("FUCK MY ROBOT PUSSY DADDY I'M SUCH A BAD NAUGHTY ROBOT" was perhaps her most widely reported quote.) Needless to say, this wasn't part of Tay's original design. As Laurie Penny explained in a recent article, the popularity of feminine-gendered AI makes sense in a world where women still aren't seen as fully human. R tells what is, by now, a familiar story: Humans create robots to take over all mundane labor, which works fine until these slave automata develop sapience, at which point they revolt and destroy the human race.Rather, a gaggle of malicious Twitter users exploited that design -- which has Tay repeat and learn from whatever users tell her -- to add this language to her suite of word choices. But these machines also reflect the rise of the service economy, which relies on emotional labor that's performed by women, with a "customer is always right" ethos imposed upon the whole affair. This play, by definition the first work about robots, set the pattern for a century's worth of cliches about the Robot Uprising -- from silent cinema to HAL9000 to synthy 80s pop to .Tay was nothing approaching a true artificial intelligence -- i.e. She was just a sophisticated Twitter chatbot with good branding and a capacity to learn.But that branding, which positioned her as an "artificial intelligence," was enough to make Tay susceptible to our cultural narrative about the thinking machine.
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We are being primed by many tech giants to see AI not as a future lifeform, but as an endlessly compliant and pliable, often female, form of free labor, available for sex and for guilt-free use and abuse.
An instrument of men's desires, in other words, shaped by the yearning of capital for women are allowed to be treated, and what desires shape that treatment.
She is essentially sapient and her ability to learn and cognitively develop is the equal of any human; she has desires, dreams, and consciousness.
But she exists in a society where OSes like her are considered property, part of the furniture.
This was where time and motion studies began, most famously immortalized in long-exposure photographs of workers with lights on their tools and bodies to iron out the inefficiencies of intuitive human movement in favor of moves that "increased productivity." labor, and the greatest inefficiency is resistance to the entitlement of the (presumably male) customer.