
Amicsdegaudi
FollowOverview
-
Sectors Masini/Auto/Service
-
Posted Jobs 0
-
Viewed 8
Company Description
Expert System In Fiction
Artificial intelligence is a recurrent theme in sci-fi, whether utopian, emphasising the prospective advantages, or dystopian, stressing the threats.
The notion of makers with human-like intelligence go back a minimum of to Samuel Butler’s 1872 novel Erewhon. Since then, lots of science fiction stories have actually provided different effects of developing such intelligence, often including disobediences by robotics. Among the very best understood 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 robot in Pixar’s 2008 WALL-E.
Scientists and engineers have kept in mind the implausibility of lots of sci-fi circumstances, however have actually discussed imaginary robotics sometimes in synthetic intelligence research study posts, frequently in a utopian context.
Background
The idea of innovative robotics with human-like intelligence go back a minimum of to Samuel Butler’s 1872 novel Erewhon. [1] [2] This made use of an earlier (1863) post of his, Darwin amongst the Machines, where he raised the question of the development of consciousness amongst self-replicating makers that may supplant people as the dominant types. [3] [2] Similar ideas were likewise talked about by others around the very same time as Butler, consisting of George Eliot in a chapter of her last released work Impressions of Theophrastus Such (1879 ). [2] The creature in Mary Shelley’s 1818 Frankenstein has actually also been thought about an artificial being, for example by the sci-fi author Brian Aldiss. [4] Beings with at least some appearance of intelligence were imagined, too, in classical antiquity. [5] [6] [7]
Utopian and dystopian visions
Artificial intelligence is intelligence demonstrated by machines, in contrast to the natural intelligence displayed by human beings and other animals. [8] It is a frequent style in sci-fi; scholars have actually divided it into utopian, stressing the prospective benefits, and dystopian, stressing the threats. [9] [10] [11]
Utopian
Optimistic visions of the future of synthetic intelligence are possible in science fiction. [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 depicts a utopian, post-scarcity area society of humanoids, aliens, and advanced beings with expert system living in socialist habitats throughout the Milky Way. [14] [15] Researchers at the University of Cambridge have actually determined 4 significant styles in utopian situations including AI: immortality, or indefinite lifespans; ease, or flexibility from the need to work; satisfaction, or satisfaction and home entertainment offered by devices; and supremacy, the power to protect 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 “innovation fear” and the AI computer system HAL was portrayed as a “cold-hearted killer”, by 2009 the public were much more knowledgeable about AI, and the film’s GERTY is “the peaceful hero” who enables the lead characters to prosper, and who sacrifices itself for their security. [17]
Dystopian
The scientist Duncan Lucas writes (in 2002) that humans are worried about the innovation they are constructing, which as machines began to approach intelligence and thought, that concern ends up being severe. 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 technique he names “heuristic hardware”, giving as circumstances 2001 an Area Odyssey, Do Androids Dream of Electric Sheep?, The Hitchhiker’s Guide to the Galaxy, and I, Robot. [19] Lucas considers likewise the films that highlight the result of the computer on sci-fi from 1980 onwards with the blurring of the limit between the genuine and the virtual, in what he calls the “cyborg impact”. He points out as examples Neuromancer, The Matrix, The Diamond Age, and Terminator. [20]
The film director Ridley Scott has concentrated on AI throughout his profession, and it plays a vital part in his movies Prometheus, Blade Runner, and the Alien franchise. [21]
Frankenstein complex
A typical representation of AI in sci-fi, and among the earliest, is the Frankenstein complex, a term coined by Asimov, where a robot turns on its creator. [22] For circumstances, in the 2015 film Ex Machina, the smart entity Ava switches on its developer, in addition to on its prospective rescuer. [23]
AI rebellion
Among the many possible dystopian circumstances involving synthetic intelligence, robots might take over control over civilization from people, forcing them into submission, concealing, or extinction. [15] In tales of AI rebellion, the worst of all circumstances occurs, as the intelligent entities produced by mankind become self-aware, reject human authority and attempt to destroy humanity. Possibly the first novel to resolve this theme, The Wreck of the World (1889) by “William Grove” (pseudonym of Reginald Colebrooke Reade), occurs in 1948 and includes sentient machines that revolt against the human race. [24] Another of the earliest examples is in the 1920 play R.U.R. by Karel Čapek, a race of self-replicating robot slaves revolt against their human masters; [25] [26] another early circumstances remains in the 1934 movie Master of the World, where the War-Robot eliminates its own creator. [27]
Many sci-fi disobedience stories followed, among the best-known being Stanley Kubrick’s 1968 film 2001: An Area Odyssey, in which the artificially intelligent onboard computer system HAL 9000 lethally malfunctions on an area mission and eliminates the entire crew except the spaceship’s leader, who handles 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 (named 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 enraged enough to take it out on the couple of human beings left, whom he sees as directly responsible for his own monotony, anger and unhappiness. [29]
Alternatively, as in William Gibson’s 1984 cyberpunk novel Neuromancer, the intelligent beings might simply not appreciate humans. [15]
AI-controlled societies
The motive behind the AI transformation is typically more than the simple quest for power or a superiority complex. Robots might revolt to end up being the “guardian” of mankind. Alternatively, mankind may intentionally relinquish some control, afraid of its own destructive nature. An early example is Jack Williamson’s 1948 unique The Humanoids, in which a race of humanoid robots, in the name of their Prime Directive – “to serve and obey and secure men from harm” – basically presume control of every aspect of human life. No human beings may participate in any habits that might threaten them, and every human action is scrutinized thoroughly. Humans who resist the Prime Directive are eliminated and lobotomized, so they might more than happy under the new mechanoids’ guideline. [30] Though still under human authority, Isaac Asimov’s Zeroth Law of the Three Laws of Robotics similarly suggested a good-hearted assistance by robotics. [31]
In the 21st century, sci-fi has actually checked out federal government by algorithm, in which the power of AI may be indirect and decentralised. [32]
Human supremacy
In other circumstances, humanity is able to keep control over the Earth, whether by banning AI, by developing robots to be submissive (as in Asimov’s works), or by having people combine with robots. The science fiction novelist Frank Herbert checked out the concept of a time when humanity may ban expert system (and in some analyses, even all types of computing innovation including integrated circuits) entirely. His Dune series discusses a disobedience called the Butlerian Jihad, in which mankind defeats the wise makers and enforces a death sentence for recreating them, quoting from the fictional Orange Catholic Bible, “Thou shalt not make a maker in the similarity of a human mind.” In the Dune books released after his death (Hunters of Dune, Sandworms of Dune), a renegade AI overmind returns to get rid of humanity as vengeance for the Butlerian Jihad. [33]
In some stories, humankind stays in authority over robots. Often the robotics are programmed particularly to stay in service to society, as in Isaac Asimov’s Three Laws of Robotics. [31] In the Alien movies, not just is the control system of the Nostromo spaceship somewhat intelligent (the crew call it “Mother”), but there are also androids in the society, which are called “synthetics” or “artificial persons”, that are such perfect imitations of people that they are not victimized. [21] [34] TARS and CASE from Interstellar similarly show simulated human emotions and humour while continuing to acknowledge their expendability. [35]
Simulated truth
Simulated truth has actually become a common style in sci-fi, as seen in the 1999 film The Matrix, which depicts a world where synthetically smart robots oppress humankind within a simulation which is embeded in the modern world. [36]
Reception
Implausibility
Engineers and researchers have actually taken an interest in the way AI is presented in fiction. In films like the 2014 Ex Machina or 2015 Chappie, a single separated genius ends up being the very first to effectively develop an artificial general intelligence; researchers in the genuine world consider this to be not likely. In Chappie, Transcendence, and Tron, human minds are of being uploaded into synthetic or virtual bodies; typically no reasonable description is provided as to how this uphill struggle can be attained. In the I, Robot and Bicentennial Man films, robotics that are configured to serve human beings spontaneously generate new goals by themselves, without a possible explanation of how this happened. [37] Analysing Ian McDonald’s 2004 River of Gods, Krzysztof Solarewicz determines the manner ins which it depicts AIs, consisting of “self-reliance and unexpectedness, political awkwardness, openness to the alien and the occidental worth of credibility.” [38] Another essential viewpoint to take is that fiction’s “non-rational components in the discourse (the emotive, the mythic, and even the quasi-theological) are more than just distortions or diversions from what might otherwise be a sober and rational public dispute about the future of A.I.” Fiction can deter readers about future advances, triggering pessimism that we see today surrounding the subject of AI. [39]
Types of mention
The robotics scientist Omar Mubin and colleagues have analysed the engineering discusses of the top 21 fictional robots, based on those in the Carnegie Mellon University hall of fame, 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 only 2. Of the total of 121 engineering mentions, 60 were utopian, 40 neutral, and 21 dystopian. HAL 9000 and Skynet received both utopian and dystopian mentions; for example, HAL 9000 is viewed as dystopian in one paper “because its designers stopped working to prioritize its objectives properly”, [42] but as utopian in another where a genuine system’s “conversational chat bot interface [lacks] a HAL 9000 level of intelligence and there is obscurity in how the computer system interprets what the human is attempting to convey”. [43] Utopian discusses, frequently of WALL-E, were related to the goal of improving communication to readers, and to a lower level with inspiration to authors. WALL-E was discussed 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 robot most typically mentioned for intelligence, followed by HAL 9000 and Data. [40] Mubin and colleagues believed that researchers and engineers prevented dystopian discusses of robots, possibly out of “a hesitation driven by uneasiness or just an absence of awareness”. [44]
Portrayals of AI developers
Scholars have noted that imaginary creators of AI are extremely male: in the 142 most influential films including AI from 1920 to 2020, just 9 of 116 AI creators portrayed (8%) were female. [45] Such developers are depicted as only geniuses (eg, Tony Stark in the Iron Man Marvel Cinematic Universe films), related to the military (eg, Colossus: The Forbin Project) and large corporations (eg, I, Robot), or making human-like AI to replace a lost enjoyed one or serve as the perfect enthusiast (e.g., The Stepford Wives). [45]
Biology in fiction
Darwin amongst the Machines
Machine rule
Simulated awareness (sci-fi).
List of expert system movies.
Notes
^ Mubin and colleagues noted that the orthography of robot names triggered them troubles; hence HAL 9000 was also written HAL, HAL9000, and HAL-9000, and likewise 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 amongst the Machines”. Journalism, 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 dreams of smart makers: 3,000 years of robotics”. 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, machines, and ancient imagine technology. 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 Logical 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 about 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 expert system. Alfred A. Knopf. ISBN 978-1-101-94659-6. OCLC 973137375.
^ Goode 2018, p. 188.
^ Banks, Iain M. “A Couple Of Notes on the Culture”. Archived from the initial 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 worries for intelligent makers in fiction and truth”. 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 An Individual?”. Philosophy Now. Archived from the original 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: A Space Odyssey’ Is Still the ‘Ultimate Trip’ – The rerelease of Stanley Kubrick’s work of art encourages us to reflect once again on where we’re coming from and where we’re going”. The New York 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 a precise transcription of the laws. They also appear in the front of the book, and in both locations, 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”. Sci-fi 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 initial 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 movies get expert system 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 portrayals 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’: Artificial Intelligence in Sci-fi (thesis). McMaster University (PhD thesis). hdl:11375/ 11154.
Mubin, Omar; Wadibhasme, Kewal; Jordan, Philipp; Obaid, Mohammad (2019 ). “Assessing the Presence of Science Fiction 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 of: AI in Contemporary Science Fiction”. Beyond Expert system. 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 insanity guideline?