.68.0.03
Hakyoung Shin. Where did all that AIBO go?: The ‘Death’ Theory of AI Robots. The Journal of Aesthetics and Science of Art, 68, 58-80. doi: 10.17527/JASA.68.0.03
Hakyoung Shin. Where did all that AIBO go?: The ‘Death’ Theory of AI Robots. The Journal of Aesthetics and Science of Art. 2023; 68 58-80. doi: 10.17527/JASA.68.0.03
Hakyoung Shin. Where did all that AIBO go?: The ‘Death’ Theory of AI Robots. 2023; 68 58-80. Available from: doi:10.17527/JASA.68.0.03
Hakyoung Shin. "Where did all that AIBO go?: The ‘Death’ Theory of AI Robots" The Journal of Aesthetics and Science of Art 68(2023) : 58-80.doi: 10.17527/JASA.68.0.03
