The Pervert's Guide to Ideology is a 2012 British documentary film directed by Sophie Fiennes and written and presented by Slovenian philosopher and psychoanalytic theorist Slavoj Žižek. It is a sequel to Fiennes's 2006 documentary The Pervert's Guide to Cinema. Though the film follows the frameworks of its predecessor, this film's emphasis is on ideology itself. Through psychoanalysis Žižek explores \"the mechanisms that shape what we believe and how we behave.\" Among the films explored are Full Metal Jacket and Taxi Driver. The film was released in the United States by Zeitgeist Films in November 2013.
Artificial intelligence (AI), and in particular so-called Deep Learning algorithms, provide users the flexibility to edit and manipulate digital video content. Similar technologies are widely used on popular apps like Snapchat (and Instagram), which has a Face Swap feature that allows users to switch faces with one another in live videos. They have also provided Hollywood filmmakers the ability to add deceased actors, such as Peter Cushing and Oliver Reed, into new movies (Minton 2017). But Deep Learning is now increasingly used for another purpose: to generate pornographic content commonly known as Deepfake Pornography.
It is tempting to argue that creating a Deepfake requires more labour and thus more ill intent than the fantasy. But if this were true, then any sexual fantasy requiring significant labour would be as impermissible as the Deepfake, and this does not sound right. Moreover, I believe our intuitions about Deepfakes would remain even if they could be generated by a simple click of a button (which is virtually the case already). Neither can Deepfakes be condemned with reference to their materiality (the materiality of a fantasy can be debated), as it is hard to see how materiality in and of itself carries any ethical significance. One could of course argue that material objects are more shareable and that this implies at least the potential to ruin the public image of the person it depicts. But this objection, I believe, does not fully capture our moral intuitions. Even if a Deepfake was not sharable, we would still question its moral permissibility. Consider, for instance, the following example.
Essentially, this is saying that the ethical significance of the totality of a series of actions may in some cases amount to more than the sum of its individual parts. A more formalised way of expressing the same argument is through the concept of Distributed Morality (DM) (Floridi 2012), which analyses ethics from the viewpoint of Multi-Agent Systems (MAS). A MAS is an assemblage of several human actors, machines, virtual environments and even mere concepts. Because of the distributed nature of the system, it may be difficult to allocate the responsibility when it comes to the consequences of the MAS working as a unit. To describe this, DM draws inspiration from distributed knowledge in epistemology. Floridi (2012, p. 729) provides an illuminating example:
In contrast to Deepfakes, sexual fantasies are not normally considered a gendered phenomenon,Footnote 3 and there is no immediately identifiable MAS responsible for their existence. Instead, most people have sexual fantasies about others now and then. This is not to say that sexual fantasies do not play a role in gender inequality. Their content most certainly does. And as such, their content also has an ethical significance, as pointed out by Bartel and Cremaldi (2018) and by Corvino (2002), among others. But the fact that the content of sexual fantasies can be impermissible does not mean that sexual fantasies are impermissible per se (Kershnar 2005; Neu 2012). Whereas the content of sexual fantasies may be morally objectionable, few would argue that their mere existence (irrespective of content) is grounded in gender inequality. And this distinguishes them from Deepfakes, in which the impermissibility arises regardless of the type of sexual content it contains. In other words, sexual fantasies are, unlike Deepfake Pornography, not a highly gendered phenomenon, and cannot be attributed to any immediately identifiable MAS.
It should be noted that the ethical significance of Deepfakes and sexual fantasies may differ in more ways than merely the one I have pointed to in this essay. For example, to what degree is it permissible to create a Deepfake starring, say, a spouse, who has explicitly given consent to be fantasised about How would we categorise hypothetical hybrid technologies which help materialise and bring sharpness and durability to already existing imaginary images and perhaps even dreams Are not all creative technologies a type of hybrid between the imagined and the real As I am uncertain as to how the LoA approach would be applied in such cases, I do not engage with these angles in this essay, but encourage other to contribute to the topic.
Few quantitative studies have investigated this in depth. However, the findings of Fisher et al. (2012) suggest that men think about sex about 19 times per day while the same number for women is 10, a difference which is not statistically larger than thoughts about food or sleep. Moreover, for women, the rated importance of social desirability was correlated with lower reported thoughts about sex and food, but not sleep, which suggests a social desirability bias. In sum, sexual fantasies seem far less gendered than what Deepfakes appear to be, although this is yet to be statistically confirmed.
A specific example: early in the book, the protagonist goes on an OK Cupid date with a woman who turns out to be a beautiful, cis cat girl. The protagonist isn't out as a trans woman, instead adopting an extremely relatable soft boy disguise that doesn't work nearly as well as she needs it to. She comes out to her date as a sex worker, and they go home together. As they start getting intimate, the date's boyfriend, drawn to look like Jon Arbuckle, pops around a corner and asks how much it would be for him to join in as well. Our trans protag is suddenly in a dangerous position, and caught between fear for her safety, betrayal, and financial need. This isn't an unfamiliar negotiation for many trans girls, and Remy's art captures the stress, arousal, and frustration of the moment beautifully. Something that could be a mean-spirited joke on the character from another artist becomes a genuine and tense moment from two trans artists who know how serious this stuff actually is.
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Back then I had ridden just about every road that existed in the San Isidro/Perez Zeledon vicinity. I rode almost every day and one of my favorite training runs was to the top of El Alto, the highest peak between San Isidro and Playa Dominical. The climb was about 1,500 feet in a distance of less than ten miles. I did it as much for the exhilarating high-speed ride back down the mountain as for the exercise. The last couple of kilometers before beginning the ascent wound through a neighborhood called El Hoyon.
I would psych myself while passing through, preparing for the torturous climb. It was here, in a spot along the road that overlooked awarehouse of some kind, that I began encountering a man who hid himself in the high grass on the embankment above the warehouse. When I passed he would often be there, lurking, visible only from the waist up.
My favorite path was one that took me past a small cluster of rural houses, down a steep narrow gravel road to a gulley, followed by a kilometer of 2 long uphill climbs. Just after the gulley, at the beginning of the ascent, there was a small, closed up house on a knoll to the right. It was the only structure along the uphill kilometer.
I waved and continued my climb. On my return, I heard him making the same slurping and grunting sounds as years before. On my subsequent hikes, I chose to ignore him, which seemed to make him bolder. One morning he made such a racket that I had to look up. He was standing in the doorway of the shack, hands working feverishly at his exposed little dong, smiling down at me, like some wacked-out gnome, some disturbed lawn jockey come to life.
Around this time, a small prefab house was going up on the same lot, yards from where the pervert stayed. One weekend, a man with a nice pick-up truck was present. As I climbed the hill, I stopped and introduced myself. This was the owner of the lot. It was a delicate topic, but I had to let him know that his caretaker was a literal whack (off) job.
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A creepy, twisted predator who's name rhymes with pervert for a reason, Herbert is a sexual predator who methodically stalks preteen and teenage boys. He has a funny, cheerful, and relaxed personality despite this, causing him to appear as a harmless and friendly individual. He seldom shows much emotion outside of calm cheerfulness or raises his voice to anything higher than a light, airy whisper. His voice is eerily angelic in contrast to his goblin-like appearance and he is an amazing singer. While Herbert is not completely evil, he is still a pedophile who constantly tries to chase down and seduce Chris as well as other boys in Family Guy. He uses a variety of methods to try and catch boys and be around them, such as luring them to his cellar with popsicles, purchasing an ice cream truck in order to sell ice cream to boys, or drugging them with things like Nyquil and Tylenol PM. On top of this, almost everyone in Quahog is woefully oblivious to Herbert's true intentions, which allows him to stalk boys seemingly with impunity, although his schemes oftentimes fail due to his old age and frailty. Though Herbert is attracted to boys only, and as such is a gay pedophile, he seems to be against homosexual rights such as calling Brian Griffin a sick pervert for trying to get him to sign a petition supporting gay marriage. Of all boys, Herbert is most fixated on Chris Griffin. 59ce067264