Artificial

'There is a universal human tendency to conceive of all things as like ourselves.' (David Hume)

In the ground-breaking, futuristic film ‘Her’ (2014), actor Joaquin Phoenix played the part of a man who falls in love with an artificially intelligent (AI) virtual assistant. The AI, whose voice was played by actress Scarlett Johansson, was capable of deep learning. It, or we could say ‘she’, spoke, responded and interacted with the protagonist in ways that we could imagine of a real woman in an increasingly loving relationship – and all via a voice. The movie played with the social-psychological possibilities and limits of the potential inter-relationship between humans and technology.

In the next year another movie, ‘Ex Machina’ (2015), saw Domhnall Gleeson playing the role of a computer programmer who encounters an AI robot, this time in the physical form of a beautiful woman played by Alicia Vikander. Gleeson is invited by a tech entrepreneur to test (a) whether she’s capable of genuine consciousness and (b) whether he can relate to her as ‘human’, even though he knows she is artificial. As the plot plays out, the AI skilfully seduces and manipulates the programmer, with apocalyptic implications as the AI plays out the relational game and wins.

One of the striking features of both dramas is the human ability to project our human qualities onto other people or things, in this case the AIs, in ways similar to those in which we may, say, attribute human qualities to a dog ​– and then relate to it as if it were in some way human. It’s a subconscious phenomenon, a blurring of the boundaries between reality and fantasy. We can know something to be true at a rational-cognitive level and, yet, still feel and behave as if a different reality were true. It’s like believing what we want to believe, when it fulfils a human need to do so.