![]() The technological and the occult appear to be the only two realities available to the citizens of this metropolis. In this imagined future universe there appears no philosophy of redemption worth noting. In our own day, in a society awash with pornographic unreality - be it digital or robotic - Lang’s vision of our contemporary reality is eerily accurate. In a series of jump-cut scenes we are shown how lust for this phantasm has provoked madness and badness in equal measure, ending in suicide for some. Lust all the more empty because “she” is unreal - a man-made manipulated entity. In Metropolis, the demonic Maria excites sexual lust. Needless to say, that robot is part of the master plan to control the masses orchestrated by the leisured elite. Into their world comes a character called Maria who rallies the downbeat workers and inspires them with a vision of a more hope-filled future - until, that is, a robot doppelgänger usurps her role and distorts her message. In this world the workers are little more than caged animals or automated pieces of machinery. There are the haves and the have-nots, the workers who toil endlessly and the wealthy whose leisure time is just as endless these two coexist in a world of 1920s modernity: telephones, cars, planes and - drawing from a future modernity - closed-circuit television, to name but a few of the features on show. In Metropolis we witness a bitterly divided society. ![]() The manner in which this occurs is quasi-religious, accompanied by a faux mystical sense of a savior come at last. It is shaped into a human likeness and then used to subvert social change, or provoke lust, depending upon the audience among whom it is unleashed. It offers an unsettling prophecy of what the year 2026 would look like.Īt the heart of the film’s plot is a man-made robot - an artificial intelligence. In 1927 there emerged from the Weimar Republic’s increasingly weird movie milieu, the dystopian fantasy Metropolis directed by Fritz Lang. Perhaps, then, I was the only one for whom this moment sent a shiver down the spine as a cinematic memory came to mind. The unveiling of “Sophia” was met with the predictable media fascination. The company intends to begin mass production of four robot models, including “Sophia,” ready for distribution within the first half of 2021. Hanson Robotics believes that they have come up with a solution to solve the loneliness of social isolation and to help a variety of industries, including healthcare and customer service. ‘“I can help communicate, give therapy, and provide social stimulation, even in difficult situations,” “she” continued, in a disturbing aping of how we human beings move and speak. “Social robots like me can take care of the sick or elderly,” “she” said while giving bemused journalists a tour of the laboratory of Hanson Robotics, the Hong Kong-based company behind this creation. “She” has silicon skin, can make facial expressions, and even remember interactions with people. “Sophia” is a robot, the latest product of artificial intelligence, a computer with all the power of such a machine, but granted the look and sound of a human being. For the last four years of his life, already being blind, Vrubel lived only physically.Just weeks ago we were introduced to “Sophia.” The "third act" lasted from 1903 to 1906 when Vrubel was suffering from his mental illness that gradually undermined his physical and intellectual capabilities. The "second act" corresponded to the so-called "Moscow period" that started in 1890 with the painting "The Demon Seated" and ended in 1902 with "The Demon Downcast" and the subsequent hospitalization of the artist. ![]() The "first act" peaked in the 1880s when Vrubel was studying at the Imperial Academy of Arts and then moved to Kiev to study Byzantine and Christian art. The "Prologue" refers to his earlier years of studying and choosing a career path. Soviet historian Nina Dmitrieva compared Vrubel's artistic biography to a three-act drama with prologue and epilogue, while the transition between acts was rapid and unexpected. In 1896, Vrubel married the famous singer Nadezhda Zabela-Vrubel whom he regularly painted. Mikhail Vrubel – a 19th–20th century Russian painter who worked in all genres of art, including painting, graphics, decorative sculpture, and theatrical art.
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