THE ARTISTIC IMAGE OF ARTIFICIAL INTELLENGENCE IN CINEMA (THE MOVIE "EX MACHINA" AND THE TV SERIES "WESTWORLD")

T. A. Balakireva

Abstract


This study of the artistic image of artificial intelligence is aimed at demonstrating the inclusion of speculative fiction in modern media culture. The appeal to this topic is due to the need to illustrate the media policy in relation to fantastic discourse. Also, one of the goals of the article is to expand the analytical base of modern cultural philosophy in the field of science fiction research by including such materials as the movie "Ex machina" and the TV series "Westworld" in the review. The author proceeds from questions about how these examples of video production show artificial intelligence, what new aspect of interaction it brings to the general body of knowledge about the capabilities of artificial intelligence. As a result of the analysis of these materials, the following conclusions become reasonable. In both examples, artificial intelligence carriers are represented in the form of robotic androids of an anthropomorphic type, but Ava from "Ex machina"only pretends to show emotions, while in fact she does not experience them, and all the problems of androids from "Westworld" just come from the fact that they suddenly realized that they are possessed by emotions. Another difference between the two representations of artificial intelligence is the quantitative superiority of the androids from the second example over the first. In qualitative terms, there is also a difference, since in the universe of the second example there is a supercomputer, while in the first one only the initial stage of the invention of artificial intelligence is shown. The reason for such differences, in the author's opinion, is the time of action in each individual work: in "Ex machina" this is the near future, and in "Westworld" - a more remote period. The next characteristic that is analyzed is the optics from which the viewer is shown the story. In the first example, this is a view from the position of a human programmer, and in the second - from the position of android robots. Both approaches have a right to exist, but the second one has a greater potential, in the author's opinion, since empathy with artificial intelligence carriers allows us to solve moral and ethical dilemmas differently, and introduce new connotations in relation to them, and, consequently, get more data about the potential possibilities of such a future invention. The main conclusion of the study is the statement about the need for a fantastic discourse in the modern media culture in order to apply its predictive function, which demonstrates that the media policy regarding the absorption of speculative fiction brings a positive result in the field of social and cultural design.


Keywords


science fiction; media culture; media philosophy; artificial intelligence; forecasting; android; robot

References


Berys Gaut. Elegy in LA: Blade Runner, Empathy and Death // Blade Runner: Philoso-phers on Film. — Routledge, 2015. — 174 с.

Robert A. Delfi, Kenneth Sheahan. Bad Timing: The Metaphysics of the Terminator // Terminator and Philosophy: I’ll Be Back, Therefore I Am. Hoboken, N.J : John Wiley & Sons, 2009. – 294 с.

Алимов А.А., Шабалина О.А. Система игрового искусственного интеллекта // Изве-стия Волгоградского государственного технического университета. 2012. № 4 (91). С. 166-169.

Бабичев Н. Т., Боровский Я. М. Словарь латинских крылатых слов. — М.: Русский язык, 2003.

Вороновский Г. К., Махотило К. В., Петрашев С. Н., Сергеев С. А. Генетические алгоритмы, искусственные нейронные сети и проблемы виртуальной реальности. — Харьков: Основа, 1997. — 112 с.

Карцева Е. Н. Вестерн. Эволюция жанра — М.: Искусство, 1976. — 255 с.

«Матрица» как философия: Эссе / Пер. с англ. О. Турухиной. — Екатеринбург: У-Фактория, 2005. —384 с. (Серия «Масскульт»).

Савчук В.В. Эпоха цифровизации // Критика цифрового разума. Коллективная мо-нография. Сер. «Труды Центра медиафилософии» Центр медиафилософии Инсти-тута философии СПбГУ, Лаборатория исследования компьютерных игр (ЛИКИ), Лаборатория визуальной экологии, Санкт-Петербургский консорциум свободных критиков. Санкт-Петербург: ООО «Академия Исследования Культуры», 2020. — 295 с.

Тьюринг А. М. Вычислительные машины и разум. // В сб.: Хофштадер Д., Деннет Д. Глаз разума. — Самара: Бахрах-М, 2003. — С. 47-59.

TRANSLITTRANSLITTRANSLITTRANSLITTRANSLITTRANSLITTRANSLIT

Berys Gaut. Elegy in LA: Blade Runner, Empathy and Death // Blade Runner: Philoso-phers on Film. — Routledge, 2015. — 174 s.

Robert A. Delfi, Kenneth Sheahan. Bad Timing: The Metaphysics of the Terminator // Terminator and Philosophy: I’ll Be Back, Therefore I Am. Hoboken, N.J : John Wiley & Sons, 2009. – 294 s.

Alimov A.A., Shabalina O.A. Sistema igrovogo iskusstvennogo intellekta // Izvestiya Volgogradskogo gosudarstvennogo tekhnicheskogo universiteta. 2012. № 4 (91). S. 166-169.

Babichev N. T., Borovskii Ya. M. Slovar' latinskikh krylatykh slov. — M.: Russkii yazyk, 2003.

Voronovskii G. K., Makhotilo K. V., Petrashev S. N., Sergeev S. A. Geneticheskie algo-ritmy, iskusstvennye neironnye seti i problemy virtual'noi real'nosti. — Khar'kov: Osno-va, 1997. — 112 s.

Kartseva E. N. Vestern. Evolyutsiya zhanra — M.: Iskusstvo, 1976. — 255 s.

«Matritsa» kak filosofiya: Esse / Per. s angl. O. Turukhinoi. — Ekaterinburg: U-Faktoriya, 2005. —384 s. (Seriya «Masskul't»).

Savchuk V.V. Epokha tsifrovizatsii // Kritika tsifrovogo razuma. Kollektivnaya mono-grafiya. Ser. «Trudy Tsentra mediafilosofii» Tsentr mediafilosofii Instituta filosofii SPbGU, Laboratoriya issledovaniya komp'yuternykh igr (LIKI), Laboratoriya vizual'noi ekologii, Sankt-Peterburgskii konsortsium svobodnykh kritikov. Sankt-Peterburg: OOO «Akademiya Issledovaniya Kul'tury», 2020. — 295 s.

T'yuring A. M. Vychislitel'nye mashiny i razum. // V sb.: Khofshtader D., Dennet D. Glaz razuma. — Samara: Bakhrakh-M, 2003. — S. 47-59.


Refbacks

  • There are currently no refbacks.


Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.