No one will stop him. Artificial intelligence will spread everywhere and on what we have most precious: art. She will die after having ridiculed him.
Not so sure. Because here are the beginnings of a resistance that promises to be glorious. At the cinema, Tina Satter’s film, reality, recounts the misadventure of Reality Winner, a small-time whistleblower, who, after taking out of her office a confidential document on the intervention of the Russian secret services in the American presidential election, was arrested at her home by two FBI agents. Their interrogation preliminaries follow a ritual that we think we have seen a hundred times before, but very quickly something strange, almost comical, happens in the meticulous application of the procedure. Something we’ve never seen, and the thought comes to us: “It’s not true!” This cry from the heart which says the opposite of what it says. Of course it is, it’s true. And that’s what’s “incredible”. Nothing extravagant, however, nothing illegal, and when the following thought occurs to us: “It’s crazy!”, well no, precisely, there is no madness.
It is then that a text appears on the screen which informs us that everything we have just seen, and everything that will follow comes from a recording made on a dictaphone by one of the FBI agents. And to remove any kind of doubt from our suspicious minds, we are made to listen to this recording, with the real voices of real agents and real Reality.
The director reconstructed the scene, but the dialogues did not come from the imagination of a screenwriter, even less from writing software developed by Neural Networks, or from a response from ChatGPT. These are the dialogues of a real scene, reconstructed to the exact word. Knowing this, the suspense felt by the spectator is even more intense.
The case itself is of little interest, Reality’s arrest will not prevent the Russian secret services from continuing their dirty work of propaganda, and Trump from counting on them for his re-election. It is the use of recording that fascinates, it is unique and goes beyond anything we are capable of imagining in terms of police arrest. No brutality, no language differences, no sexism, no racism. Job well done. And it’s a great moment of cinema… Not reporting.
At the beginning of December 2021, I mentioned here the atomic shock caused by Hélène Ducharne’s play, Everything is fine miss, at the Rond-Point theater in Paris. The principle was the same: a podcast recording put into the mouth and body by Marie Rémond, an exceptional actress who, through her way of accurately reproducing Hélène Ducharne’s words, reached an emotion of an intensity that certain spectators could not sustain. , they left the room, terrified, as if they had seen death; It was good, the author recounted his survival.
In Anatomy of a fall, the film by Justine Triet, we learn during the investigation that the writer found dead was recording the arguments with his wife in order to feed his next novel. While everything suggests that the man threw himself out of the window, the justice system and the police suspect his wife of having killed him. Hence the lawsuit. I then spoke of the “hatred of suicide” on the part of the public prosecutor. But it was also about punishing this man for this pirate recording, which made him an impostor, and this in the name of the totem which never ceases to terrorize literature: the imagination.
But this works exactly like artificial intelligence. The imaginative writer is only a puppet of logarithmic erudition, he weaves memes on ancient canvases. The suicidal writer is an adventurer, a spy, his tape recorder distracts him from his own routines, protects him from his moralizing inhibitions.