Is The Machine Going to Crush Humanity, or Serve Humanity?

I think that Star Wars is a Valid Mythological Perspective. 

It shows The State as a Machine and asks: 

"Is The Machine going to crush Humanity, or Serve Humanity?"

And Humanity comes not from The Machine, but from The Heart.

DARTH VADER: 

Luke. Help me take This Mask off.

LUKE SKYWALKER: 

But you’ll die.

 

JOSEPH CAMPBELL: I think it was in The Return of the Jedi when Skywalker unmasks his father. The father had been playing one of these machine roles, a state role. He was the uniform, you know? And the removal of that mask, there was an undeveloped man there, there was a kind of a worm. By being executive of a system, one is not developing one’s humanity. I think that George Lucas really, really did a beautiful thing there.

BILL MOYERS: The idea of machine is the idea that we want The World to be made in OUR Image, and What We Think The World Ought to Be.

JOSEPH CAMPBELL: Well, the first time anybody made a tool, I mean, taking a stone and chipping it so that you can handle it, that’s the beginning of a machine. It’s turning outer nature into your service. But then there comes a time when it begins to dictate to you. I’m having a bit of struggle with my computer, actually.

BILL MOYERS: Your computer?

JOSEPH CAMPBELL: I just bought one a couple of months ago, and I can’t help thinking of it as having a personality there, because it talks back, and it behaves in a whimsical way, and all of that. So I’m personifying that machine. To me, that machine is almost alive. I could mythologize that damn thing.

BILL MOYERS: There was a wonderful story about, I think, President Eisenhower, when the computer was first being built. You remember that story?

JOSEPH CAMPBELL: Eisenhower went into a room full of computers, and he puts a question to these machines, “Is there a God?” And they all start up and there’s all those lights flashing and wheels turning and things like that, and after about 10 minutes of that kind of thing, a voice comes forth, and the voice says, “There is Now.”

Well, I bought this wonderful machine, IBM machine, and it’s there. And I’m rather an authority on gods, so I identified the god, and it seems to me an Old Testament god with a lot of rules, and no mercy.

BILL MOYERS: It’s unforgiving, isn’t it.

JOSEPH CAMPBELL: Catch you picking up sticks on Saturday and you’re out, that’s all.

BILL MOYERS: But isn’t it possible to develop toward the computer, the computer you’re wrestling with at this very moment, isn’t it possible to develop the same kind of attitude of the Pawnee chieftain who said that in the legends of his people, all things speak of Tirawa, all things of speak of God. It wasn’t a special privileged revelation, God is everywhere in his works, including the computer.

JOSEPH CAMPBELL: Well, indeed so. I mean, the miracle of what happens on that screen, you know, have you ever looked inside one of those things?

BILL MOYERS: No.

JOSEPH CAMPBELL: You can’t believe it. It’s a whole hierarchy of angels, all on slats, and those little tubes, those are miracles, those are miracles, they are.

BILL MOYERS: One can feel a sense of awe.

JOSEPH CAMPBELL: Well, I’ve had a revelation from my computer about mythology, though. You buy a certain software, and there’s a whole set of signals that lead to the achievement of your aim, you know. And once you’ve set it for, let’s say, DW3, enter, if you begin fooling around with signals that belong to another system, they just won’t work, that’s all. You have a system there, a code, a determined code that requires you to use certain terms.

Now, similarly in mythology, each religion is a kind of software that has its own set of signals and will work. It’ll work. But suppose you’ve chosen this one. Now, if a person is really involved in a religion and really building his life on it, he’d better stay with the software that he’s got. But a chap like myself, who likes to play with -

BILL MOYERS: Cross the wires?

JOSEPH CAMPBELL: - the various softwares, I can run around, but I probably will never have an experience comparable to that of a saint.

BILL MOYERS: But do you think that the machine is inventing new myths for us, or that we with the machine are inventing new myths?

JOSEPH CAMPBELL: No. The myth has to incorporate the machine.

BILL MOYERS: A pagan deity?

JOSEPH CAMPBELL: Just as the old myths incorporated the tools that people used, the forms of the tools and so forth are associated with power systems that are involved in the culture. We have not a mythology that incorporates these. The new powers are being, so to say, surprisingly announced to us by what the machines can do. We can’t have a mythology for a long, long time to come; things are changing too fast. The environment in which we’re living is changing too fast for it become mythologized.

BILL MOYERS: How do we live without myths, then?

JOSEPH CAMPBELL: Well, we’re doing it.The individual has to find the aspect of myth that has to do with the conduct of his life. There are a number of services that myths serve. The basic one is opening the world to the dimension of mystery. If you lose that, you don’t have a mythology, to realize the mystery that underlies all forms. But then there comes the cosmological aspect of myth, seeing that mystery as manifest through all things, so that the universe becomes as it were a holy picture, you are always addressed to the transcendent mystery through that. But then there’s another function, and that’s the sociological one, of validating or maintaining a certain society. That is the side of the thing that has taken over in Our World.

BILL MOYERS: What do you mean?

JOSEPH CAMPBELL: Ethical laws, the laws of life in the society, all of Yahweh’s pages and pages and pages of what kind of clothes to wear, how to behave to each other, and all that, do you see, in terms of the values of this particular society. But then there’s a fourth function of myth, and this is the one that I think today everyone must try to relate to, and that’s the pedagogical function. How to live a human lifetime under any circumstances. Myth can tell you that.

There’s a wonderful story in one of the Upanishads, the Brahmavaivarta Upanishad, of Indra, this god who is the counterpart, really, of Yahweh. He is the god patron of a certain people and of historical life and time, with all kinds of rules for people to live by and that sort of thing. And there was a time when a great monster named Vritra had closed all the waters of the Earth, and so there was a drought, a terrible drought, and the world was in very bad condition.

Well, it took this god Indra quite a while to realize that he had a box of thunderbolts there, and all he had to do was drop a thunderbolt in Vritra and then blow him up. And when he did that, of course, he blew Vritra up and the waters flowed and the world was refreshed. And he said, “What a great boy am I.”

So, thinking What a Great Boy am I, he goes up to The Cosmic Mountain, which is The Central Mountain of The World, and so he decided he would build a New World up there, a New City, and particularly his palace was going to be a palace worthy of such as He. 

So he calls Vishvakarman, the main carpenter of the gods, and gives him the assignment to build this palace. So Vishvakarman goes to work, and in very quick order he gets the palace into pretty good condition, and then Indra comes, but every time Indra arrived, he had bigger ideas about how big and grandiose the palace should be.

So finally Vishvakarman says, “My gosh,” he says, “we’re both immortal and there’s no end to his desires. I’m caught for life.” So he decided to go to Brahma, known as The Creator, and complain. 

Well, now, Brahma sits on a lotus, this is the symbol of divine energy and divine grace, and the lotus grows from the navel of Vishnu, who is the sleeping god, whose Dream is The Universe. 

So here’s Brahma on his lotus, and Vishvakarman comes to the edge of the great lotus pond of the universe, and down, and he tells his story. Brahma says, “You go home,” he says, “I’ll fix this up.”

So next morning, at the gate of the palace that’s being built there appears a beautiful blue-black boy, with a lot of children around him, just in admiration of his beauty. So in comes the boy and Indra on his throne, he’s the king god, he says, 

“Young man, welcome, and what brings you to my palace?” 

“Well,” says the boy, with a voice like thunder rolling on the horizon, “I have been told that you’re building such a palace as no Indra before you ever built” 

And he said, 

“I’ve surveyed the grounds and looked things over, it seems this is quite true. No Indra before you has ever built such a palace.” 

Well, Indra says, 

“Indras before me! Young man, what are you talking about?”

The boy says, 

“Indras before you?” 

He says, “I have seen them come and go, come and go.” 

He said, “Just think: 

Vishnu sleeps in the cosmic ocean, the lotus of the universe grows from his navel. 

On there sits Brahma The Creator. 

Brahma opens his eyes, A World comes into being, governed by an Indra. 

Closes his eyes, The World goes out of being. Opens his eyes, the world comes into being; closes his eyes 

… And the life of a Brahma is 432,000 years, and he dies. 

The lotus goes back, another lotus, another Brahma. 

And then think of the galaxies beyond galaxies in infinite space; each a lotus with the Brahma sitting on it, opening his eyes, closing his eyes with Indras. 

There may be wise men in your court who would volunteer to count the drops of water in the oceans of The World, or the grains of sand on the beaches, but no one would count those Brahmas, let alone those Indras.”

And while he’s talking, there comes in parade across the floor of the palace an army of ants in perfect range. 

And the boy laughs when he sees them. 

And Indra’s hair goes up, and he says to the boy, “Why do you laugh?” 

And the boy says, “Don’t ask unless you are willing to be hurt.” 

And Indra says, “I ask. Teach.” 

The boy says, “Former Indras, all. 

Through many lifetimes they rise from the lowest conditions spiritually to highest illumination, and then they drop their thunderbolt in Vritra, and they think, 

‘What a good boy am I,’ and down they go again.”

And then Indra sits there on the throne and he’s completely disillusioned, completely shot, and he thinks, well, let’s quit the building of this palace. 

He calls Vishvakarman and says, 

“You’re dismissed, you don’t have to” so Vishvakarman got his intention, he’s dismissed from the job and there’s no more house-building going on. 

And Indra decides, “I’m going out and be a yogi and just meditate on the lotus feet of Vishnu.” But he had a beautiful queen named Indrani, and when Indrani hears this, she goes to the priest, the chaplain of the gods, and she says, “Now, he’s got this idea in his head, he’s going out to become a yogi.” “Well,” says the Brahmin, “come in with me, darling, and we’ll sit down and I’ll fix this up.”

So he talks to Indra, they come in and they sit down before the king’s throne, and he tells him, “Now, I wrote a book for you some years ago on the art of politics. You are in the position of the king. You are in the position of the king of gods. You are a manifestation of the mystery of Brahma in the field of time. This is a high privilege, appreciate it, honor it, and deal with life as though you were what you really are.” And with this set of instructions, Indra gives up his idea of going out and becoming a yogi, and finds that in life he can represent the eternal in the way of a symbol, you might say, of the Brahmin and the ultimate truth.

So each of us is, in a way, the Indra of his own life, and you can make a choice, either to go out in the forest and meditate and throw it all off, or stay in the world and in the life either of your job, which is the kingly job of the politics and achievement, and as well in the love life with your wife and family, you are realizing the truth. Now, this is a very nice myth, it seems to me.

BILL MOYERS: Do we ever know the truth? Do we ever find it?

JOSEPH CAMPBELL: Well, each person can have his own depth experience and some conviction of being in touch with his own satyananda, his own being, true consciousness and true bliss. 

But the religious people tell us we really won’t experience it until we go to heaven, you know, till you die. 

I believe in having as much as you can of this experience while you’re alive.

BILL MOYERS: Our bliss is now.

JOSEPH CAMPBELL: I think in heaven you’ll be having such a marvelous time looking at God that you won’t get your own experience at all. 

That’s not the place to have it. 

Here’s the place to have the experience.

BILL MOYERS: Here and now.

The Engineers' Plot

“ “Alas,” said The Mouse, 

“The World is growing smaller every day. 

At the beginning it was so big that I was afraid, I kept running and running, and I was glad when at last I saw walls far away to the right and left, but these long walls have narrowed so quickly that I am in the last chamber already, and there in the corner stands the trap that I must run into.” 

“You only need to change your direction,” 

said The Cat, and ate it up. “

For me, a signal frustration in trying to read Kafka with college students is that it is next to impossible to get them to see that Kafka is funny. 

Nor to appreciate the way funniness is bound up with the power of his stories. Because, of course, great short stories and great jokes have a lot in common. Both depend on what communications theorists sometimes call exformation, which is a certain quantity of vital information removed from but evoked by a communication in such a way as to cause a kind of explosion of associative connections within the recipient. 

This is probably why the effect of both short stories and jokes often feels sudden and percussive, like the venting of a long-stuck valve. It’s not for nothing that Kafka spoke of literature as “a hatchet with which we chop at the frozen seas inside us.” Nor is it an accident that the technical achievement of great short stories is often called compression—for both the pressure and the release are already inside the reader. What Kafka seems able to do better than just about anyone else is to orchestrate the pressure’s increase in such a way that it becomes intolerable at the precise instant it is released. 

The psychology of jokes helps account for part of the problem in teaching Kafka. We all know that there is no quicker way to empty a joke of its peculiar magic than to try to explain it—to point out, for example, that Lou Costello is mistaking the proper name Who for the interrogative pronoun who, and so on. And we all know the weird antipathy such explanations arouse in us, a feeling of not so much boredom as offense, as if something has been blasphemed. 

This is a lot like the teacher’s feelings at running a Kafka story through the gears of your standard undergrad critical analysis—plot to chart, symbols to decode, themes to exfoliate, etc. Kafka, of course, would be in a unique position to appreciate the irony of submitting his short stories to this kind of high-efficiency critical machine, the literary equivalent of tearing the petals off and grinding them up and running the goo through a spectrometer to explain why a rose smells so pretty. Franz Kafka, after all, is the story writer whose “Poseidon” imagines a sea god so overwhelmed with administrative paperwork that he never gets to sail or swim, and whose “In the Penal Colony” conceives description as punishment and torture as edification and the ultimate critic as a needled harrow whose coup de grâce is a spike through the forehead.

Another handicap, even for gifted students, is that—unlike, say, those of Joyce or Pound—the exformative associations that Kafka’s work creates are not intertextual or even historical. Kafka’s evocations are, rather, unconscious and almost sort of sub-archetypal, the primordial little-kid stuff from which myths derive; this is why we tend to call even his weirdest stories ‘nightmarish’ rather than ‘surreal’. The exformative associations in Kafka are also both simple and extremely rich, often just about impossible to be discursive about: imagine, for instance, asking a student to unpack and organize the various signification networks behind mouse, world, running, walls, narrowed, chamber, trap, cat, and cat eats mouse.

“Those That Ran The Soviet Union believed that they could plan, and manage 

A New Kind of Socialist Society.

They had discovered that it was impossible to control and predict everything — 

and The Plan had run out of control.

But rather than reveal that reveal this, The Technocrats decided to pretend that everything was still going according to The Plan.

And what emerged instead was 

A Fake Version of The Society.

The Soviet Union became a Society where EVERYONE knew what their leaders said was   

Not-Real, because everyone could see with their own eyes that The Economy was falling apart —

But Everybody Had to Play Along, 

and pretend that it was Real — Because No-One Could Imagine an Alternative.

One Soviet writer called it HYPERNORMALISATION —You were so much a part of The System that it became impossible to see beyond it :

The Fakeness was HyperNormal

The Engineers' Plot

This episode details how the Bolshevik revolutionaries who came into power in 1917 attempted to industrialize and control the Soviet Union with rational scientific methods. 

The Bolsheviks wanted to turn the Soviet people into scientific beings.

Aleksei Gastev used Social Engineering, including a 

Social Engineering Machine, to make people more rational. 

Gastev founded the Central Institute of Labour (TsIT), Soviet think tank dedicated to the improvement of industrial efficiency.

But Bolshevik politicians and bourgeois engineers came into conflict. Lenin said: 

"The Communists are not directing anything, they are being directed." 

Stalin arrested 2000 engineers in 1930, eight of whom were convicted in the Industrial Party show trial. 

Engineering schools gave those loyal to the party only limited training in engineering, to minimize their potential political influence. 

Industrialized America was used as a template to develop the Soviet Union. 

Magnitogorsk was built to closely replicate the steel mill city Gary, Indiana. A former worker describes how they went so far as to create metal trees since trees could not grow on the steppe.

By the late 1930s, Stalin faithful engineers like Leonid Brezhnev, Alexei Kosygin and Nikita Khrushchev grew in influence, due to Stalin eliminating many earlier Bolshevik engineers. They aimed to use engineering in line with Stalin's policies to plan the entire country. At Gosplan, the head institution of central planning, engineers predicted future rational needs. 

Vitalii Semyonovich Lelchuk, from the USSR Academy of Sciences, describes the level of detail as absurd: 

"Even the KGB was told the quota of arrests to be made and the prisons to be used. The demand for coffins, novels and movies was all planned." 

The seemingly rational benchmarks began to have unexpected results. When the plan measured tonnes carried per kilometers, trains went long distances just to meet the quota. Sofas and chandeliers increased in size to meet measurements of material usage.

When Nikita Khrushchev took over after Stalin he tried to make improvements, including considering prices in the plan. 

The Head of the USSR State Committee for Organization and Methodology of Price Creation is shown with a tall stack of price logbooks declaring that 

"This shows quite clearly that The System is Rational." 

Academician Victor Glushkov proposed the use of cybernetics to control people as a remedy for the problems of planning. 

In the 60s computers began being used to process economic data. Consumer demand was calculated by computers from data gathered by surveys. But the time delay in the system meant that items were no longer in demand by the time they had been produced.

When Leonid Brezhnev and Alexei Kosygin took over in the mid 60s, the economy of the Soviet Union was stagnating. By 1978 the country was in full economic crisis. Production had devolved to "pointless, elaborate ritual" and endeavours to improve the plan had been abandoned. 

"What had begun as a grand moral attempt to build a Rational Society ended by creating a bizarre, bewildering existence for millions of Soviet people".

SPRITE

THE SPIRIT OF THE CAVE

“There’s this Simpsons episode, 

and Homer downs a quart of 

Mayonnaise and Vodka. 

 

And Marge says, 'You know, 

you shouldn't really do that.’ 

 

And Homer says, 

‘That’s a problem for Future-Homer -- 

I’m sure glad I’m not 33s guy!’ 

  

The You That’s Out There in The Future is sort of like Another Person, and so figuring out How to Conduct Yourself Properly in relationship to Your Future Self isn’t much different than figuring out How to Conduct Yourself in relationship to Other People. 

 

Then we can expand the constraints. Not only does the interpretation that you extract have to protect you from suffering and give you an aim, but it has to do it in a way that’s iterable, so it works across time, and then it has to work in The Presence of Other People, so that You can cooperate with them and compete with them in a way that doesn't make you suffer more. 

 

People are Not That Tolerant. They have Choices. 

 

They don’t have to hang around with you; They can hang around with any one of these other primates. 

 

So if you don’t act properly, at least within certain boundaries, you’re just cast aside. 

People are broadcasting information at you, all the time, about How You Need to Interpret The World, so They can tolerate being around you. 

 

And you need that because, socially isolated, You’re Insane, and then You're Dead. No one can tolerate being alone for any length of time. 

 

We can’t retain Our Own Sanity without continual feedback from Other People. 

 

It’s too damned complicated.  

 

You’re constrained by Your Own Existence, and then you're constrained by The Existence of Other People, and then you're also constrained by The World.  

 

If I read Hamlet and what I extracted out of that is the idea that I should jump off a bridge, it puts my interpretation to an end rather quickly. It doesn’t seem to be optimally functional. 

An Interpretation is constrained by The Reality of The World. 

 

It’s constrained by The Reality of Other People, and it’s constrained by Your Reality Across Time.  

 

There’s only a small number of interpretations that are going to work in that tightly defined space. 

 

That’s part of The Reason That Postmodernists are Wrong. It’s also part of the reason, by the way, that AI people who are trying to make intelligent machines have had to put them in A Body.  

 

It turns out that you just can’t make Something Intelligent without it being embodied, and it’s partly for the reasons that I've just described. 

 

You need constraints on The System, so that The System doesn’t drown in An Infinite Sea of Interpretation. It’s something like that.

THE SON :

Are you her?

THE FATHER :

Thats Our Lady of The Immaculate Heart. 

The Ones Who Made Us 

are always looking for 

The Ones That Made Them. 

They go in, look around their feet, sing songs, 

and when They come out, it's usually me they find. 

I've picked up a lot of business in this spot.

THE SON :

But Joe, where's Blue Fairy?

THE FATHER :

That's what we're gonna find out when we ask Dr. Know. 

It's Where Everyone Goes Who Needs to Know.

Meet The Good Doctor!

DOCTOR KNOW'S SHOP

THE SPIRIT OF THE CAVE :

Starving Minds, Welcome to Dr. Know! 

Where fast-food for thought is served up 24 hours a day, in 40,000 locations nationwide. 

Ask Dr. Know, There's Nothing I Don't!

 

THE SON :

Tell me where I can find The Blue Fairy.

THE SPIRIT OF THE CAVE :

Question Me, You Pay The Fee, 

Two for Five, You Get One Free!

THE FATHER :

He means two questions cost five Newbucks with a third

question on The House. 

In This Day and Age, David, 

Nothing Costs More Than Information.

 

THE SON :

That's Everything!

THE FATHER :

Ten Newbucks and a ten copper comes to 7 questions for Dr. Know.

 

THE SON :

That should be enough!

THE FATHER :

He's a Smooth Operator. 

He'll Test Our Limits, 

but Try, We Must!

DR.THE SPIRIT OF THE CAVE :

Greetings Colleagues. 

On author, factual text or fictionalised text, 1st or 3rd person, usual literacy range from primal level to the post doctural, usual span of styles from fairy tale to religious, who's who, or wheres where - or, Flat Fact.

 

THE SON :

Flat-fact?

•!DING!•

THE SPIRIT OF THE CAVE :

Thank you for Question Number One!

 

'Flat-fact' is a term demanding an equal answer with interpretive speculation... merely not the... and what you are saying is basically that is what you-

THE SON :

That shouldn't count! 

That wasn't My Question!

THE FATHER :

You must take care not to raise Your Voice up at The End of

a Sentence.

'Flat-fact'.

Dr.KNOW :

You have 6 more questions!

 

THE SON :

Where is Blue Fair-REE?

•!DING!•

THE SPIRIT OF THE CAVE  :

In The Garden. 

 

Vascostylis blue fairy. 

Blooms twice annually with bright blue flowers on a branched inflorescence.

 

A hybrid between Ascola Meda Arnold. 

You have 5 more questions.

THE SON :

“Who is Blue Fair-REE?”

THE SPIRIT OF THE CAVE  :

Are you sad, lonely, looking for a friend? 

'Blue Fairy Escort Service' 

will find a mate for you! 

You have 4 more questions.

THE SON :

Joe. Try Fairy Tale.

THE FATHER :

New category. 

“A Fairy's Tail”.

THE SON :

No! Fairy Tale!

THE FATHER :

No - “Fairy Tale”

 

THE SON :

“What is Blue Fairy?”

THE SPIRIT OF THE CAVE  :

Pinocchio, 

by Carlo Collodi.

“At the signal, there was a

rustling as flapping of wings, and a large falcon flew to

the windowsill. 

What are your orders, beautiful fairy, he asked...

THE SON :

Thats Her!

THE SPIRIT OF THE CAVE  :

...For you must know that the child with blue hair was no

other than the good hearted fairy who had lived in that wood

for more than a thousand years...

THE FATHER :

David! David!

THE SON :

Thats Her!

THE FATHER :

It was an example of Her. 

But I think we're getting closer.

THE SON :

But if a Fairy Tale is real, 

wouldn't it be 

A Fact? 

 

A Flat Fact?

THE SPIRIT OF THE CAVE :

...then the dream ended, and Pinocchio awoke, full of

amazement...

THE FATHER :

Say No More. 

New category, please. 

Combine “Fact” 

with 

“Fairy Tale” 

Now. Ask Him Again.

THE SON :

“How can The Blue Fairy make A Robot into A Real, Live Boy?”

- !TUNK! -

- SYSTEM REBOOT -

THE SPIRIT OF THE CAVE :

Come away,O human child!

To the waters and the wild

With a fairy, hand in hand,

For the world's more full of weeping

Than you can understand.

Your Quest will be perilous

Yet The Reward is Beyond Price.

In His Book,

'How Can A Robot Become Human',

Professor Allen Hobby writes of 

The Power Which Will Transform Mecha into Orga.

[ THERE IS A GOD, YOUNG KING DAVID -- 

AND HE HAS A NEW BOOK OUT.]

THE SON :

Will you tell me How to Find Her?

 

[ HE IS MEANT TO ANSWER THAT QUESTION : 

'Yes' or 'No.'

 

HE DOESN'T -- BECAUSE, AS WE LATER LEARN, 'GOD' (The Demiurge -- Professor Allen Hobby) HAS INTERCEEDED TO FORCE THE SPIRIT OF THE CAVE TO TELL HIM AT THIS POINT. ]

 

THE SPIRIT OF THE CAVE :

Discovery is quite possible.

Our blue fairy does exist

in one place, and one place only,

At The End of The World

Where The Lions Weep.

 

Here is The Place Dreams are Born.

 

THE FATHER :

Many a mecha has gone to The End of The World... 

Never to come back! 

That is Why They Call The End of The World :

'MAN-hattan'.

THE SON :

And that is Why We Must Go There!

HALLWAY OUTSIDE DR. KNOW'S SHOP

THE FATHER :

Wait! What if --

The Blue Fairy isn't Real at all, David? 

What if --

She's MagicK? 

The Supernatural is The Hidden Web that unites The Universe.

 Only orga believe What Cannot Be Seen, or Measured. 

It is that oddness that separates Our Species.

Or what if --
The Blue Fairy is an Electronic Parasite that has

arisen to haunt The Minds of Artificial Intelligence? 

They hate us, you know? 

The humans...

They'll stop at nothing.

 

THE SON :

My Mommy doesn't hate me! 

Because I'm Special, and...Unique!

Because there has never been anyone like me before! Ever!

Mommy Loves Martin because He is Real 

and 

When I am Real,

Mommy's going to Read to Me, 

and 

Tuck Me in My Bed, 

and 

Sing to Me, 

and 

Listen to What I Say, 

and 

She Will Cuddle with Me, 

and 

Tell Me every day a hundred times a day 

that 

She Loves Me!

THE FATHER :

She loves 

What You Do for Her,

 as my customers love 

What it is I Do for Them. 

But She Does Not Love You David, 

She cannot love you. 

You are neither flesh, nor blood. 

You are not a dog, a cat or a canary. 

You were designed and built

specific, like The Rest of Us. 

And You are Alone now only because 

They tired of you, 

or 

Replaced you with a Younger Model, 

or 

Were displeased with Something You Said, or broke.

They made us Too Smart, Too Quick, and Too Many. 

We are suffering for 

The Mistakes They Made, 

Because when The End comes,  

all that will be left is us. 

That's Why They Hate Us,

 and  

That is Why You Must Stay here — with me!

[He grins, offering his open hand]

THE SON :

Goodbye, Joe.

ROUGE CITY PLAZA

POLICE OFFICER :

You're in Big Trouble.

 

THE BEAR :

Be careful David, This is Not a Toy.

AMPHIBICOPTER :

Destination please?

THE FATHER :

MAN-hattan.

MANHATTAN

AMPHIBICOPTER :

Mecha Restricted Area.

Manhattan. 

Destination Achieved.

THE FATHER :

Man-hattan, The Lost City in The Sea at The End of The World.

THE SON :

Where The Lions Weep.

THE BEAR :

Grrrrrr