In the words of one of the founding fathers of the genre, Hugo Gernsback, science fiction can be defined as an “imaginative extrapolation of true natural phenomena, existing now, or likely to exist in the future”. From the groundbreaking novels of authors such as Verne and Wells to the heyday of the genre with Asimov, Bradbury and Heinlein and the advent of cyberpunk and other current subgenres, this literature has exposed man’s complex relationship with technology on the basis of the philosophical concerns of each era.
The link between some of these narratives and the development of artificial intelligence (AI) has functioned for decades as a mirror reflecting humanity’s deepest aspirations and fears. Similarly, from the dawn of cinema to today's productions, different types of AIs have been portrayed as ambivalent forces: sometimes as saviors and allies; other times, more often than not, as a threat endangering human existence itself.
In this context, “AIPOIESIS: Transposition and Mimesis between Science Fiction Narratives and Realism in Artificial Intelligence” explores in depth the mutually fruitful crossover between these two dimensions: the cultural imaginary and the technological evolution of AI. The term “AIPOIESIS” suggests a sort of creative interplay between the technical laboratory that provides research material and the scientific fiction that challenges the technology to surpass itself. In this way, some science fiction narratives have served as a means of projecting possible futures, functioning not only as entertainment but also as imaginary experiments that test the limits of technology and ethics.
Transposition and mimesis: borrowed from literary theory, these concepts can be adapted to the field of artificial intelligence to describe how fictional representations (transposition) are reflected and shaped in real technological developments (mimesis). Mental attribution, agency attribution and semantic attribution emerge as key themes: the human tendency to project consciousness, intentions and meanings onto relatable or artificial objects based on some partial similarities to people. As a technological product, AI is incapable of possessing any subjectivity of its own, but the general perception of these technologies is charged with anthropomorphic projections. Different disciplines are explored here –neuroscience, philosophy of mind, epistemology and cognitive psychology– that contribute to the understanding of this phenomenon.
The concept of aipoiesis also deliberately refers to that of sub-creation coined by Tolkien. In his vision, sub-creation is not a mere act of invention, but a way of discovering deeper truths through fantasy and fiction. In the context of artificial intelligence and science fiction narratives, it can be interpreted as humanity’s ability to generate artifacts and artificial beings that mirror, but do not equal, human nature. It refers to the creation of “look-alikes”: artificial entities that mirror humanity, but do not fully replicate it.
Reference is also made to the Myth of Teuth, related by Plato in the Phaedrus as an anti-Sophist hyperbole, which constitutes a warning about the dangers of the invention of writing as a “technique” that can be mistaken for a substitute for memory and the personal transmission of critical thought. This warning can be extended to the application of Generative AI, which may represent a new step downward in substitution. GenAI is undoubtedly a powerful collaborative tool, but if it is not used with discernment, it could lead to over-dependence and foster the dangerous illusion that it yields knowledge.
This subject matter not only offers an analytical journey through the most relevant science fiction film narratives about and for AI, but also invites reflection on the very nature of this technology and its impact on society, thought and ethics.
