Situating Artificial Intelligence: The Convergence of Human Emotion and Technology in Cyberpunk SF Films
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Researchers of artificial intelligence (shortly AI) question digital-binary technology to set up human-compatible technology. Since current digitized AI machinery tends to simulate abstract human intelligence, it cannot be context-sensitive. Human-compatible search models such as genetic algorithm and neural network, however, overcome the de-contextualization of digital simulation. Running counter to contextless, digital-binary, sequential procedure, they pursue contextual, bidirectional algorithm. Simply put, digital AI technology seeks a top-down, pre-set computation, whereas human-compatible AI technology aspires for a bottom-up, situation-specific computation. Acting against the de-contextualization of artificial intelligence, emotion technology is a crucial part of human-adaptable technology. For computing human inner experiences lies at the peak of the contextualization of AI technology. Affective technology maximizes a bottom-up, situation-specific computation. In my essay I approach it in light of the convergence of literature and technology. The opposition between digital AI technology and affective AI technology replays itself through the conflict between artificial intelligence and artificial feeling in cyberpunk SF movies. They explore the tension of the contextless simulation of human intelligence and situation-specific simulation of human emotion. I compare Bicentennial Man, A.I., and Terminator: Salvation with the Matrix trilogy. While the former prioritizes human complex feelings over abstract mechanic intelligence, the latter treats human emotion as a new kind of programming although being distinct from digital computing. The Matrix series do not pursue human emotion as a prerogative of humanity. Instead, the films draw parallels between human inner qualities and systemic instabilities in the Matrix. Precisely, the Matrix's control of Neo’s affective involvements such as free will and love is the anthropocentric counterpart of autonomous variations in a system. The Matrix trilogy thematizes the artificial re-creation of human emotion itself instead of sanctifying it unconditionally. Accordingly, the Matrix trilogy displays the interdisciplinary convergence of the humanities and technology. I argue that the gradual popularity of affective technology implicates the individualization of technological control.
Abstract
Researchers of artificial intelligence (shortly AI) question digital-binary technology to set up human-compatible technology. Since current digitized AI machinery tends to simulate abstract human intelligence, it cannot be context-sensitive. Human-compatible search models such as genetic algorithm and neural network, however, overcome the de-contextualization of digital simulation. Running counter to contextless, digital-binary, sequential procedure, they pursue contextual, bidirectional algorithm. Simply put, digital AI technology seeks a top-down, pre-set computation, whereas human-compatible AI technology aspires for a bottom-up, situation-specific computation. Acting against the de-contextualization of artificial intelligence, emotion technology is a crucial part of human-adaptable technology. For computing human inner experiences lies at the peak of the contextualization of AI technology. Affective technology maximizes a bottom-up, situation-specific computation. In my essay I approach it in light of the convergence of literature and technology. The opposition between digital AI technology and affective AI technology replays itself through the conflict between artificial intelligence and artificial feeling in cyberpunk SF movies. They explore the tension of the contextless simulation of human intelligence and situation-specific simulation of human emotion. I compare Bicentennial Man, A.I., and Terminator: Salvation with the Matrix trilogy. While the former prioritizes human complex feelings over abstract mechanic intelligence, the latter treats human emotion as a new kind of programming although being distinct from digital computing. The Matrix series do not pursue human emotion as a prerogative of humanity. Instead, the films draw parallels between human inner qualities and systemic instabilities in the Matrix. Precisely, the Matrix's control of Neo’s affective involvements such as free will and love is the anthropocentric counterpart of autonomous variations in a system. The Matrix trilogy thematizes the artificial re-creation of human emotion itself instead of sanctifying it unconditionally. Accordingly, the Matrix trilogy displays the interdisciplinary convergence of the humanities and technology. I argue that the gradual popularity of affective technology implicates the individualization of technological control.
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