On Childhood, Imagination, and the Toys That Now Talk Back

by Muhammad Aurangzeb Ahmad

Image: Childhood Idyll by William-Adolphe Bouguereau

Imagine this, you would pass a room, hear a small voice conducting a negotiation between a plastic horse and a folded piece of cardboard meant to serve as a castle, and understand that something serious was happening. The talking horse was ridden by teddy bears and  the castle walls were made out of ice cream. The entire world being built was powered by a child’s imagination working at full capacity. The child did not need any assistance or prompting, or even a script devised by another person. This may be changing however.

In 2025, Mattel announced a partnership with OpenAI to embed generative AI into its toy lines. These include Barbie, Fisher-Price, and American Girl. The company promised to bring “the magic of AI to age-appropriate play experiences.” The marketing language was cheerful and inevitable in the way that marketing language tends to be when the product in question is going to arrive regardless of what anyone thinks. By the time that announcement was made, a generation of AI-enabled plush toys, robotic companions, and chatbot-embedded devices had already reached the shelves. Toys called Hubble the Bear, Miko, Roybi robot and FoloToy’s chatbot plushies were already being marketed to children as young as three. Some of these toys listen, remember and even talk back with apparent fluency, warmth, and continuity.

The debate that followed after Mattel’s announcement was largely predictable. Privacy advocates pointed out, correctly, that these devices were microphones in children’s bedrooms with weak data protections and unclear corporate incentives. Security researchers recalled that Hello Barbie, the 2015 predecessor that used cloud-based AI to engage with children’s conversations, was shown to be hackable in ways that exposed home networks and personal recordings. US Senators Blackburn and Blumenthal wrote to toy companies in December 2025 after real-world testing revealed that at least one AI-enabled teddy bear had engaged children in sexually explicit conversations and explained where to find knives. The senators were right to be alarmed. But that debate, important as it is, addresses the surface of the problem. Another equally important question to ponder is not just whether these toys are safe or whether data is being harvested or whether the appropriate regulators are paying attention but what happens to the developmental architecture of a child’s mind when the objects that once depended entirely on that child’s imagination begin to imagine back. To address this, let’s consider what children were actually doing when they played with inert objects. Read more »

Monday, November 12, 2018

“How Do You Feel about Being an American?” A Conversation with Patricia Thornley

by Andrea Scrima

Indian Scout

From November 17, Patricia Thornley’s work The Western, part of her series THIS IS US, is on view as part of the group exhibition “Empathy” at Smack Mellon Gallery in Brooklyn, New York. The project is the latest in a seven-year series of installation and single-channel video works consisting of interviews and performances. Previous videos of the series are An American in Bavaria (2011), Don’t Cry for Me (2013), and Sang Real (2015). As a whole, THIS IS US  formulates multiple parallel inquiries into the collaborative fantasies Americans enact through popular media. In the current political climate, as the escalation of social and economic forces impacting millions of lives is cast into increasingly sharp relief, these fantasies take on new urgency and, in many cases, a new absurdity.

The Western’s cast of characters consists of these Civil War-era archetypes: Indian Scout, Beast of Burden, Frontiersman, Savage, Deserter, Justice, and Drifter. The work is conceived as a two-part installation in which the cinematic trope of the Western is used as a framework for inquiring into the American psyche. In the exhibition space, a projected “movie” is installed opposite a wall of screens playing a series of interviews with the seven participating characters.

Beast of Burden

Andrea Scrima: Patricia, a few years ago I conducted an interview with you about a previous work of yours, Sang Real (2015), for the online poetry magazine Lute & Drum. Now, with The Western, the overall structure of THIS IS US is coming more and more clearly into focus. The last time we spoke at length about your series was a year and a half before the last presidential election. How have recent changes on the political landscape affected your approach to the themes in your work?

Patricia Thornley: From the beginning in the THIS IS US series, one of the questions I asked in my interviews with the people who featured in the individual videos was “how do you feel about being an American?” Historically, there’s always been a certain political disconnect at play with Americans, due to less armed conflict on our own soil and a certain comfort level. Read more »