 | ||
 | | |
ITA ENG | ||||
| | | | |
As a matter of fact, every man, woman or child is only an “organic battery” cultivated in fields destroyed by the robot society in order to catch energy that the sun obscured by an atomic cataclysm cannot provide. The success of this trilogy, higher than any other happy expectation shows the extraordinary tension existing between the masses. Butler’s fears become an ambiguous and ambivalent “taken of conscience” of a discontinuity preparing itself on the horizon, a shape extending on life reality, a cool consciousness translating itself into the phobia of an artificial subordination. A great amount of South Sea islanders who have filled up cinemas on any occasion of the trilogy (causing a suspected birth of a the fourth and fifth chapter stems from the unconscious asking on chances of a real ontological inclusion. The artificial world, the living programme and real life, meaning organic life, mingle themselves but do not interchange their roles. In the decaying Matrix Reloaded, 2002 and Matrix Revolutions (2003) artificial life and organic life become the object of definition. Neo, the protagonist “Redeemer”, is himself an uncertain character, all to be defined. It is made of meat and bone, but it is clearly also a programme. The central problem is not life definition, but what makes us feel alive. Suddenly, Neo meets a couple of intellectual men of Indian origin accompanying their very intelligent daughter. It concerns, as a matter of fact, programmes living in Matrix. Discussion on love stems from it. What is love? A word, a concept the Indian guru says - a word with a meaning that can be examined following a definite description. What matters, nonetheless, is not the description but the relationship. Following their relationship with their daughter the two Indian programmes-characters are disposed to give birth? How can it be expected then, that a love relationship is only a faculty expressed by human beings? The idea that love can be reduced to a personalized relationship is within the schematic structure of research on artificial life. Given a certain range of generative rules, either an electronic or material habitat and an evolution path particular relationships arise basing on auto-poiesis codes. Not only can a state of human-like self-consciousness arise, at a certain level of complexity it is said -, but real and actual love relationships can also and even must reveal like those described in Matrix, summa summarum of the multi-shape myth of robots. The difference with the founders of the self-conscious machine inscribes itself within the recovering of a trait of a Late-Middle-Ages culture. Courtesy love is the apotheosis of a unique feeling, linking particular subjects together, each of them is unique and they cannot repeat themselves in their turn. Individuality, like a conjunction of relationships that cannot repeat themselves, expresses itself better in that synthesis of relationships, in that field of relationships made up by two individualities fully interacting. Following this meaning, love for programmes, robot loves and robot-made love to whom human beings are apparently devoted during the third millennium, opposes itself radically both to heroes indifferent to promiscuity and universality of Christian love. Loving the others like oneself implies to renounce to the deification of a particular subject, and the potential multiplying of love relationships with each human being with whom an important, proximal, sensorial and spiritual relationship can be entertained. The agape is repaired by the personality cult, the myth because it states that the arbitrary selection of a human being, as if it were a whole element, creates the premises of the absence, of the retire from the world, the refusal of the same love relationship. The agape is, in the spiritualistic vision, a universal function of connection, unattainable by the robot, and we will see the reason for it. The erotic sphere is at its place, selecting a body among the body mass but only for orgasm satisfaction linked to the moment. The body take is full of anxiety, is pasted of the platonic penia meaning lack, of thirsty. His goal is therefore constant, so that the minor relating on the chasing lust for pleasure is found within the Kirkegard’s vision on Don Juan character. The latter is the personification of a human being not able to form a family, refusing a love relationship based on the engagement and the giving act, the excellent proximal relationship. On the contrary, the apotheosis of erotic pulsation expresses itself in the orgy, meaning an undifferentiated taken of bodies, of all possible bodies, without a distinction of condition, sex, age and somatic features. In the age of moving masses of the aristocratic reification following the style of de Sade translates itself into the “fine dust” spreading of dark rooms, peep show and internet sites for erotic meetings: sites and ultra-places where the barren and compulsive eroticism of standardized single machines is consumed. The robot myth is certainly fed by the particular cinematic action stemming from an obsessive, mechanical and insatiable repetition of sexual activities. As Peter Gorsen has observed, machines show already an explicit sexual self-erotic symbolism, which in Arts has fully expressed in single machines of Duchamp and Robert Muller, but which is nonetheless exceeded when a rapid evolution of artificial engineering, so that a change gives strength to new and more nowadays symbols in Arts (Gorse, “La macchina umiliante e l’escalation di un nuovo mito” ) It is precisely what happens nowadays, where the robot myth feeds itself from cybernetic models of artificial life and contemporarily by accelerated developments of genetic engineering. Where life appears, both artificial or natural life, a coupled, automatic but not self - erotic sexuality emerges and it remains to observe like this relationship translates into a symbolic means connected to the artificiatum.. Contemporary robot love is the product of the “Terra di Mezzo” (see “The Lord of The Ring”), like the robot itself is felt today as an average means between reality and the virtual world, body and spirit, body and mind, the sensorial and the inert world.
| ||||
 | ||||
| | | | |
 | ||
| | |
 | ||
| | |