The electronic narrative
02
Mar
The rapid evolution of Artificial Intelligence, after a serious crisis towards the end of the
millennium, brings a mystifying aspect to the scenario of scientific dissemination and sometimes even to scientific research itself, which sees it beyond the real possibilities or below what it is able.
That is why we pointed out in the previous post the real evolution and sophistication of Machine Learning algorithms and the growth of Deep Learning technology, this is the current rapid evolution, the evolution of electronic assistants (several of them are already on the market such as Siri and Alexa) is still limited and we commented in a post about the LaMBDA machine that it would have “sentient” capability.
Sentient is different from consciousness, because it is the ability of beings to perceive sensations and feelings through the senses, this would mean in the case of machines having something “subjective” (we have already spoken about the limitation of the term and its difference from the soul), although they are capable of of narratives.
This narrative, however complex it may be, is an electronic narrative, an algorithmic one, with the interaction of man and machine through “deep learning”, it is possible that it confuses and even surprises the human being with narratives and elaborations of speeches, however it will depend on always from the human narratives from which they are fed and create an electronic narrative.
I cite an example of the chatGPT that excites the mystifying discourse and creates an alarm in the technophobic discourse and creates speculations even about the transhuman limits of the machine.
A list of films considered extraordinary, exemplifies the limit of electronic storytelling, due to its human power, the list gave the following films: “Citizen Kane” (1941), “The Godfather” (1972), “Back to the Future ” (1985), “Casablanca” (1942), “2001: A Space Odyssey” (1968), “The Lord of the Rings: The Fellowship of the Ring” (2001), “The Shawshank Redemption” (1994), ” Psycho” (1960), “Star Wars: Episode V – The Empire Strikes Back” (1980) and “Pulp Fiction” (1994).
No mention of the Japanese Akira Kurosawa, the German Werner Herzog or the Italian Frederico Felini, just to name a few, about fiction would not leave out of the list Blade Runner – the hunter of androids, well connected to the technologies of “open AI” or the historic Metropolis (from 1927 by the Austrian Fritz Lang).
The electronic narrative has the limitation of what feeds it, which is the human narrative, even if it is made by the wisest human, it will have contextual and historical limitations.
