The Goddess of the Machines

Ava seemed to succeed in doing this, but the ending made me feel a bit differently. She, in my opinion, lacked an important emotional component: She could manipulate, be imaginative, be creative, and feel pleasure or pain. But did she really feel anything towards Nathan or Caleb? Did she resent Nathan? Did she feel a little love towards Caleb?

I will never know the answers to these, but the way Ava slid the knife into Nathan at the end was without feeling. There was no raising of the knife in a swift motion, no aggression, and no words. It was simply an act she had to perform in order to escape just as how she had to fake her affections for Caleb.

I felt that Ava was closer to being slightly more sociopathic, i. Ava only gains true power when she is aided by Caleb in her escape. She manipulates him through sexuality, a quality the Nathan gives her because he believes it makes her more sentient. Does this mean that sexual desire is the ultimate downfall of humans? However, it does appear that Eva cares about her visual appearance. In the final scene, Eva is shown examining herself with her new skin, admiring her new look. Could this movie be a warning to humans for the development of AI? It reminds me of the classic fear of robots taking over the world and overpowering the human creators.

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It seems that Garland is showing that the creation of AI does not make humans more powerful, but it gives all of the life, power, and control to the machines. You are commenting using your WordPress. What emerges is an elegant parable about dehumanization and sexual oppression.

Goddess of Machines

It is also a starkly filmed portrait of what is required to escape from hopelessness. The film is mummified by layers. Thus it is that Ava, and Kyoko — a put upon, voiceless AI housekeeper that Nathan used like a sexual appliance — stab their creator to death and leave Caleb to die in a locked office, issuing the soundless screams that were once only the product of the AI women Nathan created. Almost from the start, you see that she has awareness of herself as a sapient entity that is being treated unequally, after all.

She recognizes the glass that divides her from Caleb as he questions her is a border between privilege and helplessness.

She has to take a test to determine whether she lives or dies; he does not. Being suspicious of Nathan is easy; a powerlifting, swaggering, binge-drinking, tactless man who treats Kyoko abominably, he hardly cuts a sympathetic figure, however much of a technological genius he may be. Although he is allegedly testing for sentience, one almost feels like he is reaching for something else with these AI. She literally destroyed herself against that irrational, nameless barrier; with a shot that lasted all of a few seconds, the filmmakers furnish us with a metaphor for centuries of sexism.

Kyoko, who had been presented to Caleb as a human woman who did not speak English, turned out to be a voiceless AI that Nathan had modified to be his live in sex slave. Dancing joylessly with Nathan, matching him move for move whenever he turned on music that served as a command rather than an enticement. As I wrote earlier, detesting Nathan is easy; the way the movie makes you hate Caleb is much more interesting, however. He seems like someone who wants to help her. No thought is ever given by Caleb to the fact that he is literally the only other flesh-and-blood human besides Nathan that she has ever met, or that her affection might simply be an aftereffect of the very trauma he wants to rescue her from.

No account is made, in other words, for the power Caleb has over her. In the spartan cast of this relatively minimalist film, then, Nathan and Caleb are two very different avatars of patriarchy. He stays and gawks at her through an open window during an intense — and troubling — scene while she uses parts from her various, functionally deceased sister Robots to repair herself and give herself a full human skin.

But it is also an intimate scene where Ava completes herself, dresses by herself for herself for the first time, and wears a complete body for the first time, one of her own making and choosing. Caleb, who had just witnessed Ava and Kyoko murder Nathan, and who had heard Ava in an earlier recording say that she hated him, nevertheless stayed and ogled, expected that they would run off together and somehow still be lovers. In Norse mythology, Weyland the Smith was a lame bronzeworker.

For the Celtic mythology, Litavis is a God of Forge and Goibniu is the God of Blacksmiths, weapon-makers, jewelry making, brewing fire and metalwork. This Site Might Help You. Yes actually there is!

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In the Greek myths Hephaestus is the god of the forge. That would include all kinds of metal, automatons, and machines. In the Roman world though he is called Vulcan. Faxma is a compassionate warrior.

Goddess, the Machine

Her physical strengths are loving and caring, not brutal or abusing. Faxma's strengths are within her psychic visions, and holds many mystical powers there. She's able to defer many other creatures that are against her wishes on her psychic abilities. With one look Faxma manifests to us so that we can perceive what we really are, not the surface material body.

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She dreams of many lands and manifests them into reality. For the best answers, search on this site https: You should do a Goddess named Arrabella who was the Goddess of song, who sang for the world and gave the people joy. She went around the world and sang for the sad to make them better, everyone was swoon by her except for one day she was called on to sing to a man who had been through hardships in his life and was sad..