A gynoid, or fembot, is a feminine humanoid robot. Gynoids appear widely in science fiction films and arts. As more realistic humanoid robot design becomes technologically possible, they are also emerging in real-life robot design. Just like any other robot, the main parts of a gynoid include sensors, actuators and a control system. Sensors [1] are responsible for detecting the changes in the environment while the actuators, also called effectors, are motors and other components responsible for the movement and control of the robot. The control system instructs the robot on what to do so as to achieve the desired results. [2]
A gynoid is anything that resembles or pertains to the female human form. Though the term android has been used to refer to robotic humanoids regardless of apparent gender, the Greek prefix "andr-" refers to man in the masculine sense. [3]
The term gynoid was first used by Isaac Asimov in a 1979 editorial, as a theoretical female equivalent of the word android. [4]
Other possible names for feminine robots exist. The portmanteau "fembot" (feminine robot) was used as far back as 1959, in Fritz Leiber's The Silver Eggheads, applying specifically to non-sentient female sexbots. [5] It was popularized by the television series The Bionic Woman in the episode "Kill Oscar" (1976) [6] and later used in the Austin Powers films, [7] among others. "Robotess" is the oldest female-specific term, originating in 1921 from Rossum's Universal Robots , the same source as the term "robot".
...the great majority of robots were either machine-like, male-like or child-like for the reasons that not only are virtually all roboticists male, but also that fembots posed greater technical difficulties. Not only did the servo motor and platform have to be 'interiorized' (naizō suru), but the body [of the fembot] needed to be slender, both extremely difficult undertakings.
—Tomotaka Takahashi, roboticist [8]
Examples of notable feminine robots include:
Researchers note the connection between the design of feminine robots and roboticists' assumptions about gendered appearance and labor. Fembots in Japan, for example, are designed with slenderness and grace in mind, [16] and they are employed to help to maintain traditional family structures and politics in a nation of population decline. [17]
People's reactions to fembots are also attributable to gender stereotypes. Research in this area is aimed at elucidating gender cues, clarifying which behaviors and aesthetics elicit a stronger gender-induced response. [18]
Gynoids may be "eroticized", and some examples such as Aiko include sensitivity sensors in their breasts and genitals to facilitate sexual response. [19] The fetishization of gynoids in real life has been attributed to male desires for custom-made passive women and compared to life-size sex dolls. [20] However, some science fiction works depict them as femmes fatales, fighting the establishment or being rebellious. [21] [22]
In 1983, a female robot named "Sweetheart" was removed from a display at the Lawrence Hall of Science; the robot's breasts, perceived as an exaggerated feature, resulted in a petition being presented claiming it was insulting to women. The robot's creator, Clayton Bailey, a professor of art at California State University, Hayward called this "censorship" and "next to book burning". [23]
Artificial women have been a common trope in fiction and mythology since the writings of the ancient Greeks (see the myth of Pygmalion). In science fiction, female-appearance robots are often produced for use as domestic servants and sexual slaves, as seen in the film Westworld , in Paul J. McAuley's novel Fairyland (1995), and in Lester del Rey's short story "Helen O'Loy" (1938), [24] and sometimes as warriors, killers, or laborers. The character of Annalee Call in Alien Resurrection is a rare example of a non-sexualized gynoid. In Xenosaga , a role-playing video game, the character "KOS-MOS" is a female armored android. [25]
A long tradition exists in literature of the construction of an artificial embodiment of a certain type of ideal woman, and fictional gynoids have been seen as an extension of this theme. [26] Examples include Hephaestus in the Iliad who created female servants of metal, and Ilmarinen in the Kalevala who created an artificial wife. Pygmalion, from Ovid's account, is one of the earliest conceptualizations of constructions similar to gynoids in literary history. [26] In this myth a female statue is sculpted that is so beautiful that the creator falls in love with it, and after praying to Aphrodite, the goddess takes pity on him and converts the statue into a real woman, Galatea, with whom Pygmalion has children.
The Maschinenmensch ("machine-human"), also called "Parody," "Futura," "Robotrix," or the "Maria impersonator," in Fritz Lang's Metropolis is the first example of gynoid in film: a femininely shaped robot is given skin so that she is not known to be a robot and successfully impersonates the imprisoned Maria and works convincingly as an exotic dancer. [26]
Fictional gynoids are often unique products made to fit a particular man's desire, as seen in the novel Tomorrow's Eve and films The Perfect Woman , The Stepford Wives , Mannequin and Weird Science , [27] and the creators are often male "mad scientists" such as the characters Rotwang in Metropolis, Tyrell in Blade Runner, and the husbands in The Stepford Wives. [28] Gynoids have been described as the "ultimate geek fantasy: a metal-and-plastic woman of your own." [7]
The Bionic Woman television series popularized the word fembot. These fembots were a line of powerful, lifelike gynoids with the faces of protagonist Jaime Sommers's best friends. [29] They fought in two multi-part episodes of the series: "Kill Oscar" and "Fembots in Las Vegas," and despite the feminine prefix, there were also male versions, including some designed to impersonate particular individuals for the purpose of infiltration. While not truly artificially intelligent, the fembots still had extremely sophisticated programming that allowed them to pass for human in most situations. The term fembot was also used in Buffy the Vampire Slayer .[ citation needed ]
The 1987 science-fiction film Cherry 2000 portrayed a gynoid character which was described by the male protagonist as his "perfect partner". The 1964 TV series My Living Doll features a robot, portrayed by Julie Newmar, who is similarly described. The film Her (2013) depicts an Artificial Intelligence assistant called Samantha, whom the protagonist, Theodore, falls in love with until her intelligence surpasses human comprehension and she leaves to fulfil her higher purpose.
More recently, the 2015 science-fiction film Ex Machina featured a genius inventor experimenting with gynoids in an effort to create the perfect companion.
Fiction about gynoids or female cyborgs reinforce essentialist ideas of femininity, according to Margret Grebowicz. [30] Such essentialist ideas may present as sexual or gender stereotypes. Among the few non-eroticized fictional gynoids include Rosie the Robot Maid from The Jetsons . However, she still has some stereotypical feminine qualities, such as a matronly shape and a predisposition to cry. [31]
The stereotypical role of wifedom has also been explored through use of gynoids. In The Stepford Wives , husbands are shown as desiring to restrict the independence of their wives, and obedient and stereotypical spouses are preferred. The husbands' technological method of obtaining this "perfect wife" is through the murder of their human wives and replacement with gynoid substitutes that are compliant and housework obsessed, resulting in a "picture-postcard" perfect suburban society. This has been seen as an allegory of male chauvinism of the period, by representing marriage as a master-slave relationship, and an attempt at raising feminist consciousness during the era of second wave feminism. [28]
In a parody of the fembots from The Bionic Woman, attractive, blonde fembots in alluring baby-doll nightgowns were used as a lure for the fictional agent Austin Powers in the movie Austin Powers: International Man of Mystery . The film's sequels had cameo appearances of characters revealed as fembots.
Jack Halberstam writes that these gynoids inform the viewer that femaleness does not indicate naturalness, and their exaggerated femininity and sexuality is used in a similar way to the title character's exaggerated masculinity, lampooning stereotypes. [32]
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Some argue that gynoids have often been portrayed as sexual objects. Female cyborgs have been similarly used in fiction, in which natural bodies are modified to become objects of fantasy. [26] The female robot in visual media has been described as "the most visible linkage of technology and sex" by Steven Heller. [33]
Feminist critic Patricia Melzer writes in Alien Constructions: Science Fiction and Feminist Thought that gynoids in Richard Calder's Dead Girls are inextricably linked to men's lust, and are mainly designed as sex objects, having no use beyond "pleasing men's violent sexual desires." [34] The gynoid character Eve from the film Eve of Destruction has been described as "a literal sex bomb," with her subservience to patriarchal authority and a bomb in place of reproductive organs. [27] In the 1949 film The Perfect Woman , the titular robot, Olga, is described as having "no sex," but Steve Chibnall writes in his essay "Alien Women" in British Science Fiction Cinema that it is clear from her fetishistic underwear that she is produced as a toy for men, with an "implicit fantasy of a fully compliant sex machine." [35] In the film Westworld , female robots actually engaged in intercourse with human men as part of the make-believe vacation world human customers paid to attend.
Sexual interest in gynoids and fembots has been attributed to fetishisation of technology, and compared to sadomasochism in that it reorganizes the social risk of sex. The depiction of female robots minimizes the threat felt by men from female sexuality and allow the "erasure of any social interference in the spectator's erotic enjoyment of the image." [36] Gynoid fantasies are produced and collected by online communities centered around chat rooms and web site galleries. [37]
Isaac Asimov writes that his robots were generally sexually neutral and that giving the majority masculine names was not an attempt to comment on gender. He first wrote about female-appearing robots at the request of editor Judy-Lynn del Rey. [38] [39] Asimov's short story "Feminine Intuition" (1969) is an early example that showed gynoids as being as capable and versatile as male robots, with no sexual connotations. [40] Early models in "Feminine Intuition" were "female caricatures," used to highlight their human creators' reactions to the idea of female robots. Later models lost obviously feminine features, but retained "an air of femininity." [41]
Critics have commented on the problematic nature of assigning a gender to an artificial object with no consciousness of its own, based purely on its appearance or sound. [42] It has also been argued that our innovation should part from this essentialising notion of a woman and focus on the purpose of creating robots, without making them explicitly male or female. [43] Indeed, very few robots are explicitly male; it is the contrast with the female robot that makes the neutral one male (the principle of the male default). [44] Critics have also noticed how the creation of gynoids is associated with service roles, while androids or systems with male voices are employed in positions of leadership. [45]
An android is a humanoid robot or other artificial being often made from a flesh-like material. Historically, androids existed only in the domain of science fiction and were frequently seen in film and television, but advances in robot technology have allowed the design of functional and realistic humanoid robots.
Erotica is art, literature or photography that deals substantively with subject matter that is erotic, sexually stimulating or sexually arousing. Some critics regard pornography as a type of erotica, but many consider it to be different. Erotic art may use any artistic form to depict erotic content, including painting, sculpture, drama, film or music. Erotic literature and erotic photography have become genres in their own right. Erotica also exists in a number of subgenres including gay, lesbian, women's, monster, tentacle erotica and bondage erotica.
A humanoid robot is a robot resembling the human body in shape. The design may be for functional purposes, such as interacting with human tools and environments, for experimental purposes, such as the study of bipedal locomotion, or for other purposes. In general, humanoid robots have a torso, a head, two arms, and two legs, though some humanoid robots may replicate only part of the body. Androids are humanoid robots built to aesthetically resemble humans.
Sexual roleplay is roleplay that has a strong erotic element. It may involve two or more people who act out roles in order to bring to life a sexual fantasy and may be a form of foreplay and be sexually arousing. Many people regard sexual roleplay as a means of overcoming sexual inhibitions. It may take place in the real world, or via an internet forum, chat-room, video-game, or email—allowing for physically or virtually impossible erotic interests to be enacted.
Sexual themes are frequently used in science fiction or related genres. Such elements may include depictions of realistic sexual interactions in a science fictional setting, a protagonist with an alternative sexuality, a sexual encounter between a human and a fictional extraterrestrial, or exploration of the varieties of sexual experience that deviate from the conventional.
Robot fetishism is a fetishistic attraction to humanoid robots; also to people acting like robots or people dressed in robot costumes. A less common fantasy involves transformation into a robot. In these ways, it is similar to agalmatophilia, which involves attraction to or transformation into statues or mannequins.
Femininity is a set of attributes, behaviors, and roles generally associated with women and girls. Femininity can be understood as socially constructed, and there is also some evidence that some behaviors considered feminine are influenced by both cultural factors and biological factors. To what extent femininity is biologically or socially influenced is subject to debate. It is conceptually distinct from both the female biological sex and from womanhood, as all humans can exhibit feminine and masculine traits, regardless of sex and gender.
Agalmatophilia is a paraphilia involving sexual attraction to a statue, doll, mannequin, or other similar figurative object. Agalmatophilia is a form of object sexuality.
Postgenderism is a social, political and cultural movement which arose from the eroding of the cultural, psychological, and social role of gender, and an argument for why the erosion of binary gender will be liberatory.
Gender has been an important theme explored in speculative fiction. The genres that make up speculative fiction, science fiction, fantasy, supernatural fiction, horror, superhero fiction, science fantasy and related genres, have always offered the opportunity for writers to explore social conventions, including gender, gender roles, and beliefs about gender. Like all literary forms, the science fiction genre reflects the popular perceptions of the eras in which individual creators were writing; and those creators' responses to gender stereotypes and gender roles.
Artificial intelligence is a recurrent theme in science fiction, whether utopian, emphasising the potential benefits, or dystopian, emphasising the dangers.
A relatively common motif in speculative fiction is the existence of single-gender worlds or single-sex societies. These fictional societies have long been one of the primary ways to explore implications of gender and gender-differences in science fiction and fantasy. Many of these predate a widespread distinction between gender and sex and conflate the two.
Hiroshi Ishiguro is a Japanese roboticist and engineer. He is the director of the Intelligent Robotics Laboratory, part of the Department of Systems Innovation in the Graduate School of Engineering Science at Osaka University, Japan. A notable development of the laboratory is the Actroid, a humanoid robot with lifelike appearance and visible behaviour such as facial movements.
Sex robots or sexbots are anthropomorphic robotic sex dolls that have a humanoid form, human-like movement or behavior, and some degree of artificial intelligence. As of 2018, although elaborately instrumented sex dolls have been created by a number of inventors, no fully animated sex robots yet exist. Simple devices have been created which can speak, make facial expressions, or respond to touch.
A sex machine is a mechanical device used to simulate human sexual intercourse or other sexual activity.
Mechanophilia is a paraphilia involving a sexual attraction to machines such as bicycles, motorcycles, cars, helicopters, and airplanes.
Julie Wosk is an American author who writes on the history of gender and technology.
The automaton becomes both a philosophical toy and sexual fetish; I extend the meaning of gynoid to include non-mechanical models of women such life-size dolls
Gynoids are frames that enable us to desire differently, by accommodating libidinal-investments in male lack.