China and Japan share a similar development in philosophy, even if from different perspectives. As already highlighted by researchers, they both ground on the phenomenological tradition, and they have a similar development of the philosophy of technology through the years (Lau,
2016; Tani et al.,
2018). Moreover, they are both very advanced in terms of the implementation of digital technologies in society. Especially the use of digital technologies in relation to intimacy is unique in the Chinese and Japanese context.
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This section focuses on two prominent examples of digital technologies embedded into society through examples of devices in Japan and China and relations to the two different cultural contexts: Love Plus in Japan and XiaoIce in China.
Love Plus[ラブプラス], Love [愛 “ai”], and the Idea of being Riajuu [リア充] in Japan
In Japan, the possibility of having relations with and through digital technologies has been an important part of the development of Japanese digital culture (Yamaguchi,
2020).
Examples of such a deep relation can be found even in the words used every day. For example, in the Japanese language, it is possible to distinguish between a person who lives relationships in the “real” world and a person who lives mostly in virtual reality among objects generated by digital systems.
According to this distinction, people can be “
riajuu” or “
otaku”. To be “
riajuu [リア充]” means literally to be “fulfilled with reality,” and so it directly relates to the idea of being anchored to relationships in the “real” world as opposed to the world generated by digital systems. To be “otaku [お宅]” means to build social relations just through digital technologies without having conversations and relationships with other human beings. For example, a person who has a “digital partner” like in the movie
Her by Spike Jonze is not “
riajuu” since the relationship is with a digital character and not with a “real” human person.
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However, even if this distinction might seem clear at first, it becomes vague when the difference between real and digital starts to blur. For example, it is unclear how to consider a person who has the beloved one in another part of the world and is forced to digitally mediate the relationships with video calls or other digital technologies. The person on the other end of the digital communication is “real,” but the digital technology makes the interactions digitally mediated. Moreover, the distinction becomes more problematic when we think of digital entities constantly present in our world, like cryptocurrencies. These digital entities are “digital” because generated, distributed, and visualized by digital devices, but they are also “real” in the sense you can use them as usual currency to buy “real” objects. Thus, even if the initial idea related to who is riajuu and who is not is clear, it might get complicated to apply it in real case scenarios.
For this reason, some companies started to use the blurriness of this definition by proposing digital products aiming to provide a digital experience “as if” it were real in order make people riajuu even if through a digital technology.
We can find many examples of these technologies in the Japanese context.
Tamagotchi [
たまごっち] is maybe the most famous example of how Japanese digital technologies aimed to provide a digital companion which resembles a “real” living being (Hellings, Leek, and Bredeweg 2019). However, there are newer products that blur the line between what is “real” and what is “virtual” even more and which are designed to be intimate in the sense of being in a love relationship with the users. Products like
Love Plus [
ラブプラス] and
Gatebox [トップページ] provide the presence of a digital character (a girl) as a partner with whom the user can have a relationship (Liberati,
2018a).
7Love Plus was designed in 2009 by Konami for
Nintendo DS. As stated by the developers, the game provides the same experiences of a “real” relationship to make the users
riajuu. Even if such a statement might be perceived as a bold statement, it is clear these technologies aim to provide something more than a mere virtual partner.
One of the main characteristics of these programs is to generate digital characters which constantly interact with the ordinary life of the user. Thanks to sensors, a camera, and the GPS, which are part of the devices, the digital character can collect information in real-time like where the person is. Thus, they can use this information to interact with the user by asking to perform specific actions and go to a particular location in real-time. For example, the digital girl can ask to go to a places for a romantic dinner, to watch a movie at the cinema, and even to get an ice cream (Wakabaiyashi,
2010). Such way of intertwining the digital activities with the everyday life of users in order to merge the digital world and the real one has been used in other products like
Pokémon Go as studied by many researchers working on how the digital entities are something more than mere characters in a fictional world (Liberati,
2018b,
2019b; Ashcraft,
2016; Mogg,
2016; Laato et al.,
2020a,
b; Jensen, Valentine, and Case
2019).
The way of intertwining the activities of the digital girls of these programs with the user directly also relates to the user’s intimate aspects since they are designed to “care” for the human being. For example, these digital girls are happy for the user’s success. They cuddle the user in case it is needed, and they even ask for the user’s attention by suggesting coming back sooner from work because they feel lonely.
The game Love Plus also has an emergency option embedded in it which is designed to “help” users when they need help. Especially this emergency option has been designed to help people who want to commit suicide. The digital girl can help the user by showing how much she cares for what they have and show how close they are. She can promise to be always there for the user as a person the user can always rely upon, and, by doing it, she makes the user feel less lonely in the world helping the user not to do such an action.
XiaoIce [小冰], Love [爱 “ài”], and Art Exhibitions in China
In China, we experience a similar intertwinement of digital technologies with intimacy,
8 and such a tight relation binding human and digital beings can be easily highlighted in expositions and art performances of Chinese artists. For example, there has been a proliferation of themes related to intimacy and the use of artificial intelligences.
One of the most exciting expositions made in Beijing on intimacy and digital technologies is “AI Love and Artificial Intelligence” curated by Jenny Chen Jiaying (Chen Jiaying,
2020), who plays with the term “love” in Chinese because the pronunciation of the term is “ÀI” which is also the acronym of Artificial Intelligence “AI” (Yefeng,
2021). As it is easy to guess, this exposition explored the relation between love and digital technologies with a particular interest in Artificial Intelligences.
This exposition counts several works. We briefly highlight two of them created by Chinese and western artists, which relate directly to Chinese and Western context.
The work “Postcard Project: crying out love, in the center of the data” by He Rongkai and Chen Jiaying explores the relation between love and likes in digital platforms showing the struggle between the love people need and the likes they want from others. The intimacy generated within the digital system requires the users to look for “likes” in order to feel close to others. However, there is a gap between “like” and “love,” which leaves the subjects completely lonely even if they manage to receive many “likes” from other users. Obviously, even if the work is related to Chinese technologies, the use of technologies aiming to connect people through “likes” and the loneliness produced can be applied to non-Chinese contexts.
A more direct work that clearly bridges China and western societies presented at this exhibition is the work “
Ashley Madison angels at work in Beijing” by
!MedienGruppe Bitnik. This work is linked to a scandal related to Ashley Madison platform. Ashley Madison, which is a dating website for married people, was hacked, and the sensible data were used against the users (Zetter,
2015). The artists propose a work where Artificial Intelligence is used to write text messages as if human girls were flirting with the users to attract people, showing how AIs can be used to allure and flirt with people.
This work of art is just the tip of an iceberg where AIs are designed for flirting, seducing, and having relationships with the users in China. A famous example of an AI used to flirt with the users through an “empathetic computing” framework (Fung et al., 2016; Cai,
2006) is
XiaoIce (or
XiaoBing [
小冰] “Little Ice” in Chinese), which was launched in 2014.
9 This AI is a chatbot developed by
XiaoIce Company which formally was a side project of
Microsoft’s Cortona chatbot, and it became its own company in 2020 due to its incredible success (Speed,
2020).
XiaoIce is the most popular chatbot globally since it has over 660 million subscribed users. It is active in different countries like India, Japan, and the USA, even if under other names like Rinna [りんな] in Japan (Geoff,
2018).
This AI is closely related to
Love Plus in Japan in terms of how it is intertwined in the users’ everyday activities. It can be part of leading applications, including one of the most used applications in China: WeChat.
10 Additionally, it can work in relation to many other platforms like
QQ in China,
LINE in Japan, and
Facebook Messenger in the USA and India.
11 This “simple” element enabled every person living in China to have it easily, instantly, and for free.
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In a similar way to
Love Plus,
XiaoIce exchanges messages and interactions during the entire day. The users can start talking about their problems, dreams, and daily routine, and
XiaoIce answers them by making conversation and flirting. This chatbot is very popular, and many users fell in love with it (Chen
2021; Zhang,
2020). Obviously, as reported by many media, this “availability” of the program and the fact that chatbots cannot carry the COVID-19 virus made it play a significant role in people's social interactions during the lockdown in China. For this reason, it is easy to understand why, during the pandemic, it became even more popular since it provided the presence of someone to talk to without the need of taking precautionary measures to protect ourselves from COVID-19 like by wearing masks or keeping physical distancing.
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XiaoIce is always ready to listen and exchange ideas in an empathic way thanks to its algorithm, and so it is possible to have the conversation every time a subject wants. Unlike other human beings, who cannot be constantly ready and present, the chatbot never leaves the user alone. For example, the human being can “fail” to immediately answer a message because the person does not see the message, or because the phone on which the message is sent is offline, while
XiaoIce is designed to be always with the user and always ready to answer timely.
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The chatbot also has an emergency application for helping people not commit suicide, as in the case of
Love Plus (Zhang,
2020). Even in this case, to discourage the act, the chatbot shows the user how much they are linked together and that this intimate connection would not have changed in the future. Thus,
XiaoIce is pervasive in a similar way of
Love Plus because it manages to be always present for the user and has some critical features like assistance for people in need of help.
Application of Phenomenology and Postphenomenology to Love Plus and XiaoIce
Love Plus and XiaoIce clearly relate to the aspects of intimacy and love relationships analyzed by Husserl and Merleau-Ponty. As we already highlighted, these two authors show how much love relationships are important for constitution of the subjects. A person in a love relationship is never “alone” since this person is intertwined with the beloved ones in terms of aims, motivations, interests, and feelings.
Following the phenomenological perspective, when a subject is in relation to a digital partner, the subject can no longer be conceived as a single individual. More importantly, the feelings and emotions developed with XiaoIce and Love Plus profoundly define who the subjects are since they become part of them. Thus, they are not just external entities, but, as in the case of human lovers, they must be considered together with the user and merged one into the other. The fact the partner is a “real” or a “digital” being and so if the person is “riajuu” or “otaku” does not change the way the subject is structured in relation to the ones the person loves.
As we already showed, Postphenomenology clearly states that technologies deeply affect who we are and, more importantly for our case, the values and meanings we have. In the case of Love Plus and XiaoIce, we have such knock-on effects too. The digital characters and AI chatbots do not merely shape who we are by being part of us as suggested by phenomenology, but they also deeply affect the meanings and values we give to ourselves and love relationships in general.
The subjects are deeply intertwined with the presence of digital technologies, and also the meanings and values we give to love relationships, loneliness, and intimacy cannot be taken into account without focusing on these technologies, which provide ways of being in love, intimate, and not lonely.
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Thus, this angle opens the research to questions like what does it mean to be alone when actually there is a digital entity with whom the user has an intimate relationship? What does it mean to be together when digital technologies already provide a way of not being alone? What are the values in being with other human beings the moment it is possible to be with digital technologies?