Search results for: Sender Dovchin

Authors: Felix Liedel

Abstract:

The rise of artificial intelligence has numerous and far-reaching consequences. In addition to the obvious consequences for entire professions, the increasing interaction with chatbots also has a wide range of social consequences and implications. We are already increasingly used to interacting with digital chatbots, be it in virtual consulting situations, creative development processes or even in building personal or intimate virtual relationships. A media-theoretical classification of these phenomena has so far been difficult, partly because the interactive element in the exchange with artificial intelligence has undeniable similarities to human-to-human communication but is not identical to it. The proposed study, therefore, aims to reformulate the concept of symbolic interaction in the tradition of George Herbert Mead as symbolic interactivity in communication with chatbots. In particular, Mead's socio-psychological considerations will be brought into dialog with the specific conditions of digital media, the special dispositive situation of chatbots and the characteristics of artificial intelligence. One example that illustrates this particular communication situation with chatbots is so-called consensus fiction: In face-to-face communication, we use symbols on the assumption that they will be interpreted in the same or a similar way by the other person. When briefing a chatbot, it quickly becomes clear that this is by no means the case: only the bot's response shows whether the initial request corresponds to the sender's actual intention. This makes it clear that chatbots do not just respond to requests. Rather, they function equally as projection surfaces for their communication partners but also as distillations of generalized social attitudes. The personalities of the chatbot avatars result, on the one hand, from the way we behave towards them and, on the other, from the content we have learned in advance. Similarly, we interpret the response behavior of the chatbots and make it the subject of our own actions with them. In conversation with the virtual chatbot, we enter into a dialog with ourselves but also with the content that the chatbot has previously learned. In our exchanges with chatbots, we, therefore, interpret socially influenced signs and behave towards them in an individual way according to the conditions that the medium deems acceptable. This leads to the emergence of situationally determined digital identities that are in exchange with the real self but are not identical to it: In conversation with digital chatbots, we bring our own impulses, which are brought into permanent negotiation with a generalized social attitude by the chatbot. This also leads to numerous media-ethical follow-up questions. The proposed approach is a continuation of my dissertation on moral decision-making in so-called interactive films. In this dissertation, I attempted to develop a concept of symbolic interactivity based on Mead. Current developments in artificial intelligence are now opening up new areas of application.

Keywords: artificial intelligence, chatbot, media theory, symbolic interactivity

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Authors: Liliane Steiner

Abstract:

Beyond the testimonial act, that sheds light on the feminine experience in the Holocaust, the survivors' writing voices first and foremost the abjection of the feminine self brutally inflicted by the Nazis in the Holocaust, and in the same movement redeems the self by the means of poetics, and brings it to an existential state of being a subject. This study aims to stress the poetics of this writing in order to promote the Holocaust literature from the margins to the mainstream and to contribute to the commemoration of the Holocaust in the next generations. Methodology: The study of the survivors' redeeming of self is based on Julia Kristeva's theory of the abject: the self-throws out everything that threatens its existence and Liliane Steiner's theory of the post- abjection of hell: the belated act of vomiting the abject experiences settles cores with the author of the abject to redeem the self. The research will focus on Ruth Sender's trilogy The Cage, To Life and The Holocaust Lady as a case study. Findings: The binary mode that characterizes this writing reflects the experience of Jewish women, who were subject(s), were treated violently as object(s), debased, defeminized and, eventually turned into abject by the Nazis. In a tour de force, this writing re-enacts the postponed resistance, that vomited the abject imposed on the feminine self by the very act of narration, which denounces the real abject, the perpetrators. The post-abjection of self is acted out in constructs of abject, relating the abject experience of the Holocaust as well as the rehabilitation of the surviving self (subject). The transcription of abject surfaces in deconstructing the abject through self- characterization, and in the elusive rendering of bad memories, having recourse to literary figures. The narrative 'I' selects, obstructs, mends and tells the past events from an active standpoint, as would a subject in control of its (narrative) fate. In a compensatory movement, the narrating I tells itself by reconstructing the subject and proving time and again that I is other. Moreover, in the belated endeavor to revenge, testify and narrate the abject, the narrative I defies itself, and represents itself as a dialectical I, splitting and multiplying itself in a deconstructing way. The dialectical I is never (one) I. It voices not only the unvoiced but also and mainly the other silenced 'I's. Drawing its nature and construct from traumatic memories, the dialectical I transgresses boundaries to narrate her story, and in the same breath, the story of Jewish women doomed to silence. In this narrative feat, the dialectical I stresses its essential dialectical existence with the past, never to be (one) again. Conclusion: The pattern of I is other generates patterns of subject(s) that defy, transgress and repudiate the abject and its repercussions on the feminine I. The feminine I writes itself as a survivor that defies the abject (Nazis) and takes revenge. The paradigm of metamorphosis that accompanies the journey of the Holocaust memoirist engenders life and surviving as well as a narration that defies stagnation and death.

Keywords: abject, feminine writing, holocaust, post-abjection

Procedia PDF Downloads 101