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Movies about machines with feelings often unfold in an atmosphere of hushed, wistful melancholy, in which the robots themselves are avatars of sad gentleness:
在电影中，有感情的机器通常在一种静谧、忧郁的氛围中出现，这种机器人本身就是悲伤柔情的化身：
Haley Joel Osment as David in “A.I. Artificial Intelligence” (2001), Scarlett Johansson as Samantha in “Her” (2013), Justin H. Min as Yang last year in “After Yang.”
比如海利·乔·奥斯蒙特在《人工智能》（2001）中扮演的大卫，斯嘉丽·约翰逊在《她》(2013)中扮演的萨曼莎，贾斯汀·闵在去年的《杨之后》扮演的杨。
While HAL and Skynet, the imperial intelligence that spawned the Terminators, were creations of big government, the robots in these movies are consumer products.
HAL和天网（后者是制造出了终结者的帝国情报系统）是大政府的产物，而这些电影中的机器人则是消费品。
Totalitarian domination is the nightmare form of techno-politics: What if the tools that protect us decided to enslave us?
极权主义统治是技术专家政治的噩梦形式：如果保护我们的工具决定奴役我们，该怎么办？
Emotional fulfillment is the dream of consumer capitalism: What if our toys loved us back?
而情感满足是消费资本主义的美梦：如果我们的玩具也爱我们，又该怎么办？
Why wouldn’t they?
为什么不会呢？
In these movies, we are lovers and fighters, striking back against oppression and responding to vulnerability with kindness.
在这些电影中，我们既是恋人又是战士，我们反抗压迫，以善良回应脆弱。
Even as humans fear the superiority of the machines, our species remains the ideal to which they aspire.
尽管人类害怕机器优于人类，但人类仍然是机器渴望达到的理想。
Their dream is to be us.
机器的梦想就是成为我们。
When it comes true, the Terminator discovers a conscience, and the store-bought surrogate children, lovers and siblings learn about sacrifice and loss.
当这一梦想成为现实时，终结者的良知觉醒，从商店购买的代孕子女、情人和兄弟姐妹懂得了牺牲和失去。
It’s the opposite of dystopia.
这和反乌托邦相反。
Where we really live is the opposite of that.
但现实生活又和这种情况相反。
At the movies, the machines absorb and emulate the noblest of human attributes: intelligence, compassion, loyalty, ardor.
在电影中，机器吸收并模仿了人类最高尚的品质：智慧、同情心、忠诚和热情。
Sydney offers a blunt rebuttal, reminding us of our limitless capacity for aggression, deceit, irrationality and plain old meanness.
西妮却直截了当地进行了反驳，提醒我们人类具有无限的侵略性、欺骗性、非理性和再平常不过的尖酸刻薄。
What did we expect?
我们还在期待什么呢？
Sydney and her kin derive their understanding of humanness—the information that feeds their models and algorithms—from the internet, itself a utopian invention that has evolved into an archive of human awfulness.
西妮和她的亲属对人性的理解——给她们的模型和算法提供的信息——都来自互联网，而互联网本身就是一种乌托邦发明，但已经演变成记录人类恶习的档案。
How did these bots get so creepy, so nasty, so untrustworthy?
这些机器人怎么会变得如此令人毛骨悚然、如此卑鄙、如此不可信赖？
The answer is banal. Also terrifying. It’s in the mirror.
答案是平庸的，也是可怕的。去照照镜子就能看到答案。
