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(Pris is identified as a kind of homicidal entertainment device.) The obvious, almost exaggerated, erotic quality of the creation belies the perverse desire of the maker, and the unfulfilled appetite of the user.

Since the gynoid is an invention of man, the form of the representation then reveals the dimension of the fantasy.

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Every manifestation, every utterance, every gesture, outs us.

(A little reverse engineering and close reading reconnects the made to the maker: that’s a least one of the jobs of the critic, no?

by Michael Rock 2009 We create in the friction of competing desires.

It is impossible to erase the presence of the designer in the objects we bring forth.

(The somewhat more clinical term, ) Presumably she could have taken any form, shaped or shapeless.

The design issue, from Maria forward, is simply: what is the function of the fembot’s beauty? The evolution of the sexy robotrix is well-documented, spanning from Lang’s Maria, countless Japanese animé iterations, the Jetson’s beleaguered house slave Rosie the Robot, Galaxina (portrayed by 1980 Playboy Playmate of the year Dorothy Strattan), and the now-iconic Stepford Wives, to the trio of menacing gynoids in ’s unforgettable Pris (Darryl Hannah) attempts to strangle Rick Deckard (Harrison Ford) to death between her thighs – and thus is the perfect metaphor for misogyny: the ultimate sex toy, created by man to fulfill his own fantasy, run amok.So designers create endless mini-Frankensteins, molded ostensibly to serve, while in actuality incarnating, and disseminating, the desire of their creator.Consider the familiar example of the , Fritz Lang's 1927 proto-sci-fi classic.All this brings up, of course, Alan Turing’s famous test, proposed in his 1950 text “Computing Machinery and Intelligence,” designed to detect the efficacy of artificial intelligence.Turing imagined a system not so different from the chatbot experience: he dictated the conversation must be text-only so as to eliminate the influence of vocalization.If such a design is emblematic of both the creator and the consumer, the story the on-line chatbot reveals about both him and us is utterly depressing.

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