The more I watch Spielberg’s A.I. Artificial Intelligence (2001) in the context of the burgeoning industry of artificial intelligence and robotics, the more I appreciate the film’s insightful and nuanced comment on the field. Inspired by fiction, much like the mecha David who takes the story of Pinocchio literally, the roboticists Kubrick invited to consult on the film believe they can bring machines to life. The fairy–tale journey of the robot boy who is programmed to want to be ‘real’ enough to win maternal love that drives the plot clashes sharply with the wider framing of this film with its dystopic prologue and post-apocalyptic afterword that records the gradual disappearance of all human and non–human animal life. This clash is, I would argue, the point as it intimates our troublesome relationship to technology that has us dreaming of immortality even as it courts disaster.

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AI 人工智能：科学、小说和童话

在人工智能和机器人行业蓬勃发展的背景下，我越看斯皮尔伯格的 AI 人工智能 (2001)，我就越欣赏这部电影对该领域富有洞察力和细致入微的评论。受小说的启发，就像从字面上理解匹诺曹故事的机甲大卫一样，受邀参与电影咨询的机器人专家库布里克相信他们可以让机器栩栩如生。机器人男孩的童话之旅被编程为想要足够“真实”以赢得母爱，这推动了情节与这部电影的更广泛的框架发生了剧烈冲突，该片具有反常的序幕和后世界末日的后记，记录了逐渐所有人类和非人类动物生命的消失。这种冲突是，我认为，