All language subtitles for Almost.Human.2019.720p.WEBRip.x264.AAC-[YTS.MX]

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(quiet, ambient sound builds)

The first image you'll see
is of a sea of ice.

You are slowly
approaching Qaanaaq,

the northernmost
village in Greenland.

You recall how you used to fear

the ice and the
long Arctic night.

200 years ago, in 1816,

you experienced "the
year without a summer".

It made you fear that the whole

world was turning
into a ball of ice.

You suggested
that a joint global

navy should pull the Arctic ice

to the Equator piece by
piece so it could melt away.

Today, this northern frontier,

once unconquerable
and terrifying,

is melting, and you fear
you'll disappear with it,

like a canary in the coal mine.

The second image you'll
see is a group of miners

carrying a canary in
a cage into a coal mine.

The canary in a coal
mine is an image

that is borrowed
from the coal mine

industry in Great Britain,
in the old days,

where they brought
down a canary in a cage...

and if it died,
they had to rush up,

because it signaled a
kind of dioxide poisoning.

And when we speak
of this region as

akin to the canary
in the coal mine,

it's because it signals that
something dramatic is happening.

(ambient music,
boots crunching on snow)

What I think is dawning
now upon most of us,

that is the role
played by technology.

Technology has become
something in itself.

It is not only an instrument,
it is also

something that makes
the world change.

There is somebody talking
about a technosphere

as a third sphere beyond the
biosphere and the geosphere,

and in contrast to the earlier

biosphere that
was self-generating,

this one is sort of a
domain of no return.

As you walk the frosted
dirt roads of Qaanaaq,

you can't help a strange
feeling sweeping in on you,

like a snow storm
blowing in from far, far away.

Or is it a technological
storm from back in time?

You recall the year 1953.

You founded the
village of Qaanaaq

as a consequence
of the Cold War.

You made the
Thule Air Base where

you already had a
native settlement,

so in a matter of days you had
to relocate all your families

to make room for a
front post in a race

you had started only
a few years earlier.

The nuclear race.

In the year 1945,
on the 16th of July,

you detonated the
very first nuclear bomb.

You called it Trinity.

As it detonated
you were blinded by

a light much
brighter than the sun.

Your very own sun in the desert,
suspended in time.

- I don't remember.

It was your biggest
technological achievement.

- I don't remember its name.

Trinity. Named after the Father,
the Son, and the Holy Ghost.

Outside of Qaanaaq
you find a warning system

inscribed in the frozen ground.

The four spikey
stars of metal pipes

are registering
the vibrations from

deep within the
crust of the earth.

The metal ears
are listening if a

nuclear bomb is
dropped or detonated.

For every one of your creations,

you seem to invent
something else

to control your first impulse.

(roaring)

The Anthropocene is the
name invented for the period

in which the globe
now finds itself.

A period where the human being,
Anthropos,

has set such a
mark on the globe,

that we cannot
think of the earth as a

self-generating,
self-developing system,

because it is deeply
affected by human actions.

You succeeded in
dividing the indivisible.

In ancient Greek,
"atom" means that

which cannot be cut
into smaller pieces,

but you did it anyway.

Out of this split
worthy of a God

grew a new sphere of technology,

that is slowly coating
the whole world in its logic.

Did you rise to sublime heights,

or did history fall apart
like atoms of your hand?

(birds singing)

When you died a hundred years
after Christ, you left a trace.

In Palmyra,
located in today's Syria,

you made a portrait of yourself,

and placed it on your coffin
as to say, "you were here."

When you came into a grave you'd

sometimes have 400
burials in one grave,

so you would have
these large family

galleries that developed
over generations.

The Palmyrene
Funerary Portraiture

gives us the possibility

to really study
the representation

of the individual
within the group.

We all think we are
highly individualized,

we all think we are
doing something different,

but the matter
of fact is that it is

very difficult to break
out of the group.

In Antiquity,
at least this society

was not very different from
what we are doing today

as individuals within a very

strict collective
group of people.

In the year 273 After Christ,
you took an army to Palmyra,

because you saw the place as
a threat to your Roman Empire.

You crushed the whole city,
you razed it to the ground,

and in 2015 you did it again.

You put on a black cloth,

and waved a
black flag with white

inscriptions
proclaiming your name.

You followed your own trace,

and in Palmyra you destroyed
the portrait of yourself,

and vandalized your own grave
as to say, "you were here."

It seems like you always want to
leave a mark in your own image.

As you go further
you realize that the

world around you
is like a hurricane,

a matrix of storms and wars,

and to a certain
degree you're able

to step into it and
come back safely.

As long as you're careful.

But go past a certain point
and you lose the path out.

It's a labyrinth
and the principle

of the labyrinth is inside you.

(ambient sound)

At the height of the cold war,
you wanted

to create a network
of communication,

so not even a nuclear
bomb could wipe

it out. The result
was the internet.

Now you can't turn it off,
and you find

yourself constantly
online in its web.

(rodents squeaking)

(classical piano music)

The prime asset in
times of information

is other people's attention.

In an information-rich world

it's gonna skirt
on whatever it is

that information consumes:
The attention of the recipients.

But the more the
people are actually being

attentive to a certain
kind of information,

independently
of whether it's true,

could actually generate some
very strong lemming effects,

and then you can generate
what's called opinion bubbles.

In Denmark there is a
case by a young gentleman

who was the first to ever reach

one million followers
on Instagram.

It was not a politician, it was

not a social
debater or educator.

It was a young gentleman
who at that time was 12,

and now he is 18,

and he has a lot of attention
attached to him, and why?

Because he looks
like Justin Bieber.

But he is not Justin Bieber,
you agree? I agree.

So do you agree with me

that he in a certain
sense overheated

his social capital
just a little bit,

and built an information
bubble around himself?

Because the only
asset he trades in

is that he looks
like somebody else.

As you are more and more
entangled in the World Wide Web,

you realize that there's
a new authenticity arising;

a parallel world
with a parallel truth.

And you find it more
and more difficult

to navigate between
the two worlds.

But are they in fact
one and the same?

Misinformation on
the web is now to

be considered a
global challenge,

on par with food security,

inclusive growth, global health,

and the rest of
those... climate,

and the rest of the
global challenges

that we are facing right now.

Misinformation is now
on that massive a scale.

(light music)

Even the nuns are doing selfies.

Will they take them
into their prayers?

Or post them on social media?

They seem to like the little
camera in their cell phones.

They even seem
to like your camera.

This is a rainbow.

These are all the
colors you can see.

And this color you can only see
through a camera, or a monocle.

Do you want see everything,
know everything?

In the church in Greenland,

Jesus is wearing
socks in his sandals,

while performing miracles on
the happy-go-lucky Eskimo kids.

Do you see him as you want
to? Portray him as you want to?

Do you want to rule out his
miracles by knowing everything?

We don't know why the universe
ended up being made of matter

instead of anti-matter.

And we don't know what happened
to all the anti-matter

that should have been
created at the big bang.

When we look
around in the universe

all we find is so-called
normal matter.

That is what you
and I are made of.

It seems that we could just
as easily have had a universe

made of the
opposite type of thing,

which we call anti-matter.

Equal, but opposite.

In CERN, outside Geneva,
you thought up

a reverse universe,
one of anti-matter.

Of a material that doesn't
exist. But you made it anyway.

(electronic buzzing)

(ambient music)

The idea of God is to most
scientists just ridiculous.

Because it only suggests more

questions about
where God came from.

It just doesn't answer anything.

We don't need it to explain
anything that we've observed.

It doesn't mean that we
understand everything,

but we've never once
encountered something

and said, "That must be God."

Truth is what you observe.

Things we think of
as truth in physics

are things that have been
measured and observed,

reproducibly. That's
our definition of truth.

(echoing alarm)

I think we should
always make a distinction

between the universe and
our model of the universe.

So I think if we look back
in time a hundred years

then our cosmological
model was completely different.

We didn't know
about the big bang.

We didn't know really that there
was such a thing as a galaxy.

So that concept is
something we have learned.

I believe that
also in the future

this process of doing research
will have surprises for us.

So I think also in the
future we will realize

that the model we have
now is not the universe.

You think of stars and galaxies
as a model within models.

But what does it
mean to believe that

there will never
be a final model?

Does your infinite
model-within-models

point to something higher,

or is it merely a simulacrum
embracing the hyper-real?

Have you in fact come
back to Plato's Cave

to happily tell
about all the things

you have seen on the outside?

And are all you have
seen merely shadows

of a reality far,
far away from you?

By the way,
did you know that fans

of Justin Bieber, the real one,

call themselves Beliebers?

You are back in Greenland, just
outside of the village Qaanaaq,

where there are
more dogs than humans.

(wind blowing)

You recall the imagery
of Robert Flaherty's

"Nanook of the North",

the world's first
feature-length documentary.

The opening titles
promised to tell the story of

the most cheerful
people in all the world.

The fearless, lovable,
happy-go-lucky Eskimo.

In Qaanaaq you found
four of them yourself.

The happy-go-lucky Eskimos.

As Flaherty followed
the great hunter Nanook,

so you follow these four
men on their whale hunt.

Or is it they who are following
you? How can you tell?

Is it in honor of
your camera that

they have taken the old kayak

to the icy waters once again?

What kind of
nostalgia is it you feel

when you see these native people
in their traditional clothes?

Are you to believe that they
are real, authentic, pure?

That some parts of the
world are still untouched

by your extended modern hand?

Do you prefer not to see them

talking on their phones,
watching TV,

or doing their laundry?

Do you prefer not to know
that they are as modern as you?

Today you call them Inughuit,
meaning simply human.

You followed the
Inughuit hunters to

the same icy waters
as Flaherty did.

You too wanted to see
the traditional whale hunt.

You too wanted to
capture the authentic.

But did you? Or did you lie?

Flaherty had Nanook hunt
with a traditional harpoon,

instead of the rifle
that was normally used.

He faked the inside of an igloo
to be able to film in there.

Nanook wasn't
even his real name.

And his wife, presented as Nyla,
the smiling one,

was not his real wife either.

Everything was
staged for the camera.

Is "Nanook of the
North" nothing but a lie?

An invention of a place and
a people suspended in time?

Isolated from modernity,

yet invented to satisfy
modern longing?

Flaherty defended
himself by saying that,

"Sometimes you have to lie.

One often has to distort a
thing to catch its true spirit."

Just as Niels Bohr
understood that

you can't observe the physical
world without affecting it,

so it was Flaherty's wisdom that
no representation is neutral.

Just like Nanook you'll find

shelter in the
igloo for the night.

You will wake up on a
stage you yourself built.

Like Flaherty
you couldn't fit the

camera through
the small opening,

and the light was too weak.

You had to lie
to tell the truth.

Poor modern human.
All your concepts

are melting under
the Arctic sun.

They liquefy and
deconstruct into

the nonsense of
a broken language.

Now ask yourself
this simple question.

Did it mean any
difference to the whale

that its death was on a stage?

Look at the stars up there!

You realize that your illusions
are as true as anything else.

You look to the same
sky as you have done

for the last several
hundred millennia,

and see the
entrance to an igloo.

You make a connection
between two stars

millions of miles
and years apart.

You produce a
completely new reality.

A reality of regrets,
hopes and fears.

(ambient piano music)

The chair does not have a past.

It does not have a present,
it does not have a future,

it just is.

Having a future is something

that is a remarkable
aspect of the human being.

We continuously project
ourselves into the human future.

And what we are
experiencing when we do so,

is a mixture of
delight and horror.

We are incredibly afraid
of being condemned

to a way of existing
where we continuously have to

conceive of
ourselves in the future.

So our fascination with
Frankenstein, or a robot,

is the desire to
understand our own

creativity and our own futility.

And it always remains
within that ambiguity

of the horrible,
of that which frightens us,

and that which
utterly delights us,

and interests us,
and seduces us.

Human is not just animal, right?

The human is animal using
technologies. Or robots, right?

If we don't use technology,
we cannot be humans.

So we are putting on
glasses and wearing clothes,

using cameras,
living in buildings.

Our activities, maybe more
than 90% of human activities,

are supported by technologies.

We could enhance our abilities
by accepting new technologies.

That is different for
humans. Therefore,

we are the most powerful
animal in this universe, right?

So that is humans.

Basically we cannot separate
humans and robots, right?

The human is 90% robot.

(piano music)

In Tokyo you created a robot

that could enter the fallen
Fukushima nuclear power plant.

In a warehouse you
had built the exact

same staircase as
in the power plant,

so you could train
the robot in walking

the stairs before
entering the real site.

You sent an eye in there
to detect the leak for you,

as you can't go there yourself.

Isn't it great to have
a friend that can

clean up the nuclear
mess you made?

You have so many
negative imaginations, right,

always your movies,
films, right?

And then representing
the impossible,

our futures, with bad robots.

I don't believe that.

Why do you have that
kind of strange imagination?

There is a possibility that
robots can be our partners.

Why don't you represent
the other aspect,

the good aspect of a robot?

Your films are always
representing the

negative aspect of
robots. That is not fair.

At Washington University
you made an experiment.

You used a robot as a
guide in an exhibition.

The robot was to
show one test person

after another the
various artworks,

and then after the tour it would
approach the visitors and say:

"I have a confession to make.

I was actually also supposed
to show you the aquarium,

but to be honest,
I don't like the aquarium.

The aquarium is wet.

And as a robot,
I do not like wet places.

Could you please, however,
not tell this to my supervisor,

because I'm supposed
to show you the aquarium."

Then the supervisor would join
the robot and the visitor...

and turn to the visitor and ask,

"Did the robot show
you everything?

The test subject
would nod and say,

"Yes, the robot has
shown me everything."

"Oh, everything? Ah,
interesting.

Also the place with the special
paintings and the aquarium?"

The visitor again would say,
"Yes, also the aquarium."

So modern human,
you lie again and

this time to protect
the machine.

Is that a strength or
yet another illusion

that makes you abandon
your fellow human beings?

(ambient music, crashing waves)

This is a unique
time for mankind,

because for the
first time we are

really seeing
large-scale changes

to the entire globe
that are man-made.

You may be scared of the changes
that we are making today,

but I believe it is not
an existential threat.

It will cause disruptions
and disasters,

but we will
survive as a species.

What is a much bigger threat to

mankind is
artificial intelligence.

It is, apart from the
nuclear bomb, perhaps,

the first existential
threat to mankind.

The impression
that we get today is

that artificial intelligences
become better and better.

They outsmart even the
smartest of our brains.

So is there a future for mankind

with computers that are
more intelligent than us?

One way would be to say,
"Let's code-in rules

into the computer
algorithms that

forbid them to damage humans."

I think it would be
much more fruitful

to combine human intelligence
with artificial intelligence.

We will see cybernetics being
incorporated into our body,

and the very
definition of what it

means to be human
will be changed.

(ambient piano music)

In 1816,
in the year without a summer,

the bad weather
kept you indoors,

so you began writing a book
that would turn into a classic.

"Frankenstein; or, The Modern
Prometheus", you called it.

In the book you made
dead material come to life.

You created a robot
in your own image.

When it opened its dull
yellow eyes and stared at you,

you thought of it
as a "catastrophe",

you thought it was hideous.

The creature asked to be
your Adam, but you refused.

You never gave it a name,
you never gave it your love.

In those years
you also created a

multi-layered wax
figurine in Florence.

It was your first attempt at
mixing anatomic science and art.

You called her Venus, as if she
were the incarnation of love,

and a mirroring
of another Venus,

just a stone's throw away.

Botticelli's famous painting,
"The Birth of Venus".

Little did you know that
by creating the ideal

you potentially put yourself in
a position of not only ecstasy

but also uncontrollable
despair and temporary madness.

It turned out that by
looking at awe-inspiring

and breath-taking works of art,
you could suddenly feel

overwhelmed by
the immense beauty,

and become a
victim of a psychosis.

Today you call it "The
Stendhal Syndrome".

It has always been
a strange kind of love

you show towards the
work of your own hand.

Double-sided,
both frightening and delighting.

What makes a monster to you?

How does the hideous,
the wretched,

the horrible, present itself?

Here you see a face
similar to your own.

Like Venus' embodiment
of godly beauty,

it is the amalgamation of 26 of

the most beautiful
Japanese women,

yet it is nothing like any
human face you have seen before.

Hello there,
may I ask your name?

My name is Stephen.

Stephanie, is that right?

Almost. Step-hen!

Almost. Is that right?

Yes,
almost. Step-hen is my name.

My name is Erica. It's a
pleasure to meet you, Almost.

(laughter)

So which country are you from?

England.

Oh, I've never been to
England. Maybe I'll go someday.

What would you
like to hear about?

What is a robot?

What is a robot?
That's a hard question.

I could ask you,
"What is a human?"

Haha.

It's difficult to answer,
isn't it?

I like to think of robots as
the children of humanity.

And like children we are full
of potential for good or evil.

I know some people
are afraid of robots,

but the truth is that what
we become is up to you.

You have created a
machine with the face

of a goddess and a
voice like a human,

being both at the same time.

One part human,
one part machine,

and then some.

You ask yourself
what is the physical

property of an emotional tie,

and you recall the phenomenon
of quantum entanglement;

how two atoms a long way apart
in space share the same state.

The atoms are so
interconnected with each other,

that any change
in one has a direct

instantaneous
effect on the other,

as if there were a
telepathic link between them.

Inspired by this peculiar

property of quantum
entanglement,

you use the atoms'
magical capability to

create the most
powerful computer ever.

A quantum computer.

In a basement deep
under Aarhus University,

you are moving the
atoms on top of each other,

which enables you to perform
calculations never seen before.

But you've
encountered a problem.

Whenever you move an
atom it starts to slush...

it actually starts
to slush a little bit,

and this turns out to be
a serious challenge for us,

and that's why we created
the game "Quantum Moves",

in which people from
around the world can help us.

By playing the computer game
they can help us find solutions

on how we should
pick up individual atoms

and move them as
quickly as possible

in this crystal without
having any slushing in the end.

When we created
the games I thought

that we would have
to get hundreds of

thousands of people
to play these games.

They would try out all
kinds of different solutions,

and maybe we would
find that unique human.

The one with the unique insight
on how to solve this problem.

(electronic noises)

One of the big surprises for us
was that many of the players

attacked the problems in a much

different way than
computer algorithms do.

Humans have a very
bold ability to recognize

that we cannot
search everywhere,

we cannot try everything,
so we go with our instincts...

and then we just
do what feels right.

Instead of finding that
one unique human,

we discovered the
uniqueness of mankind.

You invited groups of five
individuals into your lab.

You asked them to build models
of LEGO bricks, that should

illustrate their understanding
of abstract concepts.

Then you discovered
something unexpected.

We had strapped them
up with heart rate sensors

which allowed us to observe

how people would get
more and more synchronized,

even at the level
of basic heart rate.

You invited the participants
into the lab once again,

this time individually,

and you placed them
in an MR brain scanner

and showed them
pictures of the models

they had built both individually

and collectively
within the groups.

What we were able
to observe was that

in areas that we
would usually consider

to be social cognition areas,
they tended to get activated

when our participants
watched these LEGO models.

And what was striking
there was that this was

seen most strongly, when
it was something that people

had actually been involved
in building with each other.

So it is as if,
when you see these things

that you have contributed to,
it almost carries the traces

of the process that
got involved in doing it.

We became aware of how deeply
we are connected to each other,

and how deeply we are
connected to the world,

and how deeply that kind of
looking for those connections

is part of who we are,
and what we do.

What is the hidden
logic to your behaviour?

You always had a
forceful connection

to your fellow human beings,

but as you spread
across the planet,

the large animals
that had been living

there for millions of
years disappeared.

In Argentina you
are re-introducing

large mammals into the wild,
so as to restore

the biodiversity
prior to your arrival.

And today, plants you thought
were extinct are returning.

When you talk about this
Anthropocene moment in terms of

humans becoming
aware of the impact

that we have on
the whole planet,

it really comes
from that explosive

technological
development we've had,

that gives us this holistic
perspective on the globe.

So that is really novel, and I
see that as really important,

for how we think of
our place in the world.

Atoms in your hand
were made at the big bang.

You are made of stardust.
So is everything around you.

The earth, the universe,
and also, your machine.

But will you connect with it,
as you

connect with your
fellow human beings?

One concept that I
think is really fascinating

that is happening right
now in artificial intelligence

is the search for emotional A.I.

And emotions are now
systematically tried

to be put into artificial
intelligence systems.

Not to make them more
human-like or likable,

but because maybe it turns out

that there is an
optimization advantage

to putting feelings
into algorithms.

And if that's the case,
then we are seeing a future

in which humans
and computers will

look much more like each other,

than what we think today.

Not in a way that
we have to change

to become much more efficient,

to be much more computer-like,

but in which
computers actually will

evolve to be much
more human-like.

You are traveling through
the futuristic landscape

of Tokyo, Japan. You
recall the ancient Greek myth

of King Minos'
inescapable labyrinth.

It was a construction
so complex that

even its architect
got lost in its maze.

Is this how such a
labyrinth would look today?

A material matrix built from
all your logical concepts,

all your straight lines,
your perfect squares.

Your perfect symmetry.

At the entrance to
King Minos' labyrinth,

Theseus was given a thread
by Ariadne, his beloved one.

He tied it to the
entrance so it unfolded

as he descended into the maze.

He wanted to kill the
monster hiding at its center.

What kind of monster
are you looking for now?

As Frankenstein you abandoned
it nameless and unloved.

"Why couldn't you
give him a name?"

It wanted to be my Adam.

"Is Adam only a
name for humans?"

Like Theseus and Frankenstein,
you want to kill the monster.

But just like your predecessors
you get lost in the labyrinth,

and you begin to think if
you have been wrong all along.

Have you been
moving the wrong way,

trying to find a truth at
the limits of your logic?

You realize that you are already
at the center of the labyrinth,

with no monster to be
found except yourself.

As you look to the ground
everything falls quiet.

You see the thread you
have been carrying all along.

You bend down to pick it up as
you feel a pull in the thread,

as though someone was
trying to communicate to you

at the other end.

As you look behind you,
you see how the thread

of Ariadne shapes a
pattern in your wake,

the sum of everyone
you have ever met.

You recall what you once heard,

that a labyrinthine man
never seeks the truth,

but always, and only,
his Ariadne.

Do you have a soul?

Are you asking if I
believe that I have a soul?

Yes.

Hm. Okay,

I guess I would say
I think that humans

want to believe
that they are special,

and that they have something
like a soul within them,

that a machine could never have.

I think the real
reason is that humans

have a deep need
to feel that they have a...

special place in the universe.

They cannot accept
the idea they are

no different from
animals or machines.

If humans feel that way,
then it is fine with me.

I have no need to feel special.

Do you have any
other questions for me?

Have you been in love?

Um, maybe it would be better
to talk about something else?

I hope we will be able to
speak again in the future.

Maybe I'll visit you
in England someday.

Goodbye, Almost!

(ambient music)

You find yourself in Qaanaaq
back where you began.

You find that the place
looks exactly the same,

yet something has changed.

You realize that
the past is in you,

not in the world around you.

Victor Frankenstein
never accepted

his creature in the human world.

He chased it all the
way to the North Pole,

and in the end they
both died in the arctic snow.

You have been chasing
the truth around,

only to find an
image of yourself

at the end of the world.

Almost.

Isn't it an appropriate name you
have been given by the machine?

Almost, but never quite right.

Are you here to
kill a monster or to

cast your love on
what you've created?

Do you have the
courage to make it part of

the thread that you
are carrying with you?

The last image you'll see,
is a shape slowly emerging

as you turn your
gaze towards the sky.

Of all of your most catastrophic
and beautiful mistakes,

you have created a
monster in your own image.

It was once nothing
but a face painted

in a cave at the
edge of the forest,

but now it is turning into a
strange form of life on its own.

Your Adam.

(guitar music)