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Artificial intelligence. Replicant. Robot. Humanot. When artificial intelligents first entered society, their designers strove to overcome the gap between being human and looking human. But people could always spot even the most human appearing AIs as artificial. Uncanny valley was an engineering term to designate this alienation--this gap--that humans experienced when seeing robot imitations that were somehow off. Existing beyond the divide that separated them from humans. Mirages. Imitations. Fakes. Soon they were rudely labeled humanots by those who came to fear and hate them.
The Elvis Machine is a book of poems inspired by living, loving, and hate-fucking in Memphis, Tennessee--a city still kissed with the 1950s. Forged in a dumpster fire of toxic Elvises, these poems are pornographic bad romances, psychedelic love dirges, and threnodies for sex, drugs, and rock'n'roll. They'll make you laugh off the pain as much as you'll cry, cringe, and feel exposed in this 'No Boys Allowed' clubhouse of feminine rage and healing. "Kim Vodicka is the sexier Stephen Wright of poetry, with incisive one-liners so sharp and mind-blowingly funny that you forget how hard you were laughing before you started crying, then started laughing again." -John Skipp, author of The Art of Horrible People "Vodicka's poetry is a seasick-sweet treasure trove of marvel. Her verses leave you yearning for the kind of love and life you know is bad for you, but you can't stop reading." -Elle Nash, author of Animals Eat Each Other "Here is the uncanny valley girl, the B-movie queen, Kim Vodicka, delivering a prize fight of the sexes in poetry where every line is a punch line. This book is the seminal display of misogyny's trauma, an unflinching exposé of toxic relationships, and an exquisitely honest portrayal of a woman's most intimate bits. Vodicka peels us to the core. This is what raw feels like." -Jeanette Powers, author of Dandylion Riot and founder of Stubborn Mule Press "The Elvis Machine is foaming at the mouth all over your pillow. Vodicka takes our balls and wears them like a teething necklace. Her wordplay is as bloody as it is brilliant. This is a love story dissected and displayed of its most vulnerable parts. Once again, she has managed to rock all my sensibilities." -Kelsey Marie Harris, author of The Jolly Queef
National Book Critics Circle Award Winner. “With dazzling clarity, [Chocano’s] commentary exposes the subliminal sexism on our pages and screens.”—O, The Oprah Magazine As a kid in the 1970s and 80s, Carina Chocano was confused by the mixed messages all around her that told her who she could be—and who she couldn’t. She grappled with sexed up sidekicks, princesses waiting to be saved, and morally infallible angels who seemed to have no opinions of their own. It wasn’t until she spent five years as a movie critic, and was laid off just after her daughter was born, however, that she really came to understand how the stories the culture tells us about what it means to be a girl limit our lives and shape our destinies. In You Play the Girl, Chocano blends formative personal stories with insightful and emotionally powerful analysis. Moving from Bugs Bunny to Playboy Bunnies, from Flashdance to Frozen, from the progressive ’70s through the backlash ’80s, the glib ’90s, and the pornified aughts—and at stops in between—she explains how growing up in the shadow of “the girl” taught her to think about herself and the world and what it means to raise a daughter in the face of these contorted reflections. In the tradition of Roxane Gay, Rebecca Solnit, and Susan Sontag, Chocano brilliantly shows that our identities are more fluid than we think, and certainly more complex than anything we see on any kind of screen. “If Hollywood’s treatment of women leaves you wanting, you’ll find good, heady company in You Play the Girl.”—Elle
WINNER OF THE 2022 PEN/FAULKNER AWARD FOR FICTION By National Book Award and the National Book Critics' Circle Award finalist for An Unnecessary Woman, Rabih Alameddine, comes a transporting new novel about an Arab American trans woman's journey among Syrian refugees on Lesbos island. Mina Simpson, a Lebanese doctor, arrives at the infamous Moria refugee camp on Lesbos, Greece, after being urgently summoned for help by her friend who runs an NGO there. Alienated from her family except for her beloved brother, Mina has avoided being so close to her homeland for decades. But with a week off work and apart from her wife of thirty years, Mina hopes to accomplish something meaningful, among the abundance of Western volunteers who pose for selfies with beached dinghies and the camp's children. Soon, a boat crosses bringing Sumaiya, a fiercely resolute Syrian matriarch with terminal liver cancer. Determined to protect her children and husband at all costs, Sumaiya refuses to alert her family to her diagnosis. Bonded together by Sumaiya's secret, a deep connection sparks between the two women, and as Mina prepares a course of treatment with the limited resources on hand, she confronts the circumstances of the migrants' displacement, as well as her own constraints in helping them. Not since the inimitable Aaliya of An Unnecessary Woman has Rabih Alameddine conjured such a winsome heroine to lead us to one of the most wrenching conflicts of our time. Cunningly weaving in stories of other refugees into Mina's singular own, The Wrong End of the Telescope is a bedazzling tapestry of both tragic and amusing portraits of indomitable spirits facing a humanitarian crisis.
Palgrave Handbook of Critical Posthumanism is a major reference work on the paradigm emerging from the challenges to humanism, humanity, and the human posed by the erosion of the traditional demarcations between the human and nonhuman. This handbook surveys and speculates on the ways in which the posthumanist paradigm emerged, transformed, and might further develop across the humanities. With its focus on the posthuman as a figure, on posthumanism as a social discourse, and on posthumanisation as an on-going historical and ontological process, the volume highlights the relationship between the humanities and sciences. The essays engage with posthumanism in connection with subfields like the environmental humanities, health humanities, animal studies, and disability studies. The book also traces the historical representations and understanding of posthumanism across time. Additionally, the contributions address genre and forms such as autobiography, games, art, film, museums, and topics such as climate change, speciesism, anthropocentrism, and biopolitics to name a few. This handbook considers posthumanism’s impact across disciplines and areas of study.
Everyone has secrets. Even best friends. Swirling black descends like ravens, large enough to block the glow of the streetlights. A dull roar starts like a train on the 'L', a far-away rumbling that grows louder as it pulls closer, until it's directly overhead and you feel it in your chest, except this doesn't pass you by. Verity, white-faced and eyes blazing, shouts through the din, "Run, Mo!" Mo Fitzgerald knows about secrets. But when she witnesses her best friend's murder, she discovers Verity was hiding things she never could have guessed. To find the answers she needs and the vengeance she craves, Mo--quiet, ordinary, unmagical Mo--will have to enter a world of raw magic and shifting alliances. And she'll have to choose between two very different, equally dangerous guys--protective, duty-bound Colin and brash, mysterious Luc. One wants to save her, one wants to claim her. Which would you choose? "Who doesn't love a character torn between two dangerous worlds and two risky guys? The only thing safe about this book is how good it is." --Lee Nichols, author of Deception, A Haunting Emma Novel "Dark, exciting and totally addictive! Just. . .wow!" –Kristi Cook, author of Haven "Dark, magical, and delicious!" --New York Times Bestselling Author C. L. Wilson
Advances in technology have enabled animators and video game designers to design increasingly realistic, human-like characters in animation and games. Although it was intended that this increased realism would allow viewers to appreciate the emotional state of characters, research has shown that audiences often have a negative reaction as the human
Beacon city hovers on the edge of civil unrest as sentient androids and AI networks take homes, jobs, and families. Rebellion leaders on both sides of the near-robot-apocalypse are looking for any excuse to start a war that will decide, once and for all, who the future belongs to. Detective Tyler Shaw couldn’t really give a shit about plastics or their ‘rights’, but when his partner violently self-destructs in the middle of the precinct, suddenly, the whole city is watching— and demanding answers. As his investigation spirals into shadowy conspiracies involving dangerous vigilantes, hackers, drugs, and android trafficking, he discovers a rot so deep it may already be growing in Tyler himself.
Starting with Bad Behavior in the 1980s, Mary Gaitskill has been writing about gender relations with searing, even prophetic honesty. In This Is Pleasure, she considers our present moment through the lens of a particular #MeToo incident. The effervescent, well-dressed Quin, a successful book editor and fixture on the New York arts scene, has been accused of repeated unforgivable transgressions toward women in his orbit. But are they unforgivable? And who has the right to forgive him? To Quin’s friend Margot, the wrongdoing is less clear. Alternating Quin’s and Margot’s voices and perspectives, Gaitskill creates a nuanced tragicomedy, one that reveals her characters as whole persons—hurtful and hurting, infuriating and touching, and always deeply recognizable. Gaitskill has said that fiction is the only way that she could approach this subject because it is too emotionally faceted to treat in the more rational essay form. Her compliment to her characters—and to her readers—is that they are unvarnished and real. Her belief in our ability to understand them, even when we don’t always admire them, is a gesture of humanity from one of our greatest contemporary writers.
A moving and universal picture book about empathy and kindness, sure to soothe heartaches big and small—now a New York Times bestseller and a perfect gift for any special occasion When something sad happens, Taylor doesn't know where to turn. All the animals are sure they have the answer. The chicken wants to talk it out, but Taylor doesn't feel like chatting. The bear thinks Taylor should get angry, but that's not quite right either. One by one, the animals try to tell Taylor how to act, and one by one they fail to offer comfort. Then the rabbit arrives. All the rabbit does is listen . . . which is just what Taylor needs. With its spare, poignant text and irresistibly sweet illustration, The Rabbit Listened is about how to comfort and heal the people in your life, by taking the time to carefully, lovingly, gently listen.