Earlier this year, a convention entitled Arse Electronica was held in San Franciso. The purpose of the convention was to describe the way sex and technology intermingle, with surveys of past human/tech interactions, the state of the art, and predictions about the future. AE was kind enough to put all of their material on-line so that the public could listen to the presentations.
I listened last night to "Sex-Related Interfaces," a subset of a presentation called "Make It So" by Nathan Shedroff, in which Shedroff and Chris Noessel discuss a survey of designs found in fiction that show how technology influences the way human beings have sex. Their material covered three distinct categories: augmented matchmaking, augmented coupling, and sex with machines.
All of which are interesting categories. Shedroff and Noessel completely blew their material, however, by doing all of the footwork themselves and using only material from movies and television. Noessel even went so far as to say that they considered animation, but animation was too low-resolution to have anything worth presenting. If there was anything in books, they hadn't considered it.
Although I was less than a quarter of the way into a presentation, and I did ultimately listen to the whole thing, I have to say that, right there, most of my interest in the presentation evaporated.
The presentation beyond that was completely predictable. Star Trek's holodeck for masturbation. The roulette wheel of available females from Logan's Run. The Buffybot. There were some cute moments, like when Noessel praised Joss Whedon for depicting sex'droids as "tools for the immature."
I have a problem with Noessel's analysis of the Buffybot. The purpose of every techonological advance in this arena is to smooth out the rough spots, make sex better or easier, and deny us the "maturing" experience of difficult sex. Noessel's analysis is anti-Kassian, which is good, but to denigrate it is to denigrate the human tradition in its entirety.
But beyond that, I have a problem with Shedroff's dismissal of anything outside of a visual medium. Shedroff at one point complains that most presentations of technological advances in the erotic sphere are wholly physical: about making the mechanics of sex better, about making the physical sensations stronger, last longer, be done with more cleanliness and efficiency. It's about the surface stuff and none of the messy connectivity of humanity underneath. Well, what did he expect to get when his chosen medium was the most facile, most about the surface, least interested in the underneath? Television and movies are not well-equipped to give us a serious look into the inner lives of characters, and indy studios don't have the budgets or the interest to make SF movies.
Shedroff is a designer, a surface kind of guy. He's all about the design of personal things, and how they make us change. He wants to see these things and ask how they influence us. But by ignoring books, Shedroff misses the most important science fiction of the day. Shedroff understands where the cell-phone came from, but somehow missed the waterbed, the waldo, the taser, swarming robots, and e-ink, all of which appeared in popular books long before they ever made it onto video screens or into homes.
I've written more interesting stories about technology-mediated matchmaking, augmented interactions, and lots of lots of love-bots, than has ever appeared on any screen large or small. If Shedroff is really interested in how these things shape human beings, he's not going to get far watching the tube. Predictions about how people interact with robots, even (or especially) in bed are the province of SF writers and will be for some time. Matchmaking via Craigslist or Manhunt is more interesting that most of what we've seen on the television screen. Books such as Peter Watts'
Blindsight, Karl Hansen's
Dream Games, and Charlie Stross's
Halting State show us much more vividly how technology will ultimately make, or break, our humanness.
Because of the need for a mass audience to justify the expense of camera, crew, and actors, television and movies will always be less interesting, less forward-looking, and less challenging than literature. Ignoring it because it doesn't meet your paradigm is laziness on the part of the researcher.