Blog #4: Homework 3 Question 3b Rewrite

“Autopoiesis is a process whereby a system produces its own organization and maintains and constitutes itself in a space” (PCW definition). Creatures become self regulating, self producing and self organizing. This is related to consciousness, and intelligent behavior, both of which are emergent properties.

At a basic level emergence, starts within the system—between it’s individual components. Autopoiesis calls for a higher level of emergence: “Second-order emergence arises when a system develops a behavior that enhances its ability to develop adaptive behaviors—that is, when it evolves the ability to evolve” (Hayles 3). This sort of emergence is what AL simulations are trying to cause. Once the AL has developed—through mutation, or learning— to the point where it gains the capacity to evolve, that “creature” becomes actual artificial life.

This second-order emergence, or autopoiesis, can be seen in the replicants of Blade Runner. The replicants started out as machines programmed for a particular function. However, the Nexus 6, the rebellious replicants, developed the ability to adapt. The longer they lived the more life experience they gained, and thus with these memories, they were able to develop emotions and they could be come unstable and dangerous to humans. Because of this, they were given a 4-year life span, so that they would die before they could become independent.

The replicant Roy becomes autopoietic, and developed a free will. He starts to desire to live longer, and so searches down his creator, to attempt to gain a longer life. When this fails he becomes emotional—angry that his body is shutting down. He fought with Deckard, who has been sent to kill him, and at the end finally becomes fully emergent and self contained.

At the climax of the chase, after Deckard leaps between rooftops in an attempt to escape, Roy inexplicably saves him from falling to his death. Deckard is still convinced that Roy is going to kill him, but Roy has reached a sort of calm. His body is shutting down; he has finally accepted his mortality. After the act of saving Deckard’s life, Roy continues to be empathetic and he explains to Deckard how no one will remember him—how his stories will die with him. He has a calm look on his face, almost remorseful, and the intimate close up shots of his face, along with the muted blue and orange lighting, adds to the poignant mood. Roy gives Deckard an aural photograph:

I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the darkness at Tan Hauser Gate. All those moments will be lost in time like tears in rain. Time to die.

Then, his body shuts down. In the face of death, Roy becomes an emergent figure, he has more empathy than Deckard, and is able to pass on his memories. He has gained the ability to be empathetic by showing Deckard compassion. He had the opportunity to murder Deckard, but instead he saved him, and pass along his memories.

Blog #3: Homework 4 Question 2a Rewrite

Flanagan argues that, “the games’ relationship to women is an exploitative one. For every seemingly liberatory image of a female heroine or monster in these games, the problematic side of the characters—through dress, unreal body design, and the relationship of the body to the viewer—dominates” (269). Flanagan says that because these games are created and played mainly by men, these stereotypes dominate, and this causes women to become “less and less interested in engaging with this massive system of interaction and representation” (361). She argues that these images of women are exploitative because they stereotype women in unrealistic, sexist ways. For example, Tomb Raider’s Lara Croft is a strong, adventurous woman. However, her body is entirely unrealistic—she has extremely large, gravity defying breasts, unnaturally small waist, and large hips. Her outfit consists of short-shorts, a tank top, combat boots, and guns strapped to her thighs. These elements fetishize her body, accentuating her legs, and adding the fetishistic sex appeal of weaponry. Her face is also exaggerated—very large lips and eyes—sexualizing her even further.

However, Flanagan nearly ignores the fact men are extremely sexualized and stereotyped in video games as well. Men are always depicted as the strong, courageous, macho-man hero with exaggerated muscles, aggressive, violent and brimming with testosterone. While this may not be as sexual a depiction as some of the female characters, it is entirely unrealistic, and exploitative. Frequently male characters are put in elaborate armor, but they are designed to accentuate the desired, unrealistic muscles. These characters are designed to look and act the part of a mindless killing machine, and while the young boys playing the game may not want to be sexually attracted to them, they want to sexually identify with them. They want to be strong—physically and mentally—and courageous, and they identify with the potentially misogynistic male characters with far too much testosterone.

While these stereotypes already exist in our society—in fashion, media, “boys don’t cry,” etc.—the 3d technology of videogames allows for these images to become even more exaggerated. And with the prominence of videogames—even surpassing Hollywood in market share—the stereotypes become more recognized and popular in our culture.