Technology and Humanity: An Uneasy Union

Films which deal with the themes of technology's threat to humanity and the natural world in general are often fascinating as well as disturbing, and effectively provoke the audience's inner dialogue as we struggle to come to solid conclusions about the world we live in. Our attempt to construct some kind of understanding as to how we arrived at this point in our development are often frustrating and potentially fruitless, yet provide the basis for much exploration in the academic realm as well as that of entertainment. Movies such as Ridley Scott's Blade Runner and David Cronenberg's eXistenZ provide compelling evidence that technology is rapidly developing to the point at which it threatens to encroach on humanity and nature completely. Rather than showcasing technology as merely a nuisance or even a tangible threat, Scott and Cronenberg present technologies which are nearly indistinguishable from elements in the natural world, effectively obliterating all lines between "real" and "artificial." Despite being fictional accounts, the psychological responses of fear and distrust of technology in the two films are quite real.

Discomfort is generated by manufactured technology possessing suspiciously natural traits, or conversely, natural elements which appear strangely mechanical or contrived. The reason for this discomfort is explained in Sigmund Freud's "The Uncanny," in which he theorized "intimations of the uncanny ('unheimlich') are intimately related to one's sense of the comfortable and familiar ('heimlich'). Heimlich and Unheimlich each paradoxically constitute the reverse of the other's [mettle]" (Greenberg 63). An updated theory on Freud's Uncanny resulted from Japanese roboticist Masahiro Mori's observations on the psychological responses of people to varying degrees of anthropomorphism in robots: "A creature that seems almost human is a conundrum for our pigeon-holing mechanism. Often, these difficulties arise from the Uncanny Valley, where things are in the gray area between matching and not matching an abstraction. Abominations also arise from objects that fit multiple categories that were thought to be mutually exclusive" (Tomlinson). It is reasonable to expect full acceptance of a human or an animal which acts in a natural way and is largely unremarkable, and likewise a neutral or indifferent response is generated by inanimate objects or anything clearly fabricated and mechanical. The development of robots or replicants as characters rather than objects is the result of applied personality traits and similarities in characteristics normally relegated to human beings. This acceptance can quickly turn to repulsion or horror, however, if the human-like traits become too realistic and dramatically stand out by failing to mesh with the otherwise artificial form they are filling. Directors Scott and Cronenberg take advantage of the Uncanny Valley theory by creating unpredictable combinations of natural and artificial elements within their characters and their plots, developing memorable imagery which elicits powerful and surprisingly emotional responses from outside observers.

A strong motif which carries through both films is that of the ambiguous nature of the main characters: Blade Runner's Rick Deckard, and Allegra and Pikul of eXistenZ. These characters initially seem normal, yet as plot and story progress to reveal multiple facets of their personalities, we begin to realize the traits they possess which seem to disturb the categories and expectations we have fixed for them. The initial assumption that they are familiar to us in the most basic human ways is what sets the stage for revelations into their true natures, often in unexpected and unsettling ways. Deckard, the titular Blade Runner, represents a link between the human bureaucracy of the Los Angeles of 2019 and the victimized replicant class of robots created by the Tyrell Corporation. His profession is to detect and "retire" mutinous replicants at the behest of the very people who developed the now-rampant technology, yet he finds himself frustrated by the demands of his superiors in the Blade Runner unit, as well as sympathizing with the plight of the replicants, feeling remorse when destroying them, and growing romantically attached to a woman he knows is artificial. As William Senior summarizes, "From this first tentative identification of Deckard with the replicants he hunts, the movie develops a number of ambiguities and further associations so that we become uncertain whether Deckard himself is not a replicant" (5). We become comfortable with the notion that Deckard is a human being as he does not possess the super-human strength or abilities other replicants are equipped with, and does not seem confident in his actions or guided by internal programming. However, we are disarmed by details such as a glimpse of Deckard's glowing eyes under low light conditions, a trait associated with replicants, as well as the lack of evidence of a past life beyond his job. Certain aspects of his personality, such as unconscious imagery of unicorns in dreams, are mysteriously known to Blade Runner unit superior Gaff, who symbolically reveals this knowledge through presentation of an origami unicorn.  Gaff compliments Deckard's success following the death of Batty by saying he's "done a man's job," suggesting that or all his human traits, the possibility remains that he is merely programmed to act in this manner and represents only the most realistic and human-like replicant. The conflicting ideals and traits associated with Deckard are never resolved to the audience's satisfaction, further heightening the tension in dealing with the unknown or undefined.

Similar tension is generated in the convoluted multiple worlds of eXistenZ. The film begins with characters Allegra Geller and Ted Pikul as the unlikely pairing of a virtual reality game designer and a man suffering from anxiety specific to this same technology. Through the playing of the game "eXistenZ," Allegra and Pikul take on various roles as they interact in virtual worlds with simulated characters. They undergo transformations of personalities and dispositions, as the formerly introverted Allegra opens up and takes control of the situations within the worlds of her creation, and Pikul becomes immersed in the virtual reality world which he previously resisted. Throughout, we are given subtle indications of whether or not a character is considered "real" in the context of others, as the simple and dimensionless interaction of figures from the game contrast vividly with the powers of intellect and improvisation which Allegra and Pikul as game players possess. However, there are times when this is called into question, as when Allegra seemingly gets stuck in a "game loop," a line of repeated speech which occurs when a character and thus the game can only proceed when a correct response is given. Her twice-repeated demand of the necessity of playing the game with someone friendly--"Are you friendly, or are you not?"--can be interpreted as insistent and urgent, or as empty and limited to the script of the game. The final moments of the film reveal that we have been watching mere game play, and that every character we encountered in both the "real" and the "virtual" worlds, as well as the concept of the eXistenZ game itself, were all part of a scenario generated by a virtual reality game called transCendenZ. The film ends with the words "Are we still in the game?" This unanswered question leaves us with no consummation, and only vague perspective from which to draw conclusions as to what content was real and what was virtual.

Further examples of the ambiguous nature of elements in both films can be found in the distinctions, or lack thereof, between technology and the natural world. We are presented with unexpected and unsettling elements which, similarly to the unpredictable roles played out by the characters in the films, seem to provide visual and emotional cues which contradict our expectations. The replicant Roy Batty is man-made and programmed, and our expectations of him are no greater than that of any other manufactured being possessing the latest artificial intelligence capabilities. However, Batty ultimately saves Deckard from falling to his death following their climactic battle, allowing Deckard to live while Batty himself expires. The replicant's last moments consist of a soliloquy, a summation of his life and experiences and "moments [which] will be lost, in time, like tears in rain." This surprisingly sensitive metaphor appeals to the audience's sense of empathy, and we find ourselves questioning whether our prior assessment of this character as an antagonist is accurate. Blade Runner never resolves the questions of whether Deckard is a human or a replicant, and similarly the motivations of Batty remain hidden. Perhaps his artificial intelligence was able to create the true emotions we associate with the soul of humanity and it is from these emotions he felt the urge to save Deckard, or perhaps he was merely protecting a fellow replicant.

Likewise, a confounding sense of empathy is generated by Rachael's deeply emotional response to the revelation that her most cherished memories are not actually her own, and that she is not even actually a human being. Director Scott first introduces Rachael as the subject of the Voight-Kampff test of emotional response. Her cool responses and banter provide no indication of her identity as either a replicant or a human, and she evokes a mysterious but neutral response. More specific emotion is drawn from the audience as she displays her (artificially) human side, and as a result, is told the truth and gains the label of "replicant." Rather than feel less connected to the creature we now know to be artificial, however, her character becomes more meaningful and a positive psychological response is generated.

Just as we cannot tell whether the characters of Blade Runner are artificially intelligent replicants or human beings without being provided with these labels, many aspects of eXistenZ also feature indistinct demarcations between the fabricated and the organic. The virtual reality game system, the MetaFlesh Game-Pod, is not composed of the traditional cables, wiring and hardware, but rather "works through a combination of technology and biology... [g]rown from amphibian eggs, spliced with synthetic DNA and laced with neural webbing, the pod is both primordial creature and state-of-the-art nanotechnology" (Keane 151). Similarly, a gun is shown created from the bones of genetically altered animals, and teeth take the place of metal ammunition. These amalgams of nature and elements manipulated at the hands of humans are regarded within the story of the film as acceptable, and barely even unconventional, despite their bizarre makeup. However, an underlying sense of anxiety is exhibited by Pikul, and it is from his vocal complaints that we can determine whether or not the accepting attitude of other characters can be considered rational or normal. Pikul's initial response to the necessity of a bio-port bored into one's spine in order to use the Game-Pod is one of apprehension, as he admits he fears having his body penetrated in unnatural ways. Despite his initial refusal to play the game however, he is also fascinated by the technology and ultimately is eager to take part in the gaming experience. Conflicting emotions come into play again when Pikul finds himself in a restaurant, eating a repulsive dish in order to satisfy the urge to construct a weapon from bones. His internal struggle in dealing with equally fascinating and disturbing game elements is summed up when, mid-meal, he states, "I find this disgusting but I can't help myself." In broader terms, this statement characterizes the attitude behind the psychological responses of fear and fascination elicited by technologies which refuse to stay confined or limited within our expectations.

By the finish of eXistenZ, neither the audience nor the characters can be completely sure whether they are immersed in the game world or not. This disorientation is the result of constant contradictory cues and multiple alternate worlds, all which serve to muddle reality. The core differences between replicants and humans in Blade Runner are never resolved by the film's end. While we expect there to be fundamental aspects which set human beings apart from man-made replications, even those created from organic material, the realization that replicants have human-like mental processes make us question whether or not there is a real difference. If a replicant is able to pass as a human being and is otherwise undetectable as artificial, there should be little to prevent them from being classified as actual human beings, worthy of our compassion. The plight or deaths of replicants are not mourned by the Blade Runner units or their inventor Tyrell, and it is this lack of empathy which curiously sets apart the wide emotional range of the replicants in contrast to the cold, stoic humans.

The concept of the "real" is explored in both films, but the endings are purposefully vague and open-ended. The moral messages intended by the directors are not explicitly stated, despite clear evidence of the ideologies regarding the invasive nature of technology on mankind, a constraint we have imposed on ourselves. The discomfort and disorientation we experience when dealing with advancements which push the boundaries of our expectations seem to indicate that our capabilities have progressed past our ability to cope with the limitless properties of technology. Our blind acceptance of technology as an ultimate good and inability to foresee potential ramifications may be to blame, and films such as Blade Runner and eXistenZ may be interpreted as warnings that just because something is possible, it's not always in our best physical, moral or emotional interests to see it through to fruition.

Works Cited

Blade Runner: The Director's Cut. Dir. Ridley Scott. DVD. Warner Brothers, 1991.

eXistenZ. Dir. David Cronenberg. Videocassette. Buena Vista, 1999.

Greenberg, Harvey Roy. "Un/Heimlich Maneuvers, or "Wrong Again’." Psychiatric Times November 2004: 63. Expanded Academic Index ASAP. Gale Group Databases. University of Washington Libraries, Seattle, WA. 4 March 2005 <http://infotrac.galegroup.com>.

Keane, Steven. "From Hardware to Fleshware: Plugging into David Cronenberg's eXistenZ." ScreenPlay: cinema/videogames/interfaces. Eds. Geoff King and Tanya Krzywinska. London: Wallflower Press, 2002. 145-156.

Senior, William. "Blade Runner and Cyberpunk Visions of Humanity." Film Criticism 21 (Fall 1996): 1-12.

Tomlinson, Bill. "Dead Technology." Style 33.2 (1999): 316-335. Expanded Academic Index ASAP. Gale Group Databases. University of Washington Libraries, Seattle, WA. 4 March 2005 <http://infotrac.galegroup.com>.