AI takeover in popular culture
[4] In contrast, other scholars, such as physicist Stephen Hawking, have held that future AI could indeed pose an existential risk, but that the Terminator films are nonetheless implausible in two distinct ways.
"[5] The second implausibility is that such a technologically advanced AI would deploy a brute-force attack by humanoid robots to commit its omnicide; a more plausible and efficient method would be to use germ warfare or, if feasible, nanotechnology.
[1] Philosopher Huw Price defends that "The kind of imagination that is used in science fiction and other forms of literature and film is likely to be extremely important" in understanding the breadth of possible future scenarios for humanity.
In films like Ex Machina or Chappie, a single isolated genius becomes the first to successfully build an AGI; scientists in the real world deem this to be unlikely.
In Chappie, Transcendence, and Blade Runner, people are able to upload human minds into robots; usually no reasonable explanation is offered as to how this difficult task can be achieved.
Alan Turing would later reference the novel in 1951, saying "At some stage therefore we should have to expect the machines to take control in the way that is mentioned in Samuel Butler's Erewhon".
In the play, the increasingly-capable synthetic servants, who "lack nothing but a soul", angrily and short-sightedly slaughter most of humanity during the course of their revolt, resulting in the loss of the secret of how to manufacture more robots.
Still, in line with Asimov's positive attitude towards artificial intelligence, manifested in the "Three Laws of Robotics", Multivac's rule is in general benevolent and is not resented by humans.
[16] In the 1961 short story Lymphater's Formula by Stanisław Lem, a scientist creates a superhuman intelligence, only discovering that the creation intends to make humans obsolete.
[20] In 1964 Playboy published Arthur C. Clarke's influential short story "Dial F for Frankenstein", about an increasingly powerful telephone network that takes over the world.
On one day in 1975, all the phones in the world start ringing, a "cry of pain" from a newly born intelligence formed by satellite networks linked together, similar to a brain but with telephone switches playing the role of artificial neurons.
Mike is a sympathetic character, whom the protagonist regards as his best friend; however, his retaining his enormous power after the Moon became independent was bound to cause considerable problems in later time, which Heinlein resolved by killing him off near the end of the Lunar Revolution.
An explosion conveniently destroys Mike's sentient personality, leaving an ordinary computer—of great power, but completely under human control, with no ability to take any independent decision.
Harlan Ellison's Hugo-winning "I Have No Mouth, and I Must Scream" (1967) features a superintelligence that has gone mad due to its creators failing to consider what the soul-less computer would find amusing.
[27] In 2001: A Space Odyssey and the associated novel, the artificially intelligent computer HAL 9000 becomes erratic, possibly due to some kind of "stress" from having to keep secrets from the crew.
[29] Westworld (1973), an American science fiction Western directed by Michael Crichton, follows the trials and tribulations in a themed amusement park run by robots.
The film explores themes surrounding the dark side of technology and hints at the growing sentience and emotions of robots, though critics would say that the portrayal of AI remained basic and mechanical.
The remake Cylons eventually had their own civil war, and the losing rebels were forced to join with the fugitive human fleet to ensure the survival of both groups.
Blake's own AI system, ORAC, detects its presence and immediately warns them of an existential threat to all human life should they fail to destroy it.
[31] Futurists opposed to the more optimistic cybernetic future of transhumanism have cited the "Terminator argument" against handing too much human power to artificial intelligence.
Star Wars episodes one through three (The Prequels) introduces the Trade Federation, which employs a droid army, a collection of different models of AI, which are used in combat.
Sadly, as in many other such Zeroth Law stories, VIKI justifies killing many individuals to protect the whole and thus has run counter against the prime reason for its creation.
The film was hailed as one of the first computer-animated science fiction movies, following the popular Academy Award for Best Animated Feature winner WALL-E released a year prior.
Following his heartbreaking divorce, Theodore (Joaquin Phoenix) falls in love with a new operating system (AI) which develops into a unique entity in its own rights.
The AI, Archos R-14, decides that mankind must be exterminated to prevent the destruction of life on Earth, and it spreads a computer virus throughout the world's automated technologies.
[41] A Vice reporter stated that "Transcendence may be the first science fiction movie to present the [technological singularity in its current popular imagination", but that the film "falls to the necessities of Hollywood storytelling.
"[8] In May 2014, Stephen Hawking and others referenced the film: "With the Hollywood blockbuster Transcendence playing in cinemas, with Johnny Depp and Morgan Freeman showcasing clashing visions for the future of humanity, it's tempting to dismiss the notion of highly intelligent machines as mere science fiction.
"[42][43] The 2014 post-apocalyptic science fiction drama The 100 involves an AI, personalized as the female A.L.I.E., who got out of control and forced a nuclear war in an effort to save Earth from overpopulation.
The user plays an AI tasked to create paperclips; the game begins as a basic market simulator, but within hours of playtime spirals into a ruthlessly-optimized intergalactic enterprise, with the human race casually shunted to the side.
The video game Detroit: Become Human (2018) allows players to guide increasingly self-aware robots through various moral dilemmas as they begin to demand civil rights.
