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Gynoid

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Revisi sejak 31 Desember 2011 09.03 oleh StefanusRA (bicara | kontrib) (edit WP:M2011)

Gynoid adalah segala sesuatu yang menyerupai atau berkaitan dengan bentuk manusia perempuan. Hal ini juga digunakan dalam istilah medis bahasa Inggris Amerika sebagai kependekan dari istilah Gynecoid (Gynaecoid dalam bahasa Inggris).[1]

Gynoid tidak memperoleh popularitas dalam pemakaian sehari-hari untuk secara spesifik mengacu kepada robot perempuan karena istilah android sudah dipergunakan secara universal untuk mengacu kepada robot humanoid tanpa memandang jenis kelaminnya. Bagaimanapun, istilah android sebenarnya dianggap menyiratkan sebagai robot jenis lelaki menurut beberapa bacaan kebudayaan.[2][3][4][5][6]

Robot perempuan

Istilah ini telah diterapkan baru-baru ini untuk robot humanoid yang dirancang agar terlihat lebih akurat seperti perempuan dengan lebih banyak realisme dibandingkan android normal, atau yang memiliki konotasi seksual.

Istilah gynoid telah dipakai oleh Gwyneth Jones dalam novelnya tahun 1985 yang berjudul Divine Endurance untuk menggambarkan karakter budak robot di Cina masa depan, yang dinilai berdasarkan kecantikannya.[4]

Fembot (female robot) digunakan dalam film Austin Powers,[7] yang berasal dari serial TV The Bionic Woman. Robotess merupakan istilah gender-spesifik tertua pada tahun 1921, berasal dari sumber yang sama dengan robot.

Sebuah Actroid pada Expo 2005 di Aichi

Reaksi orang terhadap robot tampil sebagai perempuan telah dipelajari. Reaksi orang terhadap robot tersebut sebagian disebabkan karena stereotip gender. Penelitian ini telah digunakan untuk menjelaskan isyarat gender, yang menjelaskan perilaku dan estetika mana yang mendapatkan respon lebih kuat yang diinduksi oleh gender.[8]

Dalam fiksi

Lihat pula: Daftar tokoh fiksi robot perempuan dan cyborg

Perempuan buatan telah menjadi kiasan umum dalam fiksi dan mitolog sejak tulisan-tulisan Yunani kuno. Hal ini berlanjut dengan fiksi moderen, terutama dalam genre fiksi ilmiah. Dalam fiksi ilmiah, robot yang terlihat seperti perembuan sering diproduksi untuk digunakan sebagai pelayan lokal, budak seksual, seperti terlihat dalam film Westworld, novel Paul McAuley Fairyland (1995), dan cerita pendek Lester del Rey berjudul "Helen O'Loy" (1938),[3] and sometimes as warriors, killers, or laborers.

Metafora

Kebencian terhadap wanita

Perlakuan terhadap gynoid dalam fiksi telah terlihat sebagai metafora untuk kebencian terhadap wanita, seperti dalam film Blade Runner, yang ketiga karakter wanita utamanya adalah gynoid, dua diantaranya menggunakan seksualitas mereka untuk mencoba memanipulasi atau membunuh tokoh protagonis Rick Deckard, sering menggunakan citra seksual, seperti ketika Pris berusaha untuk mencekiknya diantara pahanya. Daniel Dinello menulis bahwa kekerasan dalam memperlakukan gynoid mewakili kebencian Deckard terhadap perempuan. Gynoid ketiga, Rachel, bertidak sebagai perempuan penurut, bahkan setelah Deckard hampir memperkosanya.[3] Thomas Foster menulis, tentang novel Dead Girls karya Richard Calder, bahwa tubuh teknologi gynoid menggambarkan seksisme dalam kontek yang tidak alami, menyoroti efek negatifnya. Mereka juga menunjukkan bahwa stereotip dan sikap sosial tidak akan selalu berubah melalui kemajuan teknologi.[9]

Anime dan manga Jepang keduanya memiliki tradisi panjang tentang karakter robot perempuan. Artis Hajime Sorayama sangat berpengaruh, dengan gambaran "robot seksi"nya, ditemukan dalam koleksinya The Gynoids (1993).[10] Potongan-potongan ini terutama menggambarkan perempuan dengan kulit metalik, dan telah dianggap sebagai komentar pada gender dan konvensi seksual, dan ras, dengan menggarisbawahi "putihnya" gadis pin-up tradisional.[11] Gambaran seksualitasgynoid juga telah diinterpretasikan sebagai fetishisasi dari tubuh perempuan, perbedaan ras, dan teknologi.[12]

Kebebasan perempuan

Gynoid juga telah digunakan sebagai metafora dalam wacana feminis, sebagai bagian dari feminisme cyborg, mewakili kekuatan fisik perempuan dan kebebasan dari ekspektasi untuk reproduksi.


Wanita sempurna

Étienne Maurice Falconet: Pygmalion et Galatée (1763). Although not robotic, Galatea's inorganic origin has led to comparisons with gynoids

A long tradition exists in fiction, of men attempting to create the stereotypical ideal woman, and fictional gynoids have been seen as an extension of this theme.[2] Examples include Hephaestus in the Iliad who created female servants of metal and Ilmarinen in the Kalevala who created an artificial wife. Probably most famous, however, is Pygmalion, one of the earliest conceptualizations of constructions similar to gynoids in literary history, from Ovid's account of Pygmalion.[2] In this myth a female statue is sculpted that is so beautiful that the creator falls in love with it, and after praying to Venus, the goddess takes pity on him and converts the statue into a real woman with whom Pygmalion has children.

The first gynoid in film, the maschinenmensch ("machine-human"), also called "Parody", "Futura", "Robotrix", or the "Maria impersonator", in Fritz Lang's Metropolis is also an example: a femininely shaped robot is given skin so that she is not known to be a robot and successfully impersonates the imprisoned Maria and works convincingly as an exotic dancer.[2]

Such gynoids are designed according to patriarchal stereotypes of a perfect women, being "sexy, dumb, and obedient", and reflect the emotional frustration of their creators.[3] Fictional gynoids are often unique products made to fit a particular man's desire, as seen in the novel Tomorrow's Eve and films The Benumbed Woman, The Stepford Wives, Mannequin and Weird Science,[13] and the creators are often male "mad scientists" such as the characters Rotwang in Metropolis, Tyrell in Blade Runner, and the husbands in The Stepford Wives.[14] Gynoids have been described as the "ultimate geek fantasy: a metal-and-plastic woman of your own".[7]

The Bionic Woman television series coined the word fembot. These fembots were a line of powerful life-like gynoids with the faces of protagonist Jaime Sommers's best friends.[15] They fought in two multi-part episodes of the series: "Kill Oscar" and "Fembots in Las Vegas", and despite the feminine prefix, there were also male versions, including some designed to impersonate particular individuals for the purpose of infiltration. While not truly artificially intelligent, the fembots still had extremely sophisticated programming that allowed them to pass for human in most situations. The term "fembot" was also used in Buffy the Vampire Slayer (referring to a robot duplicate of the title character, a.k.a. the Buffybot) and Futurama.

The 1987 science fiction cult movie Cherry 2000 also portrayed a gynoid character which was described by the male protagonist as his "perfect partner". The 1964 TV series My Living Doll features a robot, portrayed by Julie Newmar, who is similarly described.

Gender

Fiction about gynoids or female cyborgs reinforce essentialist ideas of femininity, according to Magret Grebowicz.[16] Such essentialist ideas may present as sexual or gender stereotypes. Among the few non-eroticized fictional gynoids include Rosie the Robot Maid[butuh rujukan] from The Jetsons. However, she still has some stereotypically feminine qualities, such as a matronly shape and a predisposition to cry.[17]

Berkas:Fembots 2 APIMOM.jpg
Exaggeratedly feminine Fembots with guns in their breasts, from Austin Powers: International Man Of Mystery

The stereotypical role of wifedom has also been explored through use of gynoids. In The Stepford Wives, husbands are shown as desiring to restrict the independence of their wives, and obedient and stereotypical spouses are preferred. The husbands' technological method of obtaining this "perfect wife" is through the murder of their human wives and replacement with gynoid substitutes that are compliant and housework obsessed, resulting in a "picture-postcard" perfect suburban society. This has been seen as an allegory of male chauvinism of the period, by representing marriage as a master-slave relationship, and an attempt at raising feminist consciousness during the era of second wave feminism.[14]

In a parody of the fembots from The Bionic Woman, attractive fembots in fuzzy see-through night-gowns were used as a lure for the fictional agent Austin Powers in the movie Austin Powers: International Man Of Mystery. The film's sequels had cameo appearances of characters revealed as fembots.

Judith Halberstam writes that these gynoids inform the viewer that femaleness does not indicate naturalness, and their exaggerated femininity and sexuality is used in a similar way to the title character's exaggerated masculinity, lampooning stereotypes.[18]

Sex objects

Templat:Sex in SF mini Some argue that gynoids have often been portrayed as sexual objects. Female cyborgs have been similarly used in fiction, in which natural bodies are modified to become objects of fantasy.[2] The female robot in visual media has been described as "the most visible linkage of technology and sex" by Steven Heller.[19]

Feminist critic Patricia Melzer writes in Alien Constructions: Science Fiction and Feminist Thought that gynoids in Richard Calder's Dead Girls are inextricably linked to men's lust, and are mainly designed as sex-objects, having no use beyond "pleasing men's violent sexual desires".[20] The gynoid character Eve from the film Eve of Destruction has been described as "a literal sex bomb", with her subservience to patriarchal authority and a bomb in place of reproductive organs.[13] In the film The Perfect Women, the titular robot Olga is described as having "no sex", but Steve Chibnall writes in his essay "Alien Women" in British Science Fiction Cinema that it is clear from her fetishistic underwear that she is produced as a toy for men, with an "implicit fantasy of a fully compliant sex machine".[21] In the film West World, female robots actually engaged in intercourse with human men as part of the make-believe vacation world human customers paid to attend.

Sex with gynoids has been compared to necrophilia.[22] Sexual interest in gynoids and fembots has been attributed to fetishisation of technology, and compared to Sadomasochism in that it reorganizes the social risk of sex. The depiction of female robots minimizes the threat felt by men from female sexuality and allow the "erasure of any social interference in the spectator's erotic enjoyment of the image".[6] Gynoid fantasies are produced and collected by online communities centered around chat rooms and web-site galleries.[23]

Isaac Asimov writes that his robots were generally sexually neutral and that giving the majority masculine names was not an attempt to comment on gender. He first wrote about female-appearing robots at the request of editor Judy-Lynn del Rey.[24][25] Asimov's short story "Feminine Intuition" (1969) is an early example that showed gynoids as being as capable and versatile as male robots, with no sexual connotations.[26] Early models in "Feminine Intuition" were "female caricatures", used to highlight their human creators' reactions to the idea of female robots. Later models lost obviously feminine features, but retained "an air of femininity".[27]

As sexual devices

Lihat pula: Android (robot) dan Humanoid robot
Berkas:Sweetheart gynoid berkley.jpg
“Sweetheart”, shown with its creator, Clayton Bailey; the busty female robot (also a functional coffee maker) that created a controversy when it was displayed at the Lawrence Hall of Science at UC Berkeley

Female robots have generated controversy. According to British author Graeme Donald, Hitler and Heinrich Himmler were worried about German troops contracting venereal diseases from French prostitutes. They came up with a plan for soldiers to carry in their packs small, blow-up, blonde and blue-eyed dolls called gynoids, for use as sex 'comforters.' Fifty such dolls were ordered as a trial, but the troops were apparently too embarrassed to carry them and the idea died. The factory and prototypes were destroyed in the Dresden firebombing.[1]

In 1983, a busty female robot named "Sweetheart" was removed from a display at the Lawrence Hall of Science after a petition was presented claiming it was insulting to women. The robot's creator, Clayton Bailey, a professor of art at California State University, Hayward called this "censorship" and "next to book burning."[28]

Female robots as sexual devices have also appeared, with early constructions being crude. The first was produced by Sex Objects Ltd, a British company, for use as a "sex-aid". It was called simply "36C", from her chest measurement, and had a 16-bit microprocessor and voice synthesiser that allowed primitive responses to speech and push button inputs.[29]

Gynoids may be "eroticized", and some examples such as Aiko include sensitivity sensors in their breasts and genitals to facilitate sexual response.[30] The fetishization of gynoids in real life has been attributed to male desires for custom-made passive women, and has been compared to life-size sex dolls.[5]

Later examples include:

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Lihat pula


Referensi

  1. ^ "Gynoid". Merriam Webster. Diakses tanggal 26 February 2011. 
  2. ^ a b c d e Melzer, Patricia (2006). Alien Constructions: Science Fiction and Feminist Thought. University of Texas Press. hlm. 202. ISBN 9780292713079. 
  3. ^ a b c d Dinello, Daniel (2005). Technophobia!: Science Fiction Visions of Posthuman Technology. University of Texas Press. hlm. 77. ISBN 9780292709867. 
  4. ^ a b Tatsumi, Takayuki (2006). Full Metal Apache: Transactions between Cyberpunk Japan and Avant-Pop America. Durham NC: Duke University Press. hlm. 213, Notes. ISBN 0822337746. 
  5. ^ a b Stratton, Jon (2001). The desirable body: cultural fetishism and the erotics of consumption. US: University of Illinois Press. hlm. 21. ISBN 9780252069512. The automaton becomes both a philosophical toy and sexual fetish; I extend the meaning of gynoid to include non-mechanical models of women such life-size dolls 
  6. ^ a b Foster, Thomas (2005). The souls of cyberfolk: posthumanism as vernacular theory. U of Minnesota Press. hlm. 103. ISBN 9780816634064. Gynoids are frames that enable us to desire differently, by accommodating libidinal investments in male lack. 
  7. ^ a b Wallace, Julia (16 December 2008). "Return of the Bodacious 'Bots". Popular Science. 
  8. ^ Carpenter, J.; Davis, J.; Erwin-Stewart, N.; Lee, T.; Bransford, J.; Vye, N. (2009). "Gender representation in humanoid robots for domestic use". International Journal of Social Robotics. Springer Netherlands. 1 (3): 1. doi:10.1007/s12369-009-0016-4. 
  9. ^ Foster, Thomas (2005). The souls of cyberfolk: posthumanism as vernacular theory. U of Minnesota Press. ISBN 9780816634064. 
  10. ^ Sorayama, Hajime (1993). The Gynoids. Treville. ISBN 9784845707829. 
  11. ^ Foster, Thomas (2005). The souls of cyberfolk: posthumanism as vernacular theory. U of Minnesota Press. hlm. 107. ISBN 9780816634064. 'that metallic feeling' seems to heighten and make visible a form of whiteness that in a pin-up girl would seem unremarkable or banal (that is, to the extent that Soyorama's gynoids can be said to embody racial meanings at all, it is through this displacement of "white" skin) 
  12. ^ Foster, Thomas (2005). The souls of cyberfolk: posthumanism as vernacular theory. U of Minnesota Press. hlm. 107. ISBN 9780816634064. 
  13. ^ a b Stratton, Jon (2001). The desirable body: cultural fetishism and the erotics of consumption. US: University of Illinois Press. hlm. 230. ISBN 9780252069512.  Kesalahan pengutipan: Tanda <ref> tidak sah; nama "desirbody230" didefinisikan berulang dengan isi berbeda
  14. ^ a b Dinello, Daniel (2005). Technophobia!: Science Fiction Visions of Posthuman Technology. University of Texas Press. hlm. 78. ISBN 9780292709867. 
  15. ^ Browne, Ray B., Forbidden Fruits: Taboos and Tabooism in Culture, Popular Press, 1984, 9780879722555
  16. ^ Grebowicz, Margret (2007). SciFi in the mind's eye: reading science through science fiction. Open Court. hlm. xviii. ISBN 9780812696301. 
  17. ^ Rudman, Laurie A. (2008). The Social Psychology of Gender: How Power and Intimacy Shape Gender Relations. Guilford Press. hlm. 178. ISBN 9781593858254. 
  18. ^ Halberstam, Judith (2005). In a Queer Time and Place: Transgender Bodies, Subcultural Lives. NYU Press. hlm. 144. ISBN 9780814735855. 
  19. ^ Heller, Steven (2000). Sex appeal: the art of allure in graphic and advertising design. Allworth Press. hlm. 155. ISBN 9781581150483. 
  20. ^ Melzer, Patricia (2006). Alien Constructions: Science Fiction and Feminist Thought. University of Texas Press. hlm. 204. ISBN 9780292713079. 
  21. ^ Hunter, I. Q. (1999). British Science Fiction Cinema. hlm. 58. ISBN 9780203009772. 
  22. ^ Michele, Aaron (1999). The body's perilous pleasures: dangerous desires and contemporary culture. Edinburgh University Press. hlm. 108–124. ISBN 9780748609611. 
  23. ^ Foster, Thomas (2005). The souls of cyberfolk: posthumanism as vernacular theory. U of Minnesota Press. hlm. 103. ISBN 9780816634064. 
  24. ^ Asimov (1976). The Bicentennial man and other stories. Doubleday. hlm. 5. ISBN 9780385121989. 
  25. ^ Asimov, Isaac (1994). I. Asimov: a memoir. Doubleday. hlm. 320. ISBN 9780385417013. 
  26. ^ Asimov, Isaac (1995). Gold: the final science fiction collection. HarperPrism. hlm. 172. ISBN 9780061052064. 
  27. ^ Asimov (1976). The Bicentennial man and other stories. Doubleday. hlm. 15. ISBN 9780385121989. 
  28. ^ "Too serious for Professor Bailey". New Scientist vol 100 November 3, 1983, Page 352. 3 November 1983. 
  29. ^ Yazdani, Masoud (1984). Artificial intelligence: human effects. E. Horwood. hlm. 276–277. ISBN 9780853125778. 
  30. ^ "Frequently Asked Question(s)". Project Aiko. 
  31. ^ Nixon, Geoff (11 December 2008). "Ontario man builds real-life female android". CTV.ca. 
  32. ^ "I'm your guide". Science. 312 (5779): 1449. 9 June 2006. doi:10.1126/science.312.5779.1449d. 
  33. ^ Newitz, Annalee (10 August 2006). "The Fembot Mystique". Popular Science. 
  34. ^ "Life-like walking female robot". BBC News. 16 March 2009. 
  35. ^ "First Chinese 'beauty' robot destined for Sichuan". China Daily. 4 August 2006. 
  36. ^ "1st beauty robot in China". Sina.com. 8 August 2006. 
  • Carpenter, J.; Davis, J.; Erwin-Stewart, N.; Lee, T.; Bransford, J.; Vye, N. (2009). "Gender representation in humanoid robots for domestic use". International Journal of Social Robotics. Springer Netherlands. 1 (3): 261. doi:10.1007/s12369-009-0016-4. 
  • Jordanova, Ludmilla (1989). Sexual Visions: Images of Gender in Science and Medicine between the Eighteenth and Twentieth Centuries. Madison, Wis.: University of Wisconsin Press. ISBN 0-299-12290-5. 
  • Leman, Joy (1991). "Wise Scientists and Female Androids: Class and Gender in Science Fiction". Dalam Corner, John. Popular Television in Britain. London: BFI Publishing. ISBN 0-85170-269-4. 
  • Melzer, Patricia (2006). Alien Constructions: Science Fiction and Feminist Thought. University of Texas Press. ISBN 9780292713079. 
  • Stratton, Jon (2001). The desirable body: cultural fetishism and the erotics of consumption. US: University of Illinois Press. ISBN 9780252069512. 
  • Foster, Thomas (2005). The souls of cyberfolk: posthumanism as vernacular theory. U of Minnesota Press. ISBN 9780816634064. 

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