
Oceanswelldigital
Add a review FollowOverview
-
Founded Date July 14, 1902
-
Sectors Marketing
-
Posted Jobs 0
-
Viewed 3
Company Description
Artificial Intelligence In Fiction
Artificial intelligence is a reoccurring style in sci-fi, whether utopian, emphasising the prospective advantages, or dystopian, stressing the threats.
The notion of makers with human-like intelligence dates back a minimum of to Samuel Butler’s 1872 novel Erewhon. Since then, lots of sci-fi stories have presented different effects of creating such intelligence, typically including rebellions by robotics. Among the very best known of these are Stanley Kubrick’s 1968 2001: A Space Odyssey with its homicidal 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 noted the implausibility of numerous science fiction scenarios, but have actually pointed out fictional robotics sometimes in expert system research study short articles, most typically in a utopian context.
Background
The concept of advanced robotics with human-like intelligence dates back a minimum of to Samuel Butler’s 1872 unique Erewhon. [1] [2] This made use of an earlier (1863) short article of his, Darwin amongst the Machines, where he raised the question of the evolution of awareness among self-replicating devices that may supplant human beings as the dominant species. [3] [2] Similar ideas were also discussed by others around the exact same time as Butler, including 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 considered a synthetic being, for circumstances by the science fiction author Brian Aldiss. [4] Beings with at least some appearance of intelligence were thought of, too, in classical antiquity. [5] [6] [7]
Utopian and dystopian visions
Expert system is intelligence shown by machines, in contrast to the natural intelligence shown by humans and other animals. [8] It is a reoccurring style in sci-fi; scholars have actually divided it into utopian, stressing the prospective benefits, and dystopian, emphasising the threats. [9] [10] [11]
Utopian
Optimistic visions of the future of artificial intelligence are possible in sci-fi. [12] Benign AI characters consist of 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 area society of humanoids, aliens, and advanced beings with artificial intelligence living in socialist habitats across the Milky Way. [14] [15] Researchers at the University of Cambridge have actually determined four major styles in utopian scenarios including AI: immortality, or indefinite life-spans; ease, or flexibility from the need to work; satisfaction, or satisfaction and home entertainment provided by machines; and dominance, the power to safeguard oneself or rule over others. [16]
Alexander Wiegel contrasts the function of AI in 2001: An Area Odyssey and in Duncan Jones’s 2009 movie Moon. Whereas in 1968, Wiegel argues, the public felt “innovation paranoia” and the AI computer system HAL was portrayed as a “cold-hearted killer”, by 2009 the general public were much more acquainted with AI, and the movie’s GERTY is “the quiet savior” who allows the protagonists to be successful, and who compromises itself for their security. [17]
Dystopian
The scientist Duncan Lucas composes (in 2002) that humans are fretted about the technology they are building, and that as devices started to approach intelligence and thought, that concern becomes acute. He calls the early 20th century dystopian view of AI in fiction the “animated automaton”, naming 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”, providing as instances 2001 a Space Odyssey, Do Androids Imagine Electric Sheep?, The Hitchhiker’s Guide to the Galaxy, and I, Robot. [19] Lucas thinks about likewise the films that show the impact of the computer on science fiction from 1980 onwards with the blurring of the limit in between the genuine and the virtual, in what he calls the “cyborg effect”. He points out 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 an essential part in his films Prometheus, Blade Runner, and the Alien franchise. [21]
Frankenstein complex
A typical portrayal of AI in science fiction, and one of the oldest, is the Frankenstein complex, a term coined by Asimov, where a robotic turns on its creator. [22] For instance, in the 2015 movie Ex Machina, the intelligent entity Ava switches on its creator, as well as on its prospective rescuer. [23]
AI disobedience
Among the numerous possible dystopian circumstances involving expert system, robots might take over control over civilization from humans, forcing them into submission, concealing, or . [15] In tales of AI disobedience, the worst of all circumstances occurs, as the intelligent entities created by humanity end up being self-aware, turn down 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 features sentient makers that revolt versus the mankind. [24] Another of the earliest examples remains in the 1920 play R.U.R. by Karel Čapek, a race of self-replicating robotic servants revolt versus their human masters; [25] [26] another early circumstances remains in the 1934 movie Master of the World, where the War-Robot eliminates its own innovator. [27]
Many science fiction disobedience 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 a space objective and kills the whole crew other than the spaceship’s commander, who handles to deactivate it. [28]
In his 1967 Hugo Award-winning narrative, I Have No Mouth, and I Must Scream, Harlan Ellison provides the possibility that a sentient computer system (called Allied Mastercomputer or “AM” in the story) will be as unhappy and dissatisfied 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 humans left, whom he sees as directly accountable for his own dullness, anger and unhappiness. [29]
Alternatively, as in William Gibson’s 1984 cyberpunk novel Neuromancer, the smart beings may just not appreciate people. [15]
AI-controlled societies
The motive behind the AI transformation is frequently more than the simple quest for power or a supremacy complex. Robots might revolt to end up being the “guardian” of humankind. Alternatively, humankind might intentionally relinquish some control, afraid of its own damaging nature. An early example is Jack Williamson’s 1948 novel The Humanoids, in which a race of humanoid robotics, in the name of their Prime Directive – “to serve and comply with and safeguard males from damage” – basically presume control of every aspect of human life. No human beings might take part in any habits that might endanger them, and every human action is scrutinized thoroughly. Humans who resist the Prime Directive are removed and lobotomized, so they might more than happy under the brand-new mechanoids’ rule. [30] Though still under human authority, Isaac Asimov’s Zeroth Law of the Three Laws of Robotics similarly indicated a humane guidance by robotics. [31]
In the 21st century, science fiction has actually explored government by algorithm, in which the power of AI may be indirect and decentralised. [32]
Human supremacy
In other situations, humankind 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 sci-fi author Frank Herbert checked out the concept of a time when mankind might prohibit expert system (and in some analyses, even all kinds of computing technology consisting of incorporated circuits) totally. His Dune series mentions a disobedience called the Butlerian Jihad, in which mankind beats the clever machines and imposes a death penalty for recreating them, pricing quote from the fictional Orange Catholic Bible, “Thou shalt not make a maker in the similarity of a human mind.” In the Dune novels released after his death (Hunters of Dune, Sandworms of Dune), a renegade AI overmind go back to eradicate mankind as revenge for the Butlerian Jihad. [33]
In some stories, mankind 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 only is the control system of the Nostromo spaceship somewhat smart (the crew call it “Mother”), however there are likewise androids in the society, which are called “synthetics” or “synthetic individuals”, that are such perfect imitations of humans 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 reality has actually ended up being a common theme in sci-fi, as seen in the 1999 movie The Matrix, which portrays a world where artificially intelligent robots shackle humanity within a simulation which is set in the modern world. [36]
Reception
Implausibility
Engineers and scientists have taken an interest in the method AI exists in fiction. In films like the 2014 Ex Machina or 2015 Chappie, a single separated genius becomes the first to effectively build a synthetic general intelligence; researchers in the real life deem this to be unlikely. In Chappie, Transcendence, and Tron, human minds can being uploaded into artificial or virtual bodies; normally no affordable explanation is provided regarding how this tough job can be attained. In the I, Robot and Bicentennial Man films, robotics that are programmed to serve human beings spontaneously produce new goals by themselves, without a plausible explanation of how this occurred. [37] Analysing Ian McDonald’s 2004 River of Gods, Krzysztof Solarewicz identifies the manner ins which it illustrates AIs, including “self-reliance and unexpectedness, political awkwardness, openness to the alien and the occidental worth of authenticity.” [38] Another crucial perspective to take is that fiction’s “non-rational aspects in the discourse (the emotive, the mythic, or perhaps the quasi-theological) are more than just distortions or distractions from what might otherwise be a sober and logical public argument about the future of A.I.” Fiction can discourage readers about future advances, causing pessimism that we see today surrounding the topic of AI. [39]
Types of mention
The robotics researcher Omar Mubin and colleagues have actually analysed the engineering points out of the top 21 fictional robotics, based upon 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) received only 2. Of the total of 121 engineering points out, 60 were utopian, 40 neutral, and 21 dystopian. HAL 9000 and Skynet received both utopian and dystopian discusses; for example, HAL 9000 is seen as dystopian in one paper “since its designers stopped working to prioritize its goals effectively”, [42] but as utopian in another where a genuine system’s “conversational chat bot user interface [lacks] a HAL 9000 level of intelligence and there is uncertainty in how the computer translates what the human is attempting to convey”. [43] Utopian points out, often of WALL-E, were connected with the goal of improving communication to readers, and to a lesser degree with inspiration to authors. WALL-E was discussed more frequently than any other robot 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 usually pointed out for intelligence, followed by HAL 9000 and Data. [40] Mubin and colleagues believed that researchers and engineers avoided dystopian discusses of robotics, perhaps out of “a reluctance driven by nervousness or simply an absence of awareness”. [44]
Portrayals of AI creators
Scholars have noted that fictional developers of AI are overwhelmingly male: in the 142 most prominent movies including AI from 1920 to 2020, only 9 of 116 AI creators portrayed (8%) were female. [45] Such creators are represented as lone geniuses (eg, Tony Stark in the Iron Man Marvel Cinematic Universe movies), associated with 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 work as the ideal fan (e.g., The Stepford Wives). [45]
Biology in fiction
Darwin amongst the Machines
Machine rule
Simulated consciousness (science fiction).
List of artificial intelligence movies.
Notes
^ Mubin and coworkers noted that the orthography of robot names triggered them troubles; therefore HAL 9000 was also written HAL, HAL9000, and HAL-9000, and similarly for other robots, so they believed their search was most likely incomplete. [41] References
^ “Darwin among 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 (second ed.). Routledge. pp. 4-5. ISBN 978-1-56881-205-2.
^ Cave, Stephen; Dihal, Kanta (25 July 2018). “Ancient dreams of smart machines: 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 robotics: misconceptions, machines, and ancient dreams of technology. Princeton. ISBN 978-0-691-18351-0. OCLC 1060968156. mention book: CS1 maint: location missing out on publisher (link).
^ Poole, David; Mackworth, Alan; Goebel, Randy (1998 ). Computational Intelligence: A Sensible 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 books inform us about our future overlords”. The Guardian. Retrieved 27 July 2018.
^ Cave, Stephen; Dihal, Kanta (2019 ). “Hopes and worries for intelligent machines 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 ). Science fiction: contemporary mythology: 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 original on 3 February 2013. Retrieved 24 July 2013.
^ “Der Herr der Welt (Master of the World)”. The New York City 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 masterpiece encourages us to show once again on where we’re originating 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 locations, there is no “to” in the 2nd 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 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 films get artificial 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 portrayals of AI scientists in popular movie, 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 know it: A.I. and the popular creativity”. 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 Sci-fi (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 of: AI in Contemporary Science Fiction”. 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: An Area Odyssey (1968 )”. Aventinus.
King, Geoff; Krzywinska, Tanya (2000 ). Science Fiction 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 synthetic madness guideline?