
Vibasoftware
Add a review FollowOverview
-
Founded Date March 4, 1953
-
Sectors Restaurant / Food Services
-
Posted Jobs 0
-
Viewed 10
Company Description
Expert System In Fiction
Artificial intelligence is a recurrent style in science fiction, whether utopian, emphasising the prospective advantages, or dystopian, emphasising the dangers.
The concept of devices with human-like intelligence dates back a minimum of to Samuel Butler’s 1872 novel Erewhon. Ever since, many sci-fi stories have actually provided various impacts of producing such intelligence, often involving disobediences by robotics. Among the finest known of these are Stanley Kubrick’s 1968 2001: An Area Odyssey with its homicidal onboard computer 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 scenarios, however have mentioned imaginary robots often times in synthetic intelligence research study short articles, usually in a utopian context.
Background
The notion of advanced robotics with human-like intelligence dates back at least to Samuel Butler’s 1872 novel Erewhon. [1] [2] This made use of an earlier (1863) article of his, Darwin amongst the Machines, where he raised the concern of the advancement of consciousness among self-replicating machines that might supplant humans as the dominant species. [3] [2] Similar ideas were also talked about by others around the very 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 likewise been thought about a synthetic being, for example by the sci-fi author Brian Aldiss. [4] Beings with at least some look of intelligence were imagined, 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 human beings and other animals. [8] It is a recurrent style in science fiction; scholars have divided it into utopian, stressing the prospective benefits, and dystopian, stressing the dangers. [9] [10] [11]
Utopian
Optimistic visions of the future of artificial 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 books represents a utopian, post-scarcity area society of humanoids, aliens, and advanced beings with expert system living in socialist environments throughout the Galaxy. [14] [15] Researchers at the University of Cambridge have identified four significant themes in utopian situations featuring AI: immortality, or indefinite life-spans; ease, or flexibility from the need to work; gratification, or pleasure and home entertainment provided by machines; and supremacy, the power to safeguard oneself or guideline over others. [16]
Alexander Wiegel contrasts the function of AI in 2001: An Area Odyssey and in Duncan Jones’s 2009 film Moon. Whereas in 1968, Wiegel argues, the general public felt “technology fear” and the AI computer HAL was represented as a “cold-hearted killer”, by 2009 the general public were far more familiar with AI, and the movie’s GERTY is “the peaceful rescuer” who allows the lead characters to be successful, and who sacrifices itself for their safety. [17]
Dystopian
The scientist Duncan Lucas composes (in 2002) that human beings are fretted about the technology they are constructing, and that as machines started to approach intelligence and thought, that concern ends up being acute. He calls the early 20th century dystopian view of AI in fiction the “animated automaton”, 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 Dream of Electric Sheep?, The Hitchhiker’s Guide to the Galaxy, and I, Robot. [19] Lucas thinks about likewise the films that illustrate the effect of the computer on science fiction from 1980 onwards with the blurring of the limit in between the real and the virtual, in what he calls the “cyborg result”. 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 profession, and it plays a crucial part in his movies Prometheus, Blade Runner, and the Alien franchise. [21]
Frankenstein complex
A common representation of AI in sci-fi, and among the oldest, is the Frankenstein complex, a term created by Asimov, where a robot switches on its developer. [22] For example, in the 2015 movie Ex Machina, the intelligent entity Ava turns on its creator, along with on its potential rescuer. [23]
AI disobedience
Among the many possible dystopian scenarios involving expert system, robots may take over control over civilization from humans, forcing them into submission, hiding, or extinction. [15] In tales of AI disobedience, the worst of all circumstances happens, as the smart entities created by humankind end up being self-aware, decline human authority and attempt to damage humanity. Possibly the very first novel to address 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 mankind. [24] Another of the earliest examples remains 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 instance is in the 1934 film Master of the World, where the War-Robot kills its own innovator. [27]
Many science fiction disobedience stories followed, among the best-known being Stanley Kubrick’s 1968 movie 2001: A Space Odyssey, in which the synthetically smart onboard computer HAL 9000 lethally malfunctions on a space objective and eliminates the entire team except 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 provides the possibility that a sentient computer (called Allied Mastercomputer or “AM” in the story) will be as unhappy and disappointed with its boring, endless presence as its human developers would have been. “AM” becomes enraged enough to take it out on the couple of humans left, whom he views as straight accountable for his own monotony, anger and unhappiness. [29]
Alternatively, as in William Gibson’s 1984 cyberpunk unique Neuromancer, the smart beings might just not care about humans. [15]
AI-controlled societies
The motive behind the AI revolution is often more than the simple quest for power or a superiority complex. Robots might revolt to become the “guardian” of humanity. Alternatively, humankind may deliberately relinquish some control, fearful of its own harmful nature. An early example is Jack Williamson’s 1948 novel The Humanoids, in which a race of humanoid robots, in the name of their Prime Directive – “to serve and obey and safeguard males from harm” – essentially assume control of every aspect of human life. No people might take part in any habits that may threaten them, and every human action is inspected carefully. Humans who withstand the Prime Directive are taken away and lobotomized, so they might be happy under the brand-new mechanoids’ guideline. [30] Though still under human authority, Isaac Asimov’s Zeroth Law of the Three Laws of Robotics likewise indicated a good-hearted assistance by robots. [31]
In the 21st century, sci-fi has actually explored government by algorithm, in which the power of AI may be indirect and decentralised. [32]
Human dominance
In other situations, humankind is able to keep control over the Earth, whether by prohibiting AI, by designing 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 mankind may prohibit expert system (and in some interpretations, even all forms of computing innovation consisting of incorporated circuits) totally. His Dune series mentions a disobedience called the Butlerian Jihad, in which humanity defeats the clever makers and imposes a death sentence for recreating them, pricing quote from the imaginary 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 go back to remove mankind as revenge for the Butlerian Jihad. [33]
In some stories, humankind remains in authority over robotics. Often the robots are set 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 rather smart (the team call it “Mother”), but there are likewise androids in the society, which are called “synthetics” or “artificial persons”, that are such ideal imitations of people that they are not discriminated versus. [21] [34] TARS and CASE from Interstellar similarly show simulated human feelings and humour while continuing to acknowledge their expendability. [35]
Simulated truth
Simulated truth has ended up being a common theme in sci-fi, as seen in the 1999 movie The Matrix, which portrays a world where artificially smart robots enslave humankind within a simulation which is set in the modern world. [36]
Reception
Implausibility
Engineers and researchers have taken an interest in the method AI is provided in fiction. In films like the 2014 Ex Machina or 2015 Chappie, a single separated genius becomes the very first to effectively develop an artificial basic intelligence; researchers in the real life deem this to be not likely. In Chappie, Transcendence, and Tron, human minds can being uploaded into synthetic or virtual bodies; generally no sensible explanation is used as to how this challenging job can be attained. In the I, Robot and Bicentennial Man films, robots that are set to serve humans spontaneously generate brand-new objectives by themselves, without a possible description of how this occurred. [37] Analysing Ian McDonald’s 2004 River of Gods, Krzysztof Solarewicz identifies the methods that 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 elements in the discourse (the emotive, the mythic, or perhaps the quasi-theological) are more than merely distortions or diversions from what might otherwise be a sober and rational public debate 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 researcher Omar Mubin and coworkers have actually analysed the engineering mentions of the leading 21 fictional 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) received only 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 points out; for instance, HAL 9000 is viewed as dystopian in one paper “because its designers failed to prioritize its goals correctly”, [42] but as utopian in another where a real system’s “conversational chat bot user interface [lacks] a HAL 9000 level of intelligence and there is uncertainty in how the computer analyzes what the human is trying to communicate”. [43] Utopian mentions, often of WALL-E, were associated with the objective of improving interaction to readers, and to a lower degree with inspiration to authors. WALL-E was pointed out 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 robotic usually mentioned for intelligence, followed by HAL 9000 and Data. [40] Mubin and coworkers believed that scientists and engineers avoided dystopian points out of robotics, perhaps out of “a reluctance driven by uneasiness or merely a lack of awareness”. [44]
Portrayals of AI developers
Scholars have actually kept in mind that imaginary creators of AI are overwhelmingly male: in the 142 most influential films featuring AI from 1920 to 2020, only 9 of 116 AI creators depicted (8%) were female. [45] Such creators are depicted as only geniuses (eg, Tony Stark in the Iron Man Marvel Cinematic Universe movies), connected with the military (eg, Colossus: The Forbin Project) and big corporations (eg, I, Robot), or making human-like AI to replace a lost liked one or serve as the ideal fan (e.g., The Stepford Wives). [45]
Biology in fiction
Darwin among the Machines
Machine rule
Simulated awareness (sci-fi).
List of expert system films.
Notes
^ Mubin and associates kept in mind that the orthography of robot names caused them difficulties; therefore HAL 9000 was likewise written HAL, HAL9000, and HAL-9000, and likewise for other robots, so they thought 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 (second ed.). Routledge. pp. 4-5. ISBN 978-1-56881-205-2.
^ Cave, Stephen; Dihal, Kanta (25 July 2018). “Ancient dreams of intelligent 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, devices, and ancient dreams of 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 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 Considering 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 Few 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 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 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 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 reflect once again on where we’re originating 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 specific transcription of the laws. They also appear in the front of the book, and in both places, there is no “to” in the 2nd law.
^ Walton, Jo Lindsay (1 February 2024). “Artificial Intelligence 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 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 motion pictures 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 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 Science Fiction (thesis). McMaster University (PhD thesis). hdl:11375/ 11154.
Mubin, Omar; Wadibhasme, Kewal; Jordan, Philipp; Obaid, Mohammad (2019 ). “Reviewing 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 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 comparison 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 rule?