Science Fiction "A.I "

In 2001 the 'character' of HAL is the least alike a pitying being of all the creations discussed here since 'he' is simply a large work that runs the ship on which the interchange action takes place. But HAL has the capacity to communicate with gentleman beings in a manner that resembles their own and a part of the computer's retrospection enables not just the appropriate tone and inflections but, it emerges, some train of emotion as well. The computer's reasoning in turning on the crew is not explicitly provided and the entire, very eerie, transition is found on HAL's petty emotions. Indeed the computer seems, ironically, to experience the lovable of paranoia that would be expected of the men on the voyage who be cooped up in a particular(a) space for such(prenominal) a long time.

The film suggests, merely, that HAL's emotions begin with his pride in the computer series' unblemished record of infallibility. This pride, of course, was implanted in HAL by the human beings who made the computers and is reflected in the attitudes of the astronauts and the controller with whom they speak. Thus, cleverly, it becomes clear that it is specifically human pride that is behind the problems on this ship. The ship becomes, therefore, a microcosmic emblem of the world in whi

Columbus, Chris, dir. Bicentennial Man. Buena Vista Pictures, 1999.

The film suggests, therefore, that it is when Andrew acknowledges the value of the limited nature of human existence that he transcends his machine limitations and this transcendence is what makes him fully human. Galatea says that it is sad that he could not live to turn around the Council's pronouncement but Andrew was not truly human until he died and so the pronouncement comes, ironically, at the right moment. The rendering of the foot of the pith of humanity in Bicentennial Man is, therefore, remarkably similar to that found in 2001.

Although the two films are radically different--and their stories are completely opposed on the point of whether a machine can become human--they both posit the essence of humanity as its relationship to something beyond what can be readily apprehended in the world. Bicentennial Man suggests, however vaguely, that the accumulation of human traits grows exponentially and opens the way to full human status. Andrew only achieves this, however, by means of his intense communication with human beings and this film's notion of human-ness is richer for its addition of the essentials of human communication in the forge of love. Love is first accustomed to Andrew by the child " brusk Miss" just as HAL's pride and subsequent emotions were given to him by his makers. But, unlike HAL, Andrew also becomes capable of receiving from others on an emotional-spiritual skim and from Portia he acquires the sense of why human mortality is desirable. Andrew transcends his machine origins in rejecting immortality because he comes to understand that even though it is the sagely preferable alternative there is something beyond the merely rational that calls to genuine human beings.

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