scholarly journals THE ADVANCEMENT OF ARTIFICIAL INTELLIGENCE A WAY TO MAN AND MACHINE IN COMBAT IN TIME MACHINE AND I ROBOT

2019 ◽  
Vol 6 (1) ◽  
pp. 14-16
Author(s):  
Sumathi R ◽  
Sutharshan V
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
20Th Century ◽  
Scientific Knowledge ◽  
The Other ◽  
Time Machine ◽  
General Outline ◽  
Fantasy Fiction ◽  
Research Article ◽  
Future Events

Science fiction has proved notoriously difficult to define. It can be explained as a combination of science and technology and development in robotics in short it can be otherwise called as ‘realistic speculation about future events and a genre based on an imagined alternative to the reader's environment. It has been called a form of fantasy fiction and an historical literature. The paper goes further with two main concepts one with clash between two people of future and the other with advancement of science particularly on robotics. First is about general outline to science fiction in short a (SF) a genre cause problem because itdoes not recognize the hybrid nature of many SF works. It is more helpful to think of it as a mode or field where different genres and subgenres intersect. And then there is the issue of science. In the early decades of the 20th century, a number of writers attempted to tie this fiction to science and event to use it as a means of promoting scientific knowledge, a position which continues into what has become known as ‘hard SF’. The research article is completely based on advancement of science and its effects.

The Apprentice

2017 ◽  
pp. 1-36
Author(s):  
Wheeler Winston Dixon
Keyword(s):  
Science Fiction ◽  
20Th Century ◽  
Critical Appraisal ◽  
The Other ◽  
John Ford ◽  
The 1950S

This chapter provides a background on Terence Fisher's career that is regarded by most as that of a journeyman director and by French critics that argued that Fisher was a master filmmaker since the 1950s. It looks at the efforts of David Pirie and others who brought about the first serious critical appraisal of Fisher's work beginning in the late 1960s. It also describes Fisher as the greatest Gothic filmmaker of the second half of the 20th century and British equivalent in terms of style and seriousness of the great American myth-master, John Ford. The chapter mentions The Curse of Frankenstein, in which Fisher creates a real, believable world, and does superb work with Peter Cushing, Christopher Lee, and the other members of the cast. It talks about Fisher's admission toward the end of his life about he had very little affection for science fiction.

Turing, Searle, and the Wizard of Oz

2010 ◽  
Vol 14 (2) ◽  
pp. 88-102
Author(s):  
S. D. Noam Cook ◽  
Keyword(s):  
Artificial Intelligence ◽  
20Th Century ◽  
Artificial Life ◽  
The Other ◽  
Living Systems ◽  
Wizard Of Oz ◽  
Central Elements ◽  
Future Technologies

Since the middle of the 20th century there has been a significant debate about the attribution of capacities of living systems, particularly humans, to technological artefacts, especially computers—from Turing’s opening gambit, to subsequent considerations of artificial intelligence, to recent claims about artificial life. Some now argue that the capacities of future technologies will ultimately make it impossible to draw any meaningful distinctions between humans and machines. Such issues center on what sense, if any, it makes to claim that gadgets can actually think, feel, act, live, etc. I outline this debate and offer a critique of its persistent polarization. I characterize two of the debate’s major camps (associated roughly with Turing and Searle); argue that the debate’s structure (including key assumptions inherent to each camp) precludes resolution; and, contend that some central clashes within the debate actually stem from an inadequately drawn distinction between claims about the capacities of artifacts and claims about the proper criteria for assessing such attributions. I offer a different perspective in which I: challenge some central elements of the debate that contribute to its perennially irresolvable state; hold that the debate needs to be placed more squarely in sync with how we in fact treat the attribution of such capacities to humans themselves; and, offer (unlike the other two camps) a foothold for making moral assessments of such proposed technologies.

scholarly journals The Influence of Felix Kaufmann’s Methodology on Harold Garfinkel’s Ethnomethodology

2019 ◽  
Vol 50 (1) ◽  
pp. 23-44
Author(s):  
Martyn Hammersley
Keyword(s):  
United States ◽  
Social Science ◽  
20Th Century ◽  
Scientific Knowledge ◽  
Edmund Husserl ◽  
Scientific Practice ◽  
The United States ◽  
The Other ◽  
Philosophy Of Social Science ◽  
Sociological Inquiry

This paper examines the “methodology,” or philosophy of social science, developed by Felix Kaufmann in the second quarter of the 20th century, with the aim of determining its influence on the early work of the sociologist Harold Garfinkel. Kaufmann’s two methodology books are discussed, one written before, the other after, his migration from Austria to the United States. It is argued that Garfinkel took over Kaufmann’s conception of scientific practice: as a set of procedural rules or methods that determine whether or not new propositions will be accepted into the corpus of scientific knowledge, and whether previously accepted propositions should be retained or abandoned. However, Garfinkel deployed this methodology not so much as a model for sociological inquiry, but rather for the processes by which the lifeworld is constituted—an area of investigation that is epistemologically prior to the focus of most social science, and one which had been opened up in the writings of Edmund Husserl and (especially) Alfred Schutz. It is suggested that Kaufmann’s “methodology” was an important complement to the work of these other two philosophers in their influence on Garfinkel.

scholarly journals Avaruudessa konekaan ei kuule huutoasi

2020 ◽  
Vol 33 (1) ◽  
pp. 26-46
Author(s):  
Pertti Grönholm ◽  
Kimi Kärki
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
The Other ◽  
Ridley Scott ◽  
Stanley Kubrick ◽  
Social Hierarchies ◽  
For Profit ◽  
Intelligent Machine ◽  
The Future ◽  
Science Fiction Films

Artikkelin kirjoittajat tutkivat kolmea tieteiselokuvaa: 2001: Avaruusseikkailu, Pimeä tähti ja Alien – kahdeksas matkustaja, joiden yksi keskeisistä teemoista on älykkään koneen ja ihmisen välinen vuorovaikutus. Kirjoittajat erittelevät elokuvien ihmisten ja koneiden muodostamia suljettuja yhteisöjä, erityisesti keinoälyn ja miehistön suhteita ja dialogia. Kirjoittajat tarkastelevat elokuvia yhtäältä tekijälähtöisesti, keskittyen niiden tulevaisuuskuviin sisältyviin kysymyksiin, varoituksiin ja uhkakuviin sekä toisaalta tarkastelemalla keinoälytematiikkaa suhteessa elokuvien omaan historialliseen kontekstiin.Keinoälytematiikan kautta elokuvantekijät ovat käsitelleet laajoja kysymyksiä, jotka liittyvät ihmisyyden eri puoliin, kuten tiedonjanoon ja uteliaisuuteen, ihmislajin ekspansiivisuuteen, taloudelliseen hyödyn tavoitteluun, väkivaltaisuuteen ja sosiaalisiin valtasuhteisiin. Samalla elokuvat esittävät kysymyksiä koneiden ja ihmisten rajojen hämärtymisestä, toiseuden kokemuksista sekä keinoälyyn liitetyistä pelon, pyhyyden ja kiehtovuuden ja ylevän teemoista.In space, even the machine doesn't hear your scream. The human-AI dialogue in three science fiction films of 1968-1979Grönholm and Kärki research three science fiction films: 2001: A Space Odyssey (Stanley Kubrick, 1968), Dark Star (John Carpenter, 1974), and Alien (Ridley Scott, 1979). They all contain the interaction of the intelligent machine and human as one of their central themes. In particular, the authors analyse the closed communities of the space ships, focusing on the relations and dialogue between the human crew and the Artificial Intelligence (AI). Special emphasis is given to the intentions of the filmmakers – both directors and screenplay writers – and how the questions, warnings and threats about the future were envisioned in each film. On the other hand, the theme of AI itself is also historically contextualized.Furthermore, the authors consider the wider questions these films ask about the nature of humanity: thirst for knowledge, curiosity, expansion of our species, reach for profit, violence, and social hierarchies. Simultaneously, these films also seem to ask questions about the blurring of the boundaries between the human and machine, experiences of otherness, and feelings of fear, sacral, fascination, and sublime that are associated with the AI.

scholarly journals Artificial intelligence in fiction: between narratives and metaphors

AI & Society ◽  
2021 ◽  
Author(s):  
Isabella Hermann
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Real World ◽  
Science Communication ◽  
Humanoid Robots ◽  
Human Condition ◽  
The Other ◽  
Political Issues ◽  
Technological Limitations ◽  
Current Potential

AbstractScience-fiction (SF) has become a reference point in the discourse on the ethics and risks surrounding artificial intelligence (AI). Thus, AI in SF—science-fictional AI—is considered part of a larger corpus of ‘AI narratives’ that are analysed as shaping the fears and hopes of the technology. SF, however, is not a foresight or technology assessment, but tells dramas for a human audience. To make the drama work, AI is often portrayed as human-like or autonomous, regardless of the actual technological limitations. Taking science-fictional AI too literally, and even applying it to science communication, paints a distorted image of the technology's current potential and distracts from the real-world implications and risks of AI. These risks are not about humanoid robots or conscious machines, but about the scoring, nudging, discrimination, exploitation, and surveillance of humans by AI technologies through governments and corporations. AI in SF, on the other hand, is a trope as part of a genre-specific mega-text that is better understood as a dramatic means and metaphor to reflect on the human condition and socio-political issues beyond technology.

Dystopic Pleasure

2021 ◽  
pp. 234-258
Author(s):  
Deniz Yaman
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
Human Life ◽  
The Other ◽  
Space Theory ◽  
Production Of Space ◽  
Other Hand ◽  
Artificial Intelligence Technology ◽  
The One ◽  
Near Future

In the 1980s and 1990s, there were indispensable elements for the science fiction movies: cyborgs. This half-biologic and half-machine species had fully developed intelligence. And there was such a future fiction that appeared in these films that, on the one hand, raised admiration for the technologies that have not yet emerged, and on the other hand raised serious future concerns. The purpose of this study is to discuss the interaction of fear, artificial intelligence, and humans. And it is also aimed to research the way of representation of this interaction via aestheticization. Because of this, The Lawnmower (1992) has been chosen and analyized within the context of Production of Space Theory by Lefebvre. The Lawnmower has an importance about the imagining of dystopic and aesthetic way artificial intelligence technology would affect human life in the near future.

scholarly journals Cosmic albums of Jazep Drozdovich

Menotyra ◽  
2019 ◽  
Vol 26 (4) ◽  
Author(s):  
Olga Archipova
Keyword(s):  
20Th Century ◽  
Scientific Knowledge ◽  
Life Forms ◽  
The Other ◽  
Significant Part ◽  
Inner World ◽  
Life On Earth ◽  
Scientific Value ◽  
Available Information ◽  
Academy Of Sciences

The article presents a significant part of creative heritage of the Belarusian painter Jazep Drozdovich (1888–1954), a graduate of the Vilnius Drawing School, who was depicting his cosmic visions and declaring the existence of life forms on other planets, yet in other conditions. The painter was convinced that he had a special gift of clairvoyance. Although space explorations commenced only in the 6th decade of the 20th century, Drozdovich pursued his “astral wanderings” through somnambulistic dreams. He travelled to the remote stars and planets: Moon, Mars, Saturn and Venus, and saw unimaginably beautiful landscapes, explored remarkable plants and animals, visited unknown countries and cities, and observed local citizens’ lives. He accurately and meticulously documented, recorded and painted everything what he saw. A specific feature of an unprecedented nature of this part of Drozdovich’s creativity is that he highlighted not only artistic but first of all scientific value of his cosmic wanderings. Historically, part of the painter’s heritage remained in Vilnius, the other part was brought to Minsk. All his texts revealing documentation of “cosmic wanderings” are kept in the Wroblewski Library of the Lithuanian Academy of Sciences. Among them there are numerous notebooks and two bound manuscript books “Life in Mars” and “Life in Saturn”. These really valuable texts help to more specifically attribute Drozdovich’s paintings and graphics works, and to decode the scripts of some of his paintings. The analysis of Drozdovich’s creativity reveals the patterns of development of a unique painter’s personality. The available information and scientific knowledge let his fantasy escape from reality. The fantasy which allowed him explain the unknown as a reality similar to life on Earth. Jazep Drozdovich was able to create an endless cosmos in his inner world.

scholarly journals “Die siel van die mier”: Reflections on the battle for ‘scholarly’ intelligence

2015 ◽  
Vol 11 (2) ◽  
Author(s):  
Martin Olivier
Keyword(s):  
Artificial Intelligence ◽  
Problem Solving ◽  
20Th Century ◽  
Tertiary Education ◽  
The Other ◽  
Problem Solving Skills ◽  
Research Programmes ◽  
The Individual ◽  
Human Problem ◽  
Current Emphasis

This essay traces two research programmes in broad strokes. Both programmes start from the same observation — the behaviour of an ant (or termite) colony and the ability of the ant colony to act in a collective manner to achieve goals that the individual ant cannot. For one programme such behaviour is indicative of intelligence; for the other it is indicative of (collective) instinct. The primary intention of the essay is not to assess the claims of intelligence found, but to consider the rationale of the researchers involved in the two programmes for doing such research. It is observed that virtue in one programme is understanding (with the concomitant ability to explain — and, hence, teach), while the primary virtue in the other programme is the utility — and ultimately efficiency — that this may add to human problem solving skills. The two programmes used as illustration are Eugène Marais’s study of termites in the first half of the 20th century and the emergence of artificial intelligence projects that are inspired by ant behaviour in the second half of the 20th century. The essay suggests that the current emphasis of inquiry at tertiary education institutions embraces utility to the extent that it displaces pure insight — and hence the ability to explain and, ultimately, the ability to teach.

scholarly journals PERJALANAN FANTASI MENEMBUS RUANG DAN WAKTU (Analisis Semiotika Film The Time Machine)

2016 ◽  
Vol 11 (1) ◽  
pp. 11
Author(s):  
Sudjadi Tjipto R
Keyword(s):  
Science Fiction ◽  
The Other ◽  
Creative Work ◽  
Movie Industry ◽  
Semiotic Analysis ◽  
Time Machine ◽  
Space And Time ◽  
Other Hand ◽  
Long Time ◽  
Genre Film

Cerita klasik usaha manusia untuk menaklukkan ruang dan waktu sudah menjadi impian sejak dahulu. Novel fiksi ilmiah terkenal The Time Machine (1895) karya H.G. Wells merupakan salah satu cerita klasik fantasi ilmiah manusia menembus batasan ruang dan waktu. Film sebagai hasil kreativitas insan menjadi media hiburan yang digemari karena mampu mewujudkan imajinasi mengarungi waktu. Hal ihwal yang belum dapat tercapai saat ini, lewat media film terwujudkan. Film fiksi ilmiah (science fiction) adalah genre film yang muncul sebagai medium realisasi imajinasi. Pada tahun 2002 industri film Hollywood memproduksi kembali cerita klasik populer The Time Machine. Dengan menggunakan metode analisis semiotika penelitian ini berkeinginan mengkaji film fiksi ilmiah The Time Machine untuk membongkar kepalsuan pencapaian teknologi yang dilakukan Hollywood sebagai kapanjangan tangan negara adidaya. Dari hasil penelitian diharapkan muncul kesadaran kritis penonton untuk tidak secara langsung mempercayai apa yang ditontonnya dan menyadari bahwa yang dilihatnya adalah sebuah imajinasi palsu.Fantasy Trip Entering the Space and Time (Semiotics Analysis on Film The Time Machine). Classic stories about human’s dreams to conquer space and time have been existing since long time ago. One of the most known science fiction novel about space and time wanderers is The Time Machine (1895) by H.G. Wells. This novel was than adapted in the movie  with the same title (2002) by movie industry in Hollywood. This movie is both a form of a creative work  and on the other hand is entertaining. This movie was very popular at the time because it could express the human imagination of time wanderers and the technology used and at the same time could realize it although only in a movie form. The technology of the time wandering itself is impossible at the time, even nowaday. Science fiction is then known as a genre of movie which could realize human imaginations. Using semiotic analysis, this study is trying to review this movie to show the fake thruths that Hollywood is than just a part of super power state (US)  statements. The result of the study is trying to give references to audience that the movie they might watch might be just a fake imagination.

scholarly journals If Machines Want to Dream... Adam Wiśniewski-Snerg on Ethical Consequences of There Being No Substantial Distinction between Humans and Robots

2019 ◽  
Vol 10 (2) ◽  
pp. 45-51
Author(s):  
Artur Jocz
Keyword(s):  
Artificial Intelligence ◽  
Science Fiction ◽  
20Th Century ◽  
Moral Dilemmas ◽  
Human Being ◽  
Human Identity ◽  
Polish Literature ◽  
The Creation ◽  
Bruno Schulz ◽  
Fiction Writer

Adam Wiśniewski-Snerg (1937-1995) was a Polish science fiction writer. In his novel Robot (1973), he made an attempt at a literary visualization of a machine acquiring human identity. In this article I would like to follow the ethical consequences of such situations in created literary worlds. It is worth remembering, however, that these artistic worlds often serve to test non-literary reality. In his novel, Wiśniewski-Snerg also dealt with the problem of human feelings (e.g. moral dilemmas) in a thinking machine, which is formed in the image and likeness of a human being. Such literary reflection is valuable, partly because it enters into an interesting dialogue with the work of Bruno Schulz (1892- 1942), one of the most important Polish writers of the 20th century. It is also one of the first attempts in Polish literature to address the issue of sentient machines, and is a kind of preview of contemporary dilemmas connected with the work on the creation of artificial intelligence. An example of such a dilemma is the issue of the sentient machine’s perception of the tasks imposed on it by the human-constructor. Perhaps it will start to experience them as a kind of unethical oppression. In Wiśniewski-Snerg’s writing this problem of is, of course, expressed in a metaphorical way.

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