Kirk-Othmer Encyclopedia of Chemical Technology [Vol 26]

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Extra info for Kirk-Othmer Encyclopedia of Chemical Technology [Vol 26] suppliment]

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Every day, a limo would come to my door on Boars Hill,” writes Aldiss,“and I would be driven to Castle Kubrick, Stanley’s Blenheim-sized pad outside St. Albans. Stanley had often been up half the night, wandering his great desolate rooms choked with apparatus. “[Kubrick] did not permit argument or the consideration of any line of development he did not immediately like,” says Aldiss. For example, Aldiss rejected Kubrick’s allusions to the Pinocchio story, preferring to confront his character of David, who hitherto had been unaware of his mechanical identity, with the revelation of his true nature.

Is the disturbing message here that, in order to love him, she must become something of an artificial life-form herself ? L. (1985), poses a different solution to the problem of mutual love between man and machine: The boy “Daryl” (an acronym for “Data/Analyzing/Robot/Youth/Lifeform”) is unable to live happily with his foster parents as long as he is “too perfect,” that is, too smart and too willing to please (like the robot David in Aldiss’s original short story, Daryl does not know that he is a robot).

And die . . The film is neatly divided into three sections—a domestic drama, a road picture, and a digitally enhanced dream. Each has its own peculiar tone, or atmosphere. The second marks David’s induction into an adult world of hard colors, frenzied brutality, and cynical corruption. And the third loses itself in the dreamy, cosmic blur of David’s transcendence. The first is a fable about the love between parents and children. In the film’s opening scene, after Professor Hobby discusses the fashioning of a robot designed to love, a colleague asks him a very important and profoundly disturbing question—will humans be willing to love the robot in return?

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