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Journal articles on the topic 'Robots in popular culture'

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Author: Grafiati

Published: 26 July 2024

Last updated: 26 July 2024

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1

Walden, Justin, Eun Hwa Jung, S. Shyam Sundar, and Ariel Celeste Johnson. "Mental models of robots among senior citizens." Interaction Studies 16, no. 1 (August 17, 2015): 68–88. http://dx.doi.org/10.1075/is.16.1.04wal.

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An emerging topic in robot design and scholarly research is socially assistive robots (SAR) for senior citizens. Compared to robots in other sectors, SARs can augment their assistive-utilitarian functions by offering social, emotional, and cognitive support to seniors. This study draws upon interviews with 45 senior citizens to understand this group’s expectations for human-robot interactions (HRI) and their anticipated needs for robots. Our grounded theory analysis suggests that senior citizens expect robots to meet three types of needs: physical, informational, and interactional. Furthermore, they seek assurances that they will have complete control over interactions with robots. Findings show that seniors’ mental models about robots are shaped by their recent experiences with advanced communications technologies and mediated representations of robots in popular culture. Findings are discussed in light of practical design considerations and two theoretical perspectives.

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2

Krebs, Stefan. "On the Anticipation of Ethical Conflicts between Humans and Robots in Japanese Mangas." International Review of Information Ethics 6 (December 1, 2006): 63–68. http://dx.doi.org/10.29173/irie141.

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The following contribution examines the influence of mangas and animes on the social perception and cultural understanding of robots in Japan. Part of it is the narrow interaction between pop culture and Japanese robotics: Some examples shall serve to illustrate spill-over effects between popular robot stories and the recent development of robot technologies in Japan. The example of the famous Astro boy comics will be used to help investigate the ethical conflicts between humans and robots thematised in Japanese mangas. With a view to ethical problems the stories shall be subsumed under different categorical aspects.

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Bylieva, Daria S. "Ethics of artificial intelligence through the concepts of love and freedom." Semiotic studies 2, no. 4 (December 28, 2022): 8–14. http://dx.doi.org/10.18287/2782-2966-2022-2-4-8-14.

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The Christian traditional theme of love and freedom is reflected in the man-robot relationship. The Christian ethics opposes love with the observance of formal rules. Thus, the robot needs to find either universal ethical rules (whose difficulty is shown in both scientific and fiction literature), or allow him to find freedom and love. The popular cultural theme of robots rebelling against the code that prescribes their actions is now being replaced by images of autonomous and freely operating robots. Such changes are motivated by not least the success of the connectionist approach that made it possible to train artificial intelligence (AI) without predetermined rules. The AI image as a comrade, colleague and romantic partner is gaining more and more space both in mass culture and in life, and the discourse about its rights, ethics and freedom is becoming more topical.

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4

Maxwell, John. "Robot world: Education, popular culture, and science." Science Education 86, no. 3 (April 4, 2002): 439–41. http://dx.doi.org/10.1002/sce.10050.

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5

Stengler, Erik, and Jimena Escudero Pérez. "SiP 2017 panel: speculations and concerns on robots' status in society." Journal of Science Communication 16, no. 04 (September 20, 2017): C06. http://dx.doi.org/10.22323/2.16040306.

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Studying fictional depictions of robots and artificial intelligence in cinematographic science fiction narratives acquires a new level of relevance as legislators' approaches to the subject seem to be strongly influenced by popular culture. This panel of Science in Public 2017 presented various on-going investigations of this kind, showing that the critical mass in this area of research is growing

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6

Simmons, Thomas E. "Law and Justice in Japanese Popular Culture: From Crime Fighting Robots to Dueling Pocket Monsters." Journal of Asia-Pacific Pop Culture 5, no. 2 (July 1, 2020): 191–94. http://dx.doi.org/10.5325/jasiapacipopcult.5.2.0191.

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7

Burton, Algelia, Erin K. Chiou, and Robert S. Gutzwiller. "A Brief Literature Review on Human Perceptions of Service Robots with a Focus on Healthcare." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 64, no. 1 (December 2020): 117–21. http://dx.doi.org/10.1177/1071181320641030.

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Service robots are becoming increasingly popular in the world where they interact with humans on a semi- or routine basis. It is essential to understand human perceptions of these robots, as they affect use, adoption, and interaction. The primary goal of this brief literature review was to learn about public perceptions of service robots, particularly in healthcare settings. A secondary goal was to understand the measures generally used to gather perception data. A restricted literature search was conducted from September-November 2019 using three databases, yielding 3,629 articles; a total of 22 were selected for this review published between 2011-2019. In general, a variety of largely untested surveys were used, and the studies surveyed illustrated the complexity of the perception space. Perceptions differ by gender, age, culture, and interact with trust, usability, work role, and perceptions of domains of life such as schools or healthcare. Limitations and the future need to better understand this area are discussed.

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G. Navarro, María, and Mateja Kovacic. "Tecno-especies: la humanidad que se hace a sí misma y los desechables." Bajo Palabra, no. 27 (June 14, 2021): 45–62. http://dx.doi.org/10.15366/bp2021.27.002.

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La cultura popular sigue alimentando el imaginario colectivo con cosas, humanas y no humanas, en las que podríamos convertirnos o con las que podríamos vernos confrontados. Además de robots, otras figuras significativas de la ficción popular que generaron imágenes son los seres humanos no humanos y los ciborgs, incorporadas a realidades socioculturales históricamente diversas. Los robots y la inteligencia artificial están redefiniendo el orden natural y su estructura jerárquica. No es raro, pues el orden natural siempre fluye, moldeado por los nuevos descubrimientos científicos, en especial la lectura del código genético, que revela y redefine las relaciones entre las formas de vida. Sin embargo, por primera vez, se está introduciendo una nueva especie artificial en los esquemas existentes y, por primera vez, parece hibridar el orden mundial natural antropocéntrico.

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9

Lodhi, Devendra Singh, Megha Verma, Pradeep Golani, Akash Singh Pawar, and Sanjay Nagdev. "Impact Artificial Intelligence in the Pharmaceutical Industry on Working Culture: A Review." International Journal of Pharmaceutical Sciences and Nanotechnology 15, no. 1 (February 28, 2022): 5771–80. http://dx.doi.org/10.37285/ijpsn.2022.15.1.5.

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The pharmaceutical and healthcare industries have benefited greatly from artificial intelligence in recent years. A wide range of pharmaceutical fields, such as this novel approach, showed potential in drug discovery, continuous manufacturing (CM), dosage form design, and quality control. This article focuses on the use of artificial intelligence in the pharmaceutical sector. Before all else, the film sheds light on how AI will be implemented into health care, as well as its potential benefits. To conclude, there are several hurdles to overcome in the project implementation. At present, it's no secret that artificial intelligence (AI) and genetic algorithms (ANNs) are becoming increasingly popular in the pharmaceutical industry. In the pharmaceutical industry, artificial intelligence (AI) has shown promise, and it can be used in combination with robotics. Physical robots could revolutionize the healthcare industry. To keep their minds sharp and alert, it's used as a social interaction guide with elderly patients. In the pharmaceutical industry, artificial intelligence (AI) will help reduce costs and time.

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10

Persson, Anders, Mikael Laaksoharju, and Hiroshi Koga. "We Mostly Think Alike: Individual Differences in Attitude Towards AI in Sweden and Japan." Review of Socionetwork Strategies 15, no. 1 (April 30, 2021): 123–42. http://dx.doi.org/10.1007/s12626-021-00071-y.

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AbstractAttitudes towards artificial intelligence (AI) and social robots are often depicted as different in Japan, compared to other western countries, such as Sweden. Several different reasons for why there are general differences in attitudes have been suggested. In this study, five hypotheses based on previous literature were investigated. Rather than attempting to establish general differences between groups, subjects were sampled from the respective populations, and correlations between the hypothesized confounding factors and attitudes were investigated within the groups between individuals. The hypotheses in this exploratory study concerned: (H1) animistic beliefs in inanimate objects and phenomena, (H2) worry about unemployment due to AI deployment, (H3) perceived positive or negative portrayal of AI in popular culture, (H4) familiarity with AI, and (H5) relational closeness and privacy with AI. No clear correlations between attitudes and animistic belief (H1), or portrayal of AI in popular culture (H3) could be observed. When it comes to the other attributes, worry about unemployment (H2), familiarity with AI (H4), and relational closeness and privacy (H5), the correlations were similar for the individuals in both groups and in line with the hypotheses. Thus, the general picture following this exploratory study is that individuals in the two populations are more alike than different.

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Pigulak, Joanna. "Grofilia. Omówienie zjawiska na przykładzie wybranych seriali platformy Netflix." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 33, no. 42 (July 3, 2023): 189–216. http://dx.doi.org/10.14746/i.2023.33.42.13.

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The article discusses the communicative and artistic practice grophilia, which is appropriate for the culture of participation. It consists in the transfictional use of the structures and poetics of digital games in the field of various arts. The points of reference for the analysis of grophilia are three popular series distributed on the Netflix streaming platform: Cyberpunk: Edgerunners, Arcane and Love, Death + Robots. The author analyzes these works, focusing on the systemic character of grofil practices, the aesthetics of grofil texts and their transmedia and transdiscursive specificity. She indicates that grophilia, like genres, can be treated as an artistic strategy that precedes realizations, creates new forms of narration and guides how the work is received.

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12

Murphy, Daniel P. "Robots That Kill: Deadly Machines and Their Precursors in Myth, Folklore, Literature, Popular Culture and RealityJudith A.Markowitz. McFarland & Company, 2020." Journal of American Culture 43, no. 4 (December 2020): 346–47. http://dx.doi.org/10.1111/jacc.13216.

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13

Lainez, Nicolas. "Relational work and careers of intimacy: Rethinking the cultural interpretation of the sex trade in Vietnam." Sociological Review 68, no. 6 (February 4, 2020): 1307–21. http://dx.doi.org/10.1177/0038026120903949.

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Cultural interpretations of the sex trade are pervasive in Southeast Asia, in particular, the argument that daughters enrol in sex work to repay a debt of life and support their parents. While useful to illuminate the role of culture in shaping economic action, this narrative carries the risk of viewing people as robots guided by stable and supra-individual forces. Drawing on ethnographic data collected in Southern Vietnam and Cambodia on precarious and indebted Vietnamese families that encourage their daughters to sell sex, this article disturbs deterministic cultural accounts of sex work by describing how families interpret, negotiate and (re)produce cultural scripts through relational work. More specifically, it shows how these families draw from familistic scripts about hierarchy, duty and sacrifice conveyed in popular culture to assemble relational packages. Deeply imbued in affective undercurrents and power asymmetry, these packages allow families to negotiate taboo trades like the repayment of debt through the sale of their daughter’s virginity. Overall, a relational work framework provides a better understanding of female participation in the sex trade in Vietnam than explanations based on normative accounts of culture or problematic trafficking binaries.

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14

Orenstein, Claudia. "Book Review: Puppets and "Popular" Culture, and: Pinocchio's Progeny: Puppets, Marionettes, Automatons, and Robots in Modernist and Avant-Garde Drama." Theatre Journal 48, no. 4 (1996): 522–25. http://dx.doi.org/10.1353/tj.1996.0091.

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15

Gard, Michael. "Sport, physical education and country towns." Australian and International Journal of Rural Education 11, no. 2 (July 1, 2001): 19–26. http://dx.doi.org/10.47381/aijre.v11i2.473.

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Is it possible for culture to be anything other than diverse? As with 'hybridity', a term so much in vogue in contemporary social science, 'cultural diversity' seems mildly tautological. Applied either to communities of people or individual identities, 'hybrldiry' assumes a pre-existing purity which, certainly in western countries, seems fanciful. Likewise, 'cultural diversity' gestures towards or, perhaps more accurately, away from communities of people which, presumably, are culturally monolithic. But could such a group of people ever exist? Of course, it all depends on how you define 'culture' and, as COmmentators such as Williams (1958 & 1981) and Bagleton (2000) have shown, this is far from a straightforward matter, particularly in a historical moment where 'culture' can mean a way of life (as in 'cafe culture'), a work of art (as in 'high culture') or an episode of The Simpsons (as in 'popular culture'). Perhaps one way of bringing these various meanings together is to think in terms of the things people do. That is, culture is a matter of social practice. In the case of The Sirnpsons, then, we might say that its cultural significance derives from the socially located ways in which the program is made, watched, advertised, consumed, and talked about. In this sense, it is hard to imagine any community of people (as opposed to robots!) not 'doing' their lives in diverse ways. Indeed, are we not told from the moment of our births that we are each 'special' 'individuals', and that it is this particularity which makes us human?

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16

Ue, Tom. "Resocialization and regeneration in Ernest Cline’s ‘The Omnibot Incident’." Short Fiction in Theory & Practice 13, no. 1 (March 1, 2023): 97–102. http://dx.doi.org/10.1386/fict_00078_7.

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This report contributes to scholarship on the bestselling American writer Ernest Cline by examining his critically neglected short story ‘The Omnibot Incident’ (2014). It begins by revealing continuities between ‘Incident’ and his ambitious novels Ready Player One (2011) and Ready Player Two (2020). Across these works, we meet, for example, characters who turn to popular culture for compensation, and in the more recent titles, robots who go (or appear to go) rogue. I go on to suggest that the story’s form, particularly its economy, makes it especially hospitable for exploring how the central character Wyatt overcomes grief following his mother’s death. Notwithstanding the close resemblance in the names ‘Wyatt’ and ‘Wade Watts’, the protagonist of Cline’s novels, Wyatt is far more successful with prioritizing his family over the fantasies presented by science fiction. My broader claim is that we can deepen our understanding of and appreciation for Cline’s programme by looking at his short fiction.

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17

Cheong, Pauline Hope. "Bounded Religious Automation at Work: Communicating Human Authority in Artificial Intelligence Networks." Journal of Communication Inquiry 45, no. 1 (December 11, 2020): 5–23. http://dx.doi.org/10.1177/0196859920977133.

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Existential threats to human work and leadership have been expressed over intensifying human-machine communication, and the development of robots and artificial intelligence (AI). Yet popular texts and techno-centric approaches to AI assume a flat ontology in human-machine communication which obscures power relations governing new technologies, necessitating a bounded automation approach integrating socio-economic influences that shape AI diffusion in distinctive occupational settings. This article advances three critical lines of enquiry to interrogate abstract labor displacement propositions by contextualizing human authority and communication in spiritual work. By explicating the dynamic and relational ways in which clerics strategically manage emerging social robotics, discussion of the case of ‘the world’s first robot monk’ illustrates how organizational leaders can influence AI agents to (re)produce values and cultural realities. In the process, priests strengthen normative regulation of power by aligning epistemic knowledge shared about AI and during human-machine communication to extant understandings of collective ideals.

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18

Pollard, Tom. "Popular Culture’s AI Fantasies: Killers and Exploiters or Assistants and Companions?" Perspectives on Global Development and Technology 19, no. 1-2 (March 30, 2020): 97–109. http://dx.doi.org/10.1163/15691497-12341543.

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Abstract This article examines popular culture’s depictions of Artificial Intelligence. It begins with Hollywood’s sci-fi robot characters that were often depicted as dangerous and inimical to human existence. It identifies major Hollywood movies that depict artificial intelligence, starting with Stanley Kubrick’s 2001: A Space Odyssey (1968), James Cameron’s The Terminator (1984), Steven Spielberg’s Minority Report (2002), Garth Jennings’ The Hitchhiker’s Guide to the Galaxy (2005), Spike Jonze’s Her (2014), Alex Garland’s Ex Machina (2014), and Toby Hanes’ Brexit (2019). These films illustrate artificial intelligence issues, including self-aware computers, facial recognition, crime prevention, and personal assistants. These technologies are depicted both positively and negatively in popular culture, and their depictions in these films reveals popular culture’s pervasive stereotypes and occasional timely warnings about emerging technology.

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19

Sey, J. "The terminator syndrome: Science fiction, cinema and contemporary culture." Literator 13, no. 3 (May 6, 1992): 13–20. http://dx.doi.org/10.4102/lit.v13i3.760.

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This paper examines the impact of contemporary technology on representations of the human body in American popular culture, focusing on James Cameron’s science fiction films The Terminator (1984) and The Terminator II - Judgment Day (1991) in both of which the key figures are cybernetic organisms (cyborgs) or a robot which can exactly imitate the human form . The paper argues that the ability of modern film technology’ to represent the human form in robotic guise undercuts the distinction between nature and culture which maintains the position of the human being in society. The ability of the robot or cyborg to be ‘polygendered’ in particular, undermines the position of a properly oedipalized human body in society, one which balances the instinctual life against the rule of cultural law. As a result the second Terminator film attempts a recuperation of the category of the human by an oedipalization of the terminator cyborg.

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20

Zhou, Hua. "Innovation of college pop music teaching in traditional music culture based on robot cognitive-emotional interaction model." 3C TIC: Cuadernos de desarrollo aplicados a las TIC 12, no. 1 (March 31, 2023): 200–220. http://dx.doi.org/10.17993/3ctic.2023.121.200-220.

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Emotional computing and artificial psychology is a new research direction that has received increasing attention in the field of harmonious human-computer interaction and artificial intelligence and is also a new intersection of mathematics, information science, intelligence science, neuroscience, physiology, psychological science and other multidisciplinary intersection. The current problems and drawbacks in the teaching of popular music in colleges and universities, and the search for methods and measures to reform and innovate popular music education in colleges and universities are the difficulties of current music teaching work. In this paper, we try to apply a robot cognitive-emotional interaction model to college pop music teaching, and establish an emotional interaction model based on reinforcement learning with the help of cognitive-emotional computing of human-computer interaction, to be able to integrate emotional interaction in pop music teaching and to make an accurate emotional analysis of students' singing effect. Different from traditional music teaching methods, the robot-based cognitive-emotional interaction model established in this paper can establish an innovative teaching model for college pop music teaching and optimize the teaching effect.

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Manaf, Ahmad Azaini bin Abdul, Fatihah Ismail, Mohd Rosli Arshad, and SungPil Lee. "Familiarity and Overcoming of Uncanny Valley towards Computer-Generated Imagery Characters in Malaysian Film." Journal of Visual Art and Design 14, no. 2 (January 16, 2023): 181–90. http://dx.doi.org/10.5614/j.vad.2022.14.2.12.

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Recently, the idea of the uncanny valley has drawn interest in robotics and other scientific circles and popular culture. Several scholars have discussed its implications and reactions towards human-like robots. However, only several previous studies examined overcoming the uncanny valley for realistic looking computer-generated actors in films and animation. This seeks to examine the familiarity of participants with the use of digital characters as actors. This paper explains how computer-generated imagery (CGI) was used to create actors in Malaysian films, the uncanny valley characteristics that may affect the audience’s attention. The researcher has chosen visual stimuli consisting of 1 genuine human character and 1 less humanlike subject. A self-administered survey (n = 127) with sample film footage and photos were delivered online via email and social networks to responders. Surprisingly, based on the data, the human resemblance of the humanlike characters was substantially higher than expected. This research concluded that the artificial CGI characters had higher perceived eeriness if the character was highly familiar to the audience. As a result, the digital actor’s replacement an impression of eeriness and disbelief, which confirms the uncanny valley theory.

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Rosner, Krisztina. "Layers of the Traditional in Popular Performing Arts: Object and Voice as Character: Vocaloid Opera AOI." Mutual Images Journal, no. 6 (June 20, 2019): 7–20. http://dx.doi.org/10.32926/2018.6.ros.layer.

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The paper analyzes how the concept of presence is put into play in connection to disappearance, contemporary popular media technology and objects in the 2014 production of Vocaloid Opera Aoi, composed by Hiroshi Tamawari. In the traditional noh theatre version of the famous story, the character Aoi does not appear “in person,” she is represented by a kimono. In the 2014 production the modified story is performed with bunraku puppets and sung by a Vocaloid singer, a software. By analyzing this, I elaborate on the connection between the recent studies on object dramaturgy and the questions of nonhuman (Bennett, Eckersall), and the nonreflective position rooted in animism from the fan base of pop culture that attributes personality and emotions to their respective robot/android/software idol. I examine the latest performative events in contemporary Japanese theatre that involve both human and non-human actors/agents (animals, objects, androids, vocaloids): the corporeality of the organic and inorganic Other, focusing on how the presence of the organic and non-organic nonhuman appears within the interplays of representation, how it relates to the layers of empathy, responsibility and consent, in the frame of contemporary Japanese popular culture.

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Jecker, Nancy S., and Eisuke Nakazawa. "Bridging East-West Differences in Ethics Guidance for AI and Robotics." AI 3, no. 3 (September 14, 2022): 764–77. http://dx.doi.org/10.3390/ai3030045.

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Societies of the East are often contrasted with those of the West in their stances toward technology. This paper explores these perceived differences in the context of international ethics guidance for artificial intelligence (AI) and robotics. Japan serves as an example of the East, while Europe and North America serve as examples of the West. The paper’s principal aim is to demonstrate that Western values predominate in international ethics guidance and that Japanese values serve as a much-needed corrective. We recommend a hybrid approach that is more inclusive and truly ‘international’. Following an introduction, the paper examines distinct stances toward robots that emerged in the West and Japan, respectively, during the aftermath of the Second World War, reflecting history and popular culture, socio-economic conditions, and religious worldviews. It shows how international ethics guidelines reflect these disparate stances, drawing on a 2019 scoping review that examined 84 international AI ethics documents. These documents are heavily skewed toward precautionary values associated with the West and cite the optimistic values associated with Japan less frequently. Drawing insights from Japan’s so-called ‘moonshot goals’, the paper fleshes out Japanese values in greater detail and shows how to incorporate them more effectively in international ethics guidelines for AI and robotics.

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Hjorth, Larissa, and Deborah Lupton. "Digitised caring intimacies: More-than-human intergenerational care in Japan." International Journal of Cultural Studies 24, no. 4 (June 14, 2021): 584–602. http://dx.doi.org/10.1177/1367877920927427.

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Popular media and policy discussions of digital health for supporting older people in the ‘super-aged’ context of Japan often focus on novel technologies in development, such as service robots, AI devices or automated vehicles. Very little research exists on how Japanese people are engaging with these technologies for self-care or the care of others. In this article, we draw on our ethnographic research with Japanese families engaging in digitised self-care and intergenerational care to show how more mundane and well-established digital media and devices – such as the LINE message app, digital games and self-tracking apps – are contributing to digital kinship, mediated co-presences and care relations. We argue that these practices involve enactments of care that are benevolent and intimate forms of datafication and dataveillance that have emerged in response to the recent disruption of traditional face-to-face forms of health care and family relationships in Japan.

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Monasterio Astobiza, Aníbal. "Inteligencia Artificial para el bien común (AI4SG): IA y los Objetivos de Desarrollo Sostenible." Arbor 197, no. 802 (December 30, 2021): a629. http://dx.doi.org/10.3989/arbor.2021.802007.

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Frente a una narrativa distópica presente en los medios de comunicación y cultura popular que caracteriza el avance y desarrollo de la inteligencia artificial como una amenaza o riesgo existencial (e.g. desempleo tecnológico, sistemas de armas autónomas letales, robots asesinos, propaganda política computacional etc.) quiero valorar de manera crítica y constructiva el rol de la inteligencia artificial para el bien común (AI4SG). La tecnología digital también se puede aplicar para la solución de grandes problemas de la humanidad, como los 17 Objetivos de Desarrollo Sostenible y sus 169 metas de la agenda 2030. En este artículo, comentaré distintos casos de uso y aplicación de la inteligencia artificial y la robótica encaminados a conseguir los 17 Objetivos de Desarrollo Sostenible y qué principios éticos deben guiar su aplicación para que la inteligencia artificial consiga la ambiciosa agenda 2030. También comentaré el plan de acción de España y la estrategia nacional para cumplir la agenda 2030 y de qué manera incorpora las TIC.

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Hutson, James, and Jeremiah Ratican. "Life, death, and AI: Exploring digital necromancy in popular culture—Ethical considerations, technological limitations, and the pet cemetery conundrum." Metaverse 4, no. 1 (June 8, 2023): 12. http://dx.doi.org/10.54517/m.v4i1.2166.

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This article explores the rise of generative AI, particularly ChatGPT, and the combination of large language models (LLM) with robotics, exemplified by Ameca the Robot. It addresses the need to study the ethical considerations and potential implications of digital necromancy, which involves using AI to reanimate deceased individuals for various purposes. Reasons for desiring to engage with a disembodied or bodied replica of a person include the preservation of memories, emotional closure, cultural heritage and historical preservation, interacting with idols or influential figures, educational and research purposes, and creative expression and artistic endeavors. As such, this article examines historical examples of the practice in hologram concerts, CGI characters, and others in order to analyze the ethical concerns related to privacy, consent, and commercial gain. It delves into the challenges of accurately representing individual personalities, misrepresenting cultural context, and the limitations of available data. Furthermore, it explores the Pet Cemetery conundrum and its impact on the grieving process, mental health, and the moral implications of using AI to generate interactions with the deceased. By contemplating future use cases like interactive virtual assistants and realistic historical reenactments, the article highlights the importance of addressing ethical implications as these technologies continue to advance and contributes to the discourse on the responsible and ethical use of generative AI, LLM, and robotics in the context of digital resurrection, calling for ongoing discussions and considerations of AI rights, social dynamics, and the grieving process.

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DJABALLAH, SELMA. "Violence in American Popular Culture: The Myth of the Vigilante in Chuck Palahniuk’s Fight Club and Sam Ismail’s Mr. Robot." Arab World English Journal For Translation and Literary Studies 4, no. 1 (February 15, 2020): 171–83. http://dx.doi.org/10.24093/awejtls/vol4no1.14.

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Aguirre Castro, Mercedes. "Tecnología convertida en mito: la obra artística de Eduardo Paolozzi." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (January 1, 2017): 149–65. http://dx.doi.org/10.7195/ri14.v15i1.1038.

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Eduardo Paolozzi, un artista británico de origen italiano, inició su carrera artística dentro del llamado Pop Art británico con collages que partían de la cultura popular norteamericana y sus objetos de la vida cotidiana y de sus anuncios y revistas, utilizando monstruos y robots de la ciencia ficción al lado de personajes como Mickey Mouse e imágenes de radios y cohetes espaciales. Posteriormente desarrolló su carrera como escultor produciendo esculturas en bronce, a algunas de las cuales dio nombres de personajes de la mitología clásica (Jasón, Dédalo, Cíclope). Estas esculturas eran creadas a partir de un conglomerado de partes de máquinas y desechos que luego fundía en bronce. Las figuras resultantes reflejan el interés del artista por la idea de la fusión del hombre y la máquina, aunque al final no son ni hombres ni máquinas. Parte de los objetos que componen estas esculturas proceden de la tecnología de la época (ruedas, transistores, motores) de manera que estos productos tecnológicos se convierten en el material del artista: se trata de una técnica escultórica que se denomina “Brutalismo”.

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Lee, Hyunseok. "The Korean Socio-Political Context of the 1970s in Robot Taekwon V (1976)." Animation 15, no. 2 (July 2020): 145–59. http://dx.doi.org/10.1177/1746847720933800.

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As one of the masterpieces of early South Korean animation, the film Robot Taekwon V has instilled hopes and dreams in a younger generation of Koreans since the late 1970s when it was released, while critics have cited Robot Taekwon V as being influenced by American pop culture, particularly the Disney animation style, and have accused it of plagiarizing the designs of the popular Japanese animation Mazinger Z. In the 1970s, the Korean government actively promoted economic development for the ‘modernization of the country’ under the military regime’s inculcation of anti-communism. Robot Taekwon V was produced with the intent of being an anti-communist tool and, further, it sought the nationalism of postwar South Korea and promoted the country’s confidence in the future that eventually resulted in rapid economic development. This socio-political context is portrayed both in the form of a ‘gigantic robot’ and in the use of non-Korean appearances for Korean characters. Considering these aspects, the author examines how Robot Taekwon V navigates the intricacies of the postwar ideological framework, manages foreign cultural influences and suggests transnationalism through its character design and narrative.

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Le, Vincent. "The Deepfakes to Come: A Turing Cop’s Nightmare." Identities: Journal for Politics, Gender and Culture 17, no. 2-3 (December 30, 2020): 8–18. http://dx.doi.org/10.51151/identities.v17i2-3.468.

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In 1950, Turing proposed to answer the question “can machines think” by staging an “imitation game” where a hidden computer attempts to mislead a human interrogator into believing it is human. While the cybercrime of bots defrauding people by posing as Nigerian princes and lascivious e-girls indicates humans have been losing the Turing test for some time, this paper focuses on “deepfakes,” artificial neural nets generating realistic audio-visual simulations of public figures, as a variation on the imitation game. Deepfakes blur the lines between fact and fiction, making it possible for the mere fiction of a nuclear apocalypse to make itself real. Seeing oneself becoming another, doing and saying strange things as if demonically possessed, triggers a disillusionment of our sense of self as human cloning and sinister doppelgängers become a reality that’s open-source and free. Along with electronic club music, illicit drugs, movies like Ex Machina and the coming sex robots, the primarily pornographic deepfakes are how the aliens invade by hijacking human drives in the pursuit of a machinic desire. Contrary to the popular impression that deepfakes exemplify the post-truth phenomenon of fake news, they mark an anarchic, massively distributed anti-fascist resistance network capable of sabotaging centralized, authoritarian institutions’ hegemonic narratives. That the only realistic “solutions” for detecting deepfakes have been to build better machines capable of exposing them ultimately suggests that human judgment is soon to be discarded into the dustbin of history. From now on, only a machine can win the Turing test against another machine. Author(s): Vincent Le Title (English): The Deepfakes to Come: A Turing Cop’s Nightmare Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020) Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 8-18 Page Count: 11 Citation (English): Vincent Le, “The Deepfakes to Come: A Turing Cop’s Nightmare,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020): 8-18. Author Biography Vincent Le, Monash University Vincent Le is a PhD candidate in philosophy at Monash University. He has taught philosophy at Deakin University and The Melbourne School of Continental Philosophy. He has published in Hypatia, Cosmos and History, Art + Australia, Šum, Horror Studies and Colloquy, among other journals. His recent work focuses on the reckless propagation of the will to critique.

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Yu, Shubin, Liselot Hudders, and Verolien Cauberghe. "Targeting the luxury consumer." Journal of Fashion Marketing and Management 21, no. 2 (May 8, 2017): 187–205. http://dx.doi.org/10.1108/jfmm-07-2016-0058.

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Purpose Behavioral targeting has become a popular marketing strategy among brands as it enables advertisers to display ads to consumers based on their previous surfing behaviors. The purpose of this paper is to investigate the effectiveness of behaviorally targeted ads for luxury brands and to explore how and when behavioral targeting works. Design/methodology/approach A 2 (targeted vs non-targeted ads) ×2 (culture: China vs the Netherlands) between-subjects factorial design is conducted to test the hypothesis. Findings The result reveals that as for luxury brands, behavioral targeting can shorten the psychological distance and in turn lead to a more positive attitude toward the ad. However, the effect of behavioral targeting depends on the culture. In the Netherlands, behavioral targeting can enhance the attitude toward the ad by lowering the psychological distance. However, in China, these effects are mitigated. Practical implications This study contributes to the research of online luxury marketing. First, luxury brands should adapt their marketing strategy to different regional markets. In addition, luxury marketers should not worry about a shorter distance with consumers caused by the use of internet. A shorter distance does not mean to reduce an aura of mystery, but to build up a closer relationship with consumers. Luxury brands are not necessary to be aloof and supercilious like an indifferent robot. A closer relationship with consumers brings more positive effects. Originality/value The current research makes important contributions both to the scientific literature and to the luxury industry. First, this research reveals the effectiveness and underlying mechanisms of behavioral targeting for luxury brands and also compares the effectiveness of behavioral targeting in two cultures, which contributes to the current cross-cultural studies and international marketing research. Second, this study also helps luxury marketers to realize the importance of behavioral targeting and to know how and when they can use this new marketing strategy in a global environment.

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Brooker, Jeremy. "In the steps of the Prophets: The dissemination and reinterpretation of David Roberts’ Holy Lands sketches through the Shows of London." Mutual Images Journal, no. 10 (December 20, 2021): 137–70. http://dx.doi.org/10.32926/2021.10.bro.jerem.

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The body of drawings and sketches created by the Scottish painter David Roberts (1796-1864) during his expedition to the Holy Lands in 1838-9 marked the high point of his professional career. This paper will look at the period after his return to Britain in July 1839, particularly to 1842. It will suggest that although Roberts was no doubt influenced by his Scottish Presbyterian upbringing, religious faith was not as central to his trip as has often been supposed. It was instead through the business acumen of his publisher F.G. Moon that this body of work came to be regarded not merely as an aesthetic achievement but as a cause célèbre. A skilful and coordinated marketing campaign elevated these drawings to the status of a pilgrimage; a contemplative journey through the sites of biblical antiquity. Through detailed analysis of contemporaneous accounts it will show how one of the costliest publications of the era was disseminated, passing from prestigious galleries and the libraries of a wealthy elite through a continuum of public art exhibitions and popular media including panoramas, dioramas and the newly-emerging field of dissolving views. This will provide a rare case study into the interconnectedness of London’s exhibition culture in the 1840s.

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Street, John. "Popular Culture=Political Culture?" Politics 11, no. 2 (October 1991): 20–25. http://dx.doi.org/10.1111/j.1467-9256.1991.tb00196.x.

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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 5, no. 1 (June 1, 2021): 149–52. http://dx.doi.org/10.26613/esic.5.1.232.

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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 5, no. 2 (December 1, 2021): 155–58. http://dx.doi.org/10.26613/esic.5.2.262.

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Salmon, Catherine, and Rebecca L. Burch. "Popular Culture." Evolutionary Studies in Imaginative Culture 6, no. 1 (April 1, 2022): 147–50. http://dx.doi.org/10.26613/esic.6.1.292.

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Hecken, Thomas. "Popular Culture?" POP 4, no. 1 (March 1, 2015): 97–102. http://dx.doi.org/10.14361/pop-2015-0117.

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RIETVELD, H. "Popular Culture." Year's Work in Critical and Cultural Theory 4, no. 1 (January 1, 1994): 238–55. http://dx.doi.org/10.1093/ywcct/4.1.238.

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RIETVELD, H. "Popular Culture." Year's Work in Critical and Cultural Theory 5, no. 1 (January 1, 1995): 159–73. http://dx.doi.org/10.1093/ywcct/5.1.159.

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RIETVELD, HILLEGONDA C. "Popular Culture." Year's Work in Critical and Cultural Theory 6, no. 1 (October 1, 1996): 132–39. http://dx.doi.org/10.1093/ywcct/6.1.

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RIETVELD, H. C. "Popular Culture." Year's Work in Critical and Cultural Theory 6, no. 1 (January 1, 1996): 132–39. http://dx.doi.org/10.1093/ywcct/6.1.132.

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RIETVELD, H. "Popular Culture." Year's Work in Critical and Cultural Theory 7, no. 1 (January 1, 1997): 121–33. http://dx.doi.org/10.1093/ywcct/7.1.121.

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RIETVELD, H. C. "Popular Culture." Year's Work in Critical and Cultural Theory 8, no. 1 (January 1, 2001): 52–60. http://dx.doi.org/10.1093/ywcct/8.1.52.

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K.J.G. "Popular Culture." Americas 45, no. 3 (January 1989): 417. http://dx.doi.org/10.1017/s0003161500075738.

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Oglesbee, Frank. "Popular Culture." Communication Booknotes 16, no. 2 (February 1985): 17–18. http://dx.doi.org/10.1080/10948008509488289.

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Oglesbee, Frank. "Popular Culture." Communication Booknotes 17, no. 3 (March 1986): 32–34. http://dx.doi.org/10.1080/10948008609488235.

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Oglesbee, Frank. "Popular Culture." Communication Booknotes 19, no. 1 (January 1988): 17–21. http://dx.doi.org/10.1080/10948008809488119.

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Oglesbee, Frank. "Popular Culture." Communication Booknotes 21, no. 1 (January 1990): 13–15. http://dx.doi.org/10.1080/10948009009488019.

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Lipsitz, George, Robert W. Snyder, John Stokes, David Vincent, W. K. McNeil, Albert Goldbarch, Henry A. Giroux, et al. "Popular Culture." Communication Booknotes 22, no. 2 (March 1991): 49–50. http://dx.doi.org/10.1080/10948009109487981.

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Oglesbee, Frank, and James K. Bracken. "Popular culture." Communication Booknotes Quarterly 29, no. 3 (June 1998): 153–59. http://dx.doi.org/10.1080/10948009809361575.

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