And science created… the virtual Woman
Bibliographic Data
| ID | 21671456 |
|---|---|
| Authors | Élisabeth Marion, Yohan Trichet (0009-0002-9966-6533, Université Rennes 2) |
| Translators | Mila Signorelli |
| Year | 2021 |
| Volume | 30 |
| Publication date | 2021-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Sillages critiques (JOURNAL) |
| Journal identifiers | ISSN: 1272-3819 • E-ISSN: 1969-6302 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/sillagescritiques.11043 |
| OpenAlex | W3205622862 |
| Language | EN |
| References cited | 1 |
In the film by Spike Jonze, Her (2013), Theodore, the main character, who becomes single after a painful separation, “meets” a woman's voice. It is a voice whose timbre and words sound just like a young woman’s. In reality, it is the voice of software programmed to answer the user's requests. But this voice arouses Theodore's desire and love. In this article, we will study within a psychoanalytical perspective what this film teaches us about the contemporary issue of new addictions to connected objects. What place, what function do these objects take in the character’s relationship to the body, to drive and to language? It will more particularly focus on the voice as an object, the “most original” object of desire according to Lacan
Aesthetics · Art · Musical · Timbre · Visual arts · Computer Science · Psychoanalysis, Philosophy, and Politics · Psychology · Psychology and Mental Health · Semiotics and Representation Studies · Artificial Intelligence
| Highly cited | No |
|---|