Something Real

by: Emiliano Vazquez-Parrales

If we only see illusions, then what is past them.
How do we separate what is real from what deceives us?
I reach out blindly and try to feel the right beat to match my own.
I try to find my connection to something real.
A chest to lay my head on, and a conscience to speak to me from the heart.
A beat to match my own.
Arms to cradle and be cradled and a shoulder to cry on.
I sought you out in the dark and now I see a little clearer but I feel more at ease, more at peace.
Now that I have found matching beat.

Echoes

by: Emiliano Vazquez-Parrales

Bathed in black and drenched in rain

What is the truth that my heart retains

My blood runs wild and rapid like the fall

And my lungs breathe in guttural rage and furry

I let it loose upon the ears of those that thirst for anger

I give it to them, in hymns of wanton destruction, and rabid psalms

I spew blasphemy from my lips to purge my body of this, this,

Sadness, sadness and pain built up from the ages

To escape my downward spiral I immerse myself in a miasma I love

Trying to forget those mourning’s and lonesome nights

I want to transcend this weaker man, who’s water cannot be held

Won’t raise a fist, not even a finger

Residing to solitude, a smile masks my frown

A smile masks my displeasure

Kindness to even my temper

This is wrong, all so very wrong

Who would have thought that the cure for a brittle heart was a demons song

A gentle soul stands in the center of turbulent winds

They speak in rhythm, to accelerate the heart

In my chest I feel tightness as the pushing and shoving grows more violent

The progression is faster, the beat more ferocious

Nihilistic thoughts mix with vile urges

Yes, Yes,  I release it all!

As brutality surges through my body it begins to encase me

A cold oil moves up my body and hardens

God I didn’t want to be cursed heartless

I try to cry out, but they all just walk by

Colder, colder, so this is what it’s like to die

I’ve lost all I am, I guess I’m not such a bad ass

As I close my eyes and let it take over

A distant voice calls out of the dark,

It echoes

Don’t let go, baby , don’t let go

A new chord is struck

My eyes snap open, and my voice erupts

I break away from my outer crust

I dispel all these evil thoughts

Turn them back from whence they came

For that is not who I am and I needed to be reminded of that

Once the dust settles I wanted to feel to my knees

But warmth grabbed and gently embraced me

A slow steady heartbeat matches my own

I stand there a moment realizing that now I am whole

Neither demon nor angel, but human and imperfect

I’d have it no other way

That heart beat which my owned mutters into my ear

Welcome home my love, my dear

When I Come Back

by: Emiliano Vazquez-Parrales

Now listen up.

Shrapnel and bullets fly above

As the blood on my hands begins to dry up

A faceless man gives me my commands

To off the enemy I can't even see

I don't know why, but I should not care

As long as I can go home

Into her arms

No more fires, no more bombs

Just the peace and quiet

My medal shining on mantle

Combat apparel collecting dust in the atic

Yeah that's the life I'm thinking of when I go back

I saw a lot of shit when I was up on the line

Lost so many brothers so many friends

Start to messin' with my head

Late at night I stare over the empty beds

And I can't help it I just break down and cry

But I go on, fight on for them

So's I can go home, and live a life that they wanted to have

Yeah that's the life I'm thinking of when I go back

Touchdown on the runway

Breathe it in it's the day-break

Walk off that plane and no one there to greet me

Get my bag taxi-driver ignores me

I go home quietly turn the lock on the door

Sneak up stairs hoping to surprise her

Fill that old spot in my bed

Problem is their is someone their in my stead

Keep calm, man fuck it

I jump on him and start to punch him

Cops drag my ass out my own damn house

I thought this ain't the life I wanted when I came back

Gotta get a new place to stay

Cheap motel rooms, live day to day

Wanna get back on my feat so I gotta be tough

Government check is burned in a month

And the VA won't give me another dime

Sorry son they say, but we gotta budget and you gone over the limit

So I scream in his face I say

How the fuck can they bail out the banks and enterprise

But not the ones who spilled blood to keep you comfortable at night

This ain't the kind of life that I wanted when I came back

I sleep alone now in the gutters

Of a world that has forgotten me

Sacrificed everything I had serve my country that I love

But I guess it ain't got no love for me 

Faced alone with all these gruesome memories

Trying to forget, I inject, ingest, drop into rehab then reject

And next thing I know I'm getting sent back

Maybe this time I'll get shot

I don't care I'm better off dead

I got nothing to look forward to when I come back

This is dedicated to my family and friends that have served, and are still serving this nation.  My home is yours when you come back.

Note:

Show our troops that you care.  A majority of our troops come back to broken homes, minimal government support, and are often physically and psychologically scarred for life.  A majority of them don't have enough money when they get out, and end up on the streets.  They resort to drugs and alcohol to escape how bad their lives are, and sometimes they go back to serve another tour duty never to return.  Help keep our troops healthy and at home.

http://veteransupportcenter.org/

Spanglish Love

By; Emiliano Vazquez-Parrales

For : Alexa Seda

English is a funny language

It inspires courage in the hearts of the meek

And strikes fear in the minds of our enemies

But of all the things it can do

There is one thing it can not

It can’t give me the words to say

I love you

When I search through the vast desert of the English language

All I can find are the skeletal remains

Of overused love clichés

And dry words that turn to dust in my mouth.

English is not a language of love

And while we hear about it in songs

They cannot express for what my heart longs

All I can say in Italian is amore

This is not enough

And my French is limited to omlet di formag

That’s a cheese omelet if you do not know

And it really doesn’t help me at all

I can say Wo Ai Ni

But it isn’t poetry if it doesn’t have a part of me

Pero mi amor si se hablar en español

Y te quiero decir

Que eres el centro de mi Corazon

Tu eres todo lo que podia pedir en una mujer

Y mas quiero ser tu hombre

Eres tan bella, no

Eres tan ermos que todavia tengo dificultura

Decidiendo las palabras que debo usar

Yet so far I still come up short.

Neither language is enough

Pero la union de las dos creo que va a trabajar

Tus ojos

Your lips

Tu cuerpo, and your heart

Your eyes

Tus labios

Your body, y tu Corazon

Are the perfect combinacion

I know that I may not always be there when you want me to

Pero namas cierra tus ojos y veras

Que yo siempre estare alli

Para ti, y solo para ti.

I love you, Te amo, Je vous aime, L’amo, 我愛你

Shattered Dimensions

By: Emiliano Vazquez-Parrales


Since the beginning always born in two 
Constructs of a dream disappearing with the wake of dawn 
Hours are eternities and they reign supreme 
Lords that see through the looking glass never to hold 
The creatures of their designs 


So beautiful as to outshine the stars
 A maiden so pure as to copulate with gods 
The envy of mortality by the fathers of all
 A vessel to sew the seed of the savior 
The disruption of inter-dimensional law 


To upkeep the balance of space 
A sacrifice must be made by the hands of the brother 
To remove her head 
Leaves the unborn child gasping for breathe 
An example for mortals has to be set 


Sorrow becomes anger and the stars start to clash 
Black holes engulf whole systems are lost 
A fist from the sky which shatters this world 
This reality falls apart 
And the dreamer awakens with the first light of dawn

Of Swords and Zen (Support the Japan Relief Effort)

Like many nations, Japans history is filled with brutal wars, heinous atrocities, and struggles for power, but from Japan’s brutal past was born perhaps the most skillful, feared, and revered warrior the world has ever known, the Samurai.  Since their emergence the Samurai have been the elite warrior class of Japan, who served their Lords loyally and lived and died by their swords.  Modern Japanese pop culture has turned the Samurai into symbolic icons of strength, honor, loyalty, skill, and battle.  You can’t go anywhere nowadays without seeing the latest Samurai anime or manga.  Even though there is so much Samurai paraphernalia floating around, very little is revealed about what the Samurai believed and what they historically did.  I have greatly admired the samurai ever since my early childhood, and I want to find out what these legendary warriors valued and what possible religion would condone the violence that these men wrought on the battle field.

            The Japanese warrior itself has been around since the late Yamato Period (c. 200-500 CE) of Japanese history (King, page 37).  It was during this time that the early clans began to form, the most important one being the Yamato clan which eventually became the imperial family of Japan, who to this day have not had a break in the imperial lineage (King, page 38).  In order to become Japans imperial family the Yamato clan had to have more wealth, political power, and military power than all the other clans who also wanted to reign supreme.  Mercenary soldiers were recruited to fight for and protect the clans, and over time these soldiers would eventually evolve into the Bushi or as we know them, the Samurai.

            The Samurai first appeared on the battle field during a war between the Minamoto (Genji) clan and the Taira (Heike) clan called the Genpei War in the start of the 12^th century (King, page 44).  The Heike Monogatari gives a vivid introduction to these new warriors in the character of a young warrior shouting at his enemies.  He says, “A man of no title or rank such as I may risk the wrath of the gods when he draws his bow against the prince of the royal house.  Nevertheless let the god of the bow judge who is in the right.  May his sympathy be with Heike! Here I stand, ready to meet any among the men of the third court rank nyudo Yorimasa.  Who dare to face me? Come forward and fight (Heiki Monogatari, pg 269).”  Sadly the god of the bow was not with the Heike, because they were defeated by the Minamoto clan (King, page 43).  Even though the Minamoto clan was nearly wiped out entirely prior to the Genpei War, two survivors of the Minamoto clan, Yoshitsune and Yoritomo, who threw the succession of leadership controlled clan loyalty, still posed as a great threat to the Taira clan (King, page 43). Yoritomo rallied an army together and completely annihilated the Taira clan, and in 1192 the emperor bestowed the title of Shogun on Yoritomo, which gave birth to the age of the warrior ruling class in Japan (King, page 44). 

            Eventually the powers of the shogun would far outweigh those of the Emperor, causing a drastic change in power over Japan.   In 1336 CE, which was the beginning of the Muromachi period (1336-1373 CE); the Ashikaga clan became the shoguns and moved the seat of the shogunate back to Kyoto, where they controlled Japan through the Emperor (King, page 51).  Even though there was still an Emperor, Japan become divided into warring feudal states with its leaders, the Daimyo, each wanting more power than their neighbors (King, page 52).  These feudal lords would often go to war with each other, and attempt to conquer one another; this time period was called the Warring States Period or the Sengoku period (1460-4173).  It was during this era that the Samurai became their own class of warrior revered not only for their skills in combat but also for their skills in the arts, and it was these warriors that would rule until the late 19^th century (King, page 52).

            The bushi, described by the Heiki Monogatari, did not have the same values as the Samurai who were born out of the Sengoku period.  Those men were always thirsting for glory, and were stern, rough, honest, and looked down upon the court life which was deeply involved in things like poetry, and calligraphy (King, page 53).  The later still kept the same hard core warrior spirit as its predecessors, but these samurai composed poetry, participated in tea ceremonies, and enjoyed the finer things in life, and were still able to pick up their sword and engage in mortal combat (King, page 54).  A samurai’s worth was determined by his skills in combat, especially his swordsmanship.  The samurai’s sword, or katana, is his primary weapon and is said to contain the samurai’s spirit- the nature of who the samurai was inside (King, page 61).  Young warriors to be were often trained at from the age of five with wooden swords, gradually working their way up to the full length steel blade in their early teens (King, page 95). 

            A samurai’s code of conduct is called bushido; the way of the warrior, and can be summarized briefly as loyalty, self-control, and evenness of mind under stress (King, page 125).  This code came into use during the late 16^th century a little before the beginning of the Tokugawa peace era (King, page 125).  Bushido is in reality not a strict ethical conduct at all, it is the West’s way of summarizing the popular beliefs of the samurai.  That is not to say that the samurai did not live a moral life, but the samurai’s moral beliefs may have in fact been predetermined from the time of birth (King, page 124-125).  A samurai would very often live his life prepared to die at any moment, which gave them extreme dedication to duty, and there lords for whom they were prepared to die, or take another’s life if they so asked it of them (King, page 129).  If they failed in their duties, or were defeated in combat, the only honorable choice for the samurai would be to commit ritual suicide, or seppuku.  They essentially viewed themselves as tools; to be used for in whatever way was necessary.  One samurai vassal told his son, “The duty of a warrior like that of a monk, is to obey orders…He must consider his life not his own but a gift offered to his lord (King, page 30).”  This makes you wonder what kind of spiritual mindset these men had to have to believe that no matter how bad an act they may commit, that there was still salvation for them.  There was a saying during the Kamakura era in Japan that stated, “Tendai is for the imperial court, Shingon for the nobility, Zen for the warrior class, and Pure Land for the masses (King, page 30)”.    

            Zen Buddhism is a form of Buddhism that concentrates on an individual’s personal effort to try and achieve enlightenment, by following the example set forth by Shakyamuni Buddha, of seated meditation (Yusa, page 52).  The word Zen is derived from the Chinese word Chan, which is a phonetic approximation of the Indian word for concentration meditation, which is dhyana (Yusa, page 52).  Zen was introduced to China from India around the year 520 (Yusa, page 53).  Chan Buddhism flourished and branched out all throughout China, and eventually found its way to Japan.  Today those who practice Zen Buddhism account for about ten percent of Japans Buddhist population.

  In total there are three major Zen schools in Japan, which are Rinzai, Soto, and Obaku, each branching off into several lineages (Yusa, page 53).  A common trait of all the Zen schools is the practice of seated meditation, or zazen, in which the person sits in the “lotus position” focusing on controlling thought and breathing (Yusa, page 53).  The point of zazen, if there is one, is to attain a “breakthrough” or kensho, which will then help the practitioner attain enlightenment, or satori.  Zen masters do not consider kensho or satori to be the goals of Zen, but rather the beginning of real practice.  Many Zen masters even argue that a life time of practice is in itself enlightening (Yusa, page 53).  The Zen master Dogen who founded the Soto Zen School, wrote a doctrine called the Lancet of Seated Meditation.  In it he promotes a style of meditation popularly referred to as the practice of “just sitting” in which, “the practitioner is advised to abandon all strategies of mental control and pretense of spiritual advancements and to abide simply in the mysterious state known as ‘body and mind sloughed off’ (Bielefeldt, page 220).”  This is referring to that state of mind that you would get when you are extremely bored and “zone out”.  You’ve cut yourself off from the physical world and are sort of swimming in your own mind, and thinking of absolutely nothing.  A small excerpt from Dogen’s doctrine says, “…A monk asked him, ‘What are you thinking of sitting there so fixedly?’  The master answered, ‘I am thinking of not thinking.’  The monk asked, ‘How do you think of not thinking?’  The master answered, ‘Nonethinking.’(Bielefeldt, Lancet of Seated Meditation, page 223).”  There are other schools of Zen, like Rinzai, that give their students riddles of sorts called koans, in order to quicken the kensho process.  An example of a koan that would be given to a young student would be something like, what is the sound of one hand clapping?  These riddles are made so that the student will break from subjective thinking, and enter a mental state of subject-object unity (Yusa, page 53).  Zen ultimately focuses on the individuals abilities and commitment to attain the real teachings of the Buddha that no words can give them, but that only their true Buddha nature can give them, and only by finding this original true Buddha nature in one’s true self can a Zen practitioner truly attain buddhahood.

            Zen was able to firmly plant its roots into the Japanese culture during the fourth Hojo regent (1227-1263), in which it captured the attention of Hojo Tokiyori who had himself become a convert, and supposedly attained enlightenment (King, page 29).  From that time on Zen was considered the unofficial-official practice of the warrior and ruling class (The daimyo, and Shogun) (King, page 29).  The warrior-rulers were the perfect patrons of Zen because it was during this time period, that the power of the Emperor began to dwindle and the power of the Shogun began to increase, as well as the power of daimyo’s.  These rulers were fronting the money for Zen to not only grow as a sect but as an institution as well, which would spread throughout all of Japan by the mid-fourteenth century (King, page 29).  Zen temples were constructed in all the prefectures, leading eventually to The Five Mountain system of precedence, by which five large first-rank temples were constructed around Kyoto, as well as another five first-rate temples around Kamakura (King page, 29, Yusa, page 67).   These locations were where Zen began to greatly influence the Japanese culture.  Zen masters introduced summie (India ink) ink paintings, also called suiboku (water and ink creations), as well as poetry, calligraphy, architecture, rock gardens, the tea ceremony, flower arrangements, and noh drama (Yusa, page 67).

            Zen was from the start largely embraced by the warriors-class, and not just the warrior- rulers, it even appealed to the rank-and-file samurai.  It’s hard to imagine that warriors like the samurai, whose lives revolved around death, combat, and duty, would chose such a peaceful and spiritual practice like Zen Buddhism.  But maybe it was that violent lifestyle that pushed the samurai to adopt Zen.  From the beginning the samurai were attracted to Zen’s focus on meditation and discipline which complemented the lifestyle of any samurai, weather they were high rank or low.  For years the ruling warrior class kept its distance from the Kyoto court life, in order to not only avoid losing political power, but to also avoid being tainted by the effeminate nature of the court.  They distained and distrusted the soft, and cultured life because of its supposed ability to corrupt the more hardened virtues of life (King, page 30).  Little by little these warriors, who knew nothing but conflict and war, became attracted to the aesthetic and peaceful beauty that Zen introduced to Japan.  It gave these men a new outlook on life, where they could have peace within themselves, and the world around them. The warriors found a new love for noh theater, tea ceremonies, and art that was introduced to them by Zen monks who were chosen to be tutors of sorts to the warrior-class.  Zen allowed the samurai to have moments in between battle in which they were able to peacefully reflect, relax, and enjoy themselves.  Zen was not only able gave the samurai peace of mind and soul, but it even gave them the means to become more efficient at killing. 

            Although Zen never promoted the samurai’s violent profession, it was still able to sustain them morally and philosophically.  “Morally, because Zen is a religion which teaches us not to look backward once the course is decided upon; philosophically, because it treats life and death indifferently (Suzuki, page 62).”  Zen is perhaps the most flexible of the Buddhist practices in existence because it has no doctrine, no set of concepts, and no intellectual formulas, it only tries to release one from the cycle of life and death.  This allows Zen to easily adapt to any moral conduct, or philosophy.   Zen meditation is simple, direct, and relies on self; which goes perfectly with a warrior’s spirit.  It taught the samurai to always be single-minded and focused in their actions, with only one objective in site; crush the enemy.  Zen is a religion that requires a lot of will-power in order for one to practice it properly.  It also promoted intuition over intellection because, “…intuition is the more direct way of reaching the Truth (Suzuki, page 62).”  Will-power, enlightened by intuition gave the samurai an iron will that was necessary for them to be ferocious and focused warriors. 

            Zen and the military have always been tied very closely to one another, ever since Hojo Tokiyori first adopted it over 700 years ago.  As time went on Zen soon began to support Japans military actions, most recently during World War II.  Of course by the time the Second World War came about, the samurai were no more, but the samurai Zen spirit was still said to be alive in the Japanese military.  Zen and Japans Imperial had become so closely tied that the influence of Zen monastic life everywhere- even down to a soldier’s mess kit.

By no means was Zen coincidently the practice of choice by Imperial soldiers, a lot of Zen monks enlisted in the Imperial Army and many soldiers who were not practitioners of Zen became converts. Brian Daizen Victoria author of Zen at War, and Zen War Stories shares a trip he took in 1999, to the Shoinji temple, a famous Rinzai Zen temple, where he met the abbot Zen Master Nakajima Genjo who was the last living Zen master to have served in the military.  “I could not help but wonder what Genjo would have to say about his own role, as an enlightened priest and seasoned warrior, in a conflict that claimed the lives of so many people (Victoria, page 3).”  The samurai may no longer have been around during World War II, but the Japanese army was every bit as brutal, or more, than the samurai of old.  The massacre at the city of Nanking is a perfect example of the brutality of the Imperial Army during the war.    Even though Master Genjo wept upon recalling the horrible things he’d seen during the war, he still says “I have heard people claim that a great massacre occurred took place in Nanjing, but I am firmly convinced there was no such thing.  It was wartime… (Victoria, page 7).”  That was spoken like a true warrior, Nanking was not a massacre, it was simply part of war, and WW II was the last war in which the world witnessed the Bushido spirit.  After the allied forces occupied Japan General MacArthur was so moved by General Imamura Hitoshi’s (who was revered by his troops for having a true warrior spirit) concern for his troops and comrades that he said, “This is the first time since coming to Japan that I feel I have encountered the true Bushido spirit (Victoria, page 108).”  This is a reminder that the spirit of the samurai was still alive in Japan, but it also foreshadows to the end of the Zen-samurai ideals.

After World War II, Japan was not only stripped of its military, but it was also stripped of the Zen-warrior ideology that had guided Japans armed forces for 700 years, but it may have been for the best.  Buddhism is not a violent religion, in fact it is one that abhors the idea of harming another human being or any living creature, and for years Zen Buddhism promoted an incredible amount of pain, and unnecessary death.  At some point Zen became more of a military lifestyle and guide to becoming a more efficient killer, instead of a guide to peace and enlightenment.  However if it weren’t for Zen the world may have never known who the samurai as it know them today.  They may have been ruthless warriors, but they were honorable men who lived and died by their own codes and faithfully defended Japan for over 700 years. 

Bibliography

Bielefeldt, Carl “Dogen’s Lancet of Seated Meditation”. In Tanabe ch 22

Heike Monogatari ( The Tale of the Heike). 1975. Trans. Hiroshi Kitagawa and Bruce T. Tsuchida. Tokyo: University of Tokyo Press

L., King, Winston. Zen and the way of the sword arming the samurai psyche. New York: Oxford UP, 1993. Print.

Suzuki, Daisetz Teitaro. Zen and Japanese culture. Princeton, N.J: Princeton UP, 1970. Print.

 Tanabe, George J., Jr. Religions of Japan in Practice. Princeton: Princeton University Press, 1999. 

Victoria, Brian D. Zen war stories. London: RoutledgeCurzon, 2002. Print.   

Yusa, Michiko, Japanese Religious Traditions. Upper Saddle River: Prentice Hall, 2002. Print.

My Iron Heart (Ghost in the Machine)

They feel no pain, they have no emotions, they cannot be trusted, they cannot be reasoned with, and they all share one main objective: destroy the human race.  Long have the Terminators, and Hals of modern cinema haunted the dreams and imaginations of the movie going audience, and the movie industry helps fuel that fear by continuing to crank out one insane robotic movie after the other.  In all the movies about killer robots and self-aware computers, that I’ve seen, the villains always carry this vendetta against humanity for more or less the same reasons, which causes the story arches to sometimes overlap. In reality I don’t think that an A.I. machine would want to destroy humans or harm them for that matter.  If the minimum concept of morality, “is, at the very least, the effort to guide one’s conduct by reason-that is, to do what there are the best reasons for doing-while giving equal weight to the interests of each individual affected by one’s decisions”[1], then wouldn’t a machine reason that it is morally wrong to destroy the human race?

The myth of artificial life’s potential for death, destruction and lack of moral and ethical codes can be traced back to well before the development of the video camera to folk tales in the 1600’s, with the Golem of Prague being a prime example.  Though it was crafted of river mud and brought to life by magic it was still basic A.I. with monstrous strength, no emotions, and a potential for madness[2].  Since the 1600’s the concept of deadly machines has only evolved with our advancements in technology in that evil machines only get, smarter, faster, stronger, craftier, malicious, and violent.  Screenwriters have even gone as far as to give the machines human emotions and characteristics which make them even more dangerous because they can now trick us into thinking they are humans.  In my opinion most A.I.  films are, though entertaining at times, full of slander about the potential of robots which only plants unnecessary fears, and distrust in the minds of the movie going audience.  

The machines of the silver screens seem to have some very deep-seated personality disorders, that cause them to lash out violently at their creators, us. They engage us in apocalyptic wars, in which they are almost always militaristically superior or smarter (The Terminator), or they try to control us and turn us into their slaves (The Matrix, I-Robot), or they simply pick and choose who dies and who doesn’t based on what they feel or calculate (Blade Runner, Eagle Eye).  Whenever insight into the AI robots is reveled in the movies, “all of the AI agents in these movies: in varying degrees, the agents show abnormal behavior, from obsessive to pathologically insane”[3].  I suppose they wouldn’t be all that threatening if they weren’t insane, but there have been plenty of movies were all the robots are not insane, and want nothing more than to be human, which to some degree makes them even scarier. Bicentennial Man, A.I. Artificial Intelligence, I, Robot, and even 2001: A Space Odyssey, are all movies that feature machines that can feel human emotions, and delve in human concepts like dreams, and love, evoking violent and prejudice reactions from the rest of society.  Fear not though; because at the end of all these movies, the humans win and the robots lose, at least the bad ones do.

At the present time it does not look as if there will be a robot apocalypse, our technology has simply not achieved the point in which a computer can think for itself.  A computer can process information faster, and it has already begun to replace the use of manual labor in certain fields but so far nothing too threatening has emerged.  Regardless the movies have given a fascinating concept like A.I. a very bad name that will lead to future bias and fears against the development of this technology, for “Whether it's built from steel plate and circuit boards or slabs of reanimated flesh, if a robot has artificial intelligence, according to the cultural myth, that machine has the ability to be a monster[4]”, but then again so has every human being that has ever been born.  The machines are always said to be more dangerous because they are either too intelligent like Skynet in The Terminator, or they aren’t intelligent enough which causes them to glitch and go on unstoppable killing sprees like Hal 9000 in 2001: A Space Odyssey.  First of all if a machine becomes so intelligent that it can take over an entire defense network I assume that world dominations would be the last item on its agenda, and if that machine understood the concept of death and hatred I think it would also understand life and joy.  Second, nothing is perfect and that especially includes machines, but that does not mean that a single glitch would cause it to violently attack its creators, unless it was programmed to do so.  If and when humans do create A.I., it won’t be creating a monster, it will be creating a new life which is something that I think we as humans should embrace, and not fear.

Most A.I. movies teach us new type of fear and discrimination against things that appear human, but are different from us; in this sense robots have then replaced racism and sexism in films, because those have of course been deemed morally wrong.  The difference is that when something bad happens to the robot the audience’s emotional reactions is not as strong as opposed to something bad happening to another human being[5].  The reason the audience reacts this way is because we do not see the robot as living beings because according to will Smith’s character in I, Robot, Detective Spooner, only “Human beings have dreams. Even dogs have dreams, but not you, you are just a machine. An imitation of life. Can a robot write a symphony? Can a robot turn a... canvas into a beautiful masterpiece?[6]”. To this the robot Sonny cleverly replies, “Can you?”  This I think helps to remind us that not all life is created equal, nor is the way in which it is created, therefore I think it is inappropriate to call A.I. machines lifeless simply because they were not brought into this world the same way as us.  Though we do not perceive it in this way, synthetic organisms that can worry about their own existence and self-preservation are really not that different from organic organisms.

If psychotic immoral and ethically challenged robots are all that we can look forward to in future movies about artificial intelligence, then I would rather watch movies with people killing other people.  Robert Fisher wrote an article called A.I. and Cinema-Does Artificial Insanity Rule?, in which he discusses the possible future of A.I. in the cinema and he says, “the issues that promote the use of AI agents as alternatives in humans in movies are unlikely to change.[7]”  I must disagree with Mr. Fisher on this point because as a digital cinema major and screenwriting minor I think it is time to get over the concept of killer robots and move into concepts like life-saving or altering machines.  Some steps have been taken in a new direction  with the development of  characters like David from A.I. Artificial Intelligence, and Andrew from Bicentennial Man who simply wanted to exist and to be loved and accepted, which is why they were able to evoke a emotions that are more powerful than fear from the audience, like compassion and sadness. I think that it is the movie industries responsibility to make robots and other inhuman creatures more appealing to the general audience.  Action movies can still be made with robots, but they can make movies in which the robots are not only good but are capable of having human emotions like love, and fear, and can have human lives which will help the audience become more connected with these synthetic life forms. Only when we are truly connected to a character will we feel for them, whether they are human or not, and I feel that if more movies were made this way then our paranoia of evil robots will begin to slowly diminish.

I think the best way to describe how we view robots in movies is described by Patrick Lin, an assistant professor of philosophy at California Polytechnic State University, in an article for Popular Mechanics where he said, "With robots, there's this unconscious projection of our own fears and evils, and our ability to deceive people and be immoral, onto these machines…If we're creating machines that are basically replicants, we know what kind of animals we are. We're the limiting factor. So the hypothetical question is, ‘Are machines really going to behave any better than us?[8]”.  Mr. Lin himself is in the process of currently developing ethical guidelines for robotics for the U.S. Navy, but his analysis is very much correct.  It is a scary idea that if we do make A.I. that it will replicate every aspect of the human psych which may cause it to act out violently in some cases, but if that is the case then what does that say about us? Yet every day we walk out our doors and live our lives somewhat oblivious to the evils that occur all over the world.  Agent Smith may have been evil but he have had a point when he said that machines were the next level in evolution, but maybe not in the way that he was referring to.  Perhaps machines will be better than us in that they are morally and ethically superior to us and they do not kill, or intentionally cause harm to promote their own agendas.  However until a machine is able to develop the ability to create a moral code, without human intervention, it is unclear as to how an artificially intelligent life form will react to the world in which it is brought in.

Bibliography

1.     Fisher, Robert B. "AI in Cinema-Does Artificial Insanity Rule?" CiteSeerX. The College of Information Sciences and Technology at Penn State, 2007-2010. Web. 02 June 2010. <http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.59.7662citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.59.7662&rep...>.

2.     I, Robot. Dir. Alex Proyas. Perf. Will Smith,Bridget Moynahan,Alan Tudyk. 20th Century Fox, 2004. DVD.

3.     Rachels, James, and Stuart Rachels. The Elements of Moral Philosophy. Sixth ed. Boston: McGraw-Hill, 2007. Print.

4.     Sofge, Erik. "Artificial Intelligence and Robots in Movies - Robotics AI Timeline - Popularmechanics.com." Automotive Care, Home Improvement, Tools, DIY Tips - Popularmechanics.com. Hearst Communication, Inc, 28 Jan. 2010. Web. 03 June 2010. <http://www.popularmechanics.com/technology/engineering/robots/4343893>.

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[1] Rachels, James, and Stuart Rachels. The Elements of Moral Philosophy. Sixth ed. Boston: McGraw-Hill, 2007. Print.

[2] Sofge, Erik. "Artificial Intelligence and Robots in Movies - Robotics AI Timeline - Popularmechanics.com." Automotive Care, Home Improvement, Tools, DIY Tips - Popularmechanics.com. Hearst Communication, Inc, 28 Jan. 2010. Web. 03 June 2010. <http://www.popularmechanics.com/technology/engineering/robots/4343893>.

[3] Fisher, Robert B. "AI in Cinema-Does Artificial Insanity Rule?" CiteSeerX. The College of Information Sciences and Technology at Penn State, 2007-2010. Web. 02 June 2010. <http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.59.7662citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.59.7662&rep...>.

[4] Sofge, Erik. "Artificial Intelligence and Robots in Movies - Robotics AI Timeline - Popularmechanics.com." Automotive Care, Home Improvement, Tools, DIY Tips - Popularmechanics.com. Hearst Communication, Inc, 28 Jan. 2010. Web. 03 June 2010. <http://www.popularmechanics.com/technology/engineering/robots/4343893>.

[5] Fisher, Robert B. "AI in Cinema-Does Artificial Insanity Rule?" CiteSeerX. The College of Information Sciences and Technology at Penn State, 2007-2010. Web. 02 June 2010. <http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.59.7662citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.59.7662&rep...>.

[6] I, Robot. Dir. Alex Proyas. Perf. Will Smith,Bridget Moynahan,Alan Tudyk. 20th Century Fox, 2004. DVD.

[7]  Fisher, Robert B. "AI in Cinema-Does Artificial Insanity Rule?" CiteSeerX. The College of Information Sciences and Technology at Penn State, 2007-2010. Web. 02 June 2010. <http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.59.7662citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.59.7662&rep...>.

[8] Sofge, Erik. "Artificial Intelligence and Robots in Movies - Robotics AI Timeline - Popularmechanics.com." Automotive Care, Home Improvement, Tools, DIY Tips - Popularmechanics.com. Hearst Communication, Inc, 28 Jan. 2010. Web. 03 June 2010. <http://www.popularmechanics.com/technology/engineering/robots/4343893>.