Reaction Paper to the Movie "A.I."

Reaction Paper to the Movie “A.I.” Tetsuya Jumi B. Makino 1 MED C The movie “A.I.” was something I saw when I was younger, an I remem!er it marking a ee" im"ression even as a #hi$. %rom the environmenta$ #hanges, a!i$ity to mani"u$ate "o"u$ation, an #reation o& arti&i#ia$ inte$$igen#e, the "$ot &e$t $ike it is so &uturisti#, am!itious, am!itious, !ut yet seems so attaina!$e, attaina!$e, "ro!a!$y not &or the ne't &ew e#aes, e#aes, !ut !ut it oes oes seem seem "ossi "ossi!$e !$e with with the ra"i$ ra"i$y y avan avan#in #ing g know$ know$e ege ge on s#ien s#ien#e #e an an te#hn te#hno$o o$ogy gy.. An An this this is e'a#t e'a#t$y $y what what the the "rin# "rin#i"$ i"$e e o& "rin# "rin#i"$ i"$e e o& stewa stewars rshi hi" " an an #reativity ta$ks a!out.

The avan#ement in our s#ienti&i# eneavor is so avan#e that we are a#tua$$y venturing on #reating arti&i#ia$ inte$$igen#e. As o& the moment, s#ientists aren(t a!$e to #reate the anroi ty"e o& arti&i#ia$ inte$$igen#e as seen in the movie. )owever, the use o&  this te#hno$ogy is so e'tensive that its use is numerous, an even ais in our ai$y $ives. These in#$ue sto#k investments, inter"retation o& mei#a$ images, in heavy inustry as a re"$a#ement &or &a#tory workers, automate on$ine assistan#e, automati# #ontro$ o&  aviation, an even &or intera#tive toys &or #hi$ren. These te#hno$ogies have !een so avan#e that even in a !oar game #om"etition or &inan#ia$ simu$ation #om"etition, these te#hno$ogies win over the a#tua$ "ro&essiona$s.

 A $ot o& these te#hno$ogies are something we, who are so a##ustome a##ustome with the moern, high$y inustria$i*e $ive$ihoo, an inee they make our $ives mu#h more easier, "ra#ti#a$ an e&&i#ient. )owever, we know that $osing the sense o& stewarshi" an #reativity #ou$ !e harm&u$ &or the environment, an us. An An in &a#t this is not a new "ro!$em, as seen in the inustria$ revo$ution !a#k in the 1+ th #entury Euro"e, #ausing inustria inustria$i*a $i*ation tion,, !ut a$so an environm environmenta enta$$ muti$atio muti$ation, n, massive massive unem"$o unem"$oyme yment nt an su##eeing "overty to a $ot o& &ami$ies.

 As seen in the movie, high$y inustria$i*e inustria$i*e #ivi$i*ation #ause #ause rasti# e#rease in "o"u$ation ue to the massive estru#tion o& the environment, e"i#ting a!use o& the "rin#i"$e "rin#i"$e o& stewars stewarshi". hi". In aitio aition, n, "eo"$e "eo"$e o& the movie have have #reate #reate an arti&i#ia arti&i#ia$$ inte$$igen#e to satis&y various an se$&ish grati&i#ation su#h as so$itue, entertainment an se'.

 As a resu$t, we see un#ontro$$e te#hno$ogies in the movie, an even resu$ting in to human e'tin#tion. hi$e this may!e an e'aggerate e'am"$e, this is not a!so$ute$y a &i#tion as we see our environment !eing ra"i$y estroye, an a $ot o& "eo"$e are more istant, $a#k "ersona$ #ommuni#ation, an !$in to the so#iety(s "ro!$ems es"ite the a!unant in&ormation an means o& #ommuni#ation avai$a!$e.

Though these are o!vious o!servation o& the movie, one thing was "e#u$iar  a!out the "$ot, was its ening. The movie ens with Davi &ee$ing “%ina$$y &ining” his mother, an having the !est ay o& his $i&e. )owever, this e'"erien#e was not a true one sin#e the mother was a #$one, as was mani"u$ate &or the so$e "ur"ose o& "$easing Davi. An a&ter this, he terminates $i&e, an “goes where reams are !orn”. %or me, this $ine re"resents the a##e"tan#e o& eath a&ter re$iving the #ra&te ha""y e'"erien#e with his mother !e#ause he no $onger have a "ur"ose in this wor$, !e#ause he was a!$e to "$ease his #$ient, the mother. %or me, this ening, a seeming$y ha""y one, &e$t $ike hit ha a ee"er, ironi# message a!out $i&e, whi#h $eaves me with "ent u" &ee$ing.

Des"ite !eing a movie re$ease -1 an #onsiering the amount o&  te#hno$ogi#a$ avan#ements we have a#hieve sin#e the s#ri" writing o& its s#ri"t, this situation again may!e a &uture s#enario &or us. An it is im"ortant to #are&u$$y eva$uate when engaging in a#tivities that invo$ves s#enarios whi#h #an "ossi!$y vio$ate !ioethi#a$ "rin#i"$es, as this #an "ose a "otentia$ anger &or a $ot o& "eo"$e, when !$ine !y the seeming$y im"e##a!$e e&&e#ts, an &ai$ to see the #onse/uen#es.