Abstract

Controversy arose when a humanoid robot named “Sophia” was given citizenship and did performances all over the world. Why should some robots gain citizenship? Going beyond recent discussions in robot ethics and human–robot interaction, and drawing on phenomenological approaches to political philosophy, actor-network theory, and performance-oriented philosophy of technology, we propose to interpret and discuss the world tour of Sophia as a political choreography: we argue that the media performances of the Sophia robot were politically choreographed to advance economic interests. Using a phenomenological approach and attending to the performance and movement of robots and illustrating our discussion with media material of the Sophia performance, we explore the mechanisms through which the media spectacle and robotic performance advanced the economic interests of technology industries and their governmental promotors.