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首页> 外文期刊>Wired >Q: in. say, a customer service chat Window, what's the polite way to ask whether i'm talking to a human or a robot?
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Q: in. say, a customer service chat Window, what's the polite way to ask whether i'm talking to a human or a robot?

机译：问：例如，在客户服务聊天窗口中，问我是在和人聊天还是在跟机器人聊天的礼貌方法是什么？

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A: Back in June 2006, before any of us needed to worry about whether we were talking to a robot in our daily interactions, it was up to contemporary artists to make people feel vulnerable and confused. That month a friend invited me to see the preview of an exhibit by the artist Matthew Barney at a museum in San Francisco. (Barney is probably best known for making a series of films called the Cremaster Cycle, named after the muscle that raises and lowers the testes, and also for having a child with Bjoerk.) Regarding the exhibit I'd been invited to, one critic wrote that, while everyone should go see the show, "no one should anticipate enjoying it." Frankly, I didn't enjoy it. Not being much of an art person, I didn't even understand it. I remember a sprawl of chicken-scratch on a very high wall and a painfully slow film set on a surrealistic whaling vessel. And I remember something that happened that night, something that raised an equally disorienting set of questions about ethics, not aesthetics, that I'd like to try to unpack now, after all these years. One room of the museum had been overtaken by a tangled, plasticized, 3-D form-a "sculpture," I suppose you'd call it. We, the viewers, mingled at its edges, stepping around where its lowest tentacles reached the floor. I heard a deafening thwack. Everyone turned around. A man had collided with one particularly disordered region of the sculpture. People naturally began scanning for damage. But, given all the complexities of this great, bulbous sculpture, it was impossible to tell: Had some of those white bits broken off, or had they always been on the ground like that?
机译：答：早在2006年6月，在我们每个人都不必担心我们在日常互动中是否与机器人交谈时，当代艺术家必须让人们感到脆弱和困惑。当月，一个朋友邀请我在旧金山的一家博物馆中观看艺术家Matthew Barney的展览的预览。 （巴尼可能以制作一系列名为Cremaster Cycle的电影而闻名，该电影以举起和降低睾丸的肌肉而命名，并且还与Bjoerk育有一个孩子。）关于我受邀参加的展览，一位评论家写道，尽管每个人都应该去看演出，但“没有人可以期待欣赏它。”坦白说，我不喜欢它。我不是一个艺术人物，我什至都不了解。我记得在很高的墙壁上乱抓鸡，在超现实的捕鲸船上放着缓慢而缓慢的胶片。我记得那天晚上发生的事情，这些事情提出了一系列同样令人迷惑的关于伦理学而不是美学的问题，这些年来，我想尝试解开这些问题。博物馆的一个房间已经被纠结的，可塑的3D形式（一种“雕塑”）所取代，我想您会称之为。观众们，我们混杂在它的边缘，走到最低触角到达地面的地方。我听到震耳欲聋的声音。每个人都转过身来。一个人与雕塑的一个特别混乱的区域相撞。人们自然会开始扫描是否有损坏。但是，鉴于这个伟大的球形雕塑的所有复杂性，所以无法说出：这些白色碎片是否折断了，还是它们一直像那样落在地面上？

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  • 来源
    《Wired》 |2017年第10期|40-40|共1页
  • 作者

    JON MOOALLEM;

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