Chapter 13 Haptic Creatures

Collaborations between entertainment industries and artificial intelligence researchers in Japan have since the mid-1990s produced a growing interest in modeling affect and emotion for use in mass-produced social robots. Robot producers and marketers reason that such robot companions can provide comfort, healing (iyashi), and intimacy in light of attenuating social bonds and increased socioeconomic stress characteristic of Japanese society since the collapse of the country’s bubble economy in the early 1990s. While many of these robots with so-called “artificial emotional intelligence” are equipped with rudimentary capacities to “read” predefined human emotion through such mechanisms as facial expression recognition, a new category of companion robots are more experimental. These robots do not interpret human emotion through affect-sensing software but rather invite human-robot interaction through affectively pleasing forms of haptic feedback. These new robots are called haptic creatures: robot companions designed to deliver a sense of comforting presence through a combination of animated movements and healing touch. Integrating historical analysis with ethnographic interviews with new users of these robots, and focusing in particular on the cat-like cushion robot Qoobo, this chapter argues that while companion robots are designed in part to understand specific human emotions, haptic creatures are created as experimental devices that can generate new and unexpected pleasures of affective care unique to human-robot relationships. It suggests that this distinction is critical for understanding and evaluating how corporations seek to use human-robot affect as a means to deliver care to consumers while also researching and building new markets for profit maximization

Shoujo versus Seinen? Address and reception in Puella Magi Madoka Magica (2011)

This article uses the Japanese television anime series Puella Magi Madoka Magica (2011) as a case study through which to problematise the relationship between two prominent traditions within children’s literature criticism: narratology, with its vocabulary of implied readers and textual address; and reception studies, which typically gather data through empirical work with children. The figure of the “child reader” is claimed by both traditions, although in one case that reader is a textual construct and in the other a human being; yet this ambiguity is not typically addressed within studies of individual texts. Puella Magi Madoka Magica, a complex work that disrupts viewer expectations and genre assumptions, both destabilises its implied viewership and challenges conventional beliefs about the tastes and capacities of actual viewers, especially the extent to which those viewers can be categorised by age or gender. I argue that, by taking a sideways step from page to screen, and especially by analysing a non-Western work, it is possible to highlight the contingent and arbitrary nature of some of the assumptions that permeate literary critical discussion, and to help bring narratalogical and reception studies into a more productive relationship

A Unified View of Proposi

The semantics of revising knowledge bases represented by sets of propositional sentences is analyzed from a model-theoretic point of view. A characterization of all revision schemes that satisfy the Gardenfors rationality postulates is given in terms of an ordering among interpretations. Properties of the contraction operator that can be defined in terms of revision are also studied. Two new update operators, elimination and recovery, are introduced. Elimination discards all previous preconceptions on a set of propositional letters; recovery undoes the effect of the last update. It is shown that elimination cannot be expressed as a contraction, and that recovery is in general impossible. The existence of an invariant part of the knowledge base comprising a set of integrity constraints is considered and the definition of revision and contraction are modified to take integrity constraints into account.

Modelling emotion, perfecting heart: disassembling technologies of affect with an android bodhisattva in Japan

Abstract: As part of a surge in technologies with so‐called ‘artificial emotional intelligence’, robotics engineers and Buddhist monks in Japan have developed an android bodhisattva to deliver teachings at a popular Zen temple. Like many recent robots in Japan, the android is designed to impact visitors’ feelings. For this reason, it can be called a ‘technology of affect’. In order to communicate how new affective technologies are facilitating intimacy in human‐machine relations in Japan, we employ the concept of ‘disassembling’. By conceptually disassembling technologies of affect and placing them in performative contexts, we show how technologies of affect also disassemble established associations between artificial agents and the feelings they evoke in popular imaginaries. We argue that identifying these disassembling processes helps demonstrate how emerging AI technologies can engender social change at the level of affect through evocative depictions of machine emotion

Chapter 13 Haptic Creatures

Collaborations between entertainment industries and artificial intelligence researchers in Japan have since the mid-1990s produced a growing interest in modeling affect and emotion for use in mass-produced social robots. Robot producers and marketers reason that such robot companions can provide comfort, healing (iyashi), and intimacy in light of attenuating social bonds and increased socioeconomic stress characteristic of Japanese society since the collapse of the country’s bubble economy in the early 1990s. While many of these robots with so-called “artificial emotional intelligence” are equipped with rudimentary capacities to “read” predefined human emotion through such mechanisms as facial expression recognition, a new category of companion robots are more experimental. These robots do not interpret human emotion through affect-sensing software but rather invite human-robot interaction through affectively pleasing forms of haptic feedback. These new robots are called haptic creatures: robot companions designed to deliver a sense of comforting presence through a combination of animated movements and healing touch. Integrating historical analysis with ethnographic interviews with new users of these robots, and focusing in particular on the cat-like cushion robot Qoobo, this chapter argues that while companion robots are designed in part to understand specific human emotions, haptic creatures are created as experimental devices that can generate new and unexpected pleasures of affective care unique to human-robot relationships. It suggests that this distinction is critical for understanding and evaluating how corporations seek to use human-robot affect as a means to deliver care to consumers while also researching and building new markets for profit maximization