The robot that Japanese professor made is too human: Why did he do it?

(Original title: Hiroshi Ishiguro: When robots act just like humans)

Foreword: Hiroshi Ishiguro's job is to make robots and create the kind of beautiful, real, lifelike and amazing humanoid machine. From an academic perspective, he uses robots to understand the human interaction mechanism between people. But his real pursuit is to find the essential nature of the connection itself.

This was a noon in the summer of 2002 in the University Research Laboratory on the outskirts of Osaka, Japan. Both girls wore exactly the same pale yellow puff outfit, the same black cape with long hair and stood opposite each other under fluorescent lighting. More precisely: One is a 5-year-old girl, while the other is a copy of her robot. They are the same size and they look the same. This is their first meeting. The girl was staring at the other person's eyes. The robot's expression was so serious and stiff that the girl had to look back. A man is taking pictures. He is the father of the girl and the creator of the robot. He asked from behind the camera: "Do you want to say something?" The girl turned to him, his eyes blurred. Her sight then returned to the robot. "Talk to her!" the father ordered. "Hello." The girl greeted her robot companion gently. It nodded. The girl's father controlled another line: "Let's play."

The robot began to gently swing its head. The girl's father smiled behind the camera. But the girl did not move. She just kept staring at the robot's eyes, feeling somewhat worried.

Both of the protagonists in the field are doing something by instinct or reflection: each will blink and each will turn around. The difference is that one action comes from the child's original feeling; the other is a series of simple action movements performed through the servo motor inside the silicone skin.

"Is it hard to play with her?" asked his father. His daughter looked at him and then turned his attention back to the robot. Its mouth gently one by one, like a dying fish. He smiled. "Is she eating?

The girl did not respond. She wants to listen patiently, but something in her heart is asking her to reject everything.

"Do you think it's weird?" her father asked. Even he must admit that this robot is not completely trustworthy.

A few minutes later, the girl's breathing became more and more heavy. She said, "I'm so tired." Suddenly the girl's tears flowed down.

That night, in a house on the outskirts of Osaka, the girl's father uploaded the video to his laptop for backup. His name is Hiroshi Ishiguro, who believes this is the first record of a contemporary robot.

Over the past 15 years, Shihei Hao has created more than 30 robots, most of them women. These include copies of various characters such as news anchors, actresses, and fashion models. These robots appear in many public places such as cafes and department stores. They also sing and perform in front of everyone. But in most cases, the beautiful “female” created by Shihiko Hiroshi is mainly used for his own academic experiments, mainly in two locations in Japan: the International Advanced Telecommunications Research Institute in Nara and the intelligence on the Osaka University campus. Robotics Laboratory (IRL).

The IRL laboratory is located in a grey university architectural maze. In one of the buildings, about 30 students and assistant professors worked hard in a series of nearly silent computer compartments and observation rooms. Young people in a sweatshirt ran through the hallway, wearing only socks to work in the research room, or holding laptops in a row. If you look down, the work bench is full of Red Bull drinks, biscuits, and bacoons. It seems that women are not common here. It seems that in order to emphasize this fact, a notable sign of the restroom is "attention to the stranger in the ladies' toilet."

It was the Shihiko I who was in charge of this messy laboratory. You can easily distinguish from the crowd. I'm dressed up like a propaganda photo from a few years ago: a perfect trendy figure wearing a fitted black leather suit with a matching leather backpack and a waist pack. He wore colored hexagonal glasses, and his black hair was scrambled at the forehead. This is Shi Haohao, 54 years old. He is an outstanding professor at the top universities in the country. He owns two laboratories. He has established partnerships with more than a dozen private companies in Japan and received nearly 16 million U.S. dollars in government funding.

Today, it seems that if we want to create a robot that behaves exactly like humans, its technical requirements go far beyond our capabilities. It can even be said that the ability to build a humanized machine is beyond our grasp. This kind of Japanese call it sonzai-kan (the creator's soul is implied in the finished work) is an existence that must be avoided. Because of the re-creation of human beings, we need more understanding of ourselves - those subtle actions that can trigger our sympathy and allow us to relax and gain mutual trust. One day, we may be able to solve the problem of creating artificial intelligence and create a machine brain that can rely on intuition to accomplish various intellectual tasks. But why did we choose to interact with it?

Shihei Hao believes that as long as we persist in communicating with each other and adhere to our beliefs, we can make robots more humane and we can share our lives with humanoid machines in a more open manner. To this end, his team created a research area called Human-Computer Interaction (HRI).

HRI is a hybrid discipline that involves engineering, artificial intelligence, social psychology, and cognitive science. Its purpose is to analyze and cultivate the continuous development of humans and robots. HRI aims to understand why and when humans are willing to interact with machines and even feel the machine's feelings. Shihoho believes that he is establishing this trust through each robot he has built.

In a secluded room in the IRL laboratory, a group of robots were transported here for maintenance. This is the most complicated task for Shihiko Ikuro. Today in this room there are thin woven materials, untidy cables and displays, and a bunch of wigs. What is to be maintained is a copy of a pair of adult women made by Ishiguro. They are the Geminoid F series robots, named Twins (Latin semantics are "twins"), which reminds us that the robot's human prototype exists somewhere in the world.

At any time, lab students and staff may test, measure, and record the responses of dozens of volunteers to robots. How does its behavior or appearance, its specific facial expressions and tiny body movements feel, does it make people feel alienated? What attracts them closer? These robots are often used to find answers to various research questions: How important is non-verbal communication to building trust between humans (and between humans and robots)? Under what circumstances can we treat a robot like a human? In this way, Ishiguro's laboratories are all devoted to the study of human intimacy.

Illustration: Shih Ho-ho said, "Dialogue is an illusion. I don't know what you are thinking. All I know is what I think."

In the months after we had established contact, Ishiguro shared his personal information with me. He had thought twice about suicide: Although he had a family, he thought he was a lonely person. I often hear him use this word to describe himself - loneliness, not less than sixty times before and after.

For myself, when I first visited Shiheilhao, my situation was like this:

In order to have a quiet writing environment, I spent 13 months in Japan alone in a small town in northern New York. I am preparing to publish a book. For myself, it is very energy-consuming and it is necessary to keep quiet. As soon as I took off from the manuscript recently, I began to feel that I was alone. Of course, this loneliness is incomplete - I still have close friends, not very close friends, my family - but no intimate relationship. No romance, no sex life.

To some extent, this lack is an option; some people have been curious about my state. But compared to sex, I think more of it is intimacy with another person, something that can only be said to be unspeakable. Although this feeling of deprivation is somewhat extreme, I believe most of my time, perhaps I can say that 80% of the time I will not consider sexual issues. I am a semi-radical independent and an artist of a certain degree. In many respects I am an uncommon free woman. However, alienation is a period of time for me to create in depth. But in the other 20% of the time I was dizzy.

I flew 17 hours to the place where Ishiguro was. Frankly speaking, my time abroad was particularly enriching. The concept of "personal relations" has never been so mysterious to me. It makes sense that someone will try to measure it, measure it, and even calculate its size. There is no doubt that being able to replicate the intimacy between humans will be the most perplexing thing for us.

During the interview, Shih-ho told me about his childhood:

His family lives in the town of Addawa, on the western shore of Lake Biwa, in the central and western part of Honshu, Japan. The water comes from a river flowing from Kyoto to Osaka Bay. In school, when other children in the classroom were listening to the rules, Shih Hoh-ho did not obey the teacher's instructions as if he had not paid attention to the teacher's words. His energy spends all day on paintings that are not related to the course. His mother is worried that there may be some problems.

Shihei Hao rarely sees his mother or father. As a school teacher, his parents are busy with their work. His grandparents raised Shihihiro. His grandfather was a peasant and a devout Buddhist who had a solid traditional concept of how "behaving more like a Japanese person." He showed Shih Hoi how to use chopsticks, how to pray and how to prepare for the New Year celebration. Unlike in the classroom, Shih Hoo has great patience with these courses: His grandfather did not tell him how to think, but taught him how to pursue perfection.

They live at the foot of Mount Shira, and Ishiguro prefers to climb up the hillside looking for snakes and insects. He had caught a male stag beetle with a shiny black segmented body, about 3 inches long, with an antlers-shaped jaw protruding from the head. He fixed the blade of the razor to the stag beetle with glue, no doubt it was a modification of the insect. It can also be said that these are the earliest robots made by Shihei.

His childhood friend Shih Hoo had a close friend who was a boy living in a poor community. His parents made a living from salvaging corpses from the water. At the time, Shih Hoh-hoh did not understand that these people were lower than their class because of their low-level work. So when Shihiko's mother discovered the friendship between them, she demanded that her son be separated from the child. In the next 40 years, Ishiguro has always remembered this moment.

Ishiguro is a weak child. He was born with severe skin allergies; pruritus in the back, chest, and arms covered an ugly rash. The only consolation is to keep scratching: Every night, his grandparents take turns sitting beside him to help him scratch his back until he is satisfied. Every week the doctor gave Shi Haohao three injections to treat the condition, but there was no good effect. The appearance of steroids helped him until he was about 12 years old. To some extent, Ishiguro's own body is always in an unfamiliar state with him.

Illustration: For Shihiko I, human emotions are only responses to stimuli and are the result of manipulation by other elements.

When Shihoho reached the grade of college, he chose the university to have three criteria: it could accept wacky students like Shih-ho, and let him pursue painting here; it would not be close to home. In this way, in the fall of 1981, Ishiguro entered Yamanashi University near Mount Fuji.

On the university campus, Ishiguro continued to follow his childhood careless learning style and found more fun in part-time work. He was a cook, a tutor for children, a textbook salesman (for only one week), and the most profitable was a professional bomb player. He found himself on the verge of student life and rejected any mainstream ideas in Japanese society.

At the same time, he dressed himself as the most romantic outsider: the artist. Shih Hoo always wears a black leather jacket. He skips lessons, brings a drawing board and brush, and rides his Yamaha motorcycle to paint in the nearby countryside. This is the place where Ishiguro is concentrated: bizarre trees, blossoming in spring. He created sketches and paintings and managed to sell some of them.

But in the third year of university, Ishiguro suddenly gave up painting. He realized that unless he could become a great artist and gain public recognition, he could not see any meaning. To a certain extent, Shih-ho will give up on his color blindness: There is no green in his landscape. For a time he lost his direction. In the dark days, when riding a motorcycle on a steep and winding mountain road, Ishiguro was always impulsive. Don't make a turn, go straight ahead, fly over the edge. What would it feel like?

However, there is finally a way out. Yasuharu University has a computer science-related course. Shihisho began to realize that computer graphics, computer vision, and visual arts are intrinsically linked. At the time of the early stages of PC development, programming seemed very creative. Shihei Hao felt that he did not lose. He changed his specialty.

In almost an instant, Shihei Hao found his home: he realized that he could continue to think like a painter in this new area, but the tools used were different. He fell in love with the new words: Assembler, Pascal. The students were taking classes in an air-conditioned room and the computer was a huge roar around them. Air conditioning here is designed for machines rather than humans. In terms of software development Shihei is still used to working alone, but he is learning to communicate with a system - this is a system that can respond to orders. He entered the dialogue mode with the machine.

Shihei Hao quickly ended his idle life, often staying in the lab for a whole day. When he can master the programming language and become more immersed in the communication with the machine, an idea is gradually formed: Is there a way to make this language more human, so that one day the computer can intuitively pass human rules? understand us? So can the dialogue between man and machine develop into an in-depth relationship?

This relationship became his singular pursuit and his dream.

Illustration: The hand on the leg is still rubbery. Near it, you can hear the soft hum of the motor.

In 2000, Ishiguro, an associate professor at Kyoto University, created his first humanoid robot: a mechanical device that moves on a wheeled platform, swinging a steel arm. Although it was only a primitive prototype, Shihei Hao began to realize that if people want to establish a real relationship with the robot, then the appearance of humanity is of utmost importance.

At this time, Ishiguro has been in the marriage for about ten years. His wife is a piano player introduced by university students. He asked his wife if she could shoot a video of her sitting, breathing and responding to stimuli. He wants to determine the nuances of human behavior in this way and find those conscious or unconscious physical manifestations that are "human" features. The related video tape gave him a small revelation that humans will never sit still.

Shihei Hao also realized the rejection of the robot. From the mouth of many Japanese researchers, Ishiguro learned that at least in the West. Some people worry that consumers' aversion to humanoid robots (the so-called strange valley effect) is too large to be overcome. The failed Android project may further weaken the public’s interest and support for all robots. Ishiguro is also worried that an unconventional approach may waste his academic career. But he cannot resist this temptation. So when he collaborated with a company to build a new type of robot, he insisted on hiring a highly respected designer to make the robot look like - using Shih-ho's opinion - "just like a child." Shihei Hao lost his patience and wanted to stand alone. He hopes to create a brand new robot to "persuade everyone."

Shihei Hao insisted that the first robot he made should be the same height as the child (about 3 feet tall) for comparison. In other words, this robot must be modeled on real human children. And because the production process is extraordinarily complex - it must take hours for the exact copy of the prototype. In this way, only one child can make use of Shihei Hao: his own daughter.

A few years ago Ishiguro was just the father of Risa and he is now explaining his entire plan to his wife. In the end, Shihoho received the consent of his wife because she was responsible for raising the girl. Without her assistance, the entire experiment would not be possible. So in early 2002, the entire family, as well as makeup and special effects artists, gathered in his university lab and began a two-day copy of Risa.

In the lab, Lisa's mother helped her undress. She took off the girl's clothes and let her stand on a small wooden platform. Her father and an artist painted a light green paste on her torso and limbs and then dipped it in plaster and asked her to stay still and wait for it to dry. The five-year-old girl was wrapped in a pink towel, wearing a rubber cap on her head, stuffed her cotton ball on her ear, and lay flat on the table with foam and packing tape around her head. An artist lifts a plastic bucket, pours it into the mash, and watches it rise slowly until the girl's ear is overwhelmed. At the same time, the girl's parents let her relax through words: "Don't worry!", "You're fine!" Finally they were ready to copy the girl's final process: her face.

Through the camera's viewfinder, Ishiguro saw that his little daughter's face was stiff and her mother and artist were slowly covering their faces with a thick paste. "Once completed," said her father, "you can eat whatever you like!" Their hands pass over her forehead, her chin, in front of her neck, and they smear the cheeks on her cheeks and Nose, and the entire mouth. The mother is laughing and keeping her relaxed. “Close your eyes just like you are going to sleep... Good night!” The entire process must be motionless and can't make a sound, which is not unusual for children of this age. Then the paste covered her eyes. Soon the paste on her face began to harden, leaving only the nostrils on the face to breathe.

"You're okay," said the artist. "It's just a little bit of time..."

Then Shih Ho-ho gave a voice from behind the camera: "Lisa, you're fine... If you feel sleepy, if your head feels heavy, you can lean back and just fall asleep..."

They covered a girl's face with a piece of plaster-soaked fabric that began to harden. Perhaps the professor began to worry about her daughter now because his face moved away from the camera and tilted the camera towards the wall. "Lisa, if you can breathe normally through the nose, please pinch my hand..."

"Lisa," her mother said, "make sure you don't cry because it will stop you from breathing with your nose. No matter what, there is no need to cry! Wait patiently to sleep. Go to sleep..."

A few months later, a parcel was sent to the laboratory and Ishiguro and his team opened the box and revealed his daughter's full body silicone model: bare Lisa, made of rubber. The lab staff used silicone foam to hold up the silicone skin and place it in the lab. Shihei Hao’s wife donated a set of daughter’s clothes, so the staff also wore a set of clothes for the duplicate. Shihei Hao named it Repliee R1-R for Risa.

The experimental results are mixed. Shihei Hao had to admit that this kind of low-cost robot has few actions that are more rigid than humans. Although he only showed the project to a small circle of insiders, the word "daughter robot" spread and began to become an unbelievable legend. (In describing it, a roboticist uses the word "crazy" and the other uses "weird" and "a bit scary" to describe it). But there is no doubt that Repliee R1 gave Ishiguro more confidence.

Shihei Hao rewarded his daughter with several Hello Kitty dolls. "But then," he said, "she still cried." Until now, they have not mentioned this matter again.

Graphic: Geminoid F plays a companion robot in the movie Goodbye, released in 2015

Three years later in 2005, Shihei Hao released the humanoid robot Repliee Q1 Expo to the public. It is modeled on a Tokyo News female announcer that is popular with the public and has invested more in the production process. The robot's upper body is fluid and its lip movements can be synchronized with the recording. Shihei Hao’s lab has conducted several studies over and over again. The relevant results were published in a major Japanese robot magazine; the laboratory also went on TV; Shihei also heard that someone in South Korea imitated his robot. As Shih Hoo's humanoid robot attracts more and more audiences, he feels straight to verification.

But he wants more things now. He witnessed twice that others had the opportunity to create his own robot. His experience in robot manufacturing has long been coveted. In addition, his daughter is too young. Although the news announcer is an adult, she is only an "ordinary" person in Shihei's words: neither of them is a trained scientist and has no ability to analyze his own copy. . For a real researcher, it should have its own copy. Ishiguro Hiro recalled the time he once worked as a painter and thought that the robot replica would be another form of self-portrait. He named the project with his own abbreviation: Geminoid HI. This is his machine brother.

Ishiguro has hundreds of photos of Geminoid. His assistant wraps his 43-year-old face replica around the machine and attaches his head to the torso with various sensors on the scalp. The Geminoid's mechanical biceps is clearly visible. Its arms only have simulated skin underneath the elbows, as if wearing an elegant glove. With a clear vein on the hand, the lines on the wrist are looming; the nails have a cuticle and are pale and real. Geminoid also wore the same black shirt as Shihei Hao. His assistant lifted the robot's arm and took off his sleeves, just as if he was wearing a tedious child.

It also wore fitting black slacks, exactly the same as Shihei Hao. In addition, this robot also has a pair of black sports shoes and matching socks, and Shi Heihao has a black wig. The robot body is also equipped with a machine that pumps air into the chest and the cable extends from the coccyx to a metal box.

This robot is a huge advance, but the degree of fidelity is still not enough. The hands on the legs still feel the same as the rubber; the eyes are amazingly bright and totally different from the Shihoho, apparently made of hard, smooth plastic, and you can even hear the soft buzzing of the internal motor; each nod Will hear the sound. Sometimes, the overall effect of the puppet is the same as a human-sized puppet, just like a puppet in a Disney World animation movie. But Geminoid is also disturbing. Because regardless of the fidelity, all relevant elements are coordinated and can basically interact with humans. The audience can see that it can show all kinds of emotions: melancholy (mouth licking), restlessness (closed eyes), suspicion (looking sideways), meditation (leaning left). When its eyes are watching you, the motion sensor can detect your position, and in a moment you will feel it - this "black stone" notices you.

Geminoid HI got Shihei Hao's approval. He and the research team used Geminoid HI to publish dozens of studies, analyzing the participants' reactions to him and avatars. These studies also involved remotely and wirelessly operating robots. Shihohiro and his Geminoid appeared frequently on television shows in Asia and Europe. Ishiguro is even able to lecture in various parts of the world without leaving the laboratory in Osaka. He uses a robot to remotely operate and speak. He only needs the assistant to transport the robot to his destination. The robot's legs and torso are checked by baggage, while the head is carried around. Ishiguro's laboratory became a fascinating source of fantasy, and he also turned himself from a researcher into a person who made avatars and invited him to attend a variety of meetings and celebrations.

To some extent, the success of this robot is due to its operation on several levels. The way it behaves is somewhat similar to a circus trick: look at people and look at his replicas! Try to separate them! This is exactly a real dilemma that Shihei Hao needs to solve. This is an astonishing attempt by the manufacturer to control himself and make his patience stronger.

At the same time, it also created new difficulties. Shihei Hao found that living with his avatar brought unexpected results. He has been dressed in black since he graduated and has now become an official uniform for his and his machines. He is happy that he has this iconic dress. But now he must keep his physical changes (natural changes or aging) in sync with the robot's static changes. He found himself adapting to the robot, his own reaction was measured by the machine, and his own value was defined by the definition of the machine. In this way, his robot has made him realize that the body is constantly aging, but also brought unprecedented confidence.

Shihei Hao is also a myriad of myths. For his female robot, he is the Greek mythology of Pegasus (King of Cyprus; a statue of a girl who loves to sing herself) and brings his Galatea to the real world. But for his own copy of the robot, he is the Nathsas and will go deep into his contemplation for hours. The difference from Narcissus is that Ishiguro will realize that he has dug an unexpected trap for himself through the creation of his image. In news photos and live television, he stood next to his own robot and adapted himself to Geminoid, allowing his expression to map the expression. At a certain moment in the Institute, Shih-Ho-Hao noticed that I was photographing him in front of his robot and immediately put a smile on his face in a reflexive manner to cater to the robot's wooden expression.

His students soon began to compare him with Geminoid - "Oh, Professor, you are getting older," they joked, and Shih Hoo discovered that there was little humor in the text. A few years later when he was 46 years old, he copied himself again, reflecting the aging of his age, and producing a second version of HI. But this process repeated every few years is too expensive and complicated. Instead Shihei uses an alternative method: Change himself to match his replica. He chose to perform a series of cosmetic procedures on himself, such as laser treatment and injection of his own blood cells into the face. He also began to pay attention to diet and exercise; for a time he relieved about 20 pounds. "I decided not to be old," Shih Ho-ho said. His English is good, but his grammar is not perfect. "I always feel I am getting younger."

Keeping the same with his own works has become the obligatory behavior of Shihishae. "The robot has my identity," he said. "I need to be the same with my robot at all times, or I will lose my identity." I thought of another photograph of his first avatar: its robot skull was exposed, a dark yellow plastic casing, inlaid Glass teeth and eyeballs. When I asked him what he thought when he saw the skull, he half-jokingly said, "I think if I stripped my face, I might be such a skull."

Now he turned to me. "Why are you here? It's because I've created my own copy. Work is important; robots are also important, but you're not interested in me."

Illustration: Shihei Hao pointed out that you cannot imagine that a beauty will go to the toilet, so the robot can better represent beauty

One day in the winter of 2012, the crowd revolved around the large glass display case at the Tokyo Takashimaya Department Store. Inside is a Geminoid F robot dressed in a silk Japanese dress with long brown bangs on the forehead. Valentine's Day is coming, "she" is sitting there, behind the gift box wrapped in rose-patterned paper and big red bow.

She just stared at her smartphone all day and ignored hundreds of visitors near the display cabinet. Her facial expressions have a series of subtle emotional changes that seem to respond to some of the text that the phone has just received. This is a wise way: because there is not much interaction with the bystanders, the robot model is more similar to humans - after all, real humans will deliberately ignore the environment around them most of the time. But occasionally, when you approach, she looks up at you and smiles, making you feel like you are meeting a beautiful stranger.

In some days, Shih Ho-ho was used to standing at the main entrance, looking across the aisle and watching the people stopping in front of her. He likes to imagine what they think she is thinking.

We are accustomed to assuming that we are a complex existence, and we often have little contact with each other. Since all of our time and energy are spent on technology, if our message friends are replaced by robots, at least a large part of people will not realize at first. For humans, not much interest is needed to stimulate compassion for another person or creature or even an object. In 2011, Calgary University test found that it was easy for volunteers to impose emotions and intentions on a piece of wood that was operated with a joystick. In other words, our compassion is entirely natural, and our brains are even willing to humanize a piece of wood. This is an instinct, and to some extent this vulnerability is terrible.

However, as the objects we are concerned with are becoming more and more similar to humans, our expectations for them become more and more complicated. When we feel that we have met familiar things and are different from common sense, then the incredible trough effect will intervene and create a steep drop in our sympathetic waveform. In the same year in Calgary, Shihei Hao produced the first generation of Geminoid F robots, and in the same year he and the University of California in San Diego published a study on compassionate neurons. The team saw 20 volunteers ages 20 to 30 watch three videos, one of which was about female robots made by Ishiguro, one about robot movements of the same robot, and the last one about human prototypes of robots. Video, during the viewing process researchers used MRI machines to scan their brains.

Volunteers saw robots or humans wave their hands in the video, nodded, picked up a piece of paper, and wiped the table with a cloth. Combining the three videos, when the volunteers watch the action of a humanoid robot, the parietal cortex of the brain is the brightest. This is a region that links our body motion detection nerves to so-called sympathetic neurons. The researchers believe that this shows that the most subtle action can also create a perceptual contradiction in the brain, triggering an incredible trough effect. Ishiguro returned to the laboratory and focused on the subtle movements of the robot: precise tilting of the chin, rotation of the head, and restrained smile.

While exhibiting at the department store, Shih Hoo tried to use Geminoid F to establish a communication link between the two. Tokyo game designer Tettchan had just divorced when she met Shihoho in 2012. He mentioned that he very much hopes to establish a romantic relationship with a friend named Miki. Ishiguro asked them to come to the Nara Institute where his students remotely controlled a female robot for visitors. He asked Tettinger to sit at the operating table and close the door; then he took Miki to another room to get Geminoid F with the robot. Then he invited Tettchan to talk to himself through the robot and Miki. As Tettchan said, his voice was converted by the computer into a female voice, the robot's lips synchronized with his speech, and her head movements were synchronized with the operators. "It's like a real woman," Ishiguro told Miki happily. "This is not Tettchan. This is a new woman, lovely and beautiful."

So they communicate together and whisper. Tettchan tried his new female role. He amused Miki and Ishiguro, and could see the face of Mujing through the monitor. He could see the changes brought about by communication. Knowing that Tettchan had a good opinion of Miki, Shihiko I told Miki: "Ok, you should kiss her." At first Miki looked hesitant, but watched the robot with Tettchan and kissed on the robot's cheek. Tettchan said that he felt "shocked like the Thunder," and the strangeness between him and Miki suddenly disappeared.

Soon after, Tettchan and Miki decided to live together. Tettchan仍然不太清楚石黑浩的机器如何工作的，但他仍然相信是机器人让他们成为了一对夫妻。

图示：石黑浩认为，因为我们对互动的偏执和存在的信仰，机器人越人性化，我们越容易与它共享生活

石黑浩花了很多时间和自己的机器人交谈，测试它们，想象它们对别人的影响。石黑浩告诉我，他想录下自己说“我爱你”的录音，然后把语言编程给一个女性的机器人，再说给自己听。他在说这个话的时候似乎是在开玩笑，但也许是他在半开玩笑。至少他认为有必要进行这种交流。他会说，这是一场和自己的真正谈话。

“对话也是一种错觉，”他说。 “我不知道你的脑子里在想什么。我知道的只是我自己在想什么。一直以来我只是通过对话我在向自己提出问题。“经过对机器人的多年研究，与他们进行沟通交流，他发现他并不是真正关心其他人的想法。“我一直在反思自己。我需要了解你的意图，但并不重要。在此之前，我首先需要在自己脑子里想清楚一些东西。否则，交谈的动机是什么？”

换句话说，他只能想象与他人的交谈是为了更好地了解自己，而没有什么比这更让人有压力。他转向我们两个人的谈话。“我们不知道我们相互分享了多少信息，”他告诉我。 “我总是在猜测，你也总是在猜测，但通过谈话模我们可以确认我们交换了很多信息。但是我依旧不能直接读出你的大脑在想什么。

“什么是”联系“？”他问。 “其他人只是一面镜子”。

在一些基础层面上，我们也能够明白对方的直接意图和欲望。当然，我们这样做了;但除此之外我们还能有什么作用？石黑浩的观点虽然条理清晰，但似乎令人悲哀：所有行为都有内心的驱动，但我们最深层的意识永远无法相互分享。我们渴望联系以弥补这个鸿沟，相互联系也是一种本能的人类欲望，但石黑浩认为这种欲望有一天会通过人性化的机器来满足。他相信人类的情感，无论是同情还是爱情，都只是对各种刺激的反应。通过其气动关节的相互作用，其机械眉毛的微动，其塑料头骨的倾斜，通过多年研究人体模型实现的许多微妙运动，机器人开始能够跨越这个差距，成为与人类联系的完美设计。虽然也许有人会认为这样的机器人是精心制作的形而上学的伎俩——但如果它能够满足人类需求，能让我们感觉是到真实，那又有什么关系呢？

我想起了Geminoid F脸上的温柔表情，想起她对智能手机的从容一瞥。石黑浩希望公众都能够想象她读懂那些短信，想象她的孤独寂寞，想象如何去爱她。当我们能让自己与她感同身受，想象彼此有着共同体验——乃至建立联系。这样石黑浩的工作就又向前迈进了一步。

石黑浩很少谈及他的私人生活。但是，随着更多相处，我开始明白他和他的妻子有着彼此相对独立的生活。“我们彼此有一些简单的规定。她从来不过问我的工作，我也从来会干涉她的爱好。“

他的眼睛亮了起来——他已经找到了一种让自己回归的方法。“我想知道所谓'爱'的真正意义，你知道它真正的含义吗？到底什么是'爱'？”

我想了一会儿：“在我心里它一直都在不断变化。”

“太好了！”他惊讶地说。 “你就像一个科学家。我也在变化。我每年都有不同的想法。在我离世之前，我希望自己能够对爱情有更好的理解。“

石黑浩现在告诉我他曾经有两次真正想过自杀：第一次是在36岁，他的一位学生在计算机编程挑战赛中打败了他；另一次是在10年后，他的另一位学生成为了一名更犀利，更高产的技术论文作家（有时石黑浩对此感到非常自豪）。每次都是石黑浩从工作中找到了一个新的方向，最终摆脱了压力。但是，这些情况也使他的恐惧增加，自己根本无法阻止头脑中缓慢而自然的恶化。他知道自己的注意力并不集中，而老年痴呆是他最大的恐惧。因为无法产生新的想法，“可能我找不到任何理由在这个世界上生存。胆我不想这样想。“

我们沉默了一会儿，然后他再次开口。

“你知道什么是灵魂吗？”他问。 “灵魂不没有那么个性化。在日本，当我们离世后，我们的灵魂会回到同一个地方，回到山里。所以现在我们都是作为个体在生活，像这样“——他指了指坐在垫子上的彼此“我们有自己的灵魂。但是当我们离开时，我们会彼此分享。灵魂要回到该聚集的地方。”

“灵魂不孤单，”他强调，“灵魂并不孤单。”

图示：石黑浩必须要让自己的身体状态与机器人保持同步

周六晚上，我和石黑浩以及来自巴勒莫大学的机器人教授Rosario Sorbello，他每年都会造访石黑浩的实验室两次。Sorbello也经常派他的学生到实验室学习。同样，他也会安排石黑浩在西西里岛展示他的机器人。初次见面时，高个子的Sorbello穿着精美西装和高级皮鞋，但显得有些孩子气。他显然很荣幸认识石黑浩，而且不止一次地提醒我，石黑浩是“非常重要的人物”。

我们在大阪最为繁华的商圈美并会面，享用夜晚街边的美食：大碗的拉面和油炸的章鱼小丸子。在石黑浩的研究生时代，他来过这里很多次。在享用了一碗红豆甜点汤后，石黑浩说我们应该回办公室的酒吧（the bar in my office）坐坐。途中，我们在一个24小时便利店买了芥末豌豆，章鱼干，巧克力蛋糕棒，然后搭乘地铁回到大学。

地铁上，由于石黑浩的注意力全在他的手机上，Sorbello和我谈到了与机器人的亲密欲望?-?他坦承自己已经想了很多。“你能想象这是什么样的吗？”他问，“想要吻一个机器人？想要亲吻橡胶，而不是真实温软的皮肤？有人会有这样的欲望。想象一下，如果你可以让机器人发热，这样触感就不会像橡胶那样冷冰冰的，有人想要尝试。“他也说，人类的性生活与浪漫关系不可避免会凌乱，而许多人都希望保留简单的生活——在这种情况下，机器人可能是一个解决方案。 “我认为这会是未来，”他说。

性可以说是人类关系的终极现实行为——但它也可以仅仅是一种行为，一种关于亲密关系的模拟。性可以被认为是超越纯粹肉体性的东西，但在现实中，它通常是一种体验，主要是肉体上的，不像我们假装可以或应该可以的亲密。这样说来，至少在理论上，机器人可以为人类复制出全面的性体验。

根据Sorbello的建议，后来我阅读了《和机器人的爱与性》，这是人工智能专家大卫·李维（David Levy）于2007年出版的一本书。书中他认为我们距离这样一个时代不远（他估计那将是在2050年左右），那时人类会希望机器人成为朋友，性伴侣，甚至配偶，对此他似乎并不乐观。这都要涉及到人们对与机器人的情感生活的渴望。定制的机器人越符合主人你的喜好，比如机器人的声音辨识度、眼睛颜色以及个性越符合主人的喜好，就越能唤起主人的共鸣和回忆，也就更会赢得主人的喜爱。

李维引用了阿兰·图灵（Alan Turing）关于人工智能的智力水平是其智慧证明的著名论断，并将其扩展到情感领域：“如果机器人的行为看似是其感情的体现，我们还能够认为它没有感情吗？如果一个机器人的人造情绪促使它说出“我爱你”这三个字，我们是否应当接受这种真实性？如果一个情感机器人说出'我爱你'或者'我想和你做爱时'，我们应该怀疑吗？”李维认为，与智能机器人相比，不见得人类的情感就没有被“程序化”：“我们体内有激素，由神经元，从某种程度上说也是这种系统创造了我们的情感。”

换句话说，李维认为，我们的内在本质上也是一种算法的体现，和人工智能没有什么两样。 .他在书中写道，未来几十年，人与机器人之间的差异可能与“来自不同国家甚至不同地区的之间的文化差异”没有什么两样。至于所谓人与机器人的性爱，李维认为将不仅成为社会异类的追求，也是性成瘾者的新渠道，甚至是在伴侣生病或独自旅行时的选择。

这些都是关于人性和亲密关系的激进想法，但我意识到也许一些人或许会通过机器人来寻求亲密关系和陪伴。当你远离家乡，也许在这个星球的另一边一呆就是数周。如果有人给你一副解药，为什么不用呢？我们大多数人已经接受通过新技术相互沟通，而直接的人际交往又有什么区别呢？这种差异性对于作为人类的体验非常重要吗？它是否必须保留？

回到校园的实验室，还有几位学生仍然在工作。我们来到石黑浩的办公室里。他推开展示用的白板，里面露出一个隐藏的酒柜。他给我们倒上一杯威士忌，我们坐下来听他收藏的音乐，从日本的流行歌谣到Simon＆Garfunkel应有尽有。石黑浩告诉我们，从他开始将机器人公开在人们面前时，就发生了一个巨大的转变：他说，机器人似乎揭示出周围人真正隐藏的欲望——想要联系，想要抚触。在展会期间，越是那些死盯着女性打扮机器人的男子越是会试图亲吻和抚摸机器人。而更复杂的事情也在发生。

就在2002年以女儿为原型制造出第一个机器人之后，石黑浩在京都大学的学生使用它来测试人类对类人与非人机器人的反应。当大家不使用它时，就会把机器人放置在实验室的中间。很快有一些学生抱怨说他们在机器人面前很难正常工作。他们觉得机器人在看着他们。 （从那时起，他们习惯把它的脸朝墙放置。）

然而随之情况更为复杂。石黑浩被告知其中一名学生已经被这个机器人所吸引。白天，这个学生会正常地实验。但是深夜，当他认为自己独自一人在实验室里时，他会用为机器人演奏长笛，然后和它聊天，询问机器人对他演奏乐器的想法。就好像他觉得他只能以这种方式秘密地延续友谊。

这件事情使得石黑浩意识到或许这些机器人可能会产生意想不到的情绪影响。 “这是第一个机器人，” 石黑浩说，“我们不知道将来会发生什么。”他把机器人挪到了大阪大学，并分配了另一个学生来专门监督。他还为如何使用机器人制定了一些基本规则：不要在深夜使用机器人，也不要和机器人独处。

而当石黑浩制造出第一个成年女性特征的机器人时，他有些担心实验室的学习会做出什么。他们想搂着机器人睡觉吗？抱着她的怀抱吗？ 石黑浩亲眼目睹了一名工作人员在“她”面前表现得是如此慌张。石黑浩对此的解释是，一个友好的人类女性永远只会是一个“真正的人”，从不会像机器人分身一样如此“优雅”。“我们希望有一些理想的伙伴，而机器人就是能够照出你内心想法的一面镜子。”这样一来，与机器人建立关系就像有了一个自我延伸的合作伙伴。

但这么多男人对女性机器人的反应依旧让石黑浩感到不安。但这也是他正在着重努力的方向。2014年，他开始了一个新的项目，旨在将他的个人完美主义与展示女性美丽的想法结合在一起：在我造访期间，他和他的机器人团队正在打造他所谓的“最美丽的女人”。对于其外观方法，石黑浩咨询了大阪的流行整容外科医生，分析了环球小姐决赛入围者的图像，最后还是相信自己的直觉。 （他已经多次向我提到，他觉得自己比其他机器人专家更像是一个“艺术家”）。石黑浩与一名技术人员连续两天都工作12小时以上，以创建出这个机器人的3D渲染图形。他很高兴发现，眼睛以及鼻子的细微调整把它渲染成一个完全不同的人像。 “我该怎么说？感觉好像不是我的女儿，而是一个特别的人。”

现在，当我问及石黑浩Hiroshi为什么会格外强调外观漂亮的女性机器人时，他提醒我自己的更大目标是让人们接受机器人走进他们的生活。 “更多人会接受什么样的？”他问，“美丽的女人还是丑陋的女人？”后来在一次企业讲座中，我听到他总结如下：“你无法想象一个美女会上厕所或是打盹。因此我认为机器人能够更好地表达美。“

这时，石黑浩从椅子上站起来，好像灵感突然爆发了。他转身从抽屉里拿出一个一个黑色的拉链袋。他掏出两个类人形的手工泡沫模型，将其中一个作为礼物送给我。他拿起另一个并朝向我。

“我们来做一个实验，”他说。 “我们让它们凑在一起，我们让它们接吻。”

我不确定这是何意，只能答道，“好。”

我手中模型的脸凑上他手里小玩意的脸，两者的嘴巴碰到了一起。

“感到很有趣，对吧？“他问道。的确如此，感觉有点像突破了界限。

我回到东京待了几天，见到了很多石黑浩的同事。而在往返大阪的期间，有一些事情发生了：我迷上了在旅途第二天遇到的一个人。

我的代理人通过电子邮件把我介绍了伊桑，告诉我在日本期间他可以帮助我。伊桑是美国人30多岁，十年前来到东京从事平面设计工作，有着一口流利的日语。伊桑向我发送了关于咨询、翻译以及酒店名称的相关信息，并在我搭乘新干线子弹列车前往大阪之前和我共进晚餐。当我们当天晚上在涩谷区地铁站前见面，他的眼睛反映了我脑海中的想法：这将是一个非常美好的夜晚。

我从来没有一场谈话就被帅气的男人吸引。但是伊桑的外表是如此的帅气，脸和下巴都非常迷人。肩膀的宽度、身上的味道以及充满磁性的声音都深深吸引到了我，更重要的是他的颈后有着一个让我特别着迷的小凹陷。

在这个陌生的城市里，他成为了我的向导。我被他引导，也感到更加快乐。我们在喧闹酒吧里用纸牌喝酒，也去过很安静的的爵士酒吧;一家大厅有钢琴演奏的酒店，52层的房间能够纵览整个城市夜景。我们谈论书籍，我们也谈论自己的家庭;我们谈论自己认为所爱之人。晚上我们挽着手走在街上;坐下来会相互摩擦膝盖;我会把手放在伊桑颈后的凹陷里。私下里，我们裸身躺在卧室地板上。我们中的任何一个人从没有以这种方式被某人吸引，这种吸引力就像是一种万有引力，似乎在理性和可预测之外。我们花了很多时间试图抵抗，但完全无法控制。

这令人兴奋。而对于我来说，沉浸在机器人设计的世界里也是一种宽慰。在这个世界里，软硅胶就是人体皮肤，我们在机械面孔上寻找人类那种善良、悲伤或遗憾的迹象。这是一种宽慰意味着我们是动物，而不是观念;我们的化学特征不像程序化的反应那么炫酷，不会有立竿见影的效果。要知道人类的本能可以让我再次感觉到自己作为一个人的存在。

当起初石黑浩想要制造一个机器人时，他转向专门从事性爱玩偶制造的Orient Industry后者制造的性爱玩偶每个售价高达数千美元。他们试着合作，但石黑浩很快就断了关系。随着声誉的增长，他担心这样的合作可能会带来负面影响。政府肯定不希望投资与性爱玩偶有关。

然而，性行业不需要政府的批准就能茁壮成长。起初Orient Industry仅有一个房间，二十年之后公司已经占据了整栋建筑物，而公司所销售的玩偶技术含量并不比摆件高出多少。 石黑浩认为，人与机器人之间的性爱肯定会成为未来的一部分，这只是一个时间问题。他知道他的研究在这个领域将是非常有帮助的，但作为一个受人尊敬的学者，他将需要一个非商业性的，充足的社会理由来支撑自己的研究。他说：“一旦我们制造出一个漂亮的性爱玩偶，你知道，肯定有人会使用它。这是一个基本的欲望问题。”

石黑浩说出这些话的时候，我们正在从奈良回大阪的路上。他驾驶着马自达轿车飞驰在高速公路上，最后我们的谈话转到了1982年的电影《银翼杀手》。他谈到了片中的女性复制人，演员的名字他不记得了，但他喊道，“她看起来像你！”

石黑浩暂停了一下，又重复了一次，这次措辞周全，“有一天我也想拥有自己的复制品，”他说，“大概每个人都想有一个，对吧？你不觉得吗？

“他们自己的机器人？

“是啊。我是这样认为的。“他同意自己的看法，“这不只是机器人，它几乎就是人。这是理想化的。”

“一个理想化的女人？”

“大概是的。我不知道。“他笑道，“这也是项目之一”——“最美丽”的机器人。 ”

我们开始沉默，然后他问了一个令人惊讶的问题：如果他制作出我的机器人分身，人们会怎么想？

无论什么原因，这种可能性我想都没想过。但这个想法是出乎意料的直接。

我试着想象那将如何。他们会将我的身体包裹在石膏中，然后我的各个部分将仿制出来，并固定在一起。而我的脸会被仿制成有机硅的复制品，一副微笑的面孔被覆盖到整个机械头骨之上。然后我身体的每个部分将被送到石黑浩的实验室组装起来，穿着裙子，上衣和长长的黑色假发;也许一个学生会为我的机器人穿上一双合脚的时尚皮鞋。那双发亮的眼睛会看着在场的研究人员，似乎若有所思。

假设我的分身没有在实验室中使用，而是在世界各地巡回展示：那么注定要进行机器人动作展示。助理会带着我从一个地点到下一个地点。每次结束以后回到酒店，也许他会向我倾诉他的沮丧。最后当展示结束以后，我的机器人会被扔到墙角。有时候，当学生晚上喝完酒回来对着机器人唱歌喝杯啤酒来让自己的复制品唱卡拉OK。而在剩下的时间里，我的这个复制品将会借用我的外表、我的脸、我的表情甚至于我的记忆去说去做。

我还没有准备好放弃自己的形象。

图示：Telenoid的形态有时会显得过于女性化，有时又像一个小男孩，

我将石黑浩和希腊神话中的皮格马利翁做了一番对比，但是这种对比只是部分正确。他创造的欲望，即个人痴迷的推动力，更多的是一种自我驱动而非浪漫。在我与他相处的时间里，我从来没有感觉到石黑浩迷恋他的女性机器人，这甚至不同于他的一些机器人粉丝或者同事。激发他的是作为创造者的角色力量，或许有一天石黑浩真的会破解关于人类情感纽带的奥秘。他并不在乎如何解决。如果他可以将人类分解到最小的组成部分，他肯定会这样做。但是关于机器人的诸多物理细节，比如那精确的硅胶模具，那完美的睫毛和皮肤角质层，从另一个方面讲是否影响力所谓sonzai-kan的真实属性呢？一种已知的方法是将机器人精简到只留下最重要的元素。

他已经这样做了。石黑浩梦到过这样一种机器人的形状。当他醒来后，用粘土雕刻出一个模型。这个名为Telenoid的机器人高约一又二分之一英尺，通体是幽灵般的白色，皮肤光滑，像个外星孩子。它的手臂并不完全，而且没有腿，只有一个屁股。颈部是柔滑的白色氨纶把头和身体连在一起。整体看来，它就像一块连续的，无缝的柔软塑料，像裸体的孩子一般光滑。

有时这个机器人脸上的表情会宁静得令人不安。这也许是因为它深邃的眼睛，略微翘起的薄嘴唇，亦或是显现出一丝温柔的眉毛。它细腻的特征有时会显得过于女性化，有时候又像一个小男孩，但是对于年轻人来说，这些功能太过熟悉了，太安详了。

在石黑浩的研究所里，研究团队向一群丹麦游客展示了这款机器人。Telenoid用三脚架支撑在地板上，一激活电磁阀就开始动起来。它抬头看着我们，开始吸引到我们的注意力。它环顾四周，扭动着双臂，动作是如此地流畅，举止很有亲和力。它用女性的声音开始和一名名叫米里亚姆的研究生对话。现在Telenoid是远程操作的，但石黑浩希望在未来几年内能够实现完全自动化。它的脸部表情拥有着人类孩子从未有过的平静，但身体和手势却传达出一个孩子特有的脆弱和需要。

米利亚姆提起这个小东西，把它夹在臂弯里，两个人继续咕咕哝哝地聊天。经过几分钟的观察，我想到的不再是厌恶或噩梦，而是小巧、亲密和友谊。这个小外星人让人生出一种保护欲。

丹麦人之所以造访实验室，是因为石黑浩希望与当地的风险投资公司合作，在丹麦的高级护理机构中配置Telenoids。几年来，每几个月石黑浩都要去趟丹麦。研究团队和丹麦的合作伙伴正处于现场测试的最后阶段，希望尽快制定出可行的商业计划。每个人对此都表示乐观：志愿者已经能够很快与这种奇怪的人形机器人建立联系。日本大使和丹麦王子均出席了在丹麦举行的媒体活动，他们拥抱了这个机器人。王子说这种体验让他想起了自己的孩子。

而从关于护理机构的视频素材中来看，效果也非常不错在一个视频中，一位年长的女人坐在沙发上，她的腿上有一个Telenoid机器人。虽然她的看护人解释说她很少与比人交流，但却愿意与机器人说话（她可能不知道机器人是由大阪的志愿者进行远程操作的）。在另外一个视频剪辑中，一位已经100多岁的女子靠在桌边，环抱着自己。石黑浩的研究人员说：“她很郁闷，不和别人说话。然而当看护手中拿着Telenoid坐在她身边时，她就兴奋起来，咧嘴笑笑。她开始发出一些简单的声音：“啊啊啊啊啊！”她把Telenoid抱在胸前，脸上露出一种幸福的表情，慢慢地来回摇。

这个视频剪辑表明一台机器可以唤起情感的联系——但它唤起了什么？是闪烁在百岁老人脸上那种久违的幸福吗？ “我们还不知道，”研究人员说，“但是那些喜欢Telenoid的人往往是曾经有过孩子的人。”有人会在高龄时孤独一人，而通过在怀抱中摇晃机器人能够让他们重温拥有孩子的快乐。

十几年的努力为石黑浩画了一个圆：从以女儿为原型的机器人到另一个孩子机器人——一个是空白，而一个可以是任何人的小孩子。一个人性化的机器人一旦运行，人们就会被吸引到，富有同情心。正如石黑浩所说的那样，Telenoid有着空白抽象的身体，面对这种“中性外观”，我们根据自己的外表判断某人的无数方式都会蒸发掉。剩下的则是试图定义的不可逾越事物：一个明显的人类存在，没有什么不可能东西。这是一个局外人的角度，就像机器人的制造者一样，但也会唤起我们的感情。在拿着机器人的时候，人性恰恰会从这个不像人类的东西中散发出来，这一点很重要。

图示：Telenoid脸上的表情有时平静的让人不安

今天，石黑浩的女儿机器人站在一个白色的平台上，被密封在他实验室的一个玻璃橱窗内。即便依旧穿着淡黄色的裙子上，但看上去依旧让人不安。它的手臂太长了，几乎像猿猴一样长，双手垂得太低，一只手放在裆部，仿佛要遮住自己。脸上的嘴巴抿得过紧，而表情又过于紧张，这个诞生15年的小机器人总让人感到不安。

上大学的丽莎正在父亲的研究部门工作，其也是仅有的几位女性之一。家人为此很高兴，虽然石黑浩有点矛盾：他们从来没有讨论过他的工作。 “但这是积极的，对吗？”他问反问我，“我不知道以她为原型的机器人是有积极还是消极的影响。最后，她来到我的实验室，“他说，“我现在可以更好地说服别人。”这让他笑了起来。

对于石黑浩来说，Risa似乎与他所谓最“漂亮”的女性原型格格不入：聪明却不耐烦，不是少女，却是一个自由的思想家。她的表现让他感到惊讶。他认为她是“典型女性和像我这样强壮角色”的混合体。她在数学和物理学方面很有才华，她的竞争力，尤其是与男孩的竞争给石黑浩留下了深刻的印象。 “她有时候非常坚强，”他说。

我第一次见到她是在她父亲实验室里的一个小型会议室，立刻就感受到了对方那种平静的睿智。丽莎的上衣合身，戴着一副眼镜和水晶吊坠，她的头发梳成一个低悬的马尾辫。这是一个早在孩童时期就参与父亲机器人研究的女孩。她从来没有见过父亲的演讲，只是最近才开始读他的书。谈到她的复制品，丽莎和她的父亲一样现实：“我是父亲所能找到的最亲密的机器人原型。”（Risa和我通过翻译发言）

学生有时会问及丽莎的姓氏。 “我猜，这是因为我的父亲太出名了，”她说。但是，正如石黑浩本人和外观差别，丽莎认为“石黑浩教授”和她的父亲是两个完全不同的人。在大学里，石黑浩是被学生和教师拥簇的魅力“榜样”;而在家里，他是一名专注于满足好奇心的研究者。丽莎认为，一位真正的研究人员是“试图找出自己兴趣所在的人。”

虽然丽莎还没有申请专业，但她知道她对机器人科学并不感兴趣。然而，她对于机器人的雄心壮志却毋庸置疑：“无论互联网发生了什么，”她说，“无论下一个重大创新是什么，我都会投入其中。”她认为，在小时候就参与进她父亲的工作，这种经历让她比以往更加大胆。 “我被动成为我父亲项目的一部分。而且因为我有别人从未有过的体验，所以我有这样一种感觉，任何事情都可以做到。从那时起，当别人说'不，这是不可能的，我们不能这样做'，我想的是也许我可以做到。我的父亲可以做其他人做不到的事情，而我是他的女儿。”

据我所知，石黑浩不知道他的女儿会这样说。

当他制作出自己的复制品时，丽莎刚刚9岁。她与Geminoid进行了面对面的互动，而她的父亲则在另一个房间远程操作。她说：“我当时并没有把注意力放在机器人身上。”她记得最清楚的是当时父亲的存在，不是在她身边，而在另一个房间里，在一墙之隔的视线之外。

图示：石黑浩说，“大概每个人都会想要有一个复制品，不是吗？”

一天晚上，在大阪一家传统餐厅享用晚餐后，石黑浩带我来到一个卡拉OK吧。也许是工作日的缘故，酒吧里空无一人。百无聊赖的年轻服务员带我们来到走廊尽头的房间，走时带上了门。

房间表面装饰是黑色的皮革。在屏幕的蓝光下，石黑浩点了一首又一首日本民谣。我坐在那里，看着他拿起麦克风深情歌唱，一首比一首更为柔情。我看到了他在实验室中的那种表情，石黑浩把那种专注表现展现给我，展现给这间房。

另一首歌曲开始了，这一次他把手伸向我;我站起来，他一只手拿着麦克风，另一只手环在我的腰间，带着我翩翩起舞。起初动作有些僵硬，就像两个年轻的孩子，几乎没有任何接触，相互独立，只是专注于脚下的舞步。我和石黑浩度过的时光——几个月的Skype电话，几个星期的采访反而成为了亲密无间的另一种压力：记者和采访目标。石黑浩所知道的我是一个对他着迷的女人，一面反映他的形象的镜子，一个他想法的回音，一个与自己的对话;我所知道的石黑浩是通身黑色的偏执狂，一个双重性格的男人，也是我工作的宝贵话题。而现在的我们是在小黑屋里一起跳舞的模特儿。将现在的我们联系在一起的是服从于狭隘目的的狭隘魅力。

我们最需要的是什么样的联系？什么程度的联系才叫够？——足够维持我们的关系，减轻孤独的感觉？你会拿四个月与一名机器人学家的糟糕相处来换取一个小时的慢舞？你会为了肉体上的快感与一个类似于Telenoid的机器人进行几周的性爱吗？你会在意电话的那头是一个聊天机器特吗

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