Year: 2030
Bilineal Divison: D902FDF90
Log Number: 453532778
Prototype Name: ALDOUS
Model Number: CS-INDUSTRIES (EMS-30-02)
Serial 984205483
The Future is now, we are the future: CS-Industries has invested, Billions of pounds, countless man hours, meticulous development and construction via some of the top minds in the fields of advanced robotics. The result of which has produced a breakthrough in humanistic synthetic intelligence and construction. Aldous is more reliable than your friends, your colleagues and any electrical / mechanical devices you have at home. We do not consider Aldous as a robot, in fact here at CS-Industries we are currently in the process of getting our latest model (EMS-30-02) legal status under the synthetic human rights act of 2028 This would mean that Aldous will integrate with our society as a human and not a robot.
It is important that we recognise the improvements that Aldous can make for our world and varied society's. Security: Aldous is bullet proof and has been tested with close range explosive projectiles from a mg42's, psg1 and hand guns with spore mag rounds. He has also passed all close proximity grande and mine tests. This makes Aldous the perfect allies on the battlefield. Civilian: Aldous is equipped for civilian purposes, he has an adaptive memory function which allows him to learn at a geometric rate making him perfect for everything from complicated tasks like fixing your car to simple everyday labours like doing the dishes, taking the garbage out and making dinner. Safety: Aldous abides by the Azimov's three laws of robots:
1; A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2.A robot must obey orders given it by human beings except where such orders would conflict with the First Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
This framework has become integral in creating synthetic replicants that understand and appreciate the delicacy of life and respect within today's contemporary futurist society. Here at CS-Industries we have learnt from our past mistakes and the tragedies that followed the release of EGOR V.2 are now a thing of the past. That is why every Aldous model comes with its own life time protection warranty and in the unlikely event of malfunction or harm our tactical revo team will be dispatched and full compensation of 1,000,000,0000,000 Galactic Dollars will be presented to the owner if such malfunction is proven by our team of experts.
Aldous has servos that produce torque 600 times the strength of the average human being permitting him to perform tasks that would be impossible for the average person. This means your workforce can be reduced without affecting your companies productivity. We do not see this as taking away work from the average Joe, but on the contrary making the work place a safer environment. CS-Industries are currently in the process of hiring 500,000 new staff members from maintenance to administration. The world needs Aldous but here at CS-Industries we need real people like you. We Are The Future.
Abstract of Theoretical Work
Animatronic
characters are the physical electro-mechanical emulation of natural or
conceptual living beings. The predominant differentiate between robots and
animatronics resides is in the simulation of organic aesthetics: A robot for
example can be a simplistic metal cube, displaying no symbolic reference to
living / organic design. Whereas, animatronics via definition present
simulation of animalistic kinaesthetic operations and esthetical materiality.
In this context, Androids and mechanical humanoid replications can be
considered a derivative of animatronics as they exhibit external organic
simulation correlating to the natural humanistic paradigm. However, there is a
tendency to perceive animatronics as somehow detached from the fundamental
concept of robotics; a delineation that deals with only the surficial mimicking
or puppetry, therefore neglecting internal substance. This study argues that
the elementary proposition of animatronics is not only at the core of
contemporary robotics, but furthermore, the very foundation that the modern day
robot movement was founded. The logic for this contrast has potential grounding
in the terminology ‘animatronic’ a nomenclature formulated from the Walt Disney
Corporation appellation (Audio-Animatronic) of the 1960’s. However, the concept
of simulating organic function via mechanical device has roots in 3rd century
inventions under the classification automata. There is little division in
definition between the two terminologies, suggesting that the primary meanings
remain singular. Therefore, it is possible to devise that ‘animatronics’ and
‘automatons’ are one in the same device; objectified and classified at
different time periods leading to diffusion. This positioning presents possible
advancement of animatronics in film via advancements in the scientific field of
robotics. Thus, is the future of filmic effects a purely spatial virtual
dimension? or will we see advancements in robotics breathe life back into the
animatronics industry?
Beginning with
Tom Gunning’s theoretical model of cinema as a machine for creating optical
visceral experiences, the core proposition of this study stipulates that pure
CGI characters no longer have the ability to accurately simulate consciousness
and materiality, or to meet the expectancies of the modern day cinematic
audience. It has been claimed that the movement towards Hybrid systems (Motion
Capture / Live action integration) provides a form of mediation between actuality
and virtuality, adding depth 'soul / consciousness' and a kinaesthetic
grounding of external operations in an attempt to solidify and reify the
virtual image into something organic. However, it is suggested here that hybrid
systems have problematic issues concerning inaccurate approximation of:
surficial reflection, portrayal of additional appendages, incomplete character
formation (interaction / performance) and encapsulating / staying true to an
actor’s performance during editing. The imprecision of these elements become
increasingly apparent over time - especially at close proximity, where it
becomes discernible via the evolving critical eye of the average modern day
cinematic observer.
This projection
positions Hybrid systems not merely as mediation between physical reality and
holographical dimensions but as a means of returning to the greater substantial
and grounded animatronic character systems. Modern animatronic characters /
puppets exhibit greater detailed aesthetic verisimilitude and organic simulative,
external and internal operations at close proximity in comparison to the most
advanced CGI and Hybrid systems as they are augmented via the parameters of the
physical world. This research explores a possible return to animatronic special
effects in the future of film as the primary medium for character creation,
overtaking CGI and other virtual hybrid systems which lack the ability to
propagate visceral optical experiences, fine detail / nuance and
genuine/responsive characters to meet the evolving critical expectations of the
cinematic observer. Technological advancements in animatronic interactive
control systems allow accurate tracking of movement, autonomous extemporaneous
expressions (programmable level), voice recognition: recording / response
technology, exact precision of kinetic functions with meticulous coordination
and the ability to continually repeat sequences of action. In addition to these
properties there is potential postproduction value via
adaptation (Interactive Rocket
Raccoon, Guardians of the Galaxy 2014 promo:
Tetsushi Okuyama). Further reinforcing this theoretical position, the film, Harbinger
Down (2015) became the first successful publicly backed Kickstarter
campaign for a cinematic feature to exhibit animatronic characters as the
primary special effects medium (3,066, backers pledging $384,181). The major
Hollywood production, Star
Wars: The Force Awakens (2015) has demonstrated a return to practical
and animatronic special effects over the predominant modern orthodox virtual
progression, grounding the possibility of an animatronic renaissance.
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