Themes (326)
Find narratives by ethical themes or by technologies.
FILTERreset filters-
- 13 min
- Kinolab
- 2001
In an imagined 22nd century in which climate change has wreaked havoc on the Earth, scientists have created “Mechas,” or humanoid robots. A certain group of scientists begins to dedicate themselves to creating a robot who is capable of love and of having dreams. David, one of these new robots, is tested with Monica, a mother whose son is in a coma after contracting a mysterious disease.
- Kinolab
- 2001
-
- 13 min
- Kinolab
- 2001
Relationships and Love with Robotic Children
In an imagined 22nd century in which climate change has wreaked havoc on the Earth, scientists have created “Mechas,” or humanoid robots. A certain group of scientists begins to dedicate themselves to creating a robot who is capable of love and of having dreams. David, one of these new robots, is tested with Monica, a mother whose son is in a coma after contracting a mysterious disease.
Do humans have the capacity to love robots back as much as a robot may love them? Is the creation of robotic children a valid way to help former or prospective parents through a grieving process? What are the implications of a robot outliving those that they may love? Is the view of robots as “fake” or “disposable” compatible with their capability to love?
A.I Artificial Intelligence: A Robot That Can Love-
- 10 min
- Kinolab
- 2018
This narrative provides two different case studies of remote-controlled vehicles in the story of T’Challa’s attempts to properly rule his country, Wakanda. T’Challa, also known as the superhero Black Panther, makes use of this technology to put a stop to criminals who threaten his people and his power. In the first clip, T’Challa and his companions track down Ulysses Klaue, a notorious criminal who formerly stole from Wakanda, down the streets of Busan, Korea. In the second clip, agent Everett Ross makes use of the technology to pilot a drone, which he uses to shoot down autonomous drones carrying weapons from Wakanda to the rest of the world.
- Kinolab
- 2018
-
- 10 min
- Kinolab
- 2018
Remote Controlled Driving of Vehicles
This narrative provides two different case studies of remote-controlled vehicles in the story of T’Challa’s attempts to properly rule his country, Wakanda. T’Challa, also known as the superhero Black Panther, makes use of this technology to put a stop to criminals who threaten his people and his power. In the first clip, T’Challa and his companions track down Ulysses Klaue, a notorious criminal who formerly stole from Wakanda, down the streets of Busan, Korea. In the second clip, agent Everett Ross makes use of the technology to pilot a drone, which he uses to shoot down autonomous drones carrying weapons from Wakanda to the rest of the world.
When operating vehicles remotely, how is it easy for the driver to become desensitized to the surroundings of the vehicle? Might entertainment technology such as violent video games play a role in such desensitization? What phenomena of a street or other driving environment may or may not be abstracted into a digital map of the vehicle’s surroundings?
-
- 14 min
- Kinolab
- 2017
Single mother Marie pays to have Arkangel, a brain-computer interface, installed into her daughter Sara. With this implant, Marie is able to not only track Sara’s location at all times, but can also access a feed of the audiovisual data which Sara is experiencing at any moment. After avoiding the system for a long time, Marie brings her Arkangel tablet back out to track and surveil Sara during her teenage years, going so far as to intervene in her love and social lives after watching the feed during intimate and private moments for Sara. Once Sara finds out, she revolts. For further reading, see the narrative “On TikTok, Teens Meme the Safety App Ruining Their Summer”
- Kinolab
- 2017
-
- 14 min
- Kinolab
- 2017
Marie and Sara Part II: Helicopter Parenting and Young Adult Independence
Single mother Marie pays to have Arkangel, a brain-computer interface, installed into her daughter Sara. With this implant, Marie is able to not only track Sara’s location at all times, but can also access a feed of the audiovisual data which Sara is experiencing at any moment. After avoiding the system for a long time, Marie brings her Arkangel tablet back out to track and surveil Sara during her teenage years, going so far as to intervene in her love and social lives after watching the feed during intimate and private moments for Sara. Once Sara finds out, she revolts. For further reading, see the narrative “On TikTok, Teens Meme the Safety App Ruining Their Summer”
How do technologies that allow parents to surveil and track teenagers prevent these young adults from self-exploration and actualization? Is it possible to design location tracking services that allow for safety without diminishing privacy or autonomy? What would this look like? In what ways do digital technologies make the teenage experience more and less free than it was before the digital age?
-
- 7 min
- Kinolab
- 2017
In a generic post-apocalyptic scenario, Bella and her comrades are relentlessly hunted by dog-like robotic drones which spray small trackers to mark and hunt down their prey. After Bella’s companions are killed, she is able to hold off a short while longer before reaching the inevitable conclusion that she cannot escape.
- Kinolab
- 2017
-
- 7 min
- Kinolab
- 2017
Robotics and Warfare
In a generic post-apocalyptic scenario, Bella and her comrades are relentlessly hunted by dog-like robotic drones which spray small trackers to mark and hunt down their prey. After Bella’s companions are killed, she is able to hold off a short while longer before reaching the inevitable conclusion that she cannot escape.
What are the potential consequences of using automated drones to carry out tasks, especially robotics used for warfare purposes? What happens if centralized control over robots with a singular purpose fails? How does GPS tracking allow for easier pursuit of innocent victims?
-
- 8 min
- Kinolab
- 1982
Main Control Program, an Artificial Intelligence presence, has self-developed beyond the imagination of its creators and sets its sights on hacking global governments, including the pentagon. It believes that with its growing intelligence, it can rule better than any human can, and forces the hand of Dillinger, a human, to help move its hacking beyond corporations. Meanwhile, a team of hackers attempt to break into the mainframe of this system. When the rebel hacker Flynn attempts to hack into the mainframe of the MCP, he is drawn into the digital world of the computer which is under the dominion of the MCP. Sark, one of the digital beings who serves the MCP, is tasked with killing Flynn.
- Kinolab
- 1982
-
- 8 min
- Kinolab
- 1982
Digital Hegemony in the Real and Virtual Worlds
Main Control Program, an Artificial Intelligence presence, has self-developed beyond the imagination of its creators and sets its sights on hacking global governments, including the pentagon. It believes that with its growing intelligence, it can rule better than any human can, and forces the hand of Dillinger, a human, to help move its hacking beyond corporations. Meanwhile, a team of hackers attempt to break into the mainframe of this system. When the rebel hacker Flynn attempts to hack into the mainframe of the MCP, he is drawn into the digital world of the computer which is under the dominion of the MCP. Sark, one of the digital beings who serves the MCP, is tasked with killing Flynn.
Is human anxiety over the potential for super-powered AI justified? Would things truly be better if machines and artificial intelligence made authoritative decisions as global actors and rulers?
What could be the implications of ‘teleporting’ into digital space in terms of alienation from the real world? For now, it seems that humans are in charge of computers in the “real” world; if humans were to enter a digital world, who would be in charge? Do AI beings owe subservience to humans for their creation, given their increasing intelligence?
-
- 9 min
- Kinolab
- 2016
Westworld, a western-themed amusement park, is populated by realistic robotic creatures known as “hosts” that are designed in a lab and constantly updated to seem as real and organic as possible. Bernard, an engineer at Westworld, performs a diagnostic test on the robotic host Dolores, in which she analyses a passage from Alice in Wonderland before asking Bernard about his son. Later, the park director, Dr. Ford, tells Bernard of his former partner Arnold, who wished to program consciousness into the robots, essentially using their code as a means to spur their own thoughts. This was ultimately decided against so that the hosts could perform their narratives for the service of the guests and their desires.
- Kinolab
- 2016
-
- 9 min
- Kinolab
- 2016
Humanity and Consciousness of Humanoid Robots
Westworld, a western-themed amusement park, is populated by realistic robotic creatures known as “hosts” that are designed in a lab and constantly updated to seem as real and organic as possible. Bernard, an engineer at Westworld, performs a diagnostic test on the robotic host Dolores, in which she analyses a passage from Alice in Wonderland before asking Bernard about his son. Later, the park director, Dr. Ford, tells Bernard of his former partner Arnold, who wished to program consciousness into the robots, essentially using their code as a means to spur their own thoughts. This was ultimately decided against so that the hosts could perform their narratives for the service of the guests and their desires.
Can humans and AI develop significant, intimate relationships? If AI can learn the rules of human interaction indistinguishably well, does it matter if we can’t tell the difference between AI and human? What does it mean to have ‘consciousness’? Is programmed consciousness significantly different than biological consciousness? Is it morally acceptable to create humanoid robots with no choice for consciousness all in the name of making humans feel more powerful?