<p/><br></br><p><b> About the Book </b></p></br></br>"In the 1970s, Japanese robotics expert Masahiro Mori published an article that coined and theorized the idea of the "uncanny valley" as a measurable correlation between the human likeness of a machine and people's comfort level with its presence. Criticized as flawed from the moment of its appearance and eventually debunked by empirical studies, Mori's original mapping of the "uncanny valley" may have no scientific grounding, but the term still endures as an apt metaphor for a technologically induced terrain of philosophical, biological, and social uncertainty. With the development of major technologies from the atom bomb to the digital computer and the emergence of cybernetics and artificial intelligence as academic disciplines since the Second World War, this terrain is no longer the sole purview of life-like automatons or robots but is increasingly occupied by developments in machine intelligence, biodigital mergence, and related issues of cloning and other forms of genetic manipulation that have reshaped the debate around the liminality of humanity. As the construction and definitions of subjectives and societies are increasingly organized and shaped by technological events that imitate or improve upon-even if only partially-fundamental functions of our bodies and minds, the question of what it means to be or remain human has been reopened for debate"--<p/><br></br><p><b> Book Synopsis </b></p></br></br><b>An investigation of the cultural and academic discourse around new technology through a lens of artistic practice</b> <p/> In 1970 Japanese engineer Masahiro Mori introduced the concept of the "uncanny valley" as a terrain of existential uncertainty that humans experience when confronted with autonomous machines that mimic their physical and mental properties. As subjectivities are increasingly organized and shaped by algorithms that track and evaluate our data, the question of what it means to be human has shifted. <br> The featured artists mine the tropes and modalities of AI and machine learning for critical and aesthetic potential, proposing new ways of thinking about intelligence, nature, and artifice. <br><p/><br></br><p><b> About the Author </b></p></br></br><b>Claudia Schmuckli</b> is curator in charge of contemporary art and programming at the Fine Arts Museums of San Francisco. <b>Yuk Hui</b> is on the faculty at the Bauhaus-Universität Weimar. <b>Janna Keegan</b> is assistant curator of contemporary art at FAMSF. <b>Matteo Pasquinelli</b> is professor of media philosophy at the Karlsruhe University of Arts and Design. <b>Tobias Rees</b> is the founding director of the Transformations of the Human department at the Berggruen Institute in Los Angeles. <br>
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