They capitalize on the novelty of an erotic product: “She is the automaton of your dreams” (Hornyak 2010). While conceptions of futuristic humanoid robots are on a long list of science fiction works, whether in literature or in the cinema, advertisements for female sex robots have began to appear in this decade.

Now that we have passed 2017-the time of the future imagined by the film-the dream of the robot as an autonomous entity endowed with movement and communication capacities identical to humans (similar to the one proposed in the film Eva), and as a companion and sexual partner, is only partially realized (Kike 2011). It involved a society dominated by hyper sexuality and an excessively bureaucratic government. In the same period, Cherry 2000 (Jarnatt 1988), an American production, introduced a post-apocalyptic scenario set in 2017. In 1988, Norman White, a biologist from Harvard University, and Laura Kikauka, a Canadian artist, presented the Electronic Artwork called “Them Fucking Robots.” While this was not exactly a parody of the humanization of machines, it recognized the possibility of a robotic future, where “artifacts” could breed, that is, reproduce by themselves (Dixon 2007). The growing utility of robots has been a well-defined theme in the media and entertainment industry for some decades. They also point to the urgent need to discuss the ethical values that should guide human-machine interaction. While the intentions of developers, at first glance, appear to be good, the challenges that AI-enhanced robots potentially pose are ethically questionable. In combination with artificial intelligence (AI), its development has made these control systems intelligent enough to learn through experience and exchange information with other systems. Robotics is defined as the application of computerized electronic control systems to mechanical devices and is designed to replace the human being in the execution of certain tasks (Siqueira et al.

Instal Barbie 2017 Memory