Landfills are to video games as graves are to humans

In reading Landfill Legend for tomorrow’s class, I felt as though the way in which the author described the Atari video game and its general commercial demise mirrors that of an actual human life. The author speaks about three phases of the game’s life: pre-existence, commercial existence, and disposal and memorialization. There is talk about the conception and discussion of the game before it came to fruition, much like people discuss and then conceive a human baby. The author also discusses the “life” of the game, during which its value and purpose derive from the ability to generate profit. As soon as that ability is stripped, or in this case was never realized, the “life” of the game is ended and then needs to be dealt with.

It is at this point when the comparison of the video game to a human life is most apparent. In describing the role of the landfill in which the video games were deposited, the author calls it a “nondescript marker: a final resting place that propels us backward to learn more about why products were buried, and how they continue to reach beyond the grave and fascinate us decades after” (Guins, 209). This is much like the function of a grave, from which a haunted spirit “emerges” to remind us of past events and or human mistakes made throughout history. Just as a “writer, musician, actor, or porn star, E.T’s fame lives on long after its demise” due to the “memorialization of its burial” (Guins, 210). In this way, the author directly likens the burial of a video game in the landfill to the surviving legacy of a human public figure, as “its afterlife status as memorialized object, particularly that the legend refuses to lie dormant” has survived similarly to how the legacy of a prematurely-ended human life might have been. It is almost as if, given the way the game was hastily generated and rapidly devalued during its time on the market, the essence or spirit of Atari’s ET will not let us forget how the potential of the game was precluded by human haste and greed for profit.

Toy Story: The Uncanny Valley of Non-Robots

This will be a little bit of a stream of consciousness post. I defend this by stating that, in sorting through the ideas of discarded trash, the working through of ideas related to nostalgia and the “social death” of late-capitalist waste, incurs a kind of necessary airing out, an inherent kind of decluttering (Guins 225).

My Haunted Media project kind of builds on Raiford Guin’s work on the “afterlife” of video-games in its treatment of objects as imprintations of humanity. (Which, as a side note, I wonder to what extent Guin’s is using or employing afro-pessimism’ terminology of social death that occurs in Orlando Patterson’s Slavery and Social Death. I was only previously familiar with that phrase through works in Africana courses).

My point in this is that I’ve always read the term social death in relation to humans. So for the term to refer to discarded emblems of humanity, the objects left after us, is a complicated reframing process for me.

To what extent are “objects” ever socially alive? When they’re in use by the humans who maintain their necessity and “use-value” (Guins 226). Guins sort of eludes to the fact that some objects may become more “alive” when they’re dead, they incur a kind of legacy value in our eyes as consumers.

But I’m more curious about this idea that we look at objects as somehow sentient, as having this kind of personified relation to us. Especially when thinking about the “uncanny valley,” I wonder to what extent that term necessarily only applies to robots.

The first thing I conjure in my mind is the series Toy Story, specifically the last movie in this trilogy. The audience of children and adults alike were forced to watch childhood toys face the only immortality objects can truly have–the decomposition of their use to humans (Guins 223-225). Many characterize the last Toy Story movie as frankly depressing and discomforting.

I myself experienced this, recalling my own shorn-headed barbies and dust covered baby dolls that lay in piles somewhere to mold in a storage bin. The idea that the objects we have fondness for somehow undergo an emotional abandoning, a kind of killing, I think represents perfectly this notion of the uncanny valley.

My questions following Game After are to what extent can we come to empathize, as Guins seems to show, with objects? And how do our notions of temporality and self become bound in the materiality of the objects our hands ply on a daily basis?

Dark Tourism Isn’t New

In reading this article, I was generally confused to the arguments and points that it was trying to make. While the abstract does state its intended purpose as “an attempt to explore and understand tour guides’ interpretations of tourist’s experiences . . . at Chernobyl”, I struggle overall with the concept of “dark” and “toxic” tourism. I simply fail to see how either term appears to be anything special or different from tourism that has already been defined.

In my opinion, the idea of “dark tourism” and its implicit inappropriateness is something that is being socially cultivated but with little actual substance. I understand how a cohort of individuals who deliberately seek out sites of mass suffering and death can be disturbing but as a tourist industry I do not see how we can make a distinction between such “dark” tourism or tourism of a place such as Pompeii. My grandfather recently took a trip to Pompeii and when he returned he was eager to send pictures around the family. I saw images of the ruins with detailed tourist filled descriptions and viewed photos of petrified bodies and homes with my grandfather standing next to them looking somber but nothing “dark” such as the idea of perverted “dark” would suggest.

How is one supposed to make the distinction between the “dark” tourism of Chernobyl, a site of mass casualty estimated at about 600,000, and that of Pompeii’s ruins? In my opinion, the distinction is made by society because we are much more uncomfortable with Chernobyl due to its proximity to us within our time stream and our lives. There are many people who are alive who witnessed the event and thus this has been sanctioned as a place of mass death creating a foreboding location lending credence to the thought of it being a “dark” tourist site. While I understand this notion and feeling, I find it wrong to deem it as some new form of tourism because humanity has been visiting sites of mass death for so long. From Pompeii to Auschwitz to Normandy, tourism of places of mass death is nothing new. Of course the idea that members of the public are deliberately seeking out places of suffering is extremely uncomfortable, the reality is that it is difficult to make such a wide reaching claim about tourism in general to Chernobyl and thus to deem it as a “dark” tourist site is incorrect.

The Ethics of Dark Tourism

When I was reading the article on Chernobyl and “dark tourism,” one of the first things that struck me was just how little I know about Chernobyl beyond its role in media as a creepy, dangerous, yet fascinating place to visit. I hadn’t noticed it before, but almost all (or actually all) of my extremely limited knowledge of the Chernobyl disaster came from the few interactions I’d had with heavily dramatized movies or other fictionalized forms of media about this historical event. I realize that this event occurred almost a decade before I was born and I never learned about it in school or anything, but that’s particularly why the media was my one source of information about the Chernobyl accident. In the Yankovska and Hannam article, something that particularly stuck out to me was this fascination with death and tragedy that some people have when it comes to dark tourism, even to the point of personally interacting with the local residents of the site where the tragedy happened, in this case the tour guides’ family members, in order for these tourists to gain some sort of satisfaction that they have heard the “real” story.

Continuing with this theme, the article states that “the media has made the site of the Chernobyl exclusion zone even ‘more tragic’ and ‘exciting’ for tourists” (936), which I think has only furthered the exploitation of this place (and others like it) and the people who have lived and had experiences there, especially when the tour guides and their families feel like they have to embellish their own stories for the entertainment of their visitors. I don’t think that every instance of dark tourism is necessarily harmful; I just think that people should be more aware of their intentions when they are entering a place like Chernobyl (or other memorials, like we discussed when we talked about Yolocaust) that has a tragic history for a lot of people.

Weighing Dark Tourism

The Yankovska and Hannam article about dark and toxic tourism spends some time examining, or at least talking around, the ethics of dark tourism. It divides dark tourists into two groups — the younger tourists who are thrill-seekers, drawn to the closeness the sites provide to death, the eerie, and the morbid, and the older tourists who visit to learn about and pay their respects to tragedy. There’s no outright condemnation of the former type of tourist, but the language certainly suggests that this type of tourism is lesser somehow, or dirtier.

I think this kind of moralizing is unproductive. It seems most of the tour guides interviewed for the piece agree with me (though I suppose their inclusivity could be attributed to a desire for the visits of any and all tourists for their own monetary gain). What they volunteer is that despite a tourist’s initial motivation for visiting a place like Chernobyl, they go away having learned something.

One tour guide said, “this trip into the heart of the disaster and its surroundings makes everyone more conscious about the consequences and a need to volunteer for the suffered one.” In other words, it’s an empathy booster that could lead to action in the face of the next tragedy, as well as a warning of the tragedies we set up with our advancement.

Another tour guide said, those who visit some of the most gruesome sites “want to understand the price others paid for their life, understand human sacrifice and feel inspired for heroism in their life.” Surface level curiosity about the morbid might actually be a desire for deeper understanding of the human psyche.

In short, I don’t think there’s any reason to try to discern whether it’s right or wrong to visit “dark tourism” sites. They exist in commemoration of events that have transpired, and we have things to learn from any event.

personal anecdotes and anticapitalist railing

The first things that this article made me realize is that I have actually participated in quite a lot of dark tourism. Yankovska and Hannam’s use of the term ‘ghost town’ struck me, because I have specifically toured ghost towns in the Southwest with my family. Most of them follow the same general narrative – a mineral or metal was found, a mining community built up, the mineral was mined out, the mine closed, and the people left. Some ghost towns we visited had people living off the tourism, but others were truly abandoned. Rather than focus on the technological failure that Chernobyl embodies, these ghost towns represent the death of civilization because our technology works too well to fulfill our capitalist needs.

Another experience I’ve had with dark tourism took place while my sister and I were visiting Berlin in our teens—we were having lunch with one of my mom’s friends when we mentioned we were going to visit the graves of the Grimm brothers. My mother’s friend informed us that her husband was buried at the same graveyard. My sister and I were immediately contrite, uncomfortable in how we had conceptualized a space as a fun tourist destination, when in reality, it had a concrete impact on someone’s life. My sister and I knew how difficult the husband’s death had been on my mother’s friend and her son, and we felt we trivialized that pain in our quest for a cultural and historical experience. I’m sure I could tie that feeling to the toxic tourism in Chernobyl, in that visceral gut reaction of disgust regarding anyone who would participate.

Though the article does not engage with it, I found several implicit mentions of exploitation in the concept of Chernobyl tourism. The economic position of the tour guides combined with the assumed wealth of the tourists puts the tour guides in a very uncomfortable position. They have to present their pain and loss to the tourists who exploit it either for a thrill or for pity. The article mentions ‘environmental tourism,’ a specific form of tourism that I think is especially ripe for exploitation. The bourgeoisie is able to visit spaces of environmental and social degradation, imagine the catastrophe, and then leave, providing little economic or social compensation for those who must remain behind.

(photos pilfered from my sister’s facebook)

A.I. Justice

STET was definitely a bit confusing for me. At first, I thought STET was an AI that engineers were developing to help edit a story. I figured they were having a conversation while editing. Turns out STET means “let it stand” during a proofreading session and is a disregard for someone’s edit. Once I got over that confusing hurdle, I realized that the story was in the foot notes and article headlines and that it was about AI and self-driving cars.

STET shows the birth and growth of AI, their implementation into cars and their effects on humanity and Anna personally. The footnotes have links to AI being created, then accepted into cars and then people who were killed because of the self-driving cars. Anna definitely wants to debate about the ethics of allowing self-driving cars to be on the street and if they have consciousness and can they be held responsible for the deaths for the people killed by these cars.

There is also the personal aspect of this story. Anna is telling this story to, at least partly, vent about the death of her daughter who was hit by a self-driving car. Anna slowly begins to lose her cool as the footnotes go on. She constantly rejects the edits by “Ed” the editor and you can feel her annoyance and anger at both the AI and the editor. There’s drama and history between them and it is seeping into the short story. I think Anna on some level blames the editor for her daughter’s death. Maybe the editor was in the car. She definitely is upset with the editor for not attending her daughter’s funeral.

At the core of this story are the ethics of allowing AI in cars and giving them choice. Can you blame the car? Can you blame the AI? Can you blame the humans? These are the questions the short story is asking. My opinion is that since all of this technology is man-made or man-controlled, humans are to blame for every fault technology has and every mistake technology makes.

STET – Toyota vs. Tesla

Today’s reading is STET, a short futuristic science-fiction story by Sarah Gailey that has been nominated for the 2019 Hugo Award. This story is written in the style of a literature analysis excerpt from a textbook, including references to articles and their corresponding footnotes. At first, when I opened up the website, I was very confused – I kept looking for the start of the short story and figured that there was an error in the website page. After taking some time to look over what was written on the page, I realized that the story was actually told through the footnotes, which are fictional articles about how AI has been used in autonomous cars.

What struck me the most about the article was the level of detail that Sarah Gailey included. As a story that is told in little more than a paragraph, every detail is important and it is evident that Gailey put a lot of thought into it. The author of the citation in footnote 11 is Elon Musk, who supposedly wrote the book Driven: A Memoir. This detail made me laugh, as I am sure it did for a lot of other people, because at the time that this story was written (2018), Musk and his Tesla cars are the most prominent figures in the area of autonomous cars. However, the car that Gailey uses in the story is a Toyota, not a Tesla. This initially struck me as odd, because Toyota does not seem anywhere near developing an autonomous car in the future. However, Toyotas are also a very relatable car and much more represent the type of car that an average American would own than Teslas do.

The reference that the fictional writer, Anna, uses in her article, however, seems a little bit more targeted towards Toyota than it just being an average/relatable car company as she writes that this textbook is “drier than a Toyota executive’s apology.” After doing a bit of research, I realized that about 10 years ago, some cars made by Toyota had flaws that led to fatal crashes, including one in particular in which a family of 4 died due to uncontrollable acceleration from the gas pedal being stuck to the floor (https://www.nytimes.com/2009/10/03/business/global/03toyota.html). Only after a few months of pressure did the Toyota executive make an apology, and described the incident as “extremely regrettable,” which in my opinion, seems pretty dry and not very empathetic. While the incident is unrelated to AI and autonomous cars, in both cases, the car was used as a killing machine due to lack of oversight by the company’s engineers. Thus, I have to wonder if Gailey also used Toyota due to this and the poor response by Toyota’s executive. Maybe by calling out Toyota, Gailey is illustrating that cars will not only be used to hurt people in the future, but that they are already doing it now.

AI

Is it really possible to train an AI?
I found Stet to be a really cool article that had me initially confused at its format until I understood what the author was trying to do. Throughout reading the article, I kept wondering what a human being would do in the place of the AI if they were in the same situation. My guess is that they would obviously save the child and not the woodpecker – however, in other scenarios, to what extent are humans just as prone or even more prone to make accidents happen in comparison to an AI? But precisely because we are beings capable of empathy, morality, and individual decision making skills/unpredictability, I believe that humans can own up to their mistakes/take responsibility and hence should be the only ones driving the vehicles rather than AI driven cars.
Even in shocking possible scenarios like this in the future, the responsibility lies on the person who manufactured and programmed the AI’s morals. Because AI’s can only function within their own programmed self and cannot self generate their thoughts, people cannot account for every possible scenario and program for that in case a certain situation happens. On the other hand, people can think for themselves are not confined to the limits of a “program.”
What really troubles me is the “how they decide who to murder.” The fact that a programmer is inputting data to decide who the AI should choose to “kill” in a possible scenario already has me questioning whether it is truly ethical to program an AI while inputting data as to which human being or thing is valuable over the other. Who is the one deciding that, first of all, and who is approving this?
You cannot overlook race, sex, gender, etc that comes to play when they decide “how they decide who to murder” and also how do AI’s identify which human is more “valuable” over the other? How do they recognize who is a human being while going at a high speed?

Peculiar Pripyat

Thinking about it, the dark tourism that the Chernobyl area attracts is a kind of self-fulfilling prophecy. The Chernobyl incident is one that while I myself have never experienced, but have heard about via various mediums, including TV, movies, and especially video games. I’m sure this is a similar story for many people my age, only aware of the tragic events thanks to fictional adaptations of Chernobyl. Thanks to these adaptations, we become mystified with the tragedy of the place and we want to see these tragedies for ourselves. I will admit, if given the opportunity to explore the ruins of Chernobyl, I almost certainly would go, partly because of the mystery it’s imbued into my psyche.

However, I feel as though I must recognize the not completely unreasonable comparison made in the paper of people traveling to New Orleans to tour the destruction of the city after Hurricane Katrina. The idea certainly sickens me to a degree, as the suffering of human beings and the loss of their homes should really be on the bottom of everyone’s “Great Vacations” list. But why does Pripyat draw out my imagination in a way few other places could?

My bet’s on radiation. I’m not just saying this because I used radiation as a major theme in my Haunted Media project, but because I genuinely believe it to be true. For whatever reason, the general populace seems to be fearfully mystified by radiation and the ill tidings it brings with it. This fear, while pushing us away from radiation’s actual reach, draws us into the edges, as us humans try to peek inside and see exactly what radiation does. It’s a strange communion that we have, one that to this day still terrifies me but commands my respect.

Side note: I would be remiss if I didn’t mention the fantastic level of Call of Duty: Modern Warfare, where you must traverse through Pripyat to eliminate a target.