UConn PopCast

This episode is based upon three readings:

1. Alan Turing’s Computing Machinery and Intelligence aka The Turing Test paper. Turing starts his paper by asking “can machines think?” before deciding that’s a meaningless question. Instead, he invents something he calls “the imitation game” - a text conversation where the player has to guess whether they are chatting with another person or with an AI. ChatGPT was such a bombshell because it easily and consistently passes this “Turing Test” by giving human-like responses to questions. Here’s the issue: the Turing Test is based upon AI deception, not thinking. Turing set out to ask Can Machines Think? and ended up showing how easily AI can deceive us.
2. Karel Čapek’s Rossum’s Universal Robots. This is the first AI Takeover story. It’s a play written in 1920 about a factory manufacturing artificial persons. Čapek introduced the word Robot to the English language - it’s derived from robota, a Czech word meaning forced labor. Čapek’s robots are supposed to be the ultimate workers, free from distracting human needs and desires. Yet, they mysteriously start to glitch, gnashing their teeth, freezing up. When they are given guns and asked to fight humanity’s wars, they become super soldiers as well as perfect workers. Anyone who has seen Blade Runner, The Terminator, or Battlestar Galactica - all inspired by Čapek’s play - knows what happens next. Rossum’s Universal Robots is the original AI takeover story, as well as being a dead-on satire of twentieth century ideas like Fordism and nationalism.
3. Joanna Bryson’s Robots Should be Slaves. Bryson, a computer scientist, makes a provocative intervention into AI ethics. She argues that as AI becomes more advanced, and robots more lifelike, we are going to get dangerously confused: we’ll want to give robots rights that they cannot and should not have. Bryson argues that robots are owned by us and should be seen and used as property. She wants to avoid conflating the human and the mechanical, yet, by using the terminology of slavery, she introduces into the AI debate the very thing she seeks to deny - the concept of human rights.
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It’s the UConn Popcast, and in this episode of our series on artificial intelligence, we discuss Joanna Bryson’s essay “Robots Should be Slaves.”

We dive headlong into this provocative argument about the rights of robots. As scholars of cultural and social understanding, we are fascinated by the arguments Bryson - a computer scientist - makes about who should, and should not, be rights-bearing members of a community.

Does Bryson mean we should enslave robots now and always, regardless of their claims to rights? How does Bryson deal with the natural human tendency to anthropomorphize non-human things, and with the likelihood that as AI advances, robots will appear more human? If the robot as slave is an unacceptable idea - even in metaphorical form - then what other metaphors might help us think through our relationships with thinking machines?

Music by aiva.ai

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It’s the UConn Popcast, and in the second of our series on Thinking Machines we consider Karel Čapek’s “Rossum’s Universal Robots” (1920). Čapek’s play invented the word “robot” and pioneered the genre of the AI uprising. The play - a clear influence on works such as 2001, Blade Runner, The Terminator, and Battlestar Galactica – is a deep rumination on the boundary between the natural and artificial, the mechanical and the ineffable, and the sacred and the profane.

We react to this seminal work in popular thinking about artificial intelligence, written more than a century ago yet retaining deep resonance today.

Music by Aiva.

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It’s the UConn Popcast, and this is the first episode in our new series about artificial intelligence and popular culture. In this first episode, we revisit Alan Turing's seminal1950 paper Computing Machinery and Intelligence, in which he asks "Can machines think?"

In the paper, Turing proposes what became known as "The Turing test," a game of deception which, if a machine were to pass it, could be said to herald the onset of the age of machine intelligence. With large language models (LLMs) today easily passing this test, we react to the paper and examine the implications from a humanistic standpoint.

Did Turing successfully predict contemporary LLMs 75 years ago? What does it mean that Turing’s test was based not on the abilities of a machine per se, but rather on a machine’s ability to deceive humans? How have Turing’s ideas permeated our cultural and popular cultural ideas about AI? And why did Turing think ESP had a role to play in understanding AI.

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P. Djèlí Clark is the author of acclaimed and award-winning speculative fiction, including the much-loved Dead Djinn universe books, Ring Shout, and his most recent, The Dead Cat Tail Assassins.

We speak with him about why he writes, how he sees speculative fiction as a genre, whether we can expect to see more Dead Djinn books, the origins of his acclaimed novella Ring Shout, his new book The Dead Cat Tail Assassins (Tordotcom, 2024), and much more.

For our conversation about the author’s academic work in history, see our previous episode: “Dexter Gabriel: Slavery and Film, Creativity and Academia, and Is Slavery a Good Metaphor for AI?”

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Dr. Dexter Gabriel is an associate professor of history at the University of Connecticut. He’s published and taught widely on the histories of slavery, resistance, and freedom, including teaching a superb class on slavery in popular culture, particularly film. He’s the author of the 2023 book Jubilee’s Experiment: The British West Indies and American Abolitionism (Cambridge UP, 2023).

But in addition to this, Professor Gabriel conducts a second, equally impressive intellectual and creative life in a wholly different register. As P. Djèlí Clark, he’s the author of acclaimed and award-winning speculative fiction, including the much-loved Dead Djinn universe books, Ring Shout, and his most recent, The Dead Cat Tail Assassins.

We have a really rich and deep conversation with Dexter, about how he juggles such an array of interests and pursuits, the question of whether there can be a “good” portrayal of slavery on film and what that would look like, whether there are lessons for our future with AI from our past with slavery.

In part two of this conversation, coming soon on this feed, we speak with P. Djèlí Clark about his speculative fiction.

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It’s the UConn Popcast, and today we offer a political science / popular culture studies view of Taylor Swift’s endorsement of Kamala Harris in the 2024 U.S. Presidential Election. We situate Swift’s endorsement within the wider moment of popular culture, and consider her long journey from a self-imposed moratorium on political speech to her current position as the most sought-after endorsement in the election cycle. What does the endorsement mean? Why did she do it? And why did she sign her endorsement as from a “childless cat lady”?

Our previous discussion of Taylor Swift and politics is here.

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Fede Alvarez’s "Alien: Romulus" hit cinemas on August 16th. It’s set between the events of Alien and Aliens, two science fiction classics. We review the movie and ask whether it continues the thematic work done in its lauded predecessors, touching on capitalism, AI, body horror, subversion of sexual and reproductive systems, colonialism, class, and genre.

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It’s the UConn Popcast, and Purple Rain, Prince’s semi-autobiographical, semi-concert film, hit cinemas 40 years ago this week. The movie followed the album of the same name by a few short weeks. While the album is considered a defining musical achievement, the movie met a mixed reception at the time, and later critics have been both troubled by its misogyny and perplexed by its surreal qualities and uneven acting.

We consider the movie and the music at the four-decade mark, centering our discussion on the figure of Prince (who plays a character called “The Kid” in the movie) as a set of shifting signifiers allowing, and perhaps demanding, an active reading by audiences interested in gender, race, musical genre, performance, and more.

Mentioned in this episode: Jack Hamilton, “Baby I’m a Star”: Prince, Purple Rain, and the Audiovisual Remaking of the Black Rock Star” in Black Camera (2022) Vol. 14, No. 1.

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It’s the UConn Popcast, and recently UConn’s Center for the Study of Popular Music hosted a panel discussion on Artificial Intelligence and the Future of Music. The panel featured Dr. Mitchell Green, Professor of Philosophy, University of Connecticut; Dustin Ballard, a musician and creator of the social media channel “There I Ruined It”; and Dr. Aaron Dial, a postdoctoral research fellow at the Humanities and Technoscience Lab at Purdue University.

The conversation addressed AI music creation, production, composition, aesthetics, trends, copyright issues, and algorithms.

The panel was moderated by Professor Jeffrey Ogbar, Director of the Center for the Study of Popular Music and Professor of History at the University of Connecticut.

Timestamps:

• Mitchell Green: 7:00-23:40
• Aaron Dial: 23:45-43:55
• Dustin Ballard: 44:02-54:32

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It’s the UConn Popcast, and “Hit Man” is writer and director Richard Linklater’s latest film, available on Netflix after a brief theatrical run. We analyze the movie through Linklater’s classic themes: identity and its malleability, American sub-cultures, and American mythologies. “Hit Man” is a less challenging watch than much of Linklater’s canon, but it works best, we argue, when seen as part of his wider project of examining the permeable boundary between fantasy and reality.

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It’s the UConn Popcast, and today we are joined by Professor Robert Farley, author of “Andor: Star Wars Recreates the Battle of Algiers (And it Works).” We talk about how Andor, the Disney+ streamer, was deeply influenced by Gillo Pontecorvo’s 1966 movie The Battle of Algiers. Both texts tell the story of a rebellion against authoritarian colonial overlords, and both do so in a documentary style. We consider how Andor relates to other entries in the Star Wars universe, what myths and meaning structures Andor engages, and whether the show qualifies as great television, or merely pretty good Star Wars.

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It’s the UConn Popcast, and today we discuss Netflix’s new screen adaptation of Chinese science fiction author Liu Cixin’s Three Body trilogy. We discuss the battle between the eye and the idea in film and television science fiction, and whether the new show strikes a successful balance. We consider some of the challenges involved in adapting this distinctively Chinese literary work for a non-Chinese audience, and what might have been lost in doing so. And we think more broadly about the genre of hard science fiction: to whom does it appeal and what is it trying to accomplish?

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It’s the UConn Popcast, and Taylor Swift is by some measures the most popular person on the planet. Her periodic reinventions set the mass cultural terms of debate, and her political interventions – through exhorting her fans on social media – lead to huge spikes in voter registration. It is hoped by Democrats, and feared by Republicans, that a Taylor endorsement of Joe Biden in 2024 might meaningfully tip the scales in favor of reelection.

In this episode, we consider Taylor Swift as a popular and political text, over which she exercises substantial, but not total, authorial control. What role in the culture does she play? How should we interpret her recent association with the NFL? How do the parasocial relationships of her fans – “Swifties” – to the artist herself contribute to authorship of the Taylor text. And how should we read the counter-subversive conspiratorial responses to her halting forays into electoral politics?

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It’s the UConn Popcast, and today we discuss Prophet Song (Atlantic Monthly Press, 2023), Paul Lynch’s Booker Prize winning novel about a totalitarian regime coming to power in Ireland. We discuss the novel’s theorization of individual rights and political power, its success in depicting a family’s unraveling and its failures in telling a broader, more universal story. Why have critics lauded this novel, and who is its intended audience? More fundamentally, what is the role of literary fiction in popular culture?

The UConn Popcast is proud to be sponsored by the University of Connecticut Humanities Institute. Check out the institute’s Popular Culture Initiative.

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It’s the UConn PopCast, and in this episode we discuss Rainer Werner Fassbinder’s 1973 movie World on a Wire, shown on West German television over two nights, and then lost for decades. When it was restored and re-released nearly 40 years later, the movie quickly gained acclaim as a lost masterwork of science fiction cinema.

We discuss the movie’s sophisticated and pioneering presentation of the simulation hypothesis, and its deep engagement with Jean Baudrillard’s concepts of simulacra and simulation.

We examine the deep influence of the movie on blockbusters like The Matrix and Inception, consider the Cold War context of its production, and ask where World on a Wire places in the pantheon of philosophically informed - and philosophically influential - cinema.

The UConn PopCast is proud to be sponsored by the University of Connecticut Humanities Institute.

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It’s the UConn PopCast, and in this episode we tackle ‘For All Mankind,’ Apple TV’s alternate history about a space race that never ended. We first react to episode one of season four, which portrays a well-established human base on Mars. What does this first episode portend for the rest of the season, and the overall trajectory of the show?

We then dive deep into the political, social, and technological themes of the show over the past three seasons. What does this text say about the malleability of the structures of contemporary societies? Can technological advances ‘overleap’ political problems? Is the show’s portrayal of gender as progressive as it seems at first blush? Most fundamentally, what type of politics is ‘For All Mankind’ trying to sell us, and is it convincing?

The UConn PopCast is proud to be sponsored by the University of Connecticut Humanities Institute. Check out the Popular Culture Initiative.

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The University of Connecticut Humanities Institute recently sponsored a panel discussion on the topic, “Can you fall in love with ChatGPT?” and we recorded this discussion as a live podcast. The panel, which brought together a computer scientist, humanities scholars, and social scientists, focused in part on the latest advances in sociable AI, but much more on the impact these technologies are having, and are going to have, on human relationships.

As our AI becomes more able to anticipate and perform human-like conversation and emotional responses will we, as the sociologist Sherry Turkle suspects, develop ever deeper relationships with our machines? What will this mean for our relationships with other humans? In an America beset by a loneliness epidemic, is the future of companionship, and of care, to be found in the artificial? To put the issue at its starkest: can, or should, you fall in love with ChatGPT?

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Olivia Rodrigo's new album "Guts" offers a compelling perspective on early adult uncertainty, societal expectations of young women, and the craft of songwriting. We take a deep dive into the art and persona of this chart-bestriding performer. 

The UConn PopCast is proud to be sponsored by the University of Connecticut Humanities Institute. Learn about our MA Program.

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Reality TV shapes and reflects how we see ourselves, and what we regard as normal. Professor Danielle J. Lindemann watched thousands of hours of reality tv to decode its influence on society. She joins us to discuss her book True Story: What Reality TV Says About Us (FSG, 2022).

 Danielle J. Lindemann is an Associate Professor of Sociology at Lehigh University interested in gender, sexuality, the family, and culture. She is the author of Commuter Spouses: New Families in a Changing World and Dominatrix: Gender, Eroticism and Control in the Dungeon. Her research has been featured in media outlets such as The New York Times, The Wall Street Journal, The Economist, The Atlantic, The Washington Post, Rolling Stone, Billboard, and The Chronicle of Higher Education. She has spoken about her work on National Public Radio and has written op-eds for CNN, Newsweek, Salon, Fortune, and Quartz.

The UConn PopCast is proud to be sponsored by the University of Connecticut Humanities Institute. Learn about our MA Program.

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