电影作为人工智能:让·爱泼斯坦、电影思维与当代哲学的思辨唯物主义转向

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Christine Reeh Peters
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引用次数: 0

摘要

本文认为电影是人工智能的一种形式。这一非人类中心主义假设最早由电影制作人和理论家让·爱泼斯坦于1946年提出,并将电影视为一种技术装置——电影摄影机的思维表现,这是基于思想与世界、电影与哲学的整体纠缠的机器思维的表现。这篇文章探讨了“思考”:哲学中最突出、最古老的话题之一,也是艺术和电影的重要话题。思维不仅是一种感觉(如视觉或味觉),而且是一种创造性的行为,最终是一种内在的主动行为。电影作为人工智能的可能性不仅是从德勒兹的角度来探讨的,长期以来一直受到电影哲学的评价,而且是通过艺术研究理论和当代哲学中的思辨唯物主义转向最近提出的问题来探讨的。后者的共同点是对西方哲学中人类中心主义的强烈批判;本文从不同的角度对这一批评进行了探讨,并将其应用于这一分析的主要假设 – 将电影视为人工智能的一种形式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Film as Artificial Intelligence: Jean Epstein, Film-Thinking and the Speculative-Materialist Turn in Contemporary Philosophy
This article considers film as a form of artificial intelligence (AI). This non-anthropocentric hypothesis was first formulated in 1946 by filmmaker and theorist Jean Epstein and regards film as the thinking performance of a technical apparatus, the cinematograph, which is a manifestation of machine thinking based on the holistic entanglement of thought and world, film and philosophy. The article pursues an enquiry into ‘thinking’: one of the most prominent and oldest topics considered in philosophy, and also essential to art and film. Thinking is not only characterised as a sense (like sight or taste) but as a creative and, ultimately, intra-active act. The possibility of film as AI is approached not only from a Deleuzian angle, long appraised by film-philosophy, but also through questions recently raised by theories of artistic research and the speculative-materialist turn in contemporary philosophy. The latter have as a common denominator a strong critique of anthropocentrism in Western philosophy; the article enquires into this criticism from different angles and applies it to the main hypothesis of this analysis – to regard film as a form of AI.
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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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