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| | == 小说 In fiction == | | == 小说 In fiction == |
| | + | [[File:Capek play.jpg|thumb|“机器人”这个词本身是由Karel Čapek在他1921年的戏剧《R.U.R》中创造的，剧名代表“Rossum 的万能机器人”(Rossum's Universal Robots)]] |
| | + | 自古以来，具有思考能力的人工生物就作为叙事工具在小说中出现，并一直是科幻小说中的一个永恒主题。 |
| | + | 在这些作品中，Mary Shelley的《弗兰肯斯坦 Frankenstein》最先使用了这种常见的提法 ，在这部作品中，人造物对其主人产生了威胁。这些作品包括Arthur C. Clarke和Stanley Kubrick的《2001: 太空漫游 2001: A Space Odyssey》，包括哈尔9000(HAL 9000) ，负责发现一号飞船的凶残计算机，以及《终结者 The Terminator》和《黑客帝国 The Matrix》。相比之下，像《地球停止转动的日子》(1951)中的格特和《异形》(1986)中的毕晓普（Bishop）这样罕见的忠诚机器人在流行文化中就不那么突出了。<ref>{{cite journal|last1=Buttazzo|first1=G.|title=Artificial consciousness: Utopia or real possibility?|journal=[[Computer (magazine)|Computer]]|date=July 2001|volume=34|issue=7|pages=24–30|doi=10.1109/2.933500|df=dmy-all}}</ref> |
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| | + | Isaac Asimov在许多书籍和故事中介绍了机器人三定律，最著名的是关于同名的“Multitvac”超级智能计算机系列。阿西莫夫定律经常在茶余饭后对机器伦理的讨论中被提起。几乎所有的AI研究人员都通过流行文化熟悉阿西莫夫定律，但他们通常认为这些定律因为许多原因而无用，其中一个原因就是它们的描述过于模糊。<ref>{{cite journal | last1 = McCauley | first1 = Lee | year = 2007 | title = AI armageddon and the three laws of robotics | url = | journal = Ethics and Information Technology | volume = 9 | issue = 2| pages = 153–164 | doi=10.1007/s10676-007-9138-2| citeseerx = 10.1.1.85.8904}}</ref> |
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| − | {{Main|Artificial intelligence in fiction}}
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| | + | 漫画《攻壳机动队 manga Ghost in the Shell》和科幻小说《沙丘 Dune》探讨了超人类主义(人类和机器的结合)。20世纪80年代，艺术家空山基的性感机器人系列在日本绘制并出版，描绘了真实的拥有栩栩如生的金属肌肉皮肤的有机人类形体，后来又出版了《雌蕊》一书，该书被George Lucas等电影制作人使用。空山基从来不认为这些有机机器人是自然的一部分，而是非自然的人类心智的产品，一个存在于头脑中，也许能以实体形式实现的幻想。 |
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| − | [[File:Capek play.jpg|thumb|The word "robot" itself was coined by [[Karel Čapek]] in his 1921 play ''[[R.U.R.]]'', the title standing for "[[Rossum's Universal Robots]]"]]]
| + | 一些作品向我们展示了有感知的能力，因此也有遭受苦难的能力的AI，迫使我们面对是什么让我们成为人类这一根本问题。这些都在Karel Čapek的电影《人工智能 A.I. Artificial Intelligence》、《机器姬 Ex Machina》，以及Philip K. Dick的小说《机器人会梦见电子羊吗? Do Androids Dream of Electric Sheep?》中都有出现。Dick认为，AI创造的技术改变了我们对人类主观性的理解。<ref>{{Cite journal|last=Galvan|first=Jill|date=1 January 1997|title=Entering the Posthuman Collective in Philip K. Dick's "Do Androids Dream of Electric Sheep?"|journal=Science Fiction Studies|volume=24|issue=3|pages=413–429|jstor=4240644}}</ref> |
| − | “机器人”这个词本身是由[[ 卡雷尔·恰佩克 在他1921年的戏剧《R.U.R》中创造的，剧名代表“Rossum 的万能机器人”(Rossum's Universal Robots)
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| − | Thought-capable artificial beings appeared as storytelling devices since antiquity,<ref name="AI in myth"/>and have been a persistent theme in [[science fiction]].
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| − | 自古以来，具有思考能力的人工生物就作为叙事工具在小说中出现<ref name="AI in myth"/>，并一直是科幻小说中的一个永恒主题。
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| − | A common [[Trope (literature)|trope]] in these works began with [[Mary Shelley]]'s ''[[Frankenstein]]'', where a human creation becomes a threat to its masters. This includes such works as [[2001: A Space Odyssey (novel)|Arthur C. Clarke's]] and [[2001: A Space Odyssey (film)|Stanley Kubrick's]] ''[[2001: A Space Odyssey]]'' (both 1968), with [[HAL 9000]], the murderous computer in charge of the ''[[Discovery One]]'' spaceship, as well as ''[[The Terminator]]'' (1984) and ''[[The Matrix]]'' (1999). In contrast, the rare loyal robots such as Gort from ''[[The Day the Earth Stood Still]]'' (1951) and Bishop from ''[[Aliens (film)|Aliens]]'' (1986) are less prominent in popular culture.<ref>{{cite journal|last1=Buttazzo|first1=G.|title=Artificial consciousness: Utopia or real possibility?|journal=[[Computer (magazine)|Computer]]|date=July 2001|volume=34|issue=7|pages=24–30|doi=10.1109/2.933500|df=dmy-all}}</ref>
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| − | 在这些作品中，玛丽 · 雪莱的《弗兰肯斯坦》最先使用了这种常见的提法 ，在这部作品中，人造物对其主人产生了威胁。这些作品包括亚瑟·查理斯·克拉克和斯坦利 · 库布里克的《2001: 太空漫游》(2001: a Space Odyssey，都是1968年出品) ，包括哈尔9000(HAL 9000) ，负责发现一号飞船的凶残计算机，以及《终结者》(The Terminator，1984)和《黑客帝国》(The Matrix，1999)。相比之下，像《地球停止转动的日子》(1951)中的格特和《异形》(1986)中的毕晓普（Bishop）这样罕见的忠诚机器人在流行文化中就不那么突出了。<ref>{{cite journal|last1=Buttazzo|first1=G.|title=Artificial consciousness: Utopia or real possibility?|journal=[[Computer (magazine)|Computer]]|date=July 2001|volume=34|issue=7|pages=24–30|doi=10.1109/2.933500|df=dmy-all}}</ref>
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| − | [[Isaac Asimov]] introduced the [[Three Laws of Robotics]] in many books and stories, most notably the "Multivac" series about a super-intelligent computer of the same name. Asimov's laws are often brought up during lay discussions of machine ethics;<ref>Anderson, Susan Leigh. "Asimov's "three laws of robotics" and machine metaethics." AI & Society 22.4 (2008): 477–493.</ref> while almost all artificial intelligence researchers are familiar with Asimov's laws through popular culture, they generally consider the laws useless for many reasons, one of which is their ambiguity.<ref>{{cite journal | last1 = McCauley | first1 = Lee | year = 2007 | title = AI armageddon and the three laws of robotics | url = | journal = Ethics and Information Technology | volume = 9 | issue = 2| pages = 153–164 | doi=10.1007/s10676-007-9138-2| citeseerx = 10.1.1.85.8904}}</ref>
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| − | 艾萨克 · 阿西莫夫在许多书籍和故事中介绍了机器人三定律，最著名的是关于同名的“Multitvac”超级智能计算机系列。阿西莫夫定律经常在茶余饭后对机器伦理的讨论中被提起。几乎所有的AI研究人员都通过流行文化熟悉阿西莫夫定律，但他们通常认为这些定律因为许多原因而无用，其中一个原因就是它们的描述过于模糊。<ref>{{cite journal | last1 = McCauley | first1 = Lee | year = 2007 | title = AI armageddon and the three laws of robotics | url = | journal = Ethics and Information Technology | volume = 9 | issue = 2| pages = 153–164 | doi=10.1007/s10676-007-9138-2| citeseerx = 10.1.1.85.8904}}</ref>
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| − | [[Transhumanism]] (the merging of humans and machines) is explored in the [[manga]] ''[[Ghost in the Shell]]'' and the science-fiction series ''[[Dune (novel)|Dune]]''. In the 1980s, artist [[Hajime Sorayama]]'s Sexy Robots series were painted and published in Japan depicting the actual organic human form with lifelike muscular metallic skins and later "the Gynoids" book followed that was used by or influenced movie makers including [[George Lucas]] and other creatives. Sorayama never considered these organic robots to be real part of nature but always unnatural product of the human mind, a fantasy existing in the mind even when realized in actual form.
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| − | 漫画《攻壳机动队》(manga Ghost in the Shell)和科幻小说《沙丘》(Dune)探讨了超人类主义(人类和机器的结合)。20世纪80年代，艺术家空山基的性感机器人系列在日本绘制并出版，描绘了真实的拥有栩栩如生的金属肌肉皮肤的有机人类形体，后来又出版了《雌蕊》一书，该书被乔治 · 卢卡斯等电影制作人使用。空山基从来不认为这些有机机器人是自然的一部分，而是非自然的人类心智的产品，一个存在于头脑中，也许能以实体形式实现的幻想。
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| − | Several works use AI to force us to confront the fundamental question of what makes us human, showing us artificial beings that have [[sentience|the ability to feel]], and thus to suffer. This appears in [[Karel Čapek]]'s ''[[R.U.R.]]'', the films ''[[A.I. Artificial Intelligence]]'' and ''[[Ex Machina (film)|Ex Machina]]'', as well as the novel ''[[Do Androids Dream of Electric Sheep?]]'', by [[Philip K. Dick]]. Dick considers the idea that our understanding of human subjectivity is altered by technology created with artificial intelligence.<ref>{{Cite journal|last=Galvan|first=Jill|date=1 January 1997|title=Entering the Posthuman Collective in Philip K. Dick's "Do Androids Dream of Electric Sheep?"|journal=Science Fiction Studies|volume=24|issue=3|pages=413–429|jstor=4240644}}</ref>
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| − | 一些作品向我们展示了有感知的能力，因此也有遭受苦难的能力的AI，迫使我们面对是什么让我们成为人类这一根本问题。这些都在卡雷尔 · 阿佩克的电影《人工智能》、《机器姬》，以及菲利普·K·迪克的小说《机器人会梦见电子羊吗?》中都有出现。迪克认为，AI创造的技术改变了我们对人类主观性的理解。<ref>{{Cite journal|last=Galvan|first=Jill|date=1 January 1997|title=Entering the Posthuman Collective in Philip K. Dick's "Do Androids Dream of Electric Sheep?"|journal=Science Fiction Studies|volume=24|issue=3|pages=413–429|jstor=4240644}}</ref>
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| | ==参见== | | ==参见== |