New Chapter: Artificial Intelligence in Bladerunner 2049

chillinChapter accepted on AI use in Bladerunner, for an edited collection on the films of Denis Villeneuve for Edinburgh University Press, due in 2021. A great chance to revisit the film, and extend my previous work on AI in Westworld and Black Mirror and further connect this work with a wider research porject on real-world ethics and representation of machine learning.

Blade Runner 2049 (Villeneuve, 2017) uses the manner with which near-future technology recreates or feigns consciousness in order to present a wider discourse around notions of identity, memory and the formulation of the human self and subjectivity. The franchise, including predecessor Bladerunner (Ridley Scott, 1982) and three short film prequels – Blade Runner Black Out 2022 (Wantabe, 2017), 2036: Nexus Dawn (Luke Scott, 2017) and 2048: Nowhere to Run (Luke Scott, 2017) – explores the impact of technological change on society, and the ethics and philosophical concerns pertaining to the use of such technologies.

In Bladerunner 2049,  AI is made manifest through two key characters. K is a ‘replicant’ slave whose memories are entirely artificial though who experiences life in the world through a bioengineered body and Joi, K’s holographic companion initially restricted to K’s home through the limits of its projection system, and born of an artificial intelligence that evolves over time.

Mireille Hildebrandt observes, though both automation and autonomic machine learning processes rely on algorithms, the distinction is that automation is static, while autonomic machine learning is ‘adaptive, dynamic and more or less transformative” (2016: 57). As such both K and Joi can be determined as autonomic – or self-governing systems – where their respective bioengineered or machine learning systems allows them the space to develop – and in some readings of the film, fully form – their own human-like emotions. Each satisfies Martin Heidegger’s notion of an “an openness-of-being” in that both entities are present and able to directly relate to the world around them (1977).

tumblr_p1nikzwltq1rmxa4zo3_r1_500Andrew Schopp notes that proponents of transhumanism such as Raymond Kurzweil (1999, 2012) commonly represent new technologies as a catalyst for such changes as a positive outcome or ideal (2019). Each iteration of Bladerunner aligns with other transmedia representations of AI – challenges this notion, presenting the ethical and socio-political challenges of technological change through the prism of current experience throwing light on how and where such change presents a challenge to the human experience (2019: 66).

This chapter considers how the film presents representations of machine learning or AI as a biocapitalist discourse that presents the philosophical and ethical impacts of real world applications of technology.

About Kingsley Marshall

Dr Kingsley Marshall is a film composer, producer and academic. Head of Film & Television at the CILECT accredited School of Film & Television based within Falmouth University in the UK, the subject area consists of 25 staff working with 500 undergraduates, supplemented by a postgraduate community studying from MA level through to PhD. Kingsley’s research and practice primarily orientates around the use of sound (including music and effects) in cinema and television, and the production of short and micro-budget feature films. He executive produced Wilderness (Director: Justin John Doherty, 2017) which won 13 awards at international film festivals since making its premiere at Cinequest, and Mr Whippy (Director: Rachna Suri, 2019). In 2018 he co-produced with Neil Fox the short literary adaptation Backwoods (Director: Ryan Mackfall, 2019), premiering in Portland, Orgeon and winning the HP Lovecraft award at the Rhode Island International Film Festival. More recently, Kingsley recently completed the score as composer on a film project - Hard, Cracked the Wind - with director Mark Jenkin and production company Early Day Films. The film premiered at Encounters Film Festival in September 2019, and has since played festivals across the world including New York Film Festival. For over twenty years he has worked as a journalist, interviewing filmmakers, musicians, and designers for over 30 publications and broadcasters worldwide, written album sleeve notes and biographies for over 100 artists, and contributed to anthologies on hip hop and soul. He can be found on Twitter as @kingsleydc