Human Control of Technology (67)
Find narratives by ethical themes or by technologies.
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- 6 min
- Kinolab
- 2017
Robert Daly is a programmer at the company Callister, which developed the immersive virtual reality game Infinity and its community for the entertainment of users. Daly is typically seen in the shadow of the co-founder of the company, the charismatic James Walton. Unbeknownst to anyone else, Daly possesses a personal modification of the Infinity game program, where he is able to upload sentient digital clones of his co-workers to take out his frustrations upon, as he does with Walton in this narrative.
- Kinolab
- 2017
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- 6 min
- Kinolab
- 2017
Virtual Vindictiveness and Simulated Clones Part I: Daly and Walton
Robert Daly is a programmer at the company Callister, which developed the immersive virtual reality game Infinity and its community for the entertainment of users. Daly is typically seen in the shadow of the co-founder of the company, the charismatic James Walton. Unbeknownst to anyone else, Daly possesses a personal modification of the Infinity game program, where he is able to upload sentient digital clones of his co-workers to take out his frustrations upon, as he does with Walton in this narrative.
What should the ethical boundaries be in terms of creating digital copies of real-life people to manipulate in virtual realities? How would this alter the perception of autonomy or entitlement? Should the capability to create exact digital likenesses of real people be created for any reason? If so, how should their autonomy be ensured, since they are technically a piece of programming? Are digital copies of a person entitled to the same rights that their corporeal selves have?
Black Mirror: Daly Gets Frustrated-
- 9 min
- Kinolab
- 2017
Robert Daly is a programmer at the company Callister, which developed the immersive virtual reality game Infinity and its community for the entertainment of users. Daly is typically seen in the shadow of the co-founder of the company, the charismatic James Walton. Unbeknownst to anyone else, Daly possesses a personal modification of the Infinity game program, where he is able to upload sentient digital clones of his co-workers to take out his frustrations upon. In this narrative, Nannette Cole becomes his newest victim after her DNA is used to draw her into the virtual reality. After Daly’s sexist and violent treatment of her and the other crewmates, Nannette inspires a mutiny to escape Daly’s world. In order to help the team carry out the plan, she seduces Daly as a distraction.
- Kinolab
- 2017
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- 9 min
- Kinolab
- 2017
Virtual Vindictiveness and Simulated Clones Part II: Daly and Cole
Robert Daly is a programmer at the company Callister, which developed the immersive virtual reality game Infinity and its community for the entertainment of users. Daly is typically seen in the shadow of the co-founder of the company, the charismatic James Walton. Unbeknownst to anyone else, Daly possesses a personal modification of the Infinity game program, where he is able to upload sentient digital clones of his co-workers to take out his frustrations upon. In this narrative, Nannette Cole becomes his newest victim after her DNA is used to draw her into the virtual reality. After Daly’s sexist and violent treatment of her and the other crewmates, Nannette inspires a mutiny to escape Daly’s world. In order to help the team carry out the plan, she seduces Daly as a distraction.
What should the ethical boundaries be in terms of creating digital copies of real-life people to manipulate in virtual realities? How would this alter the perception of autonomy or entitlement? Should the capability to create exact digital likenesses of real people be created for any reason? If so, how should their autonomy be ensured, since they are technically a piece of programming? How can bias, and more specifically the objectification of women, be eliminated in such conceptualisations? Are digital copies of a person entitled to the same rights that their corporeal selves have?
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- 15 min
- Kinolab
- 2017
Detective Shazia Akhand is assigned to investigate the case of a man who was hit by a pizza truck in the street to help him build a case. She uses a brain-computer interface to read the memories of both the man hit by the truck and other witnesses, where the vague, abstract images are projected onto a screen. One of these witnesses includes Mia, a serial killer whose former crimes are revealed during her interview. In order to erase any footage or evidence of her murders, Mia continues her killing spree by wiping out Shazia and her family. However, Mia is eventually caught through the memories of an unlikely source.
- Kinolab
- 2017
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- 15 min
- Kinolab
- 2017
Digital Memory Projection and Walking Surveillance Cameras
Detective Shazia Akhand is assigned to investigate the case of a man who was hit by a pizza truck in the street to help him build a case. She uses a brain-computer interface to read the memories of both the man hit by the truck and other witnesses, where the vague, abstract images are projected onto a screen. One of these witnesses includes Mia, a serial killer whose former crimes are revealed during her interview. In order to erase any footage or evidence of her murders, Mia continues her killing spree by wiping out Shazia and her family. However, Mia is eventually caught through the memories of an unlikely source.
Should police or detectives be able to view memories for interrogation reasons? Where should the line be drawn in these cases? What are the issues with tasking precise digital technologies with extracting and showing abstract memories? How could this technology be manipulated to make subjective memories seem objective? How might this sort of technology makes witnesses to crimes more targeted? How is this concept similar and different to the idea that anyone could accidentally or intentionally be capturing anything on a phone camera? Should technology be created that essentially allows anyone to be a walking surveillance camera?
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- 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
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- 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?
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- 14 min
- Kinolab
- 2014
Will Caster and his wife Evelyn work together on a project known as “Transcendence,” in which he hopes to help artificial intelligence attain singularity by figuring out how to pair sentience with its massive intelligence. After he is shot dead by an anti-technology terrorist group, his consciousness is uploaded virtually, allowing him to continue his life as a coded program. After this digitally immortal consciousness is paired with the internet, Will’s powers grow immensely, and his manipulative reach becomes global.
- Kinolab
- 2014
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- 14 min
- Kinolab
- 2014
Will, Evelyn, and Max Part I: Digital Resurrection and Incorporation
Will Caster and his wife Evelyn work together on a project known as “Transcendence,” in which he hopes to help artificial intelligence attain singularity by figuring out how to pair sentience with its massive intelligence. After he is shot dead by an anti-technology terrorist group, his consciousness is uploaded virtually, allowing him to continue his life as a coded program. After this digitally immortal consciousness is paired with the internet, Will’s powers grow immensely, and his manipulative reach becomes global.
Are digitally uploaded consciousnesses technically the real person, or just an imitation? Should digital immortality be allowed if it means digital humans may have far more power than living humans? If people become able to upload consciousnesses, how should they be kept from abusing vast networks? If or when technology reaches the singularity point, how should this be regulated, and how can it be ensured that such powerful technology is not abused for hegemonic purposes?
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- 9 min
- Kinolab
- 2014
Will Caster is an artificial intelligence scientist whose consciousness his wife Evelyn uploaded to the internet after his premature death. Dr. Caster used his access to the internet to grant himself vast intelligence, creating a technological utopia called Brightwood in the desert to get enough solar power to develop cutting-edge digital projects. Specifically, he uses nanotechnology to cure fatal or longtime inflictions on people, inserting tiny robots into their bodies to help cells recover. However, it is soon revealed that these nanorobots stay inside their human hosts, allowing Will to project his consciousness into them and generally control them, along with other inhuman traits.
- Kinolab
- 2014
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- 9 min
- Kinolab
- 2014
Will, Evelyn, and Max Part II: Medical Nanotechnology and Networked Humans
Will Caster is an artificial intelligence scientist whose consciousness his wife Evelyn uploaded to the internet after his premature death. Dr. Caster used his access to the internet to grant himself vast intelligence, creating a technological utopia called Brightwood in the desert to get enough solar power to develop cutting-edge digital projects. Specifically, he uses nanotechnology to cure fatal or longtime inflictions on people, inserting tiny robots into their bodies to help cells recover. However, it is soon revealed that these nanorobots stay inside their human hosts, allowing Will to project his consciousness into them and generally control them, along with other inhuman traits.
Should nanotechnology be used for medical purposes if it can easily be abused to take away the autonomy of the host? How can use of nanotechnology avoid this critical pitfall? How can seriously injured people consent to such operations in a meaningful way? What are the implications of nanotechnology being used to create technological or real-life underclasses? Should human brains ever be networked to each other, or to any non-human device, especially one that has achieved singularity?