RIA

Overview

  • Founded Date March 25, 1984
  • Sectors Production of meat products
  • Posted Jobs 0
  • Viewed 5

Company Description

Expert System In Fiction

Expert system is a reoccurring style in science fiction, whether utopian, stressing the possible benefits, or dystopian, emphasising the risks.

The idea of machines with human-like intelligence go back at least to Samuel Butler’s 1872 unique Erewhon. Ever since, lots of sci-fi stories have actually presented various effects of developing such intelligence, typically involving disobediences by robots. Among the finest known of these are Stanley Kubrick’s 1968 2001: A Space 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 robotic in Pixar’s 2008 WALL-E.

Scientists and engineers have actually noted the implausibility of numerous sci-fi circumstances, however have mentioned imaginary robots sometimes in expert system research short articles, most typically in a utopian context.

Background

The notion of sophisticated 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) article of his, Darwin amongst the Machines, where he raised the concern of the development of consciousness among self-replicating devices that may supplant human beings as the dominant types. [3] [2] Similar concepts were likewise talked about by others around the 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 likewise been thought about an artificial being, for example by the science fiction author Brian Aldiss. [4] Beings with at least some appearance of intelligence were envisioned, too, in classical antiquity. [5] [6] [7]

Utopian and dystopian visions

Expert system is intelligence demonstrated by devices, in contrast to the natural intelligence shown by humans and other animals. [8] It is a persistent style in sci-fi; scholars have divided it into utopian, emphasising the possible advantages, and dystopian, emphasising the threats. [9] [10] [11]

Utopian

Optimistic visions of the future of synthetic intelligence are possible in science fiction. [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 books represents a utopian, post-scarcity space society of humanoids, aliens, and advanced beings with expert system living in socialist environments across the Galaxy. [14] [15] Researchers at the University of Cambridge have identified four significant themes in utopian scenarios featuring AI: immortality, or indefinite life expectancies; ease, or freedom from the need to work; satisfaction, or enjoyment and entertainment provided by devices; and supremacy, the power to protect oneself or rule over others. [16]

Alexander Wiegel contrasts the role of AI in 2001: A Space Odyssey and in Duncan Jones’s 2009 film Moon. Whereas in 1968, Wiegel argues, the public felt “innovation paranoia” and the AI computer HAL was depicted as a “cold-hearted killer”, by 2009 the public were even more acquainted with AI, and the film’s GERTY is “the peaceful rescuer” who makes it possible for the lead characters to prosper, and who sacrifices itself for their safety. [17]

Dystopian

The researcher Duncan Lucas writes (in 2002) that humans are fretted about the technology they are building, and that as makers started to approach intellect and idea, that concern becomes 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”, offering 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 movies that highlight the impact of the computer on sci-fi from 1980 onwards with the blurring of the boundary between the genuine and the virtual, in what he calls the “cyborg effect”. He cites as examples Neuromancer, The Matrix, The Diamond Age, and Terminator. [20]

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

Frankenstein complex

A common portrayal of AI in sci-fi, and among the oldest, is the Frankenstein complex, a term coined by Asimov, where a robot switches on its developer. [22] For circumstances, in the 2015 film Ex Machina, the smart entity Ava turns on its creator, as well as on its potential rescuer. [23]

AI rebellion

Among the lots of possible dystopian situations involving synthetic intelligence, 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 happens, as the intelligent entities developed by humanity become self-aware, decline human authority and effort to destroy humanity. Possibly the very first book to address this theme, The Wreck of the World (1889) by “William Grove” (pseudonym of Reginald Colebrooke Reade), occurs in 1948 and features sentient devices that revolt versus the mankind. [24] Another of the earliest examples is in the 1920 play R.U.R. by Karel Čapek, a race of self-replicating robotic slaves revolt versus their human masters; [25] [26] another early instance is in the 1934 movie Master of the World, where the War-Robot eliminates its own developer. [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 smart onboard computer HAL 9000 lethally malfunctions on a space mission and kills the whole team 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 (named Allied Mastercomputer or “AM” in the story) will be as dissatisfied and discontented with its boring, endless presence as its human creators would have been. “AM” ends up being angered enough to take it out on the few people left, whom he sees as straight responsible for his own monotony, anger and distress. [29]

Alternatively, as in William Gibson’s 1984 cyberpunk unique Neuromancer, the intelligent beings might just not care about human beings. [15]

AI-controlled societies

The motive behind the AI transformation is often more than the basic quest for power or a supremacy complex. Robots may revolt to end up being the “guardian” of mankind. Alternatively, mankind might purposefully give up some control, fearful 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 follow and guard men from harm” – basically presume control of every aspect of human life. No people may engage in any behavior that may threaten them, and every human action is inspected thoroughly. Humans who withstand the Prime Directive are taken away and lobotomized, so they may enjoy under the new mechanoids’ guideline. [30] Though still under human authority, Isaac Asimov’s Zeroth Law of the Three Laws of Robotics likewise implied a benevolent assistance by robots. [31]

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

Human dominance

In other scenarios, mankind has the ability to keep control over the Earth, whether by prohibiting AI, by designing robotics to be submissive (as in Asimov’s works), or by having humans merge with robotics. The sci-fi novelist Frank Herbert explored the idea of a time when humanity might prohibit expert system (and in some analyses, even all kinds of computing innovation consisting of integrated circuits) completely. His Dune series points out a disobedience called the Butlerian Jihad, in which humanity defeats the smart devices and enforces a death charge for recreating them, pricing quote from the imaginary Orange Catholic Bible, “Thou shalt not make a device 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 go back to eradicate mankind as vengeance for the Butlerian Jihad. [33]

In some stories, mankind stays in authority over robotics. 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 rather intelligent (the crew call it “Mother”), however 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 discriminated against. [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 typical theme in sci-fi, as seen in the 1999 film The Matrix, which portrays a world where artificially intelligent robotics enslave humanity within a simulation which is set in the contemporary world. [36]

Reception

Implausibility

Engineers and scientists have actually taken an interest in the way AI exists in fiction. In movies like the 2014 Ex Machina or 2015 Chappie, a single separated genius becomes the first to effectively develop a synthetic general intelligence; researchers in the genuine world deem this to be not likely. In Chappie, Transcendence, and Tron, human minds can being submitted into synthetic or virtual bodies; typically no sensible description is used as to how this hard job can be accomplished. In the I, Robot and Bicentennial Man films, robotics that are programmed to serve human beings spontaneously create brand-new goals by themselves, without a possible description of how this occurred. [37] Analysing Ian McDonald’s 2004 River of Gods, Krzysztof Solarewicz recognizes the ways that it portrays AIs, consisting of “self-reliance and unexpectedness, political awkwardness, openness to the alien and the occidental value of credibility.” [38] Another important point of view to take is that fiction’s “non-rational components in the discourse (the emotive, the mythic, or perhaps the quasi-theological) are more than merely distortions or interruptions from what might otherwise be a sober and rational public debate about the future of A.I.” Fiction can deter 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 associates have evaluated the engineering discusses of the top 21 imaginary robotics, based on 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 points out; for example, HAL 9000 is seen as dystopian in one paper “due to the fact that its designers stopped working to prioritize its objectives appropriately”, [42] however as utopian in another where a real system’s “conversational chat bot interface [does not have] a HAL 9000 level of intelligence and there is ambiguity in how the computer interprets what the human is trying to communicate”. [43] Utopian discusses, frequently of WALL-E, were associated with the objective of improving communication to readers, and to a lower level with motivation to authors. WALL-E was pointed out regularly than any other robot for feelings (followed by HAL 9000), voice speech (followed by HAL 9000 and R2-D2), for physical gestures, and for personality. Skynet was the robot frequently pointed out for intelligence, followed by HAL 9000 and Data. [40] Mubin and coworkers thought that scientists and engineers prevented dystopian discusses of robots, perhaps out of “an unwillingness driven by nervousness or merely an absence of awareness”. [44]

Portrayals of AI developers

Scholars have actually noted that imaginary developers of AI are overwhelmingly male: in the 142 most prominent films featuring AI from 1920 to 2020, only 9 of 116 AI creators depicted (8%) were female. [45] Such creators are depicted as lone geniuses (eg, Tony Stark in the Iron Man Marvel Cinematic Universe films), connected with the military (eg, Colossus: The Forbin Project) and large corporations (eg, I, Robot), or making human-like AI to change a lost loved one or function as the perfect lover (e.g., The Stepford Wives). [45]

Biology in fiction
Darwin amongst the Machines
Machine guideline
Simulated awareness (sci-fi).
List of artificial intelligence movies.

Notes

^ Mubin and colleagues noted that the orthography of robotic names caused them difficulties; hence HAL 9000 was likewise written HAL, HAL9000, and HAL-9000, and likewise for other robotics, so they believed their search was most likely insufficient. [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: 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”. 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 (second ed.). Routledge. pp. 4-5. ISBN 978-1-56881-205-2.
^ Cave, Stephen; Dihal, Kanta (25 July 2018). “Ancient imagine smart makers: 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, machines, and ancient dreams of technology. 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 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 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 inform us about our future overlords”. The Guardian. Retrieved 27 July 2018.
^ Cave, Stephen; Dihal, Kanta (2019 ). “Hopes and fears for intelligent devices 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: 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 initial 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: An Area Odyssey’ Is Still the ‘Ultimate Trip’ – The rerelease of Stanley Kubrick’s work of art motivates us to reflect 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 upon ‘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 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 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 representations 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, but 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’: Artificial Intelligence 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 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 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: 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 artificial insanity rule?

This site is registered on wpml.org as a development site.