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Filozofické Aspekty Technologií V Komediálním Sci-Fi Seriálu Červený Trpaslík

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Filozofické Aspekty Technologií V Komediálním Sci-Fi Seriálu Červený Trpaslík Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie interaktivních médií Dominik Zaplatílek Bakalářská diplomová práce Filozofické aspekty technologií v komediálním sci-fi seriálu Červený trpaslík Vedoucí práce: PhDr. Martin Flašar, Ph.D. 2020 Prohlašuji, že jsem tuto práci vypracoval samostatně a použil jsem literárních a dalších pramenů a informací, které cituji a uvádím v seznamu použité literatury a zdrojů informací. V Brně dne ....................................... Dominik Zaplatílek Poděkování Tímto bych chtěl poděkovat panu PhDr. Martinu Flašarovi, Ph.D za odborné vedení této bakalářské práce a podnětné a cenné připomínky, které pomohly usměrnit tuto práci. Obsah Úvod ................................................................................................................................................. 5 1. Seriál Červený trpaslík ................................................................................................................... 6 2. Vyobrazené technologie ............................................................................................................... 7 2.1. Android Kryton ....................................................................................................................... 14 2.1.1. Teologická námitka ........................................................................................................ 15 2.1.2. Argument z vědomí ....................................................................................................... 18 2.1.3. Argument z různých neschopností ................................................................................ 25 2.1.4. Doplňující filozofické aspekty androida Krytona ........................................................... 38 2.2. Lodní počítač Holly ................................................................................................................. 49 2.2.1. Teologická námitka ........................................................................................................ 49 2.2.2. Argument z vědomí ....................................................................................................... 49 2.2.3. Argument z různých neschopností ................................................................................ 51 2.2.4. Doplňující filozofické aspekty počítače Hollyho ............................................................ 59 2.3. Vedlejší technologie ............................................................................................................... 61 2.3.1. Hologram ....................................................................................................................... 61 2.3.2. Mluvící toustovač .......................................................................................................... 63 Závěr ............................................................................................................................................... 64 Resumé ............................................................................................................................................... 66 Summary ............................................................................................................................................... 67 Seznam vyobrazení ................................................................................................................................ 68 Seznam pramenů a literatury ................................................................................................................ 69 Úvod Relevance zkoumání technologií zde bude pravděpodobně vždy. Tento pohled lze uplatnit jak na technologie již historicky i technologicky překonané, stejně tak na technologie předpokládané vizionáři v budoucnosti. Z těch se můžeme poučit o některých vlastnostech, které je touha napodobit či takových, kterým je radno se v budoucím vývoji raději vyhnout. Jedním z médií, kde se můžeme setkat s technologickými koncepty budoucnosti jsou audiovizuální science fiction díla. Jedno z takových děl je i seriál Červený trpaslík. Jde o britský kultovní seriál vysílaný od roku 1988 s miliony fanoušků po celém světě. V době psaní této práce vyšel první celovečerní film Červený trpaslík. Jde tedy o pokračování po více než 30letech. V České republice je tento seriál s původním názvem Red Dwarf podle serveru ČSFD.cz 6. nejoblíbenější seriál vůbec.1 Oddanost české fanouškovské základny dokládá i festival Trpaslicon, na který se již 17 let každoročně sjíždějí stovky nadšenců.2 Tato práce se zaměří právě na zkoumání technologií vyobrazených v tomto díle. Podrobeny analýze budou dvě dominantní technologie z pohledu nejčetnějšího zastoupení v rámci jejich délky přítomnosti na obrazovce. Těmito technologiemi jsou humanoidní robot Kryton, kterému se s pomocí ústřední postavy Davida Listera podaří částečně přerušit svůj program a budovat si vlastní hodnoty na základě interakce s lidskou částí posádky. Druhou technologií je lodní počítač Holly s umělou inteligencí a údajným IQ 6000, ovšem díky 3 milionům let samoty v kosmu začne být senilní. Bude snaha analyzovat vybrané technologie za využití vhodného teoretického konceptu. Vzhledem ke způsobu prezentace daných technologií byl vybrán koncept Imitační hry Alana Turinga, který se snaží zodpovědět otázku, kdy jsme schopni přisoudit stroji mysl. Tato teorie byla vybrána kvůli vysoké míře antropomorfizace řečených technologií. Využita nebude samotná Imitační hra, ale Turingem předložené námitky vůči jeho testu. Práce si klade, kromě analýzy technologií, také dva cíle. První se týká zhodnocení konzistence představených technologií, tedy jestli autoři nepřistupovali k technologiím nelogicky z pohledu chronologického představení jejich vývoje a z toho vycházejících vlastností. Druhým cílem je zhodnocení hranice mezi představením technologie jako stroje nebo již jako lidské bytosti. Informace pro tuto práci budou získávány všemi možnosti, jaké nám audiovizuální formát televizního seriálu dovoluje. Půjde tedy o vizuální vyobrazení i o informace, které nám postavy v seriálu poskytnou skrze mluvené slovo. Dále bude snaha shromáždit informace i mimo seriálové prostředí. Půjde o oficiální knižní materiál, který byl vedle seriálu vydán, ale také rozhovory s tvůrci seriálu či představiteli jednotlivých rolí v seriálu. 1 Červený trpaslík: (TV seriál). Česko-Slovenská filmová databáze [online]. [cit. 2020-05-09]. Dostupné z: https://www.csfd.cz/film/69516-cerveny-trpaslik/prehled/ 2 TRPASLICON: Historie [online]. [cit. 2020-05-08]. Dostupné z: https://www.trpaslicon.cz/historie.php 5 1. Seriál Červený trpaslík „Unlike some science fiction series, Red Dwarf does not take itself too seriously, and does not try to be politically correct. This allows it to do stories and situations that Star Trek would never dare touch.“3 – Stephen Hawking Červený trpaslík je britský komediální sci-fi seriál, který se poprvé dostal na obrazovky stanice BBC2 v roce 1988 a s přestávkami se natáčí do dnešních dnů. Název seriálu Red Dwarf je také pojmenování obrovské těžařské lodi, na které se odehrává většina příběhu. Ústřední postavou je David Lister, který přežije radiační únik, jenž zabije celou posádku díky svému umístění do stázové komory. Lister byl do stáze poslán za trest, když odmítl vydat březí kočku, kterou si přinesl na palubu. Než radiace klesne na bezpečnou úroveň, aby bylo pro Listera bezpečné vyjít ze stáze, uplynou 3 miliony let. Když Lister vyjde ze stáze, jako pravděpodobně poslední žijící člověk, společnost mu dělá pouze holografická simulace jeho bývalého kolegy Arnolda Rimmera, dříve geniální a nyní senilní lodní počítač Holly a tvor, jenž se na palubě během 3 milionů let vyvinul z jeho kočky. Dále posádku ve 3. sérii rozšíří android Kryton, robot naprogramovaný k umývání záchodů, kterého se Lister snaží vymanit z jeho programu a v 7. sérii Listerova dávná láska Kristina Kochanská z alternativní dimenze, jelikož v Listerově dimenzi zahynula společně s posádkou. Obrázek A Posádka Červeného trpaslíka4 Autory seriálu jsou Doug Naylor a Rob Grant. Tato autorská dvojice spolu již předtím psala povídky pro rádiový program na BBC Radio 4. Jeden z rozhlasových programů, které napsali, nesl název Son of Cliché a jednou z jeho částí byla série skečů Dave Hollins: Space Cadet. Tato série byla autorskou dvojící přepracována do scénáře sitcomu pro televizní obrazovky a po několika odmítnutích nakonec našli záštitu u producentů Paula Jacksona a Petera Ridsdale-Scotta, kteří pomohli seriál dostat na obrazovky BBC2 v únoru roku 19885. Na konci 6. série z původní dvojice odchází Rog Brant, který podle vlastních slov měl pocit, že již má dost a chce dělat něco jiného.6 3 Red Dwarf Extras Season 02 Extra 01 - A to Z, čas 2:10 [doprovodné dokumentární Extras k seriálu Červený trpaslík] 4 p020h1fn [online]. [cit. 2020-05-07] Dostupné z: https://ichef.bbci.co.uk/images/ic/624x351/p020h1fn.jpg 5 About Red Dwarf: The Story So Far [online]. [cit. 2020-05-07]. Dostupné z: https://www.reddwarf.co.uk/about/index.cfm?category=the-story 6 Red Dwarf Extras Season 08 Extra 02 - Comedy Connections - Red Dwarf Special, čas 21:30 [doprovodné dokumentární Extras k seriálu Červený trpaslík] 6 2. Vyobrazené technologie Antropomorfismus a humanizace Nejvýraznějším aspektem, tvůrci vyobrazených technologií v seriálu Červený trpaslík, oproti technologiím z našeho běžného života, je přiznání jejich mysli, inteligence a osobnosti. To jsou aspekty, které si spojujeme výrazně s lidským druhem. Můžeme zde tedy mluvit o
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