Pourquoi craignons-nous la robocalypse? La sécurité humaine au temps de la technophobie
DOI :
https://doi.org/10.21301/eap.v19i1.5Mots-clés :
robots, machines intelligentes, peur, films de science-fiction, concept de reconnaissance, robocalypseRésumé
Le travail s’efforce d’établir où se trouve exactement dans les couches narratives des récits cinématographiques de science-fiction, fondées sur l’hypothèse de la prétendue explosion de l’intelligence artificielle, la peur largement étendue du public des machines intelligentes. Dans son analyse l’auteur part de l’hypothèse que le récit robocalyptique, le récit de science-fiction sur un avenir dystopique des rapports entre les hommes et les robots, représente le fondement de l’attitude irationnelle technophobe répandue dans l’opinion publique des sociétés postindustrielles contemporaines. Étant donné que la narration joue un rôle substantiel dans les pratiques quotidiennes réflexives et sociales, nous aspirons naturellement à la découverte des structures narratives dans la culture populaire, particulièrement dans le film comme la forme la plus populaire de l’art visuel. Les matériaux empiriques sont constitués de neuf films du genre de la science-fiction: Le Cerveau infernal (The Invisible Boy, 1957), 2001 Odyssée de l’espace (2001: A Space Odyssey, 1968), Le Monde de l’Ouest (Westworld, 1973), Les Rescapés du futur (Futureworld, 1976), Génération Proteus(Demon Seed, 1977), Blade Runner (Blade Runner, 1982), Terminator (The Terminator, 1984), Matrix (The Matrix, 1999), Ex Machina (2015). Le récit robocalyptique tissé dans les scénarios des films analysés dévoile quatre idées ou messages communs qui conditionnent la peur des technologies avancées perverties: la superfluité de l’espèce humaine, l’indifférence morale des robots, les robots dans le rôle des abuseurs émotionnels et la perte de contrôle sur son propre corps et raison. L’auteur soutient la thèse que les quatre idées ou messages mentionnés reproduisent quatre couches de la peur qui ensemble rendent compte de l’existence d’une méta-peur particulière: la peur du refus d’être reconnu comme être humain. L’auteur conclut que le concept de reconnaissance d’Axel Honneth fraie un chemin possible vers l’explication de l’origine de la peur de la robocalypse.
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Filmography
: A Space Odyssey. 1968. Directed by Stanley Kubrick. Santa Monica (CA): Metro-Goldwyn Mayer.
Autómata. 2014. Directed by Gabe Ibáñez. N.p: Nu Boyana & Green Moon.
Blade Runner. 1982. Directed by Ridley Scott. Hollywood (CA): The Ladd Company, Sir Run Run Shaw.
Demon Seed. 1977. Directed by Donald Cammell. Santa Monica (CA): Metro-Goldwyn Mayer & Herb Jaffe Productions.
Ex Machina. 2014. Directed by Alex Garland. London: Film4, DNA Films.
Futureworld. 1976. Directed by Richard T. Heffron. Los Angeles: American International Pictures.
The Invisible Boy. 1957. Directed by Herman Hoffman. Santa Monica (CA): Metro-Goldwyn Mayer & Pan Productions.
The Matrix. 1999. Directed by Lana Wachowski and Lily Wachowski. Burbank (CA): Warner Bros. Pictures, Village Roadshow Pictures & Silver Pictures.
The Terminator. 1984. Directed by James Cameron. London: Hemdale Productions (Hemdale Film Corporation).
Westworld. 1973. Directed by Michael Crichton. Santa Monica (CA): Metro-Goldwyn Mayer.
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