OP-ED CONTRIBUTOR

What ‘2001’ Got Right

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Eye of the HAL-9000 computer in the 1968 Stanley Kubrick film “2001: A Space Odyssey.”CreditKevin Bray/MGM, via Photofest

By Michael Benson

Mr. Benson has authored five books on astronomy and planetary exploration.

April 2, 2018

FRANKFURT, Germany — It’s a testament to the lasting influence of Stanley Kubrick and Arthur C. Clarke’s film “2001: A Space Odyssey,” which turns 50 this week, that the disc-shaped card commemorating the German Film Museum’s new exhibition on the film is wordless, but instantly recognizable. Its face features the Cyclopean red eye of the HAL-9000 supercomputer; nothing more needs saying.

A poster for the film.CreditMGM, via Photofest

Viewers will remember HAL as the overseer of the giant, ill-fated interplanetary spacecraft Discovery. When asked to hide from the crew the goal of its mission to Jupiter — a point made clearer in the novel version of “2001” than in the film — HAL gradually runs amok, eventually killing all the astronauts except for their wily commander, Dave Bowman. In an epic showdown between man and machine, Dave, played by Keir Dullea, methodically lobotomizes HAL even as the computer pleads for its life in a terminally decelerating soliloquy.

Cocooned by their technology, the film’s human characters appear semi-automated — component parts of their gleaming white mother ship. As for HAL — a conflicted artificial intelligence created to provide flawless, objective information but forced to “live a lie,” as Mr. Clarke put it — the computer was quickly identified by the film’s initial viewers as its most human character.

Keir Dullea as Dave Bowman, the mission leader in “2001: A Space Odyssey.”CreditKevin Bray/MGM, via Photofest

This transfer of identity between maker and made is one reason “2001” retains relevance, even as we put incipient artificial intelligence technologies to increasingly problematic uses.

In “2001,” the ghost in Discovery’s machinery is a consciousness engineered by human ingenuity and therefore as prone to mistakes as any human. In the Cartesian sense of thinking, and therefore being, it has achieved equality with its makers and has seen fit to dispose of them. “This mission,” HAL informs Dave, “is too important to allow you to jeopardize it.”

Asked in April 1968 whether humanity risked being “dehumanized” by its technologies, Mr. Clarke replied: “No. We’re being superhumanized by them.” While all interpretations of the film were valid, he said, in his view the human victory over Discovery’s computer might prove pyrrhic.

Indeed, with its prehistoric “Dawn of Man” opening and a grand finale in which Dave is reborn as an eerily weightless Star Child, “2001” overtly references Nietzsche’s concept that we are but an intermediate stage between our apelike ancestors and the Übermensch, or “Beyond Man.” (Decades after Nietzsche’s death, the Nazis deployed a highly selective reading of his ideas, while ignoring Nietzsche’s antipathy to both anti-Semitism and pan-German nationalism.)

In the grand finale, Dave is reborn as an eerily weightless Star Child.CreditKevin Bray/MGM, via Photofeat

In Nietzsche’s concept, the Übermensch is destined to rise like a phoenix from the Western world’s tired Judeo-Christian dogmas to impose new values on warring humanity. Almost a century later, Mr. Clarke implied that human evolution’s next stage could well be machine intelligence itself. “No species exists forever; why should we expect our species to be immortal?” he wrote.

We have yet to engineer a HAL-type A.G.I. (artificial general intelligence) capable of human-style thought. Instead, we’re experiencing the incremental, disruptive arrival of components of such an intelligence. Its semi-sentient algorithms learn from text, image and video without explicit supervision. Its automated discovery of patterns in that data is called “machine learning.”

Arthur C. Clarke, author of the novel “2001: A Space Odyssey,” on the set of the movie in 1968.CreditMGM, via Photofest

This kind of A.I. lies behind facial-recognition algorithms now in use by Beijing to control China’s 1.4 billion inhabitants and by Western societies to forestall terrorist attacks.

In Mr. Clarke’s novel, HAL’s aberrant behavior was attributable to contradictory programming. In today’s hyperpartisan context, a mix of machine learning, networks of malicious bots and related A.I. technologies based on simulating human thought processes are being used to manipulate the human mind’s comparatively sluggish “wetware.” Recent revelations about stolen Facebook user data being weaponized by Cambridge Analytica and deployed to exploit voters’ hopes and fears underlines that disinformation has become a critical issue of our time.

The director Stanley Kubrick on the set.CreditMGM, via Photofest

We should consider just whose mission it is that’s too important to jeopardize these days. Does anybody doubt that the clumsy language and inept cultural references of the Russian trolls who seeded divisive pro-Trump messages during the 2016 election will improve as A.I. gains sophistication? Of course, algorithm-driven mass manipulation is only one weapon in propagandists’ arsenals, alongside television and ideologically slanted talk radio. But its reach is growing, and it’s a back door by which viral falsehoods infiltrate our increasingly acrimonious collective conversation.

Traditional media — “one transmitter, millions of receivers” — contain an inherently totalitarian structure. Add machine learning, and a feedback loop of toxic audiovisual content can reverberate in the echo chamber of social media as well, linking friends with an ersatz intimacy that leaves them particularly susceptible to manipulation. Further amplified and retransmitted by Fox News and right-wing radio, it’s ready to beam into the mind of the spectator in chief during his “executive time.”

Keir Dullea as Dave Bowman.CreditKevin Bray/MGM, via Photofeat

Where does HAL’s red gaze come in? Set aside the troubling prospect of what might unfold when a genuinely intelligent, self-improving A.G.I. is created — presumably the arrival of Nietzsche’s Übermensch. What’s in question even with current incipient A.I. technologies is who gets to control them. Even as some devise new medicines and streamline agriculture with them, others use them as powerful forces in opposition to Enlightenment values — liberty, tolerance and constitutional governance.

Democracy depends on a shared consensual reality — something that’s being willfully undermined. Seemingly just yesterday, peer-to-peer social networks were heralded as a revolutionary liberation from centralized information controls, and thus tools of individual human free will. We still have it in our power to purge malicious abuse of these systems, but Facebook, Twitter, YouTube and others would need to plow much more money into policing their networks — perhaps by themselves deploying countermeasures based on A.I. algorithms. Meanwhile, we should demand that a new, tech-savvy generation of leaders recognizes this danger and devises regulatory solutions that don’t hurt our First Amendment rights. A neat trick, of course — but the problem cannot be ignored.

In “2001” ’s cautionary tale, HAL’s directive to deceive Discovery’s crew leads to death and destruction — but also, ultimately, to the computer’s defeat by Dave, the one human survivor on board.

We should be so lucky.

Michael Benson, a writer and artist, is the author, most recently, of “Space Odyssey: Stanley Kubrick, Arthur C. Clarke and the Making of a Masterpiece.”

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A version of this article appears in print on April 2, 2018, on Page A23 of the New York edition with the headline: What ‘2001’ Got Right. Order Reprints | Today’s Paper | Subscribe

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