Artificial Women: Sex Dolls, Robot Caregivers, and More Facsimile Females

by Julie Wosk, Bloomington, Indiana: Indiana University Press, 2024

Review by Ika Aprianti Usman, Muh Akbar & M. Iqbal Sultan

In this book, Wosk brings together the scientific, technological, and social aspects of artificial women, while exploring future prospects, through an examination of artificial female representations using cultural, literary, and historical lenses. As explored by Wosk, ‘artificial representations of women’ refers to various forms of manufactured femininity, including sex dolls, robotic nannies, and digital assistants. These phenomena reflect society’s technological advances and gender norms, while also challenging these norms.

Using a historical and cultural approach, Wosk traces how artificial women have evolved from mere technological objects to more complex entities that simultaneously reflect human desires and challenge social norms. Under certain circumstances, these artificial women undergo an evolutionary process that results in the embodiment of more complicated entities, thus challenging conventional roles and even subverting human control over them, as exemplified in the films Ex Machina and Under the Skin. She examines dolls and nanny robots, unpacking them not only as products of science and technology, but also symbols of desire and stereotypes. For instance, one of the interesting concepts she discusses is that of ‘sham marriages’, or artificial relationships, which represent how technology can emotionally charge and assign gender roles in society. This phenomenon describes how individuals, especially men who have difficulty forming emotional relationships, turn to sex dolls or robot partners as a substitute for human connection. Wosk argues that this phenomenon often reinforces patriarchal values by creating artificial partners who are completely submissive, have no will of their own, and are available at the user’s convenience. On the other hand, she also explores how these artificial women become a form of critique of social norms, re-evaluating gender roles in modern society.

The initial chapter, entitled ‘Generation of Sex Robots and Sex Dolls’, provides a comprehensive historical account of the evolution of sex dolls and the ethical and social dilemmas that emerge from the production of sex dolls. The author traces the history of sex doll production, starting from the prototypes of the 19th century and culminating in contemporary advances employing silicone and elastomeric thermoplastics. Wosk illustrates the ways in which increasingly realistic dolls have been achieved, accompanied by a wide range of advanced attributes, such as simulated conversations brought to life by AI. However, she notes that these innovations are often influenced by gender stereotypes. Many of these technologies often show women as submissive, passive, and existing to fulfil men’s desires, and women are perceived as passive objects to satisfy men’s desires (25–9 pp.). Additionally, the production of sex dolls is not without ethical and social dilemmas. For instance, Wosk highlights how these dolls perpetuate the objectification of gender and reproduction, and she criticises the implications of these dolls, which have the potential to displace authentic human interaction. Furthermore, the author highlights the possibility of decline in meaningful human relationships, as increased reliance on artificial partners may lead individuals to prefer simulated intimacy to actual human relationships.

In the second chapter, entitled ‘Under the Skin: The Fabricated Femme Fatale’, Wosk examines the representation of synthetic figures in popular media, such as the films Ex Machina and Under the Skin. She explores the combination of allure and threat inherent in Ava, the protagonist of Ex Machina. Despite being created as a robot, Ava embraces an autonomous agenda, which allows her to transcend conventional stereotypes of submissive feminine figures (72–96 pp.). Wosk adopts a feminist perspective, highlighting the conventional fear of crime often associated with men in her analysis. She argues that artificial women, such as Ava in Ex Machina, embody the fear of male-dominated control and the potential for female rebellion. These characters disrupt traditional gender dynamics by asserting autonomy and challenging the perception of women as passive.

In the third chapter, ‘Nannies, Twins, and Companions of Female Robots’, Wosk examines the functional role of artificial women, particularly in childcare and nurturing. She explores how robot caregivers are increasingly designed as female, as nannies and companions, to fulfil emotional and social roles, raising ethical and social questions about reliance on artificial companions in human relationships. She cites examples of successful caregiver robots, such as robots that help Alzheimer’s patients or provide companionship to lonely individuals. She examines how these robots are designed to fit the demands of the modern market, such as caring for elderly people and listening to complaints. She highlights the gender stereotypes attached to these robots, where empathy and nurturing are often associated with female natures in sociocultural constructions (96–120 pp.).

Wosk criticises how the designers of these robots, despite their technological advancements, often fail to incorporate considerations of gender and identity diversity in their designs. Expanding on her discussion, Wosk examines the paradox of perfection in robotic design, showing how attempts to create the ‘ideal’ artificial woman often reinforce, rather than challenge, traditional gender roles.

The chapter, ‘The Perfection Paradox: A Servant No More’, explores the paradoxes surrounding female robots designed to be ‘perfect’. Wosk reveals how technology often fails to capture the complexity of human relationships. For example, she criticises how robot design often reinforces the idea that women are perfect caregivers or servants without personal needs and desires (120–141 pp.). In the final chapter, ‘Virtual Voices: Talking Barbie Dolls, Alexa, Bitchin’ Betty, and More’, Wosk discusses the evolution of female voices in technology, such as virtual assistants and talking dolls. She notes how these voices are often designed to sound friendly and submissive, reflecting deep gendered expectations. However, Wosk also highlights positive changes in the design of these technologies, where female voices are now given more assertive and independent characteristics (141–61 pp.).

Artificial Women makes a substantial contribution to the discourse on gender and technology, especially in its examination of how artificial women reflect and shape society’s perception of gender. Nonetheless, the book would have benefited from the inclusion of illustrative examples that highlight contemporary advancements, such as the integration of AI in health-care systems or the emergence of robotic caregivers in long-term care facilities, which reflect current trends in both technology and society. Through her lucid writing and insightful analysis, Wosk successfully bridges the gap between academic and popular discourse. This book would be of interest to academics, practitioners, and individuals interested in the interconnectedness of gender, science, and culture. Beyond being informative, this book also inspires academics and practitioners to reflect on their scholarly and linguistic practices.