ON ‘ARTIFICIAL INTELLIGENCE PERFORMED AS SOCIAL DRAMA’ Social crisis is defined by ‘a time when a difficult or important decision must be made.’ In the 21st century, the rising progress in the field of artificial intelligence is causing a stir about the possible social crisis that may occur as a result. Many theorists use Victor Turner’s model of social drama to elaborate on this possible change in events, that could affect communities of people in the world. Victor Turner’s model of social drama suggests that certain stages lead to change within a community. These stages consist of four parts: Breach of norms, Crisis, Repressive action to solve the crisis and social reintegration. The rise of AI is a crisis because it could potentially cause social breakdown. As humans are distinguished by their intellect from other mammals, the rise of a machine that has the potential to surpass this human intellect-and has the possibility of becoming superior to humans-threatens their standing in the universal hierarchy and leads to the process of social crisis in society as a result. Other works that have been done on this include the movies based of the famous books, ‘I Robot’ and ‘The Imitation game,’ which both show how humans and robots are essentially not all that different, and that robots may soon have the capacity to think and act like humans. By creating a circle of conflict between human and non-human characters, my play ‘AI means love in a foreign language’, also seeks to explore how artificial intelligence can bring about social crisis. Much work has been done on artificial intelligence in relation to social drama; such as post human and automaton works, that suggest artificial intelligence can go beyond human capacity. One such work is the screenplay written for ‘IRobot’; Akiva Goldsman and Jeff Vintar show how artificially manufactured robots take over tasks of menial labour throughout the world, operating on distinct rules of conduct that ensure they are not a threat to the human populace, which goes awry. On the opposite spectrum is ‘The Imitation game’ -the screenplay written by Graham Moore- which explores the life of Alan Turing and deals with key ideas of cybernetics, such as machines understanding other machines. And how machines imitate the human way of assessing a situation and deciding on the appropriate move to make. In both these engagements with social crisis and artificial intelligence, intelligent life forms become able to anticipate how humans act and react. And both these works follow Victor Turner’s model of social drama in an attempt to portray this likeness and process of crisis in social drama. However, both works focus the model of social drama on a global scale; ‘IRobot’ (2004) has robots taking over the world, and ‘The imitation game’ (2015) has a mathematician work on a robot that eventually cracks the enigma that ends a war. Both these works fail to bridge the gap between creating AI and AI affecting the world. This gap is the social crisis in smaller communities, before larger problems begin to transpire. The model of Social drama firstly, does not take into account that the daily routine of a person is also a process defined by Turner’s model and that it is not a process that occurs once in our lives, from youth to adulthood, or when a large crisis in our lives occur, but is a guide that keeps you in place from rebelling against the structure of society itself, on a day to day basis. Our day to day lives are mirrored in the process of social drama. Youth and adults alike break rules in their workplace and educational institute, breaching social norms and are then either fired or separated from the students for a period of time in which they must reflect. In an attempt to solve the crisis they are made to recognise their mistakes and when they are willing to adhere to the rules and conventions again, they are allowed to reintegrate back into the society in which they had been isolated from. Therefore it can be said that AI would first affect the individual life before it were to affect the whole world and I set out to show how, in my script for the play ‘AI is love in a foreign language.’ The play shows how the creation of a artificially intelligent robot that imitates human thought, causes jealousy, miscommunication and threatens the humans social roles. The stages of social drama that I have integrated into my script are as follows: The breach of norms is in the building of a robot that wants to take over the role of man. The second stage of crisis is when the friend (Isabel) becomes aggressive in an attempt to remove the threat to her position. The third stage of repressive action to solve the crisis, is when the scientist (Sophia) must choose between her friend (Isabel) and her robot (Annie). And lastly, the act of social reintegration is when the scientist sacrifices the robot and the human goes back to her role as the best friend. By performing the script myself I was able to see the stages of the drama more explicitly then if I were just watching. I was able to take notice of how the characters were feeling and why this small feat of creating a robot was such a big crisis and how it could lead to an even bigger one. You can see this in the way the characters in the play interact and become aggressive to this threat.This is because humans-by nature-are territorial and for humans to create something that could become better than them, is ironically tragic. This irony can be seen in the play, when the AI robot Annie, outright states she will ‘get rid of’ Isabel and become the scientists best friend. This is founded in Burns theory of artificial intelligence; the robot understood that it needed to integrate and decided to take the position of the best friend to affirm its identity. Other work is currently being produced in this area; screenplays are currently being written on this issue, such as ‘Ghost in the shell’, ‘Alita’ and many more. In Summation, it can be seen that by looking at artificial intelligence through the lens of social drama, key points are brought to light. The most common themes of social crisis to surround artificial intelligence, is their ability to have more intelligence than a real human, and be able to communicate this intelligence, unlike other mammals. They may even be better at being human than many humans, who may be unable to socially express themselves. This idea, that robots can imitate humans better than other humans can, comes from Alan Turing’s ‘The Turing test.’ This test distinguishes weather a computer can convince us of its humanity when tested against a real human. There are many reasons why the computer may win in this regard; many people cannot function in society due to factors such as mental illness or social anxiety. However, computers are not flawed in this way, and can reproduce the way in which humans speak and what they speak about. However, this very rigid way of imitating human expression is not a perfect imitation. Robots therefore, cannot express the same emotions, thoughts and imagination that humans can. They can only use what knowledge they already are programmed with and this makes them limited in their intelligence. Therefore, when theorists and practitioners are thinking about aspects of performance, they may draw upon the likeness of humans and AI, to show how vastly different they are. It is not the robots, but the humans, who are flawed; so complete perfection at imitating humanity will never seem humane. And till robots can imagine and create, and invent what does not already exist, they cannot become superior to humans.