Jma Architects

Overview

  • Founded Date March 6, 1933
  • Sectors Game Design
  • Posted Jobs 0
  • Viewed 6

Company Description

Artificial Intelligence In Fiction

Expert system is a reoccurring theme in science fiction, whether utopian, stressing the potential benefits, or dystopian, emphasising the threats.

The idea of machines with human-like intelligence go back at least to Samuel Butler’s 1872 unique Erewhon. Since then, numerous sci-fi stories have presented various impacts of creating such intelligence, typically involving disobediences by robots. Among the very best known of these are Stanley Kubrick’s 1968 2001: An Area 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 noted the implausibility of many sci-fi circumstances, but have mentioned imaginary robots sometimes in expert system research study short articles, most typically in a utopian context.

Background

The concept of innovative robotics with human-like intelligence go back a minimum of to Samuel Butler’s 1872 unique Erewhon. [1] [2] This drew on an earlier (1863) short article of his, Darwin amongst the Machines, where he raised the question of the development of consciousness among self-replicating machines that may supplant people as the dominant types. [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 creature in Mary Shelley’s 1818 Frankenstein has actually likewise been thought about an artificial being, for example by the science fiction author Brian Aldiss. [4] Beings with at least some look of intelligence were envisioned, too, in classical antiquity. [5] [6] [7]

Utopian and dystopian visions

Expert system is intelligence shown by machines, in contrast to the natural intelligence displayed by humans and other animals. [8] It is a reoccurring theme in sci-fi; scholars have actually divided it into utopian, stressing the potential benefits, and dystopian, emphasising the threats. [9] [10] [11]

Utopian

Optimistic visions of the future of expert system are possible in sci-fi. [12] Benign AI characters consist of Robbie the Robot, first 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 books represents a utopian, post-scarcity area society of humanoids, aliens, and advanced beings with synthetic intelligence living in socialist environments across the Galaxy. [14] [15] Researchers at the University of Cambridge have identified 4 major themes in utopian situations featuring AI: immortality, or indefinite lifespans; ease, or liberty from the need to work; satisfaction, or enjoyment and entertainment offered by machines; and dominance, the power to protect oneself or guideline over others. [16]

Alexander Wiegel contrasts the role of AI in 2001: A Space Odyssey and in Duncan Jones’s 2009 movie Moon. Whereas in 1968, Wiegel argues, the general public felt “technology paranoia” and the AI computer system HAL was represented as a “cold-hearted killer”, by 2009 the public were far more knowledgeable about AI, and the movie’s GERTY is “the quiet savior” who makes it possible for the protagonists to succeed, and who compromises itself for their safety. [17]

Dystopian

The researcher Duncan Lucas composes (in 2002) that people are fretted about the innovation they are building, and that as makers started to approach intellect and idea, that issue becomes acute. He calls the early 20th century dystopian view of AI in fiction the “animated robot”, naming as examples the 1931 movie Frankenstein, the 1927 Metropolis, and the 1920 play R.U.R. [18] A later 20th century method he names “heuristic hardware”, providing as circumstances 2001 a Space Odyssey, Do Androids Imagine Electric Sheep?, The Hitchhiker’s Guide to the Galaxy, and I, Robot. [19] Lucas considers also the movies that show the impact of the individual computer on science fiction from 1980 onwards with the blurring of the border in between the genuine and the virtual, in what he calls the “cyborg result”. He mentions as examples Neuromancer, The Matrix, The Diamond Age, and Terminator. [20]

The film director Ridley Scott has actually focused on AI throughout his profession, and it plays a vital part in his films Prometheus, Blade Runner, and the Alien franchise. [21]

Frankenstein complex

A typical portrayal 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 example, in the 2015 film Ex Machina, the intelligent entity Ava turns on its developer, as well as on its potential rescuer. [23]

AI disobedience

Among the lots of possible dystopian circumstances including expert system, robots might take over control over civilization from humans, forcing them into submission, hiding, or extinction. [15] In tales of AI rebellion, the worst of all circumstances takes place, as the intelligent entities created by mankind end up being self-aware, turn down human authority and effort to damage humanity. Possibly the first book to resolve this theme, The Wreck of the World (1889) by “William Grove” (pseudonym of Reginald Colebrooke Reade), occurs in 1948 and includes sentient makers that revolt versus the mankind. [24] Another of the earliest examples is in the 1920 play R.U.R. by Karel ÄŒapek, a race of self-replicating robot slaves revolt against their human masters; [25] [26] another early circumstances remains in the 1934 film Master of the World, where the War-Robot eliminates its own innovator. [27]

Many sci-fi disobedience stories followed, one of the best-known being Stanley Kubrick’s 1968 movie 2001: An Area Odyssey, in which the synthetically smart onboard computer HAL 9000 lethally malfunctions on an area mission and kills the whole team other than 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 provides the possibility that a sentient computer system (called Allied Mastercomputer or “AM” in the story) will be as dissatisfied and disappointed with its boring, limitless presence as its human creators would have been. “AM” becomes enraged enough to take it out on the few humans left, whom he views as directly accountable for his own boredom, anger and unhappiness. [29]

Alternatively, as in William Gibson’s 1984 cyberpunk unique Neuromancer, the intelligent beings may simply not appreciate people. [15]

AI-controlled societies

The intention behind the AI revolution is often more than the basic quest for power or a superiority complex. Robots might revolt to end up being the “guardian” of mankind. Alternatively, mankind might deliberately give up some control, fearful of its own devastating 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 comply with and secure men from damage” – essentially assume control of every element of human life. No people might engage in any habits that may endanger them, and every human action is scrutinized thoroughly. Humans who withstand the Prime Directive are eliminated and lobotomized, so they might enjoy under the new mechanoids’ guideline. [30] Though still under human authority, Isaac Asimov’s Zeroth Law of the Three Laws of Robotics likewise suggested a humane guidance by robotics. [31]

In the 21st century, sci-fi has actually explored federal government by algorithm, in which the power of AI might be indirect and decentralised. [32]

Human supremacy

In other circumstances, humankind 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 human beings combine with robots. The sci-fi novelist Frank Herbert checked out the concept of a time when humanity might ban expert system (and in some analyses, even all types of computing technology including incorporated circuits) completely. His Dune series mentions a rebellion called the Butlerian Jihad, in which mankind beats the smart machines and enforces a death sentence for recreating them, pricing quote from the fictional Orange Catholic Bible, “Thou shalt not make a maker in the likeness of a human mind.” In the Dune books published after his death (Hunters of Dune, Sandworms of Dune), a renegade AI overmind returns to eradicate humanity as revenge for the Butlerian Jihad. [33]

In some stories, humankind remains in authority over robotics. 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 only is the control system of the Nostromo spaceship somewhat intelligent (the team call it “Mother”), but there are likewise androids in the society, which are called “synthetics” or “artificial individuals”, that are such perfect imitations of humans that they are not victimized. [21] [34] TARS and CASE from Interstellar likewise show simulated human feelings and humour while continuing to acknowledge their . [35]

Simulated truth

Simulated truth has ended up being a common theme in science fiction, as seen in the 1999 film The Matrix, which illustrates a world where synthetically intelligent robotics oppress humanity within a simulation which is set in the modern world. [36]

Reception

Implausibility

Engineers and researchers have actually taken an interest in the way AI is presented in fiction. In movies like the 2014 Ex Machina or 2015 Chappie, a single separated genius becomes the very first to successfully build a synthetic general intelligence; scientists in the real life consider this to be not likely. In Chappie, Transcendence, and Tron, human minds can being published into synthetic or virtual bodies; usually no reasonable explanation is offered regarding how this uphill struggle can be achieved. In the I, Robot and Bicentennial Man films, robots that are configured to serve people spontaneously create brand-new objectives by themselves, without a plausible explanation of how this took place. [37] Analysing Ian McDonald’s 2004 River of Gods, Krzysztof Solarewicz determines the ways that it portrays AIs, including “independence and unexpectedness, political awkwardness, openness to the alien and the occidental value of credibility.” [38] Another important viewpoint to take is that fiction’s “non-rational components in the discourse (the emotive, the mythic, or even the quasi-theological) are more than just distortions or interruptions from what might otherwise be a sober and logical public argument about the future of A.I.” Fiction can discourage readers about future advances, triggering pessimism that we see today surrounding the topic of AI. [39]

Kinds of mention

The robotics scientist Omar Mubin and colleagues have actually evaluated the engineering discusses of the leading 21 imaginary robotics, based upon those in the Carnegie Mellon University hall of fame, and the IMDb list. WALL-E had 20 discusses, 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 overall of 121 engineering discusses, 60 were utopian, 40 neutral, and 21 dystopian. HAL 9000 and Skynet got both utopian and dystopian mentions; 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] however as utopian in another where a real system’s “conversational chat bot user interface [does not have] a HAL 9000 level of intelligence and there is ambiguity in how the computer translates what the human is attempting to communicate”. [43] Utopian discusses, typically of WALL-E, were connected with the objective of enhancing interaction to readers, and to a lesser extent with motivation to authors. WALL-E was discussed regularly 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 robot frequently mentioned for intelligence, followed by HAL 9000 and Data. [40] Mubin and coworkers believed that scientists and engineers prevented dystopian discusses of robotics, perhaps out of “a hesitation driven by trepidation or just a lack of awareness”. [44]

Portrayals of AI developers

Scholars have actually kept in mind that fictional creators of AI are overwhelmingly male: in the 142 most prominent movies featuring AI from 1920 to 2020, only 9 of 116 AI developers portrayed (8%) were female. [45] Such developers are represented as only geniuses (eg, Tony Stark in the Iron Man Marvel Cinematic Universe movies), related to the military (eg, Colossus: The Forbin Project) and big corporations (eg, I, Robot), or making human-like AI to change a lost loved one or serve as the ideal fan (e.g., The Stepford Wives). [45]

Biology in fiction
Darwin amongst the Machines
Machine rule
Simulated awareness (science fiction).
List of expert system films.

Notes

^ Mubin and coworkers kept in mind that the orthography of robot names caused them difficulties; therefore HAL 9000 was also composed HAL, HAL9000, and HAL-9000, and similarly for other robots, so they believed their search was likely insufficient. [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”. 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 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: misconceptions, makers, and ancient dreams of innovation. Princeton. ISBN 978-0-691-18351-0. OCLC 1060968156. cite 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 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 rules 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 ). Science fiction: modern 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 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 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 motivates 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 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 2nd law.
^ Walton, Jo Lindsay (1 February 2024). “Machine Learning in Contemporary Science Fiction”. 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 Control Of 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 representations of AI researchers 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 know 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 ). “Reviewing 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 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: 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?