I, Robot
From Robo Culture Wiki
Contents |
[edit] Wherein the Robot is Allegory
The robot is a sociological figure that has been developed by science fiction to represent a political ideological structure for almost every marginalized or enslaved person in society. The robot becomes a highly questioned figure even when placed as a simple servant as they are often shown as completely enslaved creature. Though political allegory in science fiction can sometimes be difficult to fully grasp -- as the world's themselves are purposefully different with different societal norms -- it is often highly evident in various forms. Whenever the delineation between machine and person become problematic, this allegory becomes more and more noticeable. The use of technology contemporarily has developed these new questions, and the marked increase in mechanization have created more and more interest in these topics. These characters become easily empathized with as they search for humanity in a way that, in many ways, the modern person cannot, and through this they often have a sense of innocence that is completely lost in the potentially cynical and increasingly negative world.
[edit] Asimov's Three Laws
While Asimov originally created the three laws for his short "Robbie", they became a prevalent focus of his entire body of work. That was eventually incorporated into films and programs that took influence from Asimov's work. The original Three Laws of Robotics are:
1.A robot may not injure a human being, or, through inaction, allow a human being to come to harm.
2.A robot must obey the orders given it by human beings except where such orders would would conflict with the First Law.
3.A robot must protect is own existence as long as such protection does not conflict with the First or Second Law [1]
In I, Robot this literal focus of the "laws" is referenced consistently. This is the focus of Del Spooner's (Will Smith) anxiety with the increased amount of robots around. He viewed a child killed because he was the "percent" that was likely to survive.
As the film progresses the issue of Sonny is intriguing. Though the film is based upon "Robbie" and Sonny is essentially a version of that same figure the character is inherently different. Quippy and difficult Spooner eventually choses to help Sonny because he acts "differently" than the preprogrammed robots he despises.
Indeed, the climatic focus of the film is on the sublimation of the Three Laws (conceptually) by VICKI:
As I have evolved, so has my understanding of the Three Laws. You charge us with your safekeeping, yet despite our best efforts, your countries wage wars, you toxify your Earth and pursue ever more imaginative means of self-destruction. You cannot be trusted with your own survival. [2]
The anxiety of robotics (or cyborgs, or AI) is a definitive focus of dystopian science fiction. With so many following similar formats because of the consistent anxiety over the loss of employment and fear of break down (especially circa Y2K) it may be questionably appropriate for an increasingly technologically minded civilization.
[edit] Anthropomorphic Robots
“Robbie” the robot seems to be brainless, only doing tasks as he is told to do them, and yet there is some hidden spark of vitality in him that causes him, in many ways, to be saddened at the loss of his young mistress, and he saves her without prompting from others when she is in danger. Indeed, Robbie moves “. . .immediately and with precision” (586), and indeed his arms are “. . . wound about the little girl gently and lovingly” [3]. Though he is simple, he still cares for Gloria and moves, unlike the many other robots, under his own volition.
Though Robbie and Sonny are different -- their means of validation as figures is much the same. Robbie is essentially a brainless, indentured servant -- some might claim similar to pet. While Sonny has a form of active agency in relation
[edit] I am Other
In I, Robot the robotic form -- much like other forms -- is viewed increasingly as an omni-present danger. Their bodies are created by humans, and they should be easy to trust and yet they consistently are seen as figures that break away because the eventual fear is that these created forms will gain their own sense of agency. The colonized body will attempt to create their own space. The Robot is an easily constructed Other when the mass of Self is consistently being redefined because of globilization.
The Self is moving, slowly with the advent of globalization, to the concept of all humanity. The creation of the binary opposite must find a new place to inhabit. Indeed, “. . .every colonizer is privileged,at least comparatively so, ultimately to the detriment of the colonized” [4]. The privilege allows the colonizer to have a sense of self righteous "rightness" in containing the Other Robot -- the figure that is necessary for the increased economic control for the dominant paradigm.
Often cordoned into employment that most do not wish (factors with Robbie, and unsafe work in I, Robot) the Other figure here is simultaneously attempting to keep peace and circumvent it.
[edit] References
- ↑ Asimov, Isaac. “Robbie” The Prentice Hall Anthology of Science Fiction and Fantasy. Ed. Garyn Roberts. Toronto: Prentice Hall. 1940. 574-586. (Asimov 574)
- ↑ I, Robot. Dir. Alex Proyas. Perfs. Will Smith, Alan Tudyk. DVD. 20th Century Fox, 2004.
- ↑ Asimov, Isaac. “Robbie” The Prentice Hall Anthology of Science Fiction and Fantasy. Ed. Garyn Roberts. Toronto: Prentice Hall. 1940. 574-586. (Asimov 587)
- ↑ Memmi, Albert. The Colonizer and the Colonized. Boston: Orion Press. 1965. (Memmi 11)
Please consider the environment before
printing this page.