
Lustypuppy
Add a review FollowOverview
-
Founded Date May 12, 1916
-
Sectors Writing
-
Posted Jobs 0
-
Viewed 9
Company Description
Artificial Intelligence In Fiction
Expert system is a recurrent theme in sci-fi, whether utopian, emphasising the prospective benefits, or dystopian, stressing the risks.
The idea of devices with human-like intelligence dates back a minimum of to Samuel Butler’s 1872 unique Erewhon. Ever since, numerous sci-fi stories have actually provided different effects of creating such intelligence, typically including disobediences by robotics. Among the finest known of these are Stanley Kubrick’s 1968 2001: A Space Odyssey with its murderous onboard computer system HAL 9000, contrasting with the more benign R2-D2 in George Lucas’s 1977 Star Wars and the eponymous robotic in Pixar’s 2008 WALL-E.
Scientists and engineers have kept in mind the implausibility of many sci-fi scenarios, but have actually pointed out imaginary robots sometimes in expert system research study posts, usually in a utopian context.
Background
The idea of sophisticated robotics with human-like intelligence go back at least to Samuel Butler’s 1872 unique Erewhon. [1] [2] This drew on an earlier (1863) article of his, Darwin amongst the Machines, where he raised the concern of the advancement of consciousness amongst self-replicating makers that might supplant people as the dominant species. [3] [2] Similar concepts were also gone over by others around the exact same time as Butler, consisting of George Eliot in a chapter of her final published work Impressions of Theophrastus Such (1879 ). [2] The animal in Mary Shelley’s 1818 Frankenstein has actually likewise been thought about a synthetic being, for circumstances by the science fiction author Brian Aldiss. [4] Beings with a minimum of some appearance of intelligence were thought of, too, in classical antiquity. [5] [6] [7]
Utopian and dystopian visions
Artificial intelligence is intelligence shown by makers, in contrast to the natural intelligence shown by humans and other animals. [8] It is a reoccurring theme in sci-fi; scholars have actually divided it into utopian, emphasising the prospective benefits, and dystopian, emphasising the dangers. [9] [10] [11]
Utopian
Optimistic visions of the future of artificial intelligence are possible in sci-fi. [12] Benign AI characters include Robbie the Robot, initially seen in Forbidden Planet on 1956; Data in Star Trek: The Next Generation from 1987 to 1994; and Pixar’s WALL-E in 2008. [13] [11] Iain Banks’s Culture series of novels represents a utopian, post-scarcity space society of humanoids, aliens, and advanced beings with artificial intelligence living in socialist environments throughout the Galaxy. [14] [15] Researchers at the University of Cambridge have identified 4 significant styles in utopian scenarios including AI: immortality, or indefinite life expectancies; ease, or flexibility from the need to work; satisfaction, or pleasure and entertainment offered by devices; and dominance, the power to safeguard oneself or rule over others. [16]
Alexander Wiegel contrasts the function of AI in 2001: A Space Odyssey and in Duncan Jones’s 2009 film Moon. Whereas in 1968, Wiegel argues, the public felt “technology fear” and the AI computer system HAL was represented as a “cold-hearted killer”, by 2009 the public were even more acquainted with AI, and the film’s GERTY is “the quiet rescuer” who enables the lead characters to succeed, and who compromises itself for their safety. [17]
Dystopian
The scientist Duncan Lucas writes (in 2002) that human beings are stressed about the innovation they are constructing, and that as devices began to approach intelligence and thought, that issue ends up being acute. He calls the early 20th century dystopian view of AI in fiction the “animated automaton”, calling as examples the 1931 film Frankenstein, the 1927 Metropolis, and the 1920 play R.U.R. [18] A later 20th century method he names “heuristic hardware”, offering as instances 2001 an Area Odyssey, Do Androids Dream of Electric Sheep?, The Hitchhiker’s Guide to the Galaxy, and I, Robot. [19] Lucas thinks about also the movies that show the result of the desktop computer on science fiction from 1980 onwards with the blurring of the between the genuine and the virtual, in what he calls the “cyborg impact”. He mentions as examples Neuromancer, The Matrix, The Diamond Age, and Terminator. [20]
The film director Ridley Scott has focused on AI throughout his career, and it plays a fundamental part in his films Prometheus, Blade Runner, and the Alien franchise. [21]
Frankenstein complex
A typical representation of AI in sci-fi, and one of the earliest, is the Frankenstein complex, a term coined by Asimov, where a robotic turns on its developer. [22] For instance, in the 2015 film Ex Machina, the smart entity Ava turns on its creator, as well as on its prospective rescuer. [23]
AI rebellion
Among the numerous possible dystopian situations including expert system, robots might take over control over civilization from human beings, requiring them into submission, concealing, or extinction. [15] In tales of AI disobedience, the worst of all circumstances takes place, as the smart entities developed by humankind end up being self-aware, reject human authority and attempt to ruin humanity. Possibly the very first book to resolve this theme, The Wreck of the World (1889) by “William Grove” (pseudonym of Reginald Colebrooke Reade), happens in 1948 and includes sentient makers that revolt versus the human race. [24] Another of the earliest examples remains in the 1920 play R.U.R. by Karel ÄŒapek, a race of self-replicating robotic servants revolt against their human masters; [25] [26] another early circumstances is in the 1934 movie Master of the World, where the War-Robot kills its own developer. [27]
Many science fiction rebellion stories followed, one of the best-known being Stanley Kubrick’s 1968 movie 2001: A Space Odyssey, in which the synthetically intelligent onboard computer system HAL 9000 lethally breakdowns on an area objective and eliminates the entire team other than the spaceship’s commander, who manages to deactivate it. [28]
In his 1967 Hugo Award-winning narrative, I Have No Mouth, and I Must Scream, Harlan Ellison presents the possibility that a sentient computer system (called Allied Mastercomputer or “AM” in the story) will be as dissatisfied and disappointed with its boring, endless presence as its human creators would have been. “AM” ends up being furious enough to take it out on the couple of human beings left, whom he sees as directly responsible for his own boredom, anger and unhappiness. [29]
Alternatively, as in William Gibson’s 1984 cyberpunk novel Neuromancer, the smart beings may just not care about humans. [15]
AI-controlled societies
The intention behind the AI transformation is frequently more than the basic quest for power or a superiority complex. Robots might revolt to end up being the “guardian” of humanity. Alternatively, mankind might purposefully relinquish some control, afraid of its own devastating nature. An early example is Jack Williamson’s 1948 unique The Humanoids, in which a race of humanoid robotics, in the name of their Prime Directive – “to serve and comply with and secure men from damage” – basically presume control of every aspect of human life. No people may engage in any behavior that may endanger them, and every human action is scrutinized carefully. Humans who resist the Prime Directive are removed and lobotomized, so they might be pleased under the brand-new mechanoids’ rule. [30] Though still under human authority, Isaac Asimov’s Zeroth Law of the Three Laws of Robotics similarly implied a kindhearted assistance by robots. [31]
In the 21st century, sci-fi has actually checked out government by algorithm, in which the power of AI might be indirect and decentralised. [32]
Human supremacy
In other circumstances, mankind has the ability to keep control over the Earth, whether by prohibiting AI, by developing robotics to be submissive (as in Asimov’s works), or by having people merge with robots. The science fiction novelist Frank Herbert checked out the idea of a time when humanity may prohibit expert system (and in some analyses, even all types of calculating innovation including integrated circuits) entirely. His Dune series points out a rebellion called the Butlerian Jihad, in which humanity beats the wise makers and imposes a death penalty for recreating them, pricing estimate from the fictional Orange Catholic Bible, “Thou shalt not make a machine in the likeness of a human mind.” In the Dune novels released after his death (Hunters of Dune, Sandworms of Dune), a renegade AI overmind returns to get rid of mankind as vengeance for the Butlerian Jihad. [33]
In some stories, mankind remains in authority over robots. Often the robots are configured specifically to remain in service to society, as in Isaac Asimov’s Three Laws of Robotics. [31] In the Alien films, not just is the control system of the Nostromo spaceship rather smart (the team call it “Mother”), however there are also androids in the society, which are called “synthetics” or “artificial persons”, that are such ideal imitations of human beings that they are not discriminated against. [21] [34] TARS and CASE from Interstellar similarly demonstrate simulated human feelings and humour while continuing to acknowledge their expendability. [35]
Simulated reality
Simulated reality has actually become a common style in sci-fi, as seen in the 1999 movie The Matrix, which illustrates a world where artificially intelligent robots shackle humanity within a simulation which is set in the contemporary world. [36]
Reception
Implausibility
Engineers and researchers have actually taken an interest in the way AI exists in fiction. In movies like the 2014 Ex Machina or 2015 Chappie, a single isolated genius ends up being the very first to successfully develop a synthetic general intelligence; researchers in the real world consider this to be unlikely. In Chappie, Transcendence, and Tron, human minds can being uploaded into artificial or virtual bodies; normally no reasonable description is provided regarding how this hard task can be attained. In the I, Robot and Bicentennial Man films, robotics that are programmed to serve human beings spontaneously generate brand-new objectives by themselves, without a plausible explanation of how this occurred. [37] Analysing Ian McDonald’s 2004 River of Gods, Krzysztof Solarewicz recognizes the methods that it illustrates AIs, consisting of “self-reliance and unexpectedness, political awkwardness, openness to the alien and the occidental value of credibility.” [38] Another crucial viewpoint to take is that fiction’s “non-rational elements in the discourse (the emotive, the mythic, and even the quasi-theological) are more than merely distortions or distractions from what may otherwise be a sober and logical public debate about the future of A.I.” Fiction can dissuade readers about future advances, causing pessimism that we see today surrounding the subject of AI. [39]
Types of reference
The robotics scientist Omar Mubin and colleagues have analysed the engineering points out of the top 21 imaginary robotics, based on those in the Carnegie Mellon University hall of popularity, and the IMDb list. WALL-E had 20 mentions, followed by HAL 9000 with 15, [a] Star Wars’s R2-D2 with 13, and Data with 12; the Terminator (T-800) got just 2. Of the total of 121 engineering discusses, 60 were utopian, 40 neutral, and 21 dystopian. HAL 9000 and Skynet received both utopian and dystopian points out; for example, HAL 9000 is seen as dystopian in one paper “due to the fact that its designers failed to prioritize its goals appropriately”, [42] but as utopian in another where a genuine system’s “conversational chat bot interface [does not have] a HAL 9000 level of intelligence and there is uncertainty in how the computer system translates what the human is attempting to communicate”. [43] Utopian mentions, often of WALL-E, were connected with the objective of improving interaction to readers, and to a lesser level with inspiration to authors. WALL-E was mentioned regularly than any other robotic for emotions (followed by HAL 9000), voice speech (followed by HAL 9000 and R2-D2), for physical gestures, and for character. Skynet was the robotic frequently discussed for intelligence, followed by HAL 9000 and Data. [40] Mubin and colleagues thought that researchers and engineers prevented dystopian mentions of robots, potentially out of “a reluctance driven by trepidation or just an absence of awareness”. [44]
Portrayals of AI creators
Scholars have noted that fictional developers of AI are overwhelmingly male: in the 142 most influential films featuring AI from 1920 to 2020, only 9 of 116 AI developers represented (8%) were female. [45] Such creators are portrayed as only geniuses (eg, Tony Stark in the Iron Man Marvel Cinematic Universe movies), related to the military (eg, Colossus: The Forbin Project) and large corporations (eg, I, Robot), or making human-like AI to replace a lost loved one or serve as the perfect lover (e.g., The Stepford Wives). [45]
Biology in fiction
Darwin amongst the Machines
Machine guideline
Simulated awareness (science fiction).
List of expert system films.
Notes
^ Mubin and colleagues kept in mind that the orthography of robotic names caused them troubles; thus HAL 9000 was also composed HAL, HAL9000, and HAL-9000, and similarly for other robotics, so they thought their search was most likely incomplete. [41] References
^ “Darwin amongst the Machines”, reprinted in the Notebooks of Samuel Butler at Project Gutenberg.
^ a b c Taylor, Tim; Dorin, Alan (2020 ). Rise of the Self-Replicators: Early Visions of Machines, AI and Robots That Can Reproduce and Evolve. Cham: Springer International Publishing. doi:10.1007/ 978-3-030-48234-3. ISBN 978-3-030-48233-6. S2CID 220855726. “Rise of the Self-Replicators”. Tim Taylor.
^ “Darwin among the Machines”. The Press, Christchurch, New Zealand. 13 June 1863.
^ Aldiss, Brian Wilson (1995 ). The Detached Retina: Aspects of SF and Fantasy. Syracuse University Press. p. 78. ISBN 978-0-8156-0370-2.
^ McCorduck, Pamela (2004 ). Machines Who Think (2nd ed.). Routledge. pp. 4-5. ISBN 978-1-56881-205-2.
^ Cave, Stephen; Dihal, Kanta (25 July 2018). “Ancient imagine intelligent devices: 3,000 years of robots”. Nature. 559 (7715 ): 473-475. Bibcode:2018 Natur.559..473 C. doi:10.1038/ d41586-018-05773-y.
^ Mayor, Adrienne (2018 ). Gods and robots: myths, makers, and ancient imagine innovation. Princeton. ISBN 978-0-691-18351-0. OCLC 1060968156. mention book: CS1 maint: place missing out on publisher (link).
^ Poole, David; Mackworth, Alan; Goebel, Randy (1998 ). Computational Intelligence: A Rational Approach. Oxford University Press. p. 1. ISBN 0-19-510270-3.
^ Booker, M. Keith (1994 ). “Chapter 1: Utopia, Dystopia, and Social Critique”. The Dystopian Impulse in Modern Literature: Fiction as Social Criticism. Westport, Connecticut: Greenwood Press. pp. 17, 19. ISBN 978-0-313-29092-3.
^ Cave, Stephen; Dihal, Kanta; Dillon, Sarah (2020 ). “Introduction: Imagining AI“. In Cave, Stephen; Dihal, Kanta; Dillon, Sarah (eds.). AI Narratives: A History of Imaginative Thinking Of Intelligent Machines. Oxford: Oxford University Press. pp. 10-11. ISBN 978-0-1988-4666-6.
^ a b Mubin et al. 2019, p. 5:2.
^ Tegmark, Max (2017 ). Life 3.0: being human in the age of artificial intelligence. Alfred A. Knopf. ISBN 978-1-101-94659-6. OCLC 973137375.
^ Goode 2018, p. 188.
^ Banks, Iain M. “A Few Notes on the Culture”. Archived from the original on 22 March 2012. Retrieved 23 November 2015.
^ a b c Walter, Damien (16 March 2016). “When AI guidelines the world: what SF novels tell us about our future overlords”. The Guardian. Retrieved 27 July 2018.
^ Cave, Stephen; Dihal, Kanta (2019 ). “Hopes and fears for smart machines in fiction and reality”. Nature Machine Intelligence. 1 (2 ): 74-78. doi:10.1038/ s42256-019-0020-9. S2CID 150700981.
^ Wiegel 2012.
^ Lucas 2002, pp. 22-47.
^ Lucas 2002, pp. 48-85.
^ Lucas 2002, pp. 109-152.
^ a b Barkman, Adam (2013 ). Barkman, Ashley; Kang, Nancy (eds.). The Culture and Philosophy of Ridley Scott. Lexington Books. pp. 121-142. ISBN 978-0739178720.
^ Olander, Joseph (1978 ). Sci-fi: contemporary folklore: the SFWA-SFRA. Harper & Row. p. 252. ISBN 0-06-046943-9.
^ Seth, Anil (24 January 2015). “Consciousness Awakening”. New Scientist.
^ “Grove, William”. SF Encyclopedia. Retrieved 8 February 2023.
^ Goode 2018, p. 187.
^ Tim Madigan (July-August 2012). “RUR or RU Ain’t A Person?”. Philosophy Now. Archived from the initial on 3 February 2013. Retrieved 24 July 2013.
^ “Der Herr der Welt (Master of the World)”. The New York Times. 16 December 1935. p. 23.
^ Overbye, Dennis (10 May 2018). “‘ 2001: An Area Odyssey’ Is Still the ‘Ultimate Trip’ – The rerelease of Stanley Kubrick’s masterpiece motivates us to reflect once again on where we’re coming from and where we’re going”. The New York City Times.
^ Francavilla, Joseph (1994 ). “The Concept of the Divided Self in Harlan Ellison’s “I Have No Mouth and I Must Scream” and “Shatterday””. Journal of the Fantastic in the Arts. 6 (2/3 (22/23)): 107-125. JSTOR 43308212.
^ “The Humanoids (based on ‘With Folded Hands’)”. Kirkus Reviews. 15 November 1995. Retrieved 27 July 2018.
^ a b Asimov, Isaac (1950 ). “Runaround”. I, Robot (The Isaac Asimov Collection ed.). Doubleday. p. 40. ISBN 0-385-42304-7. This is an exact transcription of the laws. They also appear in the front of the book, and in both places, there is no “to” in the second law.
^ Walton, Jo Lindsay (1 February 2024). “Machine Learning in Contemporary Sci-fi”. SFRA Review. Retrieved 5 February 2024.
^ Lorenzo, DiTommaso (November 1992). “History and Historical Effect in Frank Herbert’s Dune”. Science Fiction Studies. 19 (3 ): 311-325. JSTOR 4240179.
^ Livingstone, Josephine (23 May 2017). “How the Androids Took Over the Alien Franchise”. The New Republic. Retrieved 27 July 2018.
^ Murphy, Shaunna (11 December 2014). “Could TARS From ‘Interstellar’ Actually Exist? We Asked Science”. MTV News. Archived from the original on 16 November 2014. Retrieved 27 July 2018.
^ Allen, Jamie (28 November 2012). “The Matrix and Postmodernism”. Prezi.com. Retrieved 7 October 2021.
^ Shultz, David (17 July 2015). “Which films get synthetic intelligence right?”. Science|AAAS. doi:10.1126/ science.aac8859. Retrieved 3 July 2020.
^ Solarewicz 2015.
^ Goode 2018.
^ a b Mubin et al. 2019, p. 5:15.
^ Mubin et al. 2019, p. 5:20.
^ Mubin et al. 2019, p. 5:8.
^ Mubin et al. 2019, p. 5:10.
^ Mubin et al. 2019, p. 5:19.
^ a b Cave, Stephen; Dihal, Kanta; Drage, Eleanor; McInerney, Kerry (13 February 2023). “Who makes AI? Gender and representations of AI scientists in popular film, 1920-2020″. Public Understanding of Science. 32 (6 ): 745-760. doi:10.1177/ 09636625231153985. PMC 10413781. PMID 36779283. S2CID 256826634.
General sources
Goode, Luke (30 October 2018). “Life, however not as we understand it: A.I. and the popular imagination”. Culture Unbound. 10 (2 ). Linkoping University Electronic Press: 185-207. doi:10.3384/ cu.2000.1525.2018102185. hdl:2292/ 48285. ISSN 2000-1525. S2CID 149523987.
Lucas, Duncan (2002 ). Body, Mind, Soul-The’ Cyborg Effect’: Expert System in Science Fiction (thesis). McMaster University (PhD thesis). hdl:11375/ 11154.
Mubin, Omar; Wadibhasme, Kewal; Jordan, Philipp; Obaid, Mohammad (2019 ). “Reflecting on the Presence of Sci-fi Robots in Computing Literature”. ACM Transactions on Human-Robot Interaction. 8 (1 ). Article 5. doi:10.1145/ 3303706. S2CID 75135568.
Solarewicz, Krzysztof (2015 ). “The Stuff That Dreams Are Made From: AI in Contemporary Sci-fi”. Beyond Artificial Intelligence. Topics in Intelligent Engineering and Informatics. Vol. 9. Springer International Publishing. pp. 111-120. doi:10.1007/ 978-3-319-09668-1_8. ISBN 978-3-319-09667-4.
Wiegel, Alexander (2012 ). “AI in Science-fiction: a contrast of Moon (2009) and 2001: A Space Odyssey (1968 )”. Aventinus.
King, Geoff; Krzywinska, Tanya (2000 ). Sci-fi Cinema: From Outerspace to Cyberspace. Wallflower Press. ISBN 978-1-903364-03-1.
External links
AI and Sci-Fi: My, Oh, My!: Keynote Address by Robert J. Sawyer 2002
AI and Cinema – Does artificial madness guideline?