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.

Augmenting Healthcare with Human-Centered Technologies

2020 ◽  
Vol 25 (4) ◽  
Author(s):  
Christopher Moehle ◽  
Jessica Gibson
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Precision Medicine ◽  
Economic Factors ◽  
Central Theme ◽  
Business Cases ◽  
Self Driving Cars ◽  
High Level ◽  
Near Future

“Robotics”, “Artificial Intelligence”, and “Machine Learning” have become an almost impossibly broad amalgam of terminologies that span across industries to include everything from the cotton gin to self-driving cars, and touch a broad range of biotechnology and med tech applications.  We address the spread of these transformative technologies across every interpretation of the analogy, including the spectrum ranging from practical, highly economic products to inventive science fiction with speculative business cases.  In this two-part article, we first briefly overview the high-level commonalities between historically successful products and the economic factors driving adoption of these intelligent technologies in our current economy.  In doing so, we focus heavily on “Augmentation” as a central theme of the best products historically, now, and in the near future.  In the second part of the article, we further illustrate how “Augmented Intelligence” can be applied to biotech. This is done through a mini-case study, or a detailed practicum, on Ariel Precision Medicine, to illustrate how “Augmented Intelligence” can be applied to precision medicine currently.

‘The History of Gods’

2020 ◽  
pp. 49-62
Author(s):  
Joshua Grimm
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Turing Test ◽  
Moral Issues ◽  
Entire Process ◽  
Human Interactions ◽  
History Of ◽  
The Creation

The evolution of artificial intelligence in science fiction film has showcased an array of technological marvels, and yet each reflects the era in which the films were made, be it what the device looks like, the extent of its power, or the ethical/moral issues surrounding its existence. Ex Machina is no different, with the development of AI firmly embedded in the tech industry. Caleb’s entire purpose for being at Nathan’s compound is to determine whether Nathan has, in fact, created artificial intelligence or if Ava is simply imitating human interactions. This is called the Turing Test, which has been around for nearly 70 years, and it has been rigorously debated for almost its entire existence. Ex Machina pushes this debate by accepting and challenging key assumptions of the Turing Test while positing its own: The role affection/attraction/love might play in the entire process. As such, by considering these emotional components (as expressed toward the creation rather than from it) grounds the discussion in terms of morality and soul, something previous films have treated more as a by-product of artificial intelligence.

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 Figura mitologicznej Kasandry w filmach science fiction

2021 ◽  
Vol 28 (37) ◽  
pp. 234-246
Author(s):  
Patrycja Rojek
Keyword(s):  
Science Fiction ◽  
Pop Culture ◽  
Contemporary Fiction ◽  
Distant Future ◽  
Steven Spielberg ◽  
Terry Gilliam ◽  
James Cameron ◽  
Science Fiction Films ◽  
The Rich ◽  
Minority Report

The article reflects on how characters with the features of the mythological Cassandra function in science fiction films. Such references are part of the rich tradition of building fictional depictions of the near or distant future on the foundation of mythical stories. The study aimed to examine the considerable and complex meaning which Cassandra conveys through the ages and to determine its usefulness in constructing pop culture ideas about the current condition of humanity. In contemporary fiction, Cassandra is brought to the fore more often than in ancient sources, and her fullest portrait is drawn in those films that both consider her a figure of the powerlessness of the prophets and take into account her personal drama. In Terminator 2: Judgment Day (1991) by James Cameron, 12 Monkeys (1995) by Terry Gilliam, Minority Report (2002) by Steven Spielberg, and Arrival (2016) by Denis Villeneuve, the figure of Cassandra is examined through her prophetic gift, the alleged madness of the seer and the fearfulness of the prophetism itself.

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.

scholarly journals AN IMPROVED SAFETY ALGORITHM FOR ARTIFICIAL INTELLIGENCE ENABLED PROCESSORS IN SELF DRIVING CARS

2019 ◽  
Vol 2019 (2) ◽  
pp. 95-104 ◽  
Author(s):  
Dr. Samuel Manoharan
Keyword(s):  
Artificial Intelligence ◽  
Road Safety ◽  
Human Population ◽  
Environmental Issues ◽  
The Self ◽  
Driving Ability ◽  
Time Data ◽  
The Road ◽  
The World ◽  
Self Driving Cars

The innovation in the automobiles have undergone a most noteworthy leap from the operation of the vehicles that was human centered to vehicles with the self –driving ability. The self-driving cars being a major level of attraction today, needs to concentrate also on the privacy, energy, traffic flow, environmental issues and the road safety. The perfect road safety is a goal that can be never achieved, due to the growing number of vehicles and the human population all over the world. Measures to improve the probability of the safety is put forward in the paper for the cars with the capability of the self-driving built with the artificial intelligence enabled processors. The performance evaluation of the proposed algorithm for using real time data ensures the competence of the safety algorithm in the self-driving cars.

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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