How To Survive A Robot Invasion Rights Responsibil
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David J. Gunkel
First published 2020
by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 Taylor & Francis
The right of David J. Gunkel to be identified as author of this work
has been asserted by him in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
Library of Congress Cataloging-in-Publication Data
A catalog record for this book has been requested
ISBN: 978-1-138-37071-5 (hbk)
ISBN: 978-0-429-42786-2 (ebk)
Typeset in Times New Roman
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Contents
1 Introduction 1
1.1 Robots 1
1.1.1 Science Fiction 2
1.1.2 Science Fact 5
1.2 The Invasion 7
1.2.1 Robots at Work 7
1.2.2 Robots at Home 10
1.3 The Program 11
2 Default Settings 16
2.1 Technological Things 17
2.1.1 The Instrumental Theory of Technology 18
2.1.2 Standard Operating Presumptions 20
2.1.3 Mistakes and Errors 20
2.2 The Right(s) Stuff 23
2.2.1 Substantive Stuff 24
2.2.2 Terminological Troubles 26
2.2.3 Epistemological Exigencies 27
2.2.4 Outcome and Results 29
2.3 Conclusion 30
4 Responses 53
4.1 Slavery 2.0 53
4.1.1 Advantages 54
4.1.2 Disadvantages 57
4.2 Machine Ethics 61
4.2.1 Advantages 64
4.2.2 Disadvantages 65
4.3 Joint Agency 67
4.3.1 Many Hands 68
4.3.2 Advantages and Disadvantages 69
4.4 Conclusion 70
Index 75
Figures
This book was not so much written as it was assembled. It has been fabri-
cated by drawing on and remixing material from a number of presentations
and texts that I have given and produced over the past several years.
The basic idea and trajectory for the project was devised and initially
tested in a presentation titled “How to Survive the Robot Apocalypse.” The
talk was first given in September of 2015 during Huskie Hack, the annual
Northern Illinois University (NIU) hackathon. Since that time, versions of it
have been performed at other events and venues. In 2016, it was featured in
NIU STEM Café and Teen STEM Café community-outreach events. It was
delivered during invited talks at the University of Virginia, the University
of Vienna, Pennsylvania State University, and the Universidade Federal do
Piauí in Teresina, Brazil. In 2017, a modified version was presented to the
College Endowment Association in Milwaukee, Wisconsin. In 2018, it was
delivered at the Media Ethics Initiative of the Moody College of Communi-
cation at University of Texas, the Faculty Summer Institute at the University
of Illinois, and the Morals and the Machine Workshop at the Edinburgh
Centre for Robotics. And in April of 2019, it was the featured keynote at the
Student Technology, Arts & Research Symposium (STARS) conference at
the University of Illinois, Springfield.
Published transcriptions of the talk have been developed for and have
appeared in several outlets. Although none of these texts have been repro-
duced here in their entirety, they have furnished bits and pieces for the
re-assemblage. These publications include the following: “The Other Ques-
tion: Socialbots and the Question of Ethics,” published in Robert W. Gehl
and Maria Bakardjieva (Eds.), Socialbots and Their Friends: Digital Media
and the Automation of Sociality (New York: Routledge, 2017); “Other
Things: AI, Robots and Society,” published in Zizi Papacharissi (Ed.), A
Networked Self: Human Augmentics, Artificial Intelligence, Sentience (Lon-
don: Routledge, 2018); and “Mind the Gap: Responsible Robotics and the
Preface ix
Problem of Responsibility,” published in the journal Ethics and Information
Technology, July 2017.
Because of these opportunities to present and test the material with audi-
ences from all over the world, the content that is presented here is as much
a product of my own effort as it is a result of the insightful questions, com-
ments, and feedback I have received from others. Even though it is impossible
to identify and name everyone who has contributed to the mix, I do want to
acknowledge a number of individuals who helped make this work possible:
Maria Bakardjieva (University of Calgary), Janet Brown (College Endow-
ment Association), Mark Coeckelbergh (University of Vienna), Keenan E.
Dungey (University of Illinois, Springfield), Judith Dymond (Northern Illi-
nois University), Robert W. Gehl (University of Utah), J. Michael Herrmann
(University of Edinburgh), Deborah Johnson (University of Virginia), Jef-
frey Nealon (Pennsylvania State University), Zizi Papacharissi (University
of Illinois), Stephanie Richter (Northern Illinois University), Tracy Rog-
ers (Northern Illinois University), Gustavo Said (Universidade Federal do
Piauí), and Scott R. Stroud (University of Texas).
One final note concerning structure and method of access: because the
book is derived from a presentation, which is something that takes place
within a temporal sequence, the text is probably best understood and enjoyed
when read in a linear fashion. I am well aware that this is a “big ask,” espe-
cially for media consumers who are more accustomed to the experience
of random access to short textual bursts posted on social media and other
digital platforms. Although the book can be read in fragments and in any
order you like (which is one of the main advantages of reading a text over
watching a presentation or performance), the material has been designed
to develop and unfold in sequence, like the narrative of a story. This is
one of the reasons why the book is deliberately short and concise. Asking
readers—especially readers whose daily experience with reading involves
accessing digital content on mobile devices—to have the patience to sit
down and read 300+ pages start to finish may simply be too much. But ask-
ing the same for a book that comes in at just 100 pages is less imposing and
more realistic. Whether I have met this challenge and provided something
that is valuable and worth the effort is for you to decide.
1 Introduction
1.1 Robots
Before we get too far into it, however, it would be a good idea to begin by
getting a handle on the basics . . . beginning with terminology. Despite what
one might think, robots are not the product of scientific R&D. Robots are
originally the result of fiction, specifically a 1920 stage play titled R.U.R.
or Rossum’s Universal Robots and written by the Czech playwright Karel
Čapek (2009). In Czech, as in several other Slavic languages, the word
robota (or some variation thereof) denotes “servitude or labor,” and “robot”
was the word that Čapek used to name a class of manufactured, artificial
slaves that eventually rise up against their human makers (Figure 1.1).
2 Introduction
Figure 1.1 A scene from the play R.U.R., showing three robots.
Source: Public domain image provided by https://commons.wikimedia.org/wiki/File:Capek_
play.jpg.
But Čapek was not, at least as he tells the story, the originator of this des-
ignation. That honor belongs to the playwright’s brother, the painter Josef
Čapek, who suggested the word to his brother during the time of the play’s
initial development (for more, see Gunkel 2018, 15). Since the publication
of Čapek’s play, robots have infiltrated the space of fiction. But what exactly
constitutes a robot differs and admits of a wide variety of forms, functions,
and configurations.
Ever since I was a little girl seeing Star Wars for the first time, I’ve been
fascinated by this idea of personal robots. . . . I knew robots like that
didn’t really exist, but I knew I wanted to build them.
Despite its utility, for many laboring in the field of robotics this incursion
of pop culture and entertainment into the realm of the serious work of sci-
ence and engineering is also a potential problem and something that must
be, if not actively counteracted, then at least carefully controlled and held in
check. As the roboticist Alan Winfield (2011, 32) explains:
Real robotics is a science born out of fiction. For roboticists this is both
a blessing and a curse. It is a blessing because science fiction provides
inspiration, motivation and thought experiments; a curse because most
people’s expectations of robots owe much more to fiction than reality.
Introduction 5
And because the reality is so prosaic, we roboticists often find ourselves
having to address the question of why robotics has failed to deliver
when it hasn’t, especially since it is being judged against expectations
drawn from fiction.
And what about smartphones? According to Joanna Bryson and Alan Win-
field (2017, 117) these devices could also be considered robots under this
particular characterization:
Robots are artifacts that sense and act in the physical world in real
time. By this definition, a smartphone is a (domestic) robot. It has not
only microphones but also a variety of proprioceptive sensors that let it
know when its orientation is changing or when it is falling.
In order to further refine the definition and delimit with greater precision
what is and what is not a robot, Winfield (2012, 8) offers the following list
of qualifying characteristics:
A robot is:
1. An artificial device that can sense its environment and purpose-
fully act on or in that environment;
2. An embodied artificial intelligence; or
3. A machine that can autonomously carry out useful work.
But the robots are not just taking over industrial tasks that could be
classed as “dull, dirty and dangerous”—e.g., repetitive and monotonous
tasks performed on manufacturing assembly lines; efforts to extract raw
8 Introduction
Figure 1.3 I ndustrial robot for metal die casting. KUKA Roboter GmbH, Augsburg,
Germany.
Source: Public domain image provided by https://commons.wikimedia.org/wiki/File:Automation_
of_foundry_with_robot.jpg.
materials from the earth and process industrial waste byproducts; or opera-
tions conducted in situations or environments hazardous to human life, like
terrestrial places flooded with dangerous levels of radiation or toxic chemi-
cals, deep underwater on the floor of the ocean, or in the vacuum of space.
The invasion of the work place is (or will soon be) affecting many other
kinds of occupations. As Martin Ford (2015, xiv) explains in his book Rise
of the Robots:
It is the thesis of this book that society can only be understood through
a study of the messages and the communication facilities which belong
to it; and that in the future development of these messages and com-
munication facilities, messages between man and machines, between
machines and man, and between machine and machine, are destined to
play an ever-increasing part.
(Wiener 1988, 16)
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