Functioning or non-functioning according to the entered algorithm is exactly what deepens the discussion about the inherent nature of language. In the example of the movie "Ex Machina", the world as a case that is talked about, in which there is action, and which is acted upon, as well as the automated moment of creation within a continuum experienced by human beings, are seen as the focal problems. The movie deals with the questioning of human existence that through this same prism seeks to validate the world of humanoid robots. As a result, we have an intersection of worlds as two cases of different origins. The action takes place in the midst of wild nature, which, through its intrinsic and circulating force, aids the emergence of artificial intelligence. It is noted that the temporal continuum of human beings and the one that is assumed to belong to humanoid robots are touched upon at the level of a language game. This term is defined for the first time by Ludwig Wittgenstein, the philosopher whose view on the inferential potency of a language-play is the theoretical basis of a life-long "Blue Book" project that the character of scientist Nathan (Oscar Isaac) develops. To capture and stretch this philosophical idea throughout the movie, it seems convenient to compare the first and last scenes. In the first scene, the character of Caleb (Domhnall Gleeson), a successful IT visionary, is placed at the center of the event. From the viewer's perspective, what overcomes Caleb's enthusiasm for winning the opportunity to go to Nathan's institute and become more familiar with the Blue Book project (one part of the published notes from Wittgenstein's lectures bears the same name) is the accompanying music that describes feelings contrary to that joyous event. Thus the final scene of the film focuses on the character of Ava (Alicia Vikander), a humanoid robot who, with similar fervor, awaits a new "life" beginning in the context of wider human society. Namely, in this scene, Ava's dream of entering the sea of ​​people on the street comes true.

The characters of Caleb and Ave can be taken as reference points of two seemingly separate worlds - those of human and humanoid robots. The explication of the starting philosophical idea of ​​a language-game in which all communicators can participate is complemented by discussions between Caleb and Ava during the sessions of her humanity test. In addition, Nathan's in medias res inputs provide a stoic, almost nihilistic, descriptive reason for the existence of a project where artificial intelligence development is monitored. The value of the film is both philosophical and aesthetic, due to the indispensable components of photography which encompass the moments of fusion of the natural and the artificial, or the organic and the one that is brought into the natural environment. Each of the film's three main characters contribute to the widespread debate about what makes human beings ‘human’. At the level of action, Caleb and Ava have similar capabilities. Since the beginning of their interaction, Ava has shown the art of combining sensory material in an unexpected way, in this case entered and subsequently collected, that has an inferential character because Ava is a reflection of an algorithm. I would argue that inference (logical conclusion based on data) proves to be an essential element of Ava's cognitive dimension. During one of the evaluative talks, Nathan argues that Ava can remember, make logical connections of direct and indirect referencing, but also simulate interest such as through regular flirting with Caleb, which gets her out of the glass cell where she has always felt as been. By instrumentalizing Caleb's responses to flirting, Ava gets a chance to kill Nathan, capture Caleb, and finally mix in with people. At this point, the last scene that speculates the success of Ava's ultimate "lie" about her humanity should be recalled, because there she looks like any other person on the street. There is a material difference between Caleb and Ava. At the body level, Caleb is an offspring of the organic continuum while Ava is that of the inorganic. One can also parallelize the scene of Caleb reaching for a razor and carving it into his body to check his organic origin with the one where Ava finds masks intended for humanoids. Physical and emotional pain as evidence of existence is what confirms to Caleb the identity of the organic. The scene where Ava encounters exposed masks, including a prototype of her face, seems like a moment of Ava's confrontation with her inorganic structure. After realizing this, Ava understands that her inorganic identity can be concealed and is supplied with pieces of skin, wigs and clothing in the room where other humanoid robots are housed. Her last passing through the house where she originated was in fact her triumphant passing of the Turing Test. Ava is the result of an idea that has sprouted up in the realm of the organic. With the sound of some ancient tragedy, she kills her creator so she can continue her journey in return.

It may seem reckless to embrace Ava's actions by any moral principles that bind human beings, and to speak of the murder of Nathan as her transgression, because Ava's consciousness is inserted and her origin is inorganic. With this attitude, Nathan, as the creator of humanoids, could be blamed for everything that went wrong simply because he gave Ava a chance to survive, communicate, and develop her abilities. I think it is important to look back at this open interpretation of the moral responsibility of humanoid robot makers and think about possible scenarios involving humanoid robots that have no fatal outcomes for the human species. Nathan intentionally created a project to investigate the existence of intentional consciousness in humanoid robots where Ava is a deliberate simulation of a human being. During one of the sessions with Caleb, Ava shows her drawing, the content of which is closely related to the content Nathan confronted her with. Her idea of ​​a world beyond the glass cell was carefully served to her. It becomes very obvious that Caleb is the one whose impression of Ava is being tested, not Ava. It is also a fact that Ava was modeled after Caleb's preferred pornographic content, that she was a female heterosexual humanoid and that she was interested in him. All of this is extremely necessary for the test to be performed. Caleb's emotional connection to Ava proves that this connection is created by presence and communication.

A simple conjunctive operation (if A then B) is part of every exchange of impressions of meaning within the space in which we point to similar understandings of similar reference points in the world. Accordingly, Caleb's and Ava's intentional consciousnesses are seen to have similarities as they both upgrade or grow within the same space. They are different because they are set in different times. Caleb's experience as an offspring of the organic is filled with the experience of pain. In contrast, Ava can't feel the pain, she's always been there for herself, but she manages to participate in a language-game because she has been introduced to the rules. She is also not a brain in a vat because she has knowledge of her deliberate origin. On the other hand, Caleb's existentialist problem is that he will never be able to be completely sure of his non-automated freedom of thought, because the truth about simulating his being lies outside the scope of the fundamental language-game - the world.

Author: Lemana Filandra
September 24, 2019