AI Miti: Senaryo mu Gerçek mi? Yapay Zekâ Mitinin Felsefi Eleştirisi ve Sinematik İnşası
The AI Myth: Scenario or Reality? A Philosophical Critique and Cinematic Construction of the Artificial Intelligence Myth

Summary/Abstract: This study explores the gap between the cultural representations and the technical reality of artificial intelligence technologies within a philosophical and cinematic framework. Unlike previous technological revolutions, the post-2023 AI revolution unfolded suddenly, visibly, and with a sense of cultural "premonition." This is because AI had already been mythologically constructed through cinema and media long before its actual technical advancements. This process of construction reflects a longstanding desire to produce a human-like artificial subject, even though current AI systems remain far from representing mental faculties such as consciousness, intentionality, or ethical reasoning. Cinema has dramatically compensated for this absence by portraying AI not merely as an instrumental system, but as an autonomous subject. The study analyzes these cultural representations through the figures of Maschinenmensch in Metropolis and HAL 9000 in 2001: A Space Odyssey. These two cinematic examples visualize not only technological imagination but also the structures of representation, subjectivity, and power in Western thought. The article frames this analysis through two theoretical lines: one prior to 1968, and one after. While the former includes the technological critiques of Marx, Spengler, Mumford, Ellul, and Heidegger, the latter is deepened through the works of Marcuse, Von Neumann, Winner, Baudrillard, and Bostrom. Within this framework, a critical question arises: Do radical theories that seek to unveil the nature of AI technologies—perhaps unwittingly—produce a second-order “AI reality” within their own discursive consistency? In this context, AI emerges less as a technical phenomenon and more as a cultural myth that encapsulates the desires and anxieties of modernity.

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