Human—Robot companionship: A mixed-methods investigation

In recent years, the arts have brought robots to life in spectacular fashion. In popular fiction we have been presented with machines that can run, leap, fight, and (perhaps most impressively of all) robots which can ascend stairs with absolutely no trouble at all. Amidst these chaotic and often dystopian scenes, we are exposed to moments of humour and lightness – robots can be seen engaging in conversation, cracking jokes, and comforting someone in their time of need. In these relatively mundane moments (as we smile, laugh, and cry) the impression emerges that the robot is something special to the person depicted. Rather than simply being a household appliance, it appears to be something more: a sort of… friend. Returning from the pages and screens of fiction to the real world, we find human society ever more fractured, and the loneliness epidemic at large. Unsurprisingly, given the engaging depictions in popular fiction, the idea of robots for companionship and social support is gaining traction and garnering increasing research attention. In care homes, robot animals can be found cooing and purring in the laps of individuals with dementia, while in schools, friendly humanoid robots may be seen teaching social skills to children with additional needs. What remains unknown, though, is the extent to which people will grow fond of such ‘social robots’ over time, and if so, whether their relationships with these machines might ever resemble (or indeed, replace) those with other humans. Is a ‘robot friend’ the stuff of science-fiction, or could it someday soon become sciencereality? In this thesis, this question is explored from a range of perspectives using a variety of methods spanning lab-based experiments, online surveys, and focus groups. This thesis begins with an introduction to social robots, and an exploration of the background regarding the nature and importance of human social relationships. After introducing relevant theories, I highlight gaps in our understanding of human—robot companionship that I seek to explore through this thesis (Chapter 1). In the subsequent chapters, I present four empirical pieces of work, each offering a unique perspective on the subject. Specifically, in Chapter 2, I report results from a lab-based experiment in which a robot’s lights (located within its shoulders) were programmed to illuminate in a synchronous or asynchronous manner relative to a participant’s heart rate. I aimed to determine whether such a synchrony manipulation might increase prosocial behaviours and improve attitudes towards a social robot - based on prior work showing that experimentally-induced movement synchrony can improve rapport between people, and increase their liking of social robots (Hove & Risen, 2009; Lehmann et al., 2015, Mogan, Fischer & Bulbulia, 2017). Despite demonstrating no positive effect of the light manipulation, this study raises important questions regarding the complexities of defining and measuring attachment to a robot. In Chapter 3, I delve deeper into the qualitative data collected in Chapter 2 to build a more complete appreciation of the value of open questions – particularly in terms of method validation and understanding participants’ internal experiences. After this chapter, I shift perspective from a focus on humanoid robots (and manipulations based on human social behaviours), to human relationships with non-human companion animals. This shift was motivated by my desire to explore how non-human agents form deep and enduring social bonds with humans – as opposed to basing the thesis on human interpersonal relationships alone. Due to the success of dogs as companions, I conducted a study in which dog owners were asked to identify behaviours that they perceived as important to the bond with their dog (Chapter 4). Seven key themes emerged from this research, indicating the importance of attunement, communication, consistency and predictability, physical affection, positivity and enthusiasm, proximity, and shared activities. In the following chapter, I implement a selection of ‘desirable’ dog behaviours within an animal-inspired robot (Chapter 5). By showing the behaviours to members of the general public, and conducting focus groups, I gained deeper insights into the polarising nature of robot animals – not only in terms of how their behaviours are perceived, but also in terms of the roles people think robots should (and should not) hold. In addition to these themes, this final empirical chapter discusses insights regarding the high expectations people place upon robots, as well as public concerns around overdependence on robots, and privacy. By releasing these chapters to the HRI community (through publications or preprints) we sparked conversations within the HRI community – not only about the ethics of robot abuse studies, but also the potential value of qualitative approaches within the field. Our team was commended for publishing qualitative research, in a field heavily dominated by quantitative methods, and we have since been working to continue the conversations around the value of qualitative approaches. Specifically, we hosted the “Enriching HRI Research with Qualitative Methods” workshop at the International Journal on Social Robotics (2020) and launched a “Qualitative Research in HRI/HCI Discussion Group” online - allowing HRI researchers to discuss their work, and share relevant resources (e.g., events and publications). This thesis concludes by detailing work to be done moving forwards, to enhance our understanding of human—robot social relationships, and a broader discussion of our possible future with social robots (Chapter 6). Pulling from various disciplines (including psychology, cognitive science, human—robot interaction (HRI) Studies, robot ethics, and philosophy), this section concludes with consideration of potential consequences of companion technologies – not only for the individual, but perhaps for society as a whole, as we continue to grapple with questions concerning how much of science fiction we wish to welcome into our daily lives

The Female Gaze in Contemporary Japanese Literature

The female gaze can be used by writers and readers to look at narratives from a perspective that sees women as subjects instead of objects. Applying a female gaze to discourses that have traditionally been male-dominated opens new avenues of interpretation that are empowering from a feminist perspective. In this dissertation, I use the murder mystery novels of the bestselling female author Kirino Natsuo and the graphic novels of a prolific four-woman artistic collective called CLAMP to demonstrate how writers are capable of applying a female gaze to the themes of their work and how readers can and have read their work from the perspectives allowed by a female gaze. Kirino Natsuo presents a female perspective on such issues as prostitution, marriage, and equal employment laws in her novels, which are often based on sensationalist news stories. Meanwhile, CLAMP challenges the discourses surrounding the production and consumption of fictional women, especially the young female characters, or shojo, that have become iconic in Japanese popular culture. Likewise, the female consumers of popular media are able to view and interpret popular texts in such a way as to subjectify female characters and emphasize feminist themes. In addition, the erotic elements of a female gaze may be used to apply a subversive interpretation of the overt or implicit phallocentrism of mainstream media. The male gaze should not be taken for granted in the study of literary texts and graphic novels, and an awareness of an active female gaze can change the ways in which we understand contemporary Japanese literature and popular culture. Female readers and writers can find enjoyment and create messages of feminist empowerment even in works with flawed and problematic representations of femininity. The female gaze thus acts as a mode of resistant reading that allows alternate methods of reading, viewing, and interpreting the female characters and the gendered themes and issues of a text, regardless of the gender of the creators or the gender of the reader

The Silicone Self: An Ethnography of the Love and Sex Doll Community

This dissertation is an empirically grounded study of the love and sex doll community. Conducted over 14 months of digital ethnographic research, this dissertation draws from participant observation, in-depth interviews, content analysis, and mixed methods to analyze the interactional dynamics of love and sex doll owners in digital spaces. Drawing from the sociology of sexualities, deviance, symbolic interactionism, and new media, this dissertation examines how technology can become a central part of people’s sexual lives. The concept of the silicone self is put forth as a way of understanding how people become socialized into doll ownership as a collective group. The silicone self is employed in three situations. First, the self-ing process whereby people reflect on their previous sexual and romantic experiences before deciding to become a sex doll owner. This reflexive process reveals shifting ideas about the centrality of marriage for heterosexual men in contemporary society. Second, the silicone self is employed to show how sex doll ownership requires material considerations specific to this sex practice. Because sex dolls are relatively rare objects, interested owners must learn from one another how to use their dolls properly. Investment in the community is shown to refract into other interest, such as erotica photography. Finally, the silicone self is used to explore the role of play and personification. Sex dolls are unlike other sex toys because they approximate an entire, rather than partial, human. As such, sex doll owners imagine their dolls as having personality traits which they animate via social media and other creative faculties. These experiences are theorized to provide outlets for heterosexual men to escape the strictures of heteronormative masculinity. The dissertation concludes by way of critically interrogating a central tension in the human-robot interaction—whether sex dolls are just sex toys or represent something more. Implications for generating a social, rather than technologically deterministic, theory of futuristic sex toys are discussed

Experimental studies of the interaction between people and virtual humans with a focus on social anxiety

Psychotherapy has been one of the major applications of Virtual Reality technology; examples include fear of flying, heights, spiders, and post‐traumatic stress disorder. Virtual reality has been shown to be useful, in the context of exposure therapy for the treatment of social anxiety, such as fear of public speaking, where the clients learn how to conquer their anxiety through interactions with Virtual Characters (avatars). This thesis is concerned with the interaction between human participants and avatars in a Virtual Environment (VE), with the main focus being on Social Anxiety. It is our hypothesis that interactions between people and avatars can evoke in people behaviours that correspond to their degree of social anxiety or confidence. Moreover the responses of people to avatars will also depend on their degree of exhibited social anxiety – they will react differently to a shy avatar compared to a confident avatar. The research started with an experimental study on the reaction of shy and confident male volunteers to an approach by an attractive and friendly virtual woman in a VE. The results show that the participants responded according to expectations towards the avatar at an emotional, physiological, and behavioural level. The research then studied a particular cue which represents shyness – “blushing”. Experiments were carried out on how participant responds towards a blushing avatar. The results suggested that, even without consciously noticing the avatar’s blushing, the participants had an improved relationship with her when she was blushing. Finally, the research further investigated how people respond towards a shy avatar as opposed to a confident one. The results show that participants gave more positive comments to the personality of the avatar displaying signs of shyness

2011 Literary Review (no. 24)

https://poetcommons.whittier.edu/greenleafreview/1008/thumbnail.jp

Breaking Binaries: Transgressing Sexualities in Japanese Animation

As a visual medium that articulates all genres of fiction, from children’s card games to extreme pornography, Japanese animation, better known simply as ‘anime’, is an art form that has gained international recognition among both academics and passionate devotees. The central purpose of this thesis is to closely examine representations of sexuality in mainstream adult anime – in this context, non-pornographic anime primarily aimed at teenagers and adults – and to interrogate the main themes and concepts which are used to engage in discussions of it. Using specific anime titles as literary texts and thereby analysing the symbolism, characterisation, and key scenes being depicted, this thesis investigates the ways in which sexuality is portrayed, and how this portrayal through animation entails radically distinctive forms of representation and narrative. I also employ the current body of anime criticism to illuminate these anime titles, in conjunction with a contextualisation of these sexual representations within a Japanese cultural context. As an aid to analysis, I utilize the aesthetic philosophy of Robin George Collingwood and the gender theories of Judith Butler, whose arguments on the topics of art as artistic expression and on gender as a performative act respectively allow for both an exploration of the aesthetics of anime, as well as a means of navigating the often distinctively complex representations of sex and gender in anime. Both Collingwood and Butler have been chosen for their utility in opening up the highly aestheticized representations of gender and sexuality in anime – a medium well-known for its artistic sensibilities – combined with formalised and, at times, ritualised extremes. These are to be read as closely as possible in terms of the anime-ic art form itself, rather than in terms of psychoanalytic categories or abstract symbolism. The aim of this thesis is not to interpret anime through one or more specific conceptual lenses, as has been done in the past, but instead to critically examine what Collingwood calls the imaginative space, and to make observations based on Butler’s approach to gender and sexuality gender as it appears when no longer defined by biological or binary fact. This thesis is therefore structured around a breakdown of dualistic thought, with the main sections designed to transcend boundaries of dualism, even – or especially when – this requires the viewer to step back from what is considered as being ‘normal’ or ethically acceptable. In studying a form of popular art that has been written about extensively in terms of its history, aesthetic design, and audience consumption, this thesis explores new territory in that it examines a topic which has not previously been the subject of much academic discussion from the perspective of aesthetics that predates post-modern theory and post-World War II psychoanalysis. From harems and sexbots to portrayals of homosexuality and incest, the primary interest of this thesis is to study how representations of sexuality in anime – no matter how unconventional, fantastic, or disturbing – are brought to life on screen as art

Technology, consumption and the future: The experience of home computing

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This study of the home computer boom is of relevance to wider discussions of consumption, innovation and popular attitudes towards science and technology. Based primarily on empirical work with computer users, it also explores the various media, commercial, academic and political discourses which contributed to the boom. The home computer boom was an event which amounted to more than the sum of individual decisions to purchase and use micros. It is testimony to the influence of visions of a world shaped by technology in the public imagination. Contact with the home computer was mediated by powerful beliefs about the future significance of information technology both inside and, most importantly, outside the home. Many buyers had only vague notions of the nature and capabilities of their micro and how it would fit into their lives - these were issues to be resolved after purchase. Obtaining a machine was just the first stage in 'computer careers' which were often marked by shifting commitments to computing. Any simple ends-orientated view of micro use is inadequate. Much computing, even with advanced and, supposedly, practical hardware and software, has a strong exploratory element. The example of home computing shows how, rather than being an absolute which determines demand, the usefulness of goods is constructed and negotiated in specific social contexts. An issue which preoccupied many was 'finding a use' for the computer. They can be seen investigating and debating the value of various applications. This is not simply resolved at a individual or household level. It is part of a process of innovation - yet to be fully resolved - which takes place across the spheres of production and consumption.This work is funded by the Engineering and Physical Sciences Research Council

You Can\u27t Get There from Here: Movement SF and the Picaresque

This dissertation examines the crisis of authenticity in postmodern culture and argues that contemporary science fiction, specifically the subgenre of Movement SF, has evolved a unique answer to this crisis by adopting, perhaps spontaneously, the picaresque narrative structure. Postmodern fiction has a tenuous relationship with the issue of authenticity, such that the average postmodern subject is utterly without true authenticity at all, alternately victim to the socioeconomic conditions of his or her culture and to the elision of the self as a result of the homogenizing effects of advertising, television, etc. Postmodern SF also carries this bleak perception of the possibility of agency; William Gibson\u27s Sprawl and Bridge trilogies are rife with negations of human agency at the metaphorical hands of various aspects and incarnations of what Fredric Jameson terms the technological sublime. This dissertation puts forth the argument that a group of post-Eighties SF texts all participate in a spontaneous revival of the picaresque mode, using the picaresque journey and related motifs to re-authenticate subjects whose identity and agency are being erased by powerful social and economic forces exterior to and normally imperceptible by the individual. This dissertation is organized around three loosely connected parts. Part 1 attempts to define Movement SF by separating the various, often confusing marketing labels (such as cyberpunk, postcyberpunk, etc.) and extracting a cluster of core characteristics that have shaped the genre since its inception in the early 80s. Part 1 further examines how these core characteristics (or premises) of Movement SF provide fertile ground for picaresque narrative strategies. Part 2 describes in detail the picaresque as it appears in Movement SF, examining worldbuilding strategies, the persistence and evolution of tropes and motifs common to the traditional picaresque, and the generation of new tropes and motifs unique to Movement picaresques. Part 3 examines the spatial tactics used in Movement picaresque narratives to enable picaresque marginality in totalized, globalized environments. Furthermore, Part 3 examines the use of psychological plurality as an internal tactic to escape closed environments

Resistance in dystopian fiction

This thesis attempts to answer the fundamental question, "How does resistance function in dystopian fiction?" and considers the value of memory and technology within this context. It also articulates the themes of the research within a creative work, a dystopian novel titled The Department of Retribution. With the rising popularity of dystopian fiction, the findings of this project attempt to provide timely insight into why resistance is essential to the genre and how it can be employed via memory and technology. Within the scope of authoritarian structures and their ideological origins, this thesis examines the methods protagonists of dystopian fiction use to push back against oppressive means of control. It discusses memory and its value to characters who resist the state's official narrative of the past, and it examines the ways in which the pitfalls of humanity's reliance on technology are portrayed in dystopian works. The Department of Retribution takes place in a future United States where hard drugs such as methamphetamine have been legalized, fatal combat sports dominate television, and a fourth branch of government, the Corporate Council, wields dominant power. Seventeen-year-old Emile Winkler longs to avenge his little sister's death at the hands of a meth user, and when he turns eighteen he applies for a murder permit from the Department of Retribution that will allow him to achieve this. Legalized murder, however, has life-altering repercussions, and Emile sets out to discover the motivation behind the system that allows it. The exegetical discourse of technological hope and pessimism re-emerges in the novel as I explore the challenge of integrating androids into society as friends and companions, and the issues of equality that might arise. I also consider future psychological developments such as intra-cranial serotonin implants and a programmable re-prioritisation of thoughts and memories called amelioration that may help sufferers of trauma move on from painful, dominating thought patterns

Teen-age identity construction in Stephen King: A gendered view

280 p.Basing the research on fields such as Feminism, Masculinities, Gothic Literature or Myth, this dissertation provides a gendered view of the construction of teen-age identity in the fiction of Stephen King. In this analysis of the teen-age characters in some of his narratives patriarchy, power and the rise of feminism in the 1970s play a fundamental role. Carrie (1974) expresses an amalgamation of feminist anxieties about gender and power, while Christine (1983), by showing how patriarchy works for men and boys, puts the concept of male power in a quandary. On the other hand, "The Body" (1982) provides a mythological context to the origins of the crisis of masculinity Americans seem to suffer since the arrival of feminist and gendered movements. The Talisman (1984) reveals how this crisis was socially constructed and imaginatively battled during the Reagan Era. Finally, It (1986) gives a fairy talesque happy ending to the question. However, this conclusion hides a poignant moral message about America and its future