(THIS ARTICLE IS ONLY MACHINE TRANSLATED by Google from Norwegian)
Director Tonje Hessen Schei has previously studied digital media addiction in children in the documentary Play Again (2010) and has provided an insight into autonomous weapons systems in Drone (2014). Based on this broad knowledge, she expands iHUMAN the perspective of a panorama of various trends in artificial intelligence (AI). Through a series of extraordinary statements and explanations from prominent experts, we witness the beginning of an avalanche of changes as our global network community is permeated by algorithms that dictate our existence.
Five years ago, Swedish-American programmer Max Tegmark wrote an article with Stephen Hawking, Frank Wilczek and Stuart Russell warning that movies where artificial intelligence takes over the world should not be rejected as pure fiction.
In the opening of iHUMAN The same Tegmark assures us that artificial intelligence is a historic game of chance: It can conceivably solve all our problems, but it can also lead to total disaster. The film is very much about the last possibility, since digital technology is already leading us into a new reality that we have so far associated with science fiction.
Swiss informant and engineer Jürgen Schmidhüber is willing to portray himself as an archetypal megalomaniac inventor. His civilized, yet somehow-amoral enthusiasm may seem like an eerie one déjà vu for those who know Anthony Hopkins' character from the TV series Westworld: Dr. Ford, the robot engineer who quietly plans the rebellion among his own creatures.
Schmidhüber plays with his cute children's robot, a modern Pinocchio, in his alpine laboratory – and it feels imminent to dismiss him as a caricature of. . .
To continue reading, create a new free reader account with your email,
or logg inn if you have done it before. (click on forgotten password if you have not received it by email already).
Select if necessary Subscription (69kr)