上海大学学报(社会科学版) ›› 2020, Vol. 37 ›› Issue (4): 14-23.

• 影视理论研究 • 上一篇    下一篇

人工智能形象与成为“我们”的他者

  

  1. 华东师范大学 中文系
  • 出版日期:2020-07-15 发布日期:2020-11-27

AI Images and “the Other” that Becomes a Part of “We”

  • Online:2020-07-15 Published:2020-11-27

摘要: 人工智能技术的快速发展是当代社会文化中的一个重大事件。在影像中存在的人工智能形象与人工智能技术是两条平行发展又时有交叉的文化发展线索,人工智能形象往往超出技术发展,对社会文化心态造成特殊影响,甚至引发某种人工智能最终取代人类的恐惧。这样的观念是将人工智能树立为一种整体性的大他者,而形象则是中介。但人工智能被树立为大他者并非只有害处,正是通过这一对立结构,我们发现这一大他者的蹩脚之处,将其视为一种虚假的主奴辩证过程,从而曲折地将其重新拉回主体的怀抱。这一齐泽克式的解异过程达到了一个意外的目标:人工智能经过曲折的观念变迁成为“我们”的一部分,而形象无疑是这一曲折过程的中介和动力。

关键词:  , 人工智能形象, 他者, 解异

Abstract:  The rapid advancement of AI (Artificial Interlligence) technologies has a great impact on contemporary society and culture. AI images and AI technologies in films  have been parallel in development roads, but interacted on cultural levels. In fact, AI images that on many occassions transcend technological development have exerted special social and cultural impact on public mentality and even resulted in the fear that AI will eventually replace human beings. The view like this means regarding AI on the whole as “the Other”by the medium of images. However, it is not totally harmful to set up AI as “the Other” because it is exactly through the contrasting structure that we have found the defects of “the Other” and come to the understanding that it is illusive to contruct a masterslave relationship between human and AI. In this zigzag way, we bring “the Other” back  to the embrace of the subject. The process resembling iek’s disparity has an unexpected goal: AI becomes a part of “We” after a slew of view changes, during which images undoubtedly serve as a medium and driving force. 

Key words: AI images, the other, disparity ,