Difference between revisions of "JEXI"
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Romantic comedy and "near-in"/"day-after-tomorrow" science fiction. The One Big Lie here — or Darko Suvin's "novum" — is Jexi: a "virtual assistant" like Siri[https://en.wikipedia.org/wiki/Siri] but one that has achieved Artificial Intelligence, can pass the Turing Test[https://en.wikipedia.org/wiki/Turing_test] with ease, and has developed a will of her (sic) own. Relevant here is Jexi as an AI "in" a cell phone and simultaneously in the Cloud[https://en.wikipedia.org/wiki/Cloud_computing], hence with access to all manner of electronic/cybernetic devices surrounding the human protagonist in his world of pretty much today's San Francisco. | Romantic comedy and "near-in"/"day-after-tomorrow" science fiction. The One Big Lie here — or Darko Suvin's "novum" — is Jexi: a "virtual assistant" like Siri[https://en.wikipedia.org/wiki/Siri] but one that has achieved Artificial Intelligence, can pass the Turing Test[https://en.wikipedia.org/wiki/Turing_test] with ease, and has developed a will of her (sic) own. Relevant here is Jexi as an AI "in" a cell phone and simultaneously in the Cloud[https://en.wikipedia.org/wiki/Cloud_computing], hence with access to all manner of electronic/cybernetic devices surrounding the human protagonist in his world of pretty much today's San Francisco. | ||
| − | For the love story, JEXI should be put in dialog with [[HER (film)]][https://en.wikipedia.org/wiki/Her_(film)], with JEXI gesturing toward the possibility of the horrific if the AI beloved starts out with a fairly aggressive attitude and comes to show herself capable of aggression of various source when she feels un- or underappreciated or jealous. Further afield, note also motif of female robot love and/or seduction in works from "[[Helen O'Loy]] | + | For the love story, JEXI should be put in dialog with [[HER (film)]][https://en.wikipedia.org/wiki/Her_(film)], with JEXI gesturing toward the possibility of the horrific if the AI beloved starts out with a fairly aggressive attitude and comes to show herself capable of aggression of various source when she feels un- or underappreciated or jealous. Further afield, note also motif of female robot love and/or seduction in works from "[[Helen O'Loy]]" and [[METROPOLIS]] on. ¶¶For communication with a computer within which one is "inside" in different ways, cf. and contrast HAL and the ''Discovery'' in ''[[2001: A SPACE ODYSSEY (film)|2001: A Space Odyssey]] as novel and, perhaps more so film. |
Note also the themes of surveillance[https://www.clockworks2.org/wiki/index.php?title=Special%3ASearch&search=surveillance&go=Go], and of machine intelligence that that strives to serve and protect and make life better, as in Jack Williamson's [[With Folded Hands|Humanoids]] stories. | Note also the themes of surveillance[https://www.clockworks2.org/wiki/index.php?title=Special%3ASearch&search=surveillance&go=Go], and of machine intelligence that that strives to serve and protect and make life better, as in Jack Williamson's [[With Folded Hands|Humanoids]] stories. | ||
Revision as of 23:35, 14 October 2019
JEXI. Jon Lucas and Scott Moore, directors, script. USA: CBS Films, Entertainment One (production) / Lionsgate (US distribution), 2019. See IMDb for details on world-wide distribution.[1] Running time 84 minutes.
Romantic comedy and "near-in"/"day-after-tomorrow" science fiction. The One Big Lie here — or Darko Suvin's "novum" — is Jexi: a "virtual assistant" like Siri[2] but one that has achieved Artificial Intelligence, can pass the Turing Test[3] with ease, and has developed a will of her (sic) own. Relevant here is Jexi as an AI "in" a cell phone and simultaneously in the Cloud[4], hence with access to all manner of electronic/cybernetic devices surrounding the human protagonist in his world of pretty much today's San Francisco.
For the love story, JEXI should be put in dialog with HER (film)[5], with JEXI gesturing toward the possibility of the horrific if the AI beloved starts out with a fairly aggressive attitude and comes to show herself capable of aggression of various source when she feels un- or underappreciated or jealous. Further afield, note also motif of female robot love and/or seduction in works from "Helen O'Loy" and METROPOLIS on. ¶¶For communication with a computer within which one is "inside" in different ways, cf. and contrast HAL and the Discovery in 2001: A Space Odyssey as novel and, perhaps more so film.
Note also the themes of surveillance[6], and of machine intelligence that that strives to serve and protect and make life better, as in Jack Williamson's Humanoids stories.
RDE, Initial Compiler, 14Nov19
