Why Do We Fear The Robopocalypse? Human Insecurity in The Age of Technophobia.
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| Název: | Why Do We Fear The Robopocalypse? Human Insecurity in The Age of Technophobia. |
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| Alternate Title: | Pourquoi craignons-nous la robocalypse? La sécurité humaine au temps de la technophobie. Zašto strahujemo od robopokalipse? Ljudska bezbednost u doba tehnofobije. |
| Autoři: | Korać, Srđan T.1 srdjan.korac@ips.ac.rs |
| Zdroj: | Issues in Ethnology Anthropology. 2024, Vol. 19 Issue 1, p111-132. 22p. |
| Témata: | Science fiction films, Technophobia, Artificial intelligence |
| Abstract (English): | The paper aims to determine where exactly fear of intelligent machines is located in the narrative layers embedded in science fiction film stories based on the intelligence explosion hypothesis. The analysis departs from the assumption that the Robopocaliptic narrative, a science fiction narrative depicting the dystopian future of human-robot relationship, is constitutive of the irrational technophobic stance widespread in the public opinion of today's postindustrial societies. As narration plays an essential part in our daily reflective and social practices, we are naturally inclined to look for narrative structure in popular culture, particularly in film, the most popular form of visual art, and the easiest one to consume. Nine science fiction films have been selected as relevant empirical evidence: The Invisible Boy (1957), 2001: A Space Odyssey (1968), Westworld (1973), Futureworld (1976), Demon Seed (1977), Blade Runner (1982), The Terminator (1984), The Matrix (1999), Ex Machina (2015). The Robopocaliptic narrative interwoven with the themes of the analysed films uncovers four recurrent ideas or messages that create robotophobia: redundancy of the human race, moral indifference of robots, robots as emotional abusers, and the loss of control over one's own mind and body. The author proposes that these four ideas or messages mirror four layers of fear, all pointing to a meta-fear: the fear of rejection to be recognised and treated as a morally worth human being. In conclusion, the author suggests that Axel Honneth's concept of recognition opens a plausible avenue to clarify the roots of the fear of the Robopocalypse. [ABSTRACT FROM AUTHOR] |
| Abstract (French): | Le travail s'efforce d'établir où se trouve exactement dans les couches narratives des récits cinématographiques de science-fiction, fondées sur l'hypothèse de la prétendue explosion de l'intelligence artificielle, la peur largement étendue du public des machines intelligentes. Dans son analyse l'auteur part de l'hypothèse que le récit robocalyptique, le récit de science-fiction sur un avenir dystopique des rapports entre les hommes et les robots, représente le fondement de l'attitude irationnelle technophobe répandue dans l'opinion publique des sociétés postindustrielles contemporaines. Étant donné que la narration joue un rôle substantiel dans les pratiques quotidiennes réflexives et sociales, nous aspirons naturellement à la découverte des structures narratives dans la culture populaire, particulièrement dans le film comme la forme la plus populaire de l'art visuel. Les matériaux empiriques sont constitués de neuf films du genre de la science-fiction: Le Cerveau infernal (The Invisible Boy, 1957), 2001 Odyssée de l'espace (2001: A Space Odyssey, 1968), Le Monde de l'Ouest (Westworld, 1973), Les Rescapés du futur (Futureworld, 1976), Génération Proteus (Demon Seed, 1977), Blade Runner (Blade Runner, 1982), Terminator (The Terminator, 1984), Matrix (The Matrix, 1999), Ex Machina (2015). Le récit robocalyptique tissé dans les scénarios des films analysés dévoile quatre idées ou messages communs qui conditionnent la peur des technologies avancées perverties: la superfluité de l'espèce humaine, l'indifférence morale des robots, les robots dans le rôle des abuseurs émotionnels et la perte de contrôle sur son propre corps et raison. L'auteur soutient la thèse que les quatre idées ou messages mentionnés reproduisent quatre couches de la peur qui ensemble rendent compte de l'existence d'une méta-peur particulière: la peur du refus d'être reconnu comme être humain. L'auteur conclut que le concept de reconnaissance d'Axel Honneth fraie un chemin possible vers l'explication de l'origine de la peur de la robocalypse. [ABSTRACT FROM AUTHOR] |
| Abstract (Croatian): | Rad nastoji da utvrdi gde je tačno u narativnim slojevima naučno-fantastičnih filmskih priča, zasnovanim na pretpostavci o tzv. eksploziji veštačke inteligencije, smešten široko rasprostranjeni strah javnosti od inteligentnih mašina. Autor u analizi kreće od pretpostavke da robopokaliptički narativ - naučno-fantastični narativ o distopijskoj budućnosti odnosa između ljudi i robota - čini osnovu iracionalnog tehnofobičnog stava raširenog u javnom mnjenju savremenih postindustrijskih društava. Kako naracija igra supstancijalnu ulogu u svakodnevnim refleksivnim i društvenim praksama, mi prirodno stremimo otkrivanju narativnih struktura u popularnoj kulturi, posebno u filmu kao najpopularnijem obliku vizuelne umetnosti. Empirijsku građu čini devet filmova iz žanra naučne fantastike: Nevidljivi dečak (The Invisible Boy, 1957), Odiseja 2001. (2001: A Space Odyssey, 1968), Zapadni svet (Westworld, 1973), Svet budućnosti (Futureworld, 1976), Demonsko seme (Demon Seed, 1977), Blejd Raner (Blade Runner, 1982), Terminator (The Terminator, 1984), Matriks (The Matrix, 1999), Ex Machina (2015). Robopokaliptični narativ utkan u scenarije analiziranih filmova razotkriva četiri zajedničke ideje ili poruke koje uslovljavaju strah od izopačenih naprednih tehnologija: suvišnost ljudske vrste, moralna indiferentnost robota, roboti u ulozi emocionalnih zlostavljača i gubitak kontrole nad sopstvenim telom i umom. Autor zastupa tezu da navedene četiri ideje ili poruke odražavaju četiri sloja straha koji zbirno ukazuju na postojanje svojevrsnog meta-straha: straha od odbijanja da se bude prepoznat kao ljudsko biće. Autor zaključuje da koncept priznanja Aksela Honeta (Axel Honneth) utire mogući put ka pojašnjenju korena straha od robopokalipse. [ABSTRACT FROM AUTHOR] |
| Databáze: | Supplemental Index |
Nájsť tento článok vo Web of Science | Abstrakt: | The paper aims to determine where exactly fear of intelligent machines is located in the narrative layers embedded in science fiction film stories based on the intelligence explosion hypothesis. The analysis departs from the assumption that the Robopocaliptic narrative, a science fiction narrative depicting the dystopian future of human-robot relationship, is constitutive of the irrational technophobic stance widespread in the public opinion of today's postindustrial societies. As narration plays an essential part in our daily reflective and social practices, we are naturally inclined to look for narrative structure in popular culture, particularly in film, the most popular form of visual art, and the easiest one to consume. Nine science fiction films have been selected as relevant empirical evidence: The Invisible Boy (1957), 2001: A Space Odyssey (1968), Westworld (1973), Futureworld (1976), Demon Seed (1977), Blade Runner (1982), The Terminator (1984), The Matrix (1999), Ex Machina (2015). The Robopocaliptic narrative interwoven with the themes of the analysed films uncovers four recurrent ideas or messages that create robotophobia: redundancy of the human race, moral indifference of robots, robots as emotional abusers, and the loss of control over one's own mind and body. The author proposes that these four ideas or messages mirror four layers of fear, all pointing to a meta-fear: the fear of rejection to be recognised and treated as a morally worth human being. In conclusion, the author suggests that Axel Honneth's concept of recognition opens a plausible avenue to clarify the roots of the fear of the Robopocalypse. [ABSTRACT FROM AUTHOR] |
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| ISSN: | 03531589 |
| DOI: | 10.21301/eap.v19i1.5 |