So..... Giskard
TVSTRANGERTHINGS

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noise dept.
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祝日 / Permanent Vacation
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oozey mess

#extradirty
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@bugg-asimov
So..... Giskard
thing thats good: yay
thing thats bad: aww
thing that has both genuinely amazing pieces of storytelling and abysmal dogshit slop both happening like entirely interchangably:
Being a notorious robotlover in the current state of "AI" is the worst. I love robots discovering how they process their feelings in fiction, but when a chatbot pretends it knows how to love it feels like an insult to the craft
affirmations for people with multiple blogs:
☆ i am on the right blog
☆ i wont accidentally post on the wrong blog
☆ i can get my blogs right
☆ i have a normal amount of side blogs
☆ this isnt going on the wrong blog
They keep trying to make trek for modern sensibilities but they’re just making tos look excessively slutty
Exhibit A
I liked these tags but I had something to say about it
I already assumed that the dresses were a choice made by the female crew, mostly for my own sanity. They do show (very infrequently) women in tos wearing pants
And they show men wearing dresses in tng, but only ever in the background (unless you count the dress uniforms)
And obviously I like that these were included, but they were clearly a cop out decision.
“Yeah see men can wear dresses, women can wear pants. They just don’t choose to” reads as “of course I’m not sexist, women just like wearing tiny little dresses in the future”
And thinking about it from a late sixties perspective, many women did see more revealing clothes as an empowering choice to make. Men wanted women covered and modest, understated makeup, only exposed or done up for male enjoyment. Some women took that in the opposite direction and chose to wear more extravagant makeup, revealing clothing, and brighter colors. It was a progressive time, and some of the choices made in an attempt to highlight that in the show did not age well.
But at the same time, you can clearly see that some of these “progressive” points were only added in as a write off.
And thinking about it from a late sixties perspective, many women did see more revealing clothes as an empowering choice to make. Men wanted women covered and modest, understated makeup, only exposed or done up for male enjoyment. Some women took that in the opposite direction and chose to wear more extravagant makeup, revealing clothing, and brighter colors.
I think it's worth emphasizing that this very genuinely is the main reason for the "sexist" miniskirts. IRL, women were often not choosing between sexy miniskirts and non-objectifying pants, but long skirts (respectable) and short skirts (rebellious). Deliberately wearing short skirts as rebellion against patriarchal control that mandated long skirts or maaaaybe loose slacks on a good day is still hardly unknown among girls/women leaving conservative communities in the USA, and was only more commonly coded that way at the time.
Sally Kellerman, the actress for Elizabeth Dehner, found the close fit of the supposedly more feminist pants uncomfortable and is often given something to hold in front of her because she was so intensely self-conscious about them. Grace Lee Whitney (Janice Rand) loathed the more "proper" initial look and worked with the (gay) costume designer, William Ware Theiss, to design a different, more daring and cool-looking aesthetic for women of the future that appealed to her personally. That was what resulted in the miniskirt uniform design. No doubt it served the objectifying tastes of various straight men involved, but literally zero of them were responsible for the design of Whitney's and Nichols's uniforms.
Not only did Nichelle Nichols not consider herself suffering from the miniskirt, she admitted later to sometimes deliberately lifting the skirt even higher at Uhura's station to show off more of her legs because she hadn't worked so hard on her body to not show them off. Meanwhile, Jill Ireland, the actress for Leila Kalomi, was nervous that she might have to wear the kinds of revealing costumes so many other TOS actresses did, and Theiss instead designed her the comfortable overalls she wears as Leila in "This Side of Paradise."
The kneejerk backlash against short skirts (in decidedly more reactionary eras of both Star Trek and US culture) led to both the large-scale disappearance of the skirts and the snide commentary on them throughout later iterations of Trek, with zero consideration of the fact that they were designed by a gay man to suit the preferences of the leading actresses at a time when they commonly represented rebellion. The Berman-era Star Trek productions tut-tutting at the old costumes while actually putting actresses in uncomfortable, form-fitting uniforms they disliked is ... uh, something else.
Even while the female Starfleet costumes shifted towards pants (and militarism) in the movies, btw, Nichelle Nichols insisted on getting to wear skirts as Uhura—because she liked them and she had little patience for 80s respectability.
I'm sure this is a thing that exists, but like. Love and appreciation for poorly built robots.
Robots with cheap, shitty plastic casing that they stick together with tape or replace with whatever they can find
Robots with batteries who's ability to hold charge has diminished over time, leaving them always kind of exhausted or burnt out, spending a lot of time at home so they can plug in and recharge whenever they need
Robots that always smell a little of dust and burnt out wires and are constantly replacing their insides to stay functional.
Robots who's speakers are muffled and staticky because they were built to last only a couple years and weren't designed to be easily replaced.
Robots with busted screens that make it difficult or impossible for them to emote as they'd like to.
Robots fighting planned obsolescence even as it was designed into them.
giskard is canonically smarter than daneel
like its not even close
Being a notorious robotlover in the current state of "AI" is the worst. I love robots discovering how they process their feelings in fiction, but when a chatbot pretends it knows how to love it feels like an insult to the craft
a lot of media assumes robots would be immortal but i think its a lot more interesting to explore robots dealing with their parts wearing down and battery life shortening and all the horrible little failings that come with being a complicated machine. sure they can replace parts but you'd assume you cant completely ship of theseus them, or it'd have pretty big rammifications on their sense of identity. idk. give me robots with distinct, unique signs of aging. as a treat.
Sci-fi short stories are so efficient; they take 15 minutes to read and then you think about them for the next 5 years
Hey guys, what if *puts the most horrifying mindblowing concept into your head with about 15 pages*
i think more robots should be disabled actually. robots whose bodies keep falling apart and need much more consistent repairs. robots whose bodily upkeep is hard and laborious and exhausting. robots who physically cant do things without help from another individual. robots who are imperfect and dont fit the bill of a flawless machine. i want more of this waiter please bring me more disabled robots
I've made this exact post like 3 different times atp but. It's endlessly funny when people (especially tech company people) treat Asimov's three laws as a legit proposed framework for Artificial Intelligence safety when like. Nearly every single Asimov story they're featured in involves something going wrong as a result of a robot trying to follow three three laws in a situation that makes execution of the laws ambiguous or contradictory. They're not a guideline for legit AI programming they're a plot device designed to cause problems due to interacting in weird ways with complicated hypothetical situations!
we've implemented the safety standards from the award-winning These Are Insufficient Safety Standards series of novels!
we should call it this again
Weird Fantasy (1950) #18 written by Al Feldstein and drawn by Joe Orlando, with editor Bill Gaines
So he said it can't be a Black. So I said, "For God's sakes, Judge Murphy, that's the whole point of the Goddamn story!" So he said, "No, it can't be a Black". Bill just called him up and raised the roof, and finally they said, "Well, you gotta take the perspiration off". I had the stars glistening in the perspiration on his Black skin. Bill said, "Fuck you", and he hung up.
Al Feldstein, Tales of Terror: The EC Companion
Just to add context for those not aware of the impact of this story.
The reason it was so important for narrative purposes, was that the plot concerns the visit of the Astronaut, in his completely opaque spacesuit, to a planet populated entirely by self-aware robots (originally from Earth) who have built their own society and are petitioning to be allowed to interact with Earth again as equals.
They have a democratic government and free choice of careers etc. as the orange robot serving as guide tells the Astronaut.
The Astronaut notices that there are two different types of robot on this world; the orange ones, who are in charge, gifted access to all information and facilities. and the blue robots, who are seen as more limited in function, have less access to information and resources, and are not allowed positions of power or as wide a choice of employment opportunities. Even transportation is segregated.
The Astronaut investigates further and discovers that the blue and orange robots are actually structurally identical, there is absolutely no difference between their potential or capabilities, and it is only because the orange robots are instructed by their Educator system to consider themselves superior, that the difference exists.
The Astronaut tells the robots they are not ready for re-alignment with Earth, until they come to terms with their own unfairness, and how Earth had had to deal with this issue themselves. When that time comes, the robots will be able to ally with Earth.
Then he leaves in his spaceship, and it's only in that one final panel that we see the Astronaut is black.
Not subtle, nor should it be, but for 1950 this was a breathtakingly powerful statement, perhaps the first of it's kind in the genre.
The black character was not a caricature, or comedy relief, he was a main character in his own right, a human who "simply" was black.
When I was a professor I fucking LOVED teaching this comic. You can read the full thing here (and please read the letters to the editor at the bottom as well—including a message from Ray Bradbury).
Weird Fantasy (1950) #18 written by Al Feldstein and drawn by Joe Orlando, with editor Bill Gaines
So he said it can't be a Black. So I said, "For God's sakes, Judge Murphy, that's the whole point of the Goddamn story!" So he said, "No, it can't be a Black". Bill just called him up and raised the roof, and finally they said, "Well, you gotta take the perspiration off". I had the stars glistening in the perspiration on his Black skin. Bill said, "Fuck you", and he hung up.
Al Feldstein, Tales of Terror: The EC Companion
Spot. The difference.
I can't believe Asimov wrote the Caves of Steel to own Campbell.
he had to prove that you cuold be a detective and Gay