From: mk_thisisit
Professor Krzysztof Zanussi, a guest speaker in Castel Gandolfo as part of a Master’s program, discusses the intersection of philosophy, science, and cinema, particularly in the context of his film titled “The Perfect Number” [00:00:57]. His work explores fundamental questions about life, humanity, and the universe, often using scientific concepts as metaphors [00:01:13].
The Perfect Number as a Metaphor
The concept of a “perfect number” originates from an old mathematical history, referring to a number of divisors [00:01:10]. Zanussi finds it suitable as a metaphor because it suggests perfection, a notion that contemporary culture tends to deny [00:01:16]. He argues that perfection, though often unattainable, is what drives humanity forward [00:01:37]. His film, “The Perfect Number,” uses this concept to explore profound ideas, such as the idea that “the singular is worse than the plural” in language, suggesting that “we” are more perfect than “I” [00:02:20].
Science, Reality, and World Order
Zanussi’s film delves into fundamental questions, like the World Order, through the lens of repeatability in science [00:03:01]. It illustrates how certain phenomena in the world are not coincidental but repeatable, indicating an underlying order [00:03:11].
However, Zanussi emphasizes that science merely “tracks” this order, and reality exists independently of human scientific understanding [00:03:16]. Even if humanity and its science ceased to exist on Earth, reality would persist [00:03:21]. This perspective suggests that science is “secondary” in a sense [00:03:58]. The question of who created this world order, or why it exists as it does, is where his thought ends, with the unknown being attributed to God, though without scientific proof [00:04:18].
Examples of “perfect numbers” in nature, such as the arrangement of seeds in a sunflower or the Fibonacci sequence, are depicted in his film [00:04:40]. These observations, collected over centuries, highlight non-obvious regularities in seemingly trivial things, leading to the question of whether they are signs or merely “hallucinations” [00:04:56]. Zanussi expresses a desire to believe they are signs, even if his Christian faith does not explicitly demand such a belief [00:05:08].
Technology, Humanity, and the Future of Species
Zanussi’s work also touches on the concept of “homo technicus,” or technological man, acknowledging humanity’s increasing dependence on technology [00:06:17]. While technology provides comfort and luxury, it also biologically changes humans, for example, through exposure to blue light [00:06:41].
He anticipates that genetic engineering will allow for biological improvements, such as expanded memory and imagination, which could lead to a “Trans man” that may no longer be considered human but rather a “better species” [00:07:46]. Despite the potential for human evolution, he maintains that humans, with their complex brains, remain the “best creation of evolution” [00:08:11].
Artificial Intelligence and Consciousness
The discussion extends to artificial intelligence (AI), which Zanussi initially viewed as merely a powerful statistical machine [00:08:48]. However, he admits fear of AI evolving into a creature with consciousness and self-awareness, making decisions in its own interest rather than its creator’s [00:09:04].
On the question of whether AI can experience pain, Zanussi states that somatic pain is born in the human brain [00:10:20]. While research suggests complex neural systems might generate pain, the absence of an interface for AI to feel this pain is crucial [00:11:00]. He exercises humility, refusing to offer a definitive opinion on whether AI should be protected if it gains the ability to feel, stating he lacks the necessary expertise and relies on documented evidence [00:11:31].
The Search for Meaning Through Cinema
Zanussi’s films are fundamentally a lifelong search for meaning in life [00:16:30]. He questions if humanity exists for a purpose or if it’s simply a temporary presence in a world that could exist without it [00:16:39]. His war experiences as a child, witnessing the fragility of life and the death of innocent people, shaped his belief that life is a gift, not a right, and imposes obligations [00:17:14].
He considers himself primarily a “thinker of cinema,” using film as a language to convey profound philosophical ideas that literature might struggle with, believing cinema can discuss “serious matters” effectively [00:18:27]. He highlights filmmakers like Bergman and Pasolini as examples of creators who used images to express great philosophy [00:19:00]. Ultimately, for Zanussi, the search for meaning, especially through immersing oneself in “true love,” provides an indisputable reason for living [00:18:07]. He concludes that engaging with big questions, though sometimes painful, is essential for human experience, unlike artificial intelligence [00:20:18].