Scientific Prometheanism and the Boundaries of Knowledge: Whither Goes AI?

2018 ◽  
Vol 26 (2) ◽  
pp. 330-343
Author(s):  
Tianhu Hao
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Paradise Lost ◽  
Essential Feature ◽  
The Real ◽  
Science Fiction Films ◽  
Contemporary Film ◽  
Epistemological Framework

This article discusses John Milton’sParadise Lost, Mary Shelley’sFrankenstein, and the contemporary filmEx Machinaas a coherent group concerning the boundaries of knowledge and the perils of scientific Prometheanism. The development of AI (Artificial Intelligence) should be delimited and contained, if not curtailed or banned, and scientists ought to proceed in a responsible and cautious manner. An obsessive or excessive pursuit of knowledge, aiming to equal God and create humanoid beings, constitutes the essential feature of scientific Prometheanism, which can end in catastrophic destruction. BothFrankensteinandEx Machinastringently critique scientific Prometheanism as one aspect of modernity, and expose the real dangers that AIs pose to the very existence of humanity and civilization. InParadise Lost, Milton provides the epistemological framework forFrankensteinandEx Machina. The article concludes that the union of science and arts in science fiction (films) can be very productive.

‘I’ll hurt you if you stay.’ The Fly scene-by-scene: Act Two

The Fly ◽  
2018 ◽  
pp. 87-96
Author(s):  
Emma Westwood
Keyword(s):  
Science Fiction ◽  
Old Age ◽  
Cellular Level ◽  
Human Beings ◽  
The Real ◽  
Natural Processes ◽  
Science Fiction Films ◽  
Emotional Resonance

This chapter describes the scenes of Act Two of David Cronenberg's The Fly (1986). In Act Two, Seth Brundle makes the transition from amiable and reclusive scientist to predatory and misogynistic Brundlefly — a seamless character transition that creeps up on the audience through Cronenberg's screenplay and direction, and Jeff Goldblum's subtle yet defined performance. As the Brundlefly persona comes to the fore, the audience still sympathises with the overtly animalistic, egregious person he has become. They know this is not the real Seth; it is the corruption of Seth at a cellular level. Cronenberg's patented brand of body horror is coming into its own right here with Seth finally admitting to himself that something is wrong. He questions whether he is dying, and if this is what dying is like, which directly references Cronenberg's own explanation of the film: that it is an allegory for our mortality as human beings and the natural processes that lead to old age and death. It is by way of the computer that he discovers his DNA has fused with a fly — the vital ‘reveal’ — in a cinematic moment common to many great science-fiction films where pivotal information of emotional resonance is not communicated between human beings but between human and machine.

Screen-Camera-Cars

Film Studies ◽  
2019 ◽  
Vol 21 (1) ◽  
pp. 53-64
Author(s):  
Sonia Campanini
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
The Self ◽  
Human Interactions ◽  
Cinematic Narratives ◽  
Science Fiction Films ◽  
Self Driving Cars ◽  
Machine Interaction ◽  
Theoretical Considerations ◽  
Minority Report

Self-driving cars have long been depicted in cinematic narratives, across genres from science fiction films to fantasy films. In some cases, a self-driving car is personified as one of the main characters. This article examines cinematic representations and imaginaries in order to understand the development of the self-driving technology and its integration in contemporary societies, drawing on examples such as The Love Bug, Knight Rider, Minority Report and I, Robot. Conceptually and methodologically, the article combines close readings of films with technological concerns and theoretical considerations, in an attempt to grasp the entanglement of cinematographic imaginaries, audiovisual technologies, artificial intelligence and human interactions that characterise the introduction of self-driving cars in contemporary societies. The human–AI machine interaction is considered both on technological and theoretical levels. Issues of automation, agency and disengagement are traced in cinematic representations and tackled, calling into question the concepts of socio-technical assemblage.

scholarly journals China Whispers: The Symbolic, Economic, and Political Presence of China in Contemporary American Science Fiction Film

2018 ◽  
Vol 2 (1) ◽  
pp. 151-161
Author(s):  
Kenneth Longden
Keyword(s):  
Science Fiction ◽  
Soft Power ◽  
Western Science ◽  
The West ◽  
Yellow Peril ◽  
American Science ◽  
Contemporary Science ◽  
Science Fiction Films ◽  
Contemporary Film ◽  
The Relationship

Abstract China has long been present in Western science fiction, but largely through notions of Orientalism and depictions as the 'Yellow Peril'. However, with China's new ascendancy and modernization over the last 15 years, along with its investment and collaboration with Hollywood in particular, contemporary film in general, and contemporary science fiction in particular, has embraced this new China in ways hitherto unseen before. This essay examines three contemporary western/American science fiction films which each represent and construct China in slightly different ways, and in ways which reveal the West, and Hollywood's reappraisal of the relationship with China and its emerging 'Soft Power.'.

scholarly journals Dirbtinis intelektas moterišku kūnu filmuose Ex Machina ir Ji

2021 ◽  
Vol 16 ◽  
pp. 69-90
Author(s):  
Justina Žiūraitė-Pupelė
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Cognitive Abilities ◽  
Female Body ◽  
Human Life ◽  
Modern Science ◽  
Mental States ◽  
Human Beings ◽  
Contemporary Science ◽  
Science Fiction Films

The article explores how artificial intelligence is constructed in a female body and showcases the boundaries between human and technological traits, as well as the relationship between human beings and technology. The article defines the notion of artificial intelligence and discusses how artificial intelligence is portrayed in science fiction films. The article does not attempt to provide new theoretical insights into artificial intelligence but, instead, to show how artificial intelligence is characterised in the context of modern science fiction films. Two contemporary science fiction films, which focus on the artificial intelligence in the female body, are analysed: Alex Garland’s Ex Machina (2014) and Spike Jonze’s Her (2013). The analysis of the films showcases the blurred lines between being a human and being a robot: AI in the female body is portrayed as having adequate cognitive abilities and an ability to experience or to realistically imitate various mental states. The AI embodiment found in the films explores different narratives: the anthropomorphic body (Ex Machina) motivates to get to know the world and thus expands one’s experience, while the partial embodiment (Her) “programs” intellectual actions and development beyond the human body. Ex Machina highlights the anti-humanity of the female robot: another (human) life is devalued in order to pursue a goal. On the contrary, Her highlights the hyper-humanity of the operating system: continuous improvements exceed the boundaries of communication with other people.

scholarly journals Avaruudessa konekaan ei kuule huutoasi

2020 ◽  
Vol 33 (1) ◽  
pp. 26-46
Author(s):  
Pertti Grönholm ◽  
Kimi Kärki
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
The Other ◽  
Ridley Scott ◽  
Stanley Kubrick ◽  
Social Hierarchies ◽  
For Profit ◽  
Intelligent Machine ◽  
The Future ◽  
Science Fiction Films

Artikkelin kirjoittajat tutkivat kolmea tieteiselokuvaa: 2001: Avaruusseikkailu, Pimeä tähti ja Alien – kahdeksas matkustaja, joiden yksi keskeisistä teemoista on älykkään koneen ja ihmisen välinen vuorovaikutus. Kirjoittajat erittelevät elokuvien ihmisten ja koneiden muodostamia suljettuja yhteisöjä, erityisesti keinoälyn ja miehistön suhteita ja dialogia. Kirjoittajat tarkastelevat elokuvia yhtäältä tekijälähtöisesti, keskittyen niiden tulevaisuuskuviin sisältyviin kysymyksiin, varoituksiin ja uhkakuviin sekä toisaalta tarkastelemalla keinoälytematiikkaa suhteessa elokuvien omaan historialliseen kontekstiin.Keinoälytematiikan kautta elokuvantekijät ovat käsitelleet laajoja kysymyksiä, jotka liittyvät ihmisyyden eri puoliin, kuten tiedonjanoon ja uteliaisuuteen, ihmislajin ekspansiivisuuteen, taloudelliseen hyödyn tavoitteluun, väkivaltaisuuteen ja sosiaalisiin valtasuhteisiin. Samalla elokuvat esittävät kysymyksiä koneiden ja ihmisten rajojen hämärtymisestä, toiseuden kokemuksista sekä keinoälyyn liitetyistä pelon, pyhyyden ja kiehtovuuden ja ylevän teemoista.In space, even the machine doesn't hear your scream. The human-AI dialogue in three science fiction films of 1968-1979Grönholm and Kärki research three science fiction films: 2001: A Space Odyssey (Stanley Kubrick, 1968), Dark Star (John Carpenter, 1974), and Alien (Ridley Scott, 1979). They all contain the interaction of the intelligent machine and human as one of their central themes. In particular, the authors analyse the closed communities of the space ships, focusing on the relations and dialogue between the human crew and the Artificial Intelligence (AI). Special emphasis is given to the intentions of the filmmakers – both directors and screenplay writers – and how the questions, warnings and threats about the future were envisioned in each film. On the other hand, the theme of AI itself is also historically contextualized.Furthermore, the authors consider the wider questions these films ask about the nature of humanity: thirst for knowledge, curiosity, expansion of our species, reach for profit, violence, and social hierarchies. Simultaneously, these films also seem to ask questions about the blurring of the boundaries between the human and machine, experiences of otherness, and feelings of fear, sacral, fascination, and sublime that are associated with the AI.

scholarly journals The Democratization of Artificial Intelligence: One Library’s Approach

2019 ◽  
Vol 38 (1) ◽  
pp. 8-13 ◽  
Author(s):  
Thomas K Finley
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Daily Life ◽  
Public Library ◽  
Education For All ◽  
Technological Revolution ◽  
The Real

This article argues that the current technological revolution that is happening in Artificial Intelligence is not just about its prevalence in daily life, but the real revolution is about the emergence of AI tools that may help to democratize its use. Lowering the barrier to a technology that is perceived more as science fiction than accessible for mass utilization. A Public Library shares its approach in leveraging available tools to enable AI education for all.

Ex Machina

2020 ◽  
Author(s):  
Joshua Grimm
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Modern Science ◽  
The Real ◽  
Scientific Advancement ◽  
Mad Scientist ◽  
Unexpected Consequences

Ex Machina (2014) impressed critics and audiences alike with its bold ideas and all-too-realistic depiction of the unexpected consequences of constructing a sentient being. In his feature directorial debut, Alex Garland uses efficient storytelling, a compelling narrative, and heady concepts to create a modern science fiction masterpiece that explores gender, scientific advancement, and the very concept of humanity, all in a compelling, suspenseful film. Artificial intelligence has long been a sci-fi staple, but here, Garland posits what would happen if, for once, humans, rather than AI, were the real villains. In exploring Ex Machina's ideas about consciousness, embodiment, and masculinity, all through the lens of a misogynist mad scientist, Joshua Grimm argues the result is a fascinating, truly unique film that immediately established Garland as a breakout voice in the landscape of science fiction film.

scholarly journals David's Need for Mutual Recognition: A Social Personhood Defense of Steven Spielberg's A. I. Artificial Intelligence

2016 ◽  
Vol 20 (2-3) ◽  
pp. 339-356
Author(s):  
Tuomas William Manninen ◽  
Bertha Alvarez Manninen
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Mutual Recognition ◽  
Social Recognition ◽  
Human Needs ◽  
Desire To Have Children ◽  
Science Fiction Films ◽  
The Many ◽  
A Company

In Steven Spielberg's A.I. Artificial Intelligence (2001) a company called Cybertronics is responsible for creating, building, and disseminating a large number of ‘mechas’ – androids built specifically to address a multitude of human needs, including the desire to have children. David, an android mecha-child, has the capacity to genuinely love on whomever he ‘imprints.’ The first of this kind of mecha, he is ultimately abandoned by his ‘mother’ Monica, and David spends the rest of the film searching for Pinocchio's Blue Fairy so that he can be made into a ‘real boy’ and gain Monica's love. Their reunion finally occurs at the end of the film, after hundreds of years. Typically, the ending in A.I. is panned by critics, and written off as an egregrious example of Spielberg's sentimentalism. However, we argue that the ending is essential in order to portray a certain conception of the nature of human personhood. While many science fiction films about artificial intelligence are centered on the issue of what constitutes personhood, A.I. is one of the very few films that does not regard personhood as something purely intrinsic to the biological (or, in this case, mechanical) construction of the organism. We contend that one of the many the messages of this film is that the journey to complete personhood requires social recognition.

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