Intimate Technology through Mind,
Soul & Body.
Exploring the Intertwine of Human and Technology on an Individual Level in Spike Jonze’s Her.
Intimate Technology through Mind, Soul & Body.
Exploring the Intertwine of Human and Technology on an Individual Level in Spike Jonze’s Her.
Supervisor
Marie Lous Baronian
Thesis coordinator and second reader Abe Geil
Master Thesis Mediastudies University of Amsterdam MA Film Studies
Acknowledgements
First of all, I want to thank the University of Amsterdam for facilitating courses, lectures, study materials, professors and the general possibility of studying in the capital of the Netherlands. The UvA also made it possible for me to attend the Orphan film restoration festival at Eye Institute Amsterdam last year, which I am very grateful for. My two supervisors during the process of my thesis deserve special mentions. Without them this thesis would have been a catastrophe, and they probably still have the proof of that
somewhere in their mailbox. Thank you Marie Lous Baronian and Eef Masson. The teachers during my Master Film Studies inspired me with refreshing and philosophical ideas, placing my previous years of Media & Culture studies, also at the UvA, in different perspectives. Although many colleague students could not handle the intense propagation of Atom Egoyan during film theories & practices, the enthusiasm of Marie Lous Baronian kept me awake. I also want to send my thanks to the organizers of many field trips I’ve been on last year, a strange phenomenon when you think of studying film. Christoph Linder, Miriam Meissner and Floris Paalman exposed me and other students to the city of Amsterdam in academic perspective, explaining relevant theories within the discourses of urban creativity and cinematic city. Other professors who deserve a notice and a thank you for my time at the university are Gerwin van der Pol, Patricia Pisters, Abe Geil, Maarten Reesink, Reinder Rustema, Maryn Wilkinson and many others I may have forgotten. Thank you for your insights.
Abstract
The concept of 'intimate technology' describes the development of increasingly aimed inwards technology to control human nature, both physically and mentally. An interesting technological phenomenon in this case seems to be the smartphone; the intimacy is underlined by its mediation of our social lives, the storage of very personal data and the fact that we carry it around nearly everywhere we go. There are striking similarities between the smartphone and the representation of intimate technology in Her. This leads to my two main questions: How does intimate technology relate to the internal perception of the protagonist in Her? How does this perception change the external experience of the protagonist in Her?
Analyzing the film Her and focusing on its main protagonist will enable
understanding about what ‘intimate technology’ is, how it is perceived, and how it becomes more and more central in our culture.
My premise is that intimate technology functions as a pivot in the process of human and technology convergence.
Keywords
Her, Spike Jonze, intimate technology, society of control, human technology relation, self-discovery, (dis)comfort, mediation.
Table of contents Introduction Chapter 2: Theory
2.1 History intimate technology 2.2 Changes mediated experience 2.2.1 Communication
2.2.2 Augmented & mixed reality 2.2.3 Symbolic interactionism 2.3 Social changes
Chapter 3: Film analysis 3.1 Her
3.1.1 Theodore 3.1.2 Samantha
3.1.3 Evolution of Theodore & Samantha 3.2 Spike Jonze
Chapter 4: Research results Conclusion
Bibliography Attachments
Introduction
We ask you a simple question. Who are you? What can you be? Where are you going? What’s out there? What are the possibilities? Elements Software is proud to introduce the first artificially intelligent operating system. An intuitive entity that listens to you, understands you, and knows you. It’s not just an operating system, it’s a
consciousness. Introducing OS ONE - a life changing experience, creating new possibilities. (Her 00:10:12)
Would you acquire a system like that? It sounds wonderful to communicate with a digital companion that understands what you mean. You would never be alone. And your digital life would always be organized! In Spike Jonze’s Her (2013) this becomes reality for protagonist Theodore. He purchases a new operating system and experiences what it is like to be
understood by an intuitive entity. In Her Theodore develops an intense relationship with Samantha, the name of his self-learning artificial intelligence operating system. Together they explore the possibilities and limitations of their impossible love. But what would happen if a situation like this was actually possible? What would the implications be for your experiences as a human being? For society?
Deleuze argues similar developments in the real world are part of a large transition towards a society of control. Technology causes society to change while society causes technology to change; this has been ongoing as long as we can remember. In the present, technology is becoming increasingly intimate: it influences the construction of the human body and mediates human behavior. The concept of 'intimate technology' has been coined by the Rathenau Instituut1, to describe this development, as digital technologies are increasingly 1 The Rathenau Instituut has done extensive research on ‘intimate technology’, which explores the blurred line that used to distinguish human beings from machines. As technology is now in, between,
aimed inwards to control human nature, both physically and mentally. Other concepts like augmented and mixed reality and symbolic interactionism will be explained and used to position myself in the debate surrounding the society of control we are heading towards. I will illustrate parallels with existing technology that mediates our experiences and elaborate on different kinds of relations with technology we establish. An interesting technological phenomenon in this case seems to be the smartphone; the intimacy is underlined by its mediation of our social lives, the storage of very personal data and the fact that we carry it around nearly everywhere we go. There are striking similarities between the smartphone and the representation of intimate technology in Her. This leads to my two main research
questions: How does intimate technology relate to the internal perception of the protagonist in Her? How does this perception change the external experience of the protagonist in Her? Following this introduction I will provide a theoretical framework that will later prove to allow us a broader understanding about Her and the different relationships human beings establish with different kinds of technology. I will also describe what some think is the driving force behind these many new intimate technologies. In the same chapter I will explore different kinds of communications, technological developments leading up to the smartphone and its ability to augment reality. To conclude I will provide a workable explanation of interacting on a micro-sociological scale to position our perception of intimate technology in a different perspective.
In chapter three I will present my analysis of Her. Various key scenes to understand the underlying themes will be elaborated on shot by shot, while the character development of both the protagonist and antagonist will provide the base for understanding the mechanisms of technology in the eyes of Jonze. To establish Jonze as an auteur I will discuss his films and the themes he visualizes.
Chapter four will be used to connect my findings of the analysis with the theoretical about and like us, the questions that arise along these developments have been explored in their 2014 publication ‘Intieme Technologie. De Slag om ons Lichaam en Gedrag’.
framework. I will answer the questions I posited at the beginning of my thesis through exploring the concepts that form the fundaments of intimate technology.
Chapter 2: Theory
The concept of ‘intimate technology’ feels like a contradictio in terminis. How can something like technology be intimate? How can one feel a close connection to something that is built by human labor? Van Est argues the borders between technology and human are shifting, leading to questions like ‘Do we see ourselves as machines in the future, thus extremely
manufacturable?’ and ‘Are we going to perceive machines as humanlike, maybe even as romantic partners?’ that cannot be answered by a simple ‘no’. (van Est 13)
In this chapter I want to explore the history of intimate technology. What are the developments in the mediated experiences of human beings? I want to answer that question by shining light on different forms of communication, primarily the smartphone as it stands as a symbol for this era, and looking at the phenomenon of human memory: How do human beings perceive and store information in their brain? I will also discuss certain social changes. Many argue we are in the middle of a social transition that is heavily influenced by digital technology. Convergence of media, technology, society and culture seems to have effect on both environment and human perception. Clarification of these social changes will enable the understanding of intimate technology within contemporary society.
2.1 History intimate technology
Technology is becoming more and more intimate. Doctors are able to implant synthetic materials into our bodies that function as organic body parts. SynCardia, for example, does extensive research to the construction and implementation of artificial hearts.2 The growing
intimacy is also noticeable in human communication. Social media is used excessively to communicate with others, to establish new contacts and to present identities for the world to see. Technology also has the ability to collect, understand and interpret information about human beings; electronic chip cards are required to travel by public transport, to secure discounts at supermarkets, to collect money from the bank. Algorithms are able to advise strategic decisions through blood pressure monitors, giving technology some form of autonomy. Finally there is technology that behaves like human beings in terms of similar presence, humanlike traits, intelligent behavior and affecting human emotions through their appearance.
Four technological revolutions that stimulate each other are fundamental in the eyes of van Est in the rise of intimate technology. Nanotechnology, biotechnology, information technology and cognitive technology drive the technological advancements resulting in a technological tsunami. A large part consists of technologies characterized by their intimate nature. (van Est 11) The NBIC-convergence, as van Est describes, consists of two earlier convergences: nature sciences (nano and info) and life sciences (bio and cogno).
Nanotechnology enabled miniaturization, forming the foundation of the information
revolution. The stimulation of technological progress influences both fields. Nanotechnology enabled the possibility to collect information about human body and behavior on a large scale, subsequently to model and reconstruct body and behavior. This also works the other way round, as without powerful computers the production of nanomaterials and products would not be possible. (van Est 11) Both these developments also stimulate other life sciences such 2 http://www.syncardia.com/
as biology, medicine and cognitive neuroscience. Contemporary equipment enables increasing possibilities to research and enhance body and brain. Insights from life sciences provide inspiration for new equipment designs, like neural networks and DNA-computers. (van Est 11) The advancements in technology can be seen as dynamic as they have multi-disciplinary influence.
Van Est argues various scientists aimed to map, control and reconstruct human nature after the second world war. Various disciplines were involved such as genetics, neurology, pharmacology, information technology and artificial intelligence. These disciplines have grown tremendously since then. Their goal is the same as before: to understand, control and recreate the human and its environment. This example from augmented reality studies underlines this process: “The ultimate goal will be to generate virtual objects that are so realistic that they are virtually indistinguishable from the real environment.” (Azuma 35) Further on I will elaborate on augmented and mixed reality debates.
The intertwine of nature- and life sciences resulted in three tendencies according to van Est. First, the human being is becoming more and more (seen as) a machine. Maintenance and repair is possible, some even see upgrades as an option. Second, machines are becoming increasingly humanlike. This is noticeable in the different traits designers have added to these machines to give them a more social, emotional, even moral and affectionate feeling. Third, the interaction between human beings is changing because of machines approaching private and social spheres. (van Est 13) Technological mediation seems to play a big role here.
According to Verbeek the philosophy of technology has changed the past decades: classical approaches by Heidegger and Ellul that examined technology as broad societal and cultural
phenomenon are countered by analyses where the basic assumption is that of tangible technologies and technological developments. (Verbeek 37) He describes how Ihde aims to analyze the relationships between human beings and technologies.
When technologies are used, they always provide a context in which they fulfill their function: technological mediation. Technologies mediate the experiences and practices of human beings. Technologies not only play a role in the construction of our sensory perception, but also in the way reality constructs meaning for us. (Verbeek 40) Verbeek describes how Ihde distinguished four fundamental relationships between human beings and technology. The embodiment relation refers to technology incorporated by a human being, as an extension of the body. An example of this is a car, or glasses. The hermeneutic relation exists when an interpretation of technology provides a representation of reality; for instance an echoscope or thermometer. An alterity relation appears when interactive technology becomes its own reality, for instance when controlling the DVD-player menu or adjusting the heat through the thermostat. The background relation provides context through which reality is experienced. Examples are computer sounds or flickering computer lights. (Verbeek 39-40) The relationship between human, technology and world is schematized in the figure below. The arrow symbolizes the orientation of human beings on reality, while the brackets connect those closest associated with each other:
Embodiment relation (human – technology) -> world Car, glasses Hermeneutic relation Human -> (technology –
world)
Echoscope sonography, thermometer
Alterity relation Human -> technology (world) DVD-player, thermostat Background relation Human (technology/world) Computer noise, computer
Ihde and Verbeek both agree that technology has mediated human beings as early as they can remember; scientific knowledge is produced through observations mediated by scientific instruments, social relationships are mediated by computers, websites and phones while movement is mediated by cars, planes and trains. The emergence of recent technologies resulted in an outdated figure, leading to a new figure provided by Verbeek:
Immersion relation Human <- (technology/world) Ambient Intelligence, ‘smart walls’, ‘smart cities’
Fusion relation (human/technology) -> world Implants, genetic intervention, artificially cultivated tissue An increase in alteration and augmentation technologies has created the need for a new
figure, where a distinction can be made between immersion and fusion. The first one refers to the immersion in an environment that reacts intelligently to your presence and activity, while the latter implies that it is becoming harder to distinguish between human and technology. Technologies can now be directed inwards; genetic modifications reconstruct the human body physically and ‘smart environments’ are able to persuade human beings mentally. (Verbeek 41-44)
The question of autonomy seems interesting in this case. Should a ‘smart living room’ decide what temperature is best suited? The optimal light intensity?
Before I answer questions like these I want to explore different kinds of mediations, and the effect it has on the perception of reality in the rest of this chapter.
2.2 Changes mediated experience
Preceding moments and situations leading up to the present is what we call ‘history’. For the purpose of this research I choose to make a distinction between two kinds of history; personal history, which is experienced on an individual level, and collective history, which is a shared interpretation of the past by a group or community. The interpretation of a collective history can be seen as personal history, as every individual should be able to critically reflect on what is presented to him in any available form of communication. The telegraph, radio, television, computer and internet have made it increasingly easy to spread messages and information around the globe. I will elaborate on this by exploring different kinds of technological mediation. As our interaction is mediated, first I will focus on communication between individuals to recognize the different forms.
2.2.1 Communication
Communication is defined by Deleuze and Guattari as “the transmission and propagation of a piece of information”, where information is seen as a group of order-words. (Deleuze & Guattari 17) Communication happens between those capable of communicating in order to inform the other of their perspective. Communication without a goal, or unintentional communication is also possible; I will focus my attention on intentional communication.
I will categorize forms of communication into four different groups; oral, written, printed and electronic communication. Each era of communication is characterized by the incorporation of preceding forms of communication. Oral communication can take place face-to-face, from individual to individual or from individual to group. This form is characterized by its limited range but high level of information control caused by the small distance between sender and
receiver, direct communication and rhetoric of the speaker3. Hieroglyphs (as well as many
different early forms of communication like cave paintings) and the invention of the modern alphabet led to the rise of written communication, stretching the range of the message but limiting its level of information control. Increased distance, non-verbal communication and the ceasing of follow up questions resulted in more interpretation errors. The era of printed communication can be seen as the start of mass communication; it became possible to easily reproduce large amounts of information, stretching the range even more but also limiting the information control again. Before this era emerged, every form of communication had been unique in its form; it took time to spread a message, and along with the message extra information was given by the sender, limiting broad interpretations of these messages. Reproduction of communication has enabled structured messages. Different communication formats such as books, newspapers and magazines emerged and are structured in similar ways. The same communication format can apply to many different people and communities at a time. A contemporary example of this are the televised talent shows, where the format can be copied to any country or language but the content itself is region-specific.
The present seems to be the era of electronic communication, characterized by electric signal transmission through electronic devices to inform, entertain or persuade individuals or groups. Characteristics of modern communication are high speed mobility, in terms of both information and human movement, and democratization of communication, as nearly every individual is (in theory) now capable of reaching any other individual.
The most obvious form of contemporary electronic communication is the screen4. It presents
information from within a frame. The screen can be interpreted in many different ways. When 3 Different speaker implies a difference in control
defined, it can be said it is designed to divide, conceal or protect. It is important to distinguish different kind of screens. I will use Manovich's categorization of the screens. The classical screen (painting, picture), the dynamic screen (television, film) and the computer screen (computer, laptop, smartphone). (Manovich 28-29) The classical screen is characterized by its flat and rectangled surface, exists in our normal space and acts as a portal into another space. The dynamic screen has all the qualities of a classical screen, but has the ability to change display over time. This asks for a different kind of participation of the spectator, compared to the classical screen; one has to be drawn into a complete illusion to experience the dynamic screen. The computer screen, instead of showing a single image, displays several co-existing windows within the screen. (Manovich 28-29)
Friedberg gives a historiographical reading with theoretical research on how screens were, and are, perceived. In her book The Virtual Window Friedberg builds through on previous theories of Benjamin, Valéry, McLuhan, Baudrillard, Virilio, Haraway, Sobchack and Manovich, who all entered the debate about consciousness produced by technologies that improve human vision. As her view corresponds with my view on screens, I will elaborate and build through on her conclusions.
The screen, just like a window or a painting, signifies a separation according to Friedberg, a so called ‘ontological cut’; at this point the immobile spectator undergoes virtual mobility, where time shifts and gives us access to the past. Giddens sees this as structuration, meaning that relations that were shaped in the structure can exist ‘out of time and place’. They are independent of the context in which they are created. (Bryant & Jary 43) Although an important aspect of the screen is its virtuality, I would like to point out that virtual is not by default linked to digital. Deleuze, Baudrillard and Virilio define virtual as the changes, derealization, disappearance and deterritorialization in the materiality of space. Friedberg agrees and describes virtual as the difference between appearance and representation, and the difference in materiality. So virtual does not imply copy versus original. She sees the window
as a metaphor for frame or screen; a virtual window is a metaphorical window and a real window with a virtual view. When observing a computer screen, it is divided into multiple windows. Friedberg calls this fragmented view of the screen, as a multitude of windows appear within the surface of a screen. She notes that we are living in the realm of the metaphor. (Friedberg 15)
All preceding forms of screen can be digitalized: Television, radio, film (projection as well as recording), photography, music, (mobile) phone. All existing media seem to be converging; they are presented, but also mostly produced on the same computer screen. The computer screen slowly enters the living room after the normalization of the television screen. The computer screen is also characterized by its increased miniaturization; the most obvious example of this are contemporary smartphones. The smartphone is the successor of the laptop in terms of digital technological developments, which can be placed within a chain of
developments concerning screen technologies; desktop PC, television, film screen, and maybe even painting and window.
A smartphone is a mobile phone that offers advanced computing possibilities. Features of other (mobile) devices are usually incorporated into the system, resulting in a combination of features such as GPS navigation, media player, PDA, and of course
telecommunication.5 Most smartphones include a touchscreen user interface, have the ability
to run programs or apps and have built-in cameras. For many people today it is unthinkable to leave the house without their device. In 2014 more than a billion smartphones were sold globally: “The smartphone is the most successful consumer device ever: the landmark of a billion upgrades in a single year is testament to this.” (Deloitte 46) In my opinion, the smartphone functions as a carrier for intimate technology. It enables the possibility to augment certain components of reality.
This concludes my inquiry into the screen. In order to understand the implications of virtual and augmented reality it seemed necessary to establish a framework of the inner mechanisms of the screen first. In virtual reality (VR) the screen becomes absent, as the spectator – or participant – is fully situated within the virtual world: the physical space and the virtual simulated space coincide. The brain becomes the screen. Augmented reality (AR) makes use of the screen, primarily, to add something to reality.
2.2.2 Augmented reality
Augmented reality refers to the overlay of real-time environments with digital information designed to enhance perception of and interactivity with the real world. (Azuma 3; Fuhrt 3) Usually a distinction between online and offline can be made, but Jurgenson’s argument of abandonment of the dualist notion between a separate online and offline makes sense. (Jurgenson 2011) In fact, they appear within the same reality; a mixed reality (MR). The combination of virtual and real objects have led to a form of mixed reality, where the real can be augmented by virtual enhancements, but the virtual also can be augmented by real objects. AR differs from VR in its use of digital graphics to enhance the real world instead of
completely replacing it with a virtual environment. AR has the potential to add virtual objects to a real environment, but also to remove them. (Azuma 9) Milgram introduced the reality-virtuality continuum (fig 2.3) in his 1994 paper on augmented reality. The continuum reveals a continuous scale from the extremes of completely virtual to completely real. Azuma defines AR systems by three characteristic requirements: a combination of real and virtual, registered perception of virtual objects in the real world and real time interactivity. (Azuma 2) AR is a crucial factor in human-robot communication, as it provides both with a common reference frame. AR can also be used for spatial dialog and deictic gestures, adjustability to multiple human users and it allows the robot to visually communicate its internal state to humans. (Green 76) The interface simulated by AR will result in a shared 3D visualization where human and robot can alter the system in a way they can both understand.
Many different ways to augment reality exist. A lot of them can be accessed through a smartphone. At the moment there is a division between fictive AR (open an app and stay within that app) and actual AR (interplay between the app on screen and the physical world).6
6 Examples are the use of QR-codes in public spaces, Cardboard for smartphone (a basic version of Occulus Rift), Xbox Kinect, and an increasing amount of amateur augmented
AR can be used for multiple purposes and its applications can be seen as a tool to perform certain tasks more efficiently. A desire in human-robot collaboration, for example in space explorations or in medical practices, is that of total indistinguishability. This is
underlined by a citation of Azuma earlier in the thesis. The virtual world and the real world are ought to merge in the eyes of augmented reality scientists. The effect of a merge would mean, in their eyes, efficient technology usage.
Hines has defined the term ‘humanoid self-persistence’.7 Humanoid self-persistence is the
process when the traits of an individual are applied onto an external system that has humanlike characteristics, where the essence of both is able to exist beyond the temporal constraint that is imposed by their physical limitations. Examples of this are True Companion android robots Roxxxy and Rocky. They are able to adopt the personality of their owner. The robots become an extension to their owner, as they are personalized with the owner’s likes and dislikes. Hines completed his research and eventually created these robots, as he began to search for opportunities to apply this technology. Response came from two markets:
healthcare and the adult entertainment industry. Both markets have a concern for provision of comfort to their users, although in a very different manner. Hines claims that his robots offer unconditional love and acceptance.
There is a female robot named Roxxxy and a male version named Rocky. Both are anatomically similar to a human being. They have been programmed to be a companion by learning through an artificial intelligence application of the owners likes and dislikes. The robots can understand what you say, speak, feel touch, move their body, are mobile and have emotions and a personality. It is also possible to pick another programmed personality: reality apps. (https://www.youtube.com/watch?t=95&v=tkcHs_LIGvo,
https://vimeo.com/38850289)
The additional personality profiles provided with Roxxxy assume very unique sexual characteristics for example, there is Wild Wendy which is very adventurous. S&M Susan is also ready to make your secret desires become reality. At the other extreme is Mature Martha that has a more matronly personality and likes to talk more than physically interact. There is also Frigid Farah that is very reserved and does not always like to engage in intimate activities. True Companion also provides you with Young Yoko. Young Yoko is very naive but curious and models an 18+ year old
personality. (http://www.truecompanion.com/about.html)
Users are able to customize personality profiles to meet their specific needs.
In short, augmented reality can best be seen as an addition to reality. It adds a virtual
representation to the user’s perception in order to ‘fool’ him into thinking it is reality. In order to say something constructive about acting towards certain objects, subjects or situations I will continue this chapter with the symbolic interactionism theory of Blumer. It may turn out
useful when trying to understand an individual’s reaction to augmented reality. Although it is primarily based on the understanding of the real world, I found interesting insights that provide a base for reflecting on augmented reality.
2.2.3 Symbolic interactionism
Blumer used the term ‘symbolic interactionism’ to describe a sociological perspective. He built through on theories of Mead. Mead believed that the development of an individual was a social process, as were the meanings assigned to things. People change based on their
interaction with ideas, objects, events, other people, and they assign meaning to things in order to decide how to act. It explains the individual in society, and their interaction with others. Through that it can explain order and change. The nature of symbolic interactionism assumes three premises. The first implies that human beings act toward things based on the meaning that things have for them. Secondly, we give meaning to things based on social interaction. And third, these meanings are not permanent and can be modified through an interpretative process. (Blumer 64-65) The same thing can have a different meaning for different people. Symbolic interactionism is capable of explaining how aspects of society can change as they are created and recreated by social interactions.
To conclude, action depends on meaning. People assign different meaning to things. The meaning of something can change. In this chapter so far we have seen how the meaning of technology, communication, screen and reality can change over time. They do not have fixed definitions and will change again in the future. This depends on the meaning that is assigned by people. Together in a group, people form a society. I will now discuss the social changes
on a broader level in society. The implications of what I have described up until now has an effect on society as a whole.
2.3 Social changes
During the last decades, society has changed increasingly. A large impact on these developments are information & communication technologies (ICT). ICT facilitates the spread of globalization. The implications and effects of the rise of new media technologies are gradually starting to appear within contemporary society. The increasing presence of screens in both private and public spheres of modern life indicates their popularity and acceptance, yet, there hasn’t been much interdisciplinary research on this topic.
The increased presence of visual information presented through screens has intensified in the last decades. New techniques are employed to offer help, through genetic manipulation and artificial implants, but they also form a distraction. Flickering digital screens and flashy LED lights continuously call for our attention. This era seems to be characterized by fragmentation and short attention spans. Deleuze coined the term ‘society of control’ to explain these societal transformations. A society of control is efficient when all members are conformed and replaceable, just like different components of a large computer system or network. As most objects in society are being commodified, individuals are too. These gradual physical and mental changes have had an effect on the human perception of the world and its environment. These are the sociological and psychological effects of capitalism and modernity argued by Deleuze and Guattari. I will clarify what this means in the last part of this chapter. First I will explore the position of technology within society. In order to situate technology within society, I will analyze society as a concept to get a clear view on its position.
Society is constituted and maintained by acting human beings. Apart from this, it has no being or reality, leading to the assumption that society has attained the status of objective reality. (Berger 302-304) Society is one of many complex systems that human beings can be aware of. Most complex systems are interwoven; changes in one system can have a multiplicity of effects within other complex systems. This can be seen in contrast to ‘simple systems’ practiced by classical mechanics, which are limited by their nature. Complex systems are too broad and global to interpret individually: “a living cell, a society, an economy, an ecosystem, the Internet, the weather, a brain, and a city. These all consist of numerous elements whose interactions produce a global behavior that cannot be reduced to the behavior of their separate components.” (Gerhenson 12) This perspective not only underlines the relevance of
interdisciplinary research, but also implies the inability to research society separately. Increasing complexities of systems that govern the world can only be analyzed without losing other complex systems out of sight.
As human beings are in constant relation with society, a normal reaction is to adapt to our environment while our environment can be changed to adapt to our needs and desires. This mental process (physical adaptation is also possible) is one of evolution and is applicable to the current complexities of the modern world:
[T]he social brain hypothesis (Dunbar) states that the evolution of the complex brain was promoted by the increasing complexity of its social environment. In other words, a complex (variable) brain is required to cope with a complex (variable) environment.
The complexity of society can only increase in terms of human beings, and therefor products, computer systems, machines, images, laws, and thus, possibilities and problems. A complex brain has to adapt to the increasing complexities of modern society by becoming more complex itself. The result is best illustrated by a negative feedback loop where both man and society increasingly become more complex. A similar loop is noticed in the beginning of this chapter, where nature sciences and life sciences stimulate each other’s progress. This loop can be noticed within other aspects of society as well, for example companies: A company can reinvest its profit to increase production, and by increasing production more profit is made which can be reinvested once more. The outcome is exponential growth in output. (Gerhenson 18) This can also be noticed in the next example of Gerhenson, where he shares an analysis of the chaotic nature of stock markets:
The law of supply and demand implies a negative feedback, since an increase in price normally reduces the demand, and this – after a variable delay – will reduce the price again. However, the parallel mechanism of speculation entails a positive feedback, as an increasing price makes buyers anticipate an even higher price in the future, thus enticing them to buy more of the stock now. (Gerhenson 19)
This form of speculation that Gerhenson describes complexifies the already complex system of capitalism, as prices and firm value are now influenced by the prediction of consumer behavior and market speculation.
One effect of capitalism, as Deleuze argues, is the controlled predictability of the future. Desires of the consumer are produced by ‘desiring-machines’, tickling the imagination with fantasy imagery of advertisements. (Deleuze 47) This follows Kant’s theory of desire; the lack of an object produces a fantasy. Through representation it is possible to become part of the reality of an object. The production of desire through creating appealing fantasies and imagery has no direct link to the actual product. Its only goal is the production of desire. This can be seen as a modern capitalistic characteristic: “[C]apitalism, in order to sustain its markets, has been forced to produce desire and so titillate individual sensibilities as to create a new aesthetic over and against traditional forms of high culture.” (Harvey 63) Creating a desire becomes part of marketing technique. Therefore, advertising can be seen as the art of capitalism; advertising strategies are brought into art while art is implemented into advertising strategies. (Harvey 63)
Deleuze implies during an interview that he does not recognize all art as art: “there is commerce of art, but no commercial art. (..) no real art tries to create or exhibit a product in order to correspond to the public’s expectations.” (Flaxman 369) Deleuze compares the situation with a great novel and a best-seller; the best-seller always wins in the market despite its lesser cultural value. He also notes that “no art can thrive without the existence of a double sector, without the still relevant distinction between commercial and creative.” (Flaxman 370) Deleuze seems to point towards the necessity of self-reflexivity within society, as once every while the system needs a critical kick and push in its process towards a collective future. A kick and push seem needed as Harvey notices a “virtual takeover of art by big corporate
interests. (..) Corporations have become major patrons of art in every respect.” (Harvey 62) While Deleuze argues that art thrives in the existence of a double sector, Harvey concludes by suggesting that “whereas traditionally art had an ambiguous commodity status, it now has a thoroughly unambiguous one”, (Harvey 62) underlining both the problem art faces as well as the importance of artistic freedom in a capitalist society. In my opinion this is also noticeable in cinema. Big budget films, usually with its origins in Hollywood, are led by corporate interests instead of cultural value. In chapter three I will analyze the persona of Spike Jonze, and provide arguments why this does not apply to him. There are many indications he can, and should, be seen as an auteur in cinema.
A complex society is hard to govern. It seems like it is in need of control. We are currently in a transition towards a more controlled society. (Deleuze 2) Deleuze based this on findings of Foucault, who has done extensive research on different transformations in society. (Foucault 3-31) Giddens notices similar transitions in society: “Globalization means that, in respect of the consequences of at least some disembedding mechanisms, no one can ‘opt out’ of the transformations brought about by modernity.” (Giddens 22) The unavailability of not participating makes these technological developments, and implementation of technology in society worth analyzing. The term ‘modernity‘ is very unsatisfying for me personally. It is hard to define: “[T]he expression ‘modernity‘ repeatedly articulates the consciousness of an era that refers back to the past of classical antiquity precisely in order to comprehend itself as the result of a transition from the old to the new.” (Habermas 39) Modernity seems to imply the transformation to something new, then how is it possible to reflect on society of last year? That period is certainly not new, yet it is also part of modernity.
It is important to remember that old societies do not disappear; new societies are not built from scratch, but rise on the ruins of previous societies. Just like the different forms of
communication, they exist within a new context. The ‘ruins’ of older forms of communication are incorporated into the new. Transitions in society are undeniable; interpretations of those transitions vary. One example of such a transition is that from the sovereign or classical era of the eighteenth century to a disciplinary or modern era starting in the nineteenth century, a shift from the centralized power of hierarchy towards decentralized power in the form of bureaucracy, institutions, and many other. (Foucault 3-31) At the moment, we are in the midst of a similar transition. Where Foucault will only go as far as hinting at the emergence of a new society, Deleuze explicitly discusses one: A society of control. Authors created different terms, for what can be seen as similar developments. Kittler describes a shift from a ‘kingdom of sense’ in 1800 towards a ‘kingdom of pattern’ in 1900. The transition from society based on understanding and meaning towards a society based on images and algorithms is
something that interested Kittler. He defines his discourse network as “the network of technologies and institutions that allow a given culture to select, store, and process relevant data.” (Kittler 369) Other terms to define the current era are ‘late capitalism’ (Mandel, Frankfurt School), ‘neo-capitalism’ (Derrida), ‘multinational capital’ (Jameson), ‘high modernity’ (Giddens) or ‘network society’ (Castells). For the remainder of this research I will refer to this period as ‘society of control’, since I endorse Deleuze in his interpretations.
First I want to emphasize the differences between a disciplinary society and a society of control. Then I will explore the consequences in society, as transformations are inevitable.
In the eyes of Deleuze we are in the midst of a transition towards a society of control. He reflects on the analysis of Foucault, who described a transition from a sovereign society towards a disciplinary society, and adds a more recent one. The transition Deleuze argues is set in motion by the digital revolution. Foucault linked the transition from sovereign towards disciplinary society to the industrial revolution, which had a big impact on the environment of
our society. The digital revolution has an impact on the environment of our body and mind. Deleuze describes three symptoms of the society of control we are approaching:
pharmaceutical production overload, molecular engineering and genetic manipulations. (Deleuze 2) The mechanisms of these symptoms have only matured in recent years, as the digital revolution has been underway since the nineties. Other effects on society are thus becoming more visible each day. The industrial revolution changed society through the massive introduction of machines and factories. It provided a firm base for control over our natural environment by subtraction of raw materials and resources. The digital revolution has its effects primarily within our bodies and social environment. Human beings become the primary resource for the present revolution.
The disciplinary society is characterized by enclosure; many phenomena are pushed into molds, distinct castings. (Deleuze 2) Within a disciplinary society one has to start fresh when switching institutions. First the family, then school, followed by conscription and factory work. A boss is on top of an institution, who imposes a set of rules to follow. Inside his factory he strives to obtain the highest production rate in combination with the lowest salaries. The main difference in a society of control is its focus on modulation; it is characterized by non-stop flexible transformation. (Deleuze 2)
The factory is replaced by a corporation, led by stakeholders. Instead of starting over, one is never finished with anything. Apparent acquittal is replaced by limitless
postponements. (Deleuze 3) Through administration one used to be part of the mass; now an individual has become a dividual, where he is converted into information, data. Competition within a company is stimulated, with rivalry as motivating force between individuals to divide them. Traditional school is replaced by perpetual training and examination is replaced by continuous control, as it deems to be more effective. Whereas tasks or studies used to be characterized by long duration and discontinuity, they have become short-term, continuous and limitless. Traditional signatures have been replaced by passwords and codes. Many of
these transitions have been influenced by the emergence of ICT. They are a result of digitalization, part of the digital revolution.
Each different society is also linked to their own set of machines. According to Deleuze machines express social forms. They characterize a society. The sovereign society had simple machines: levers and clocks. The disciplinary society dealt with thermodynamic machines. A society of control is defined by a third generation of machines, computers. Computers express the social form of contemporary society, and of the society of control.
To conclude, many indications have been listed that point towards a transition in society. Society is a complex matter, but luckily the brains of some academics have grown complex as well along with society. In this chapter I have described my view on society, different forms of communication and the relation between human and technology. I have provided theories of scholars that seem to underline my views on these different topics. It seems there are many additions available to enhance and augment reality, mostly digital technologies. Technologies used to be directed outwards, in order to control our environment, but since recently
technologies can be directed inwards. The physical environment of the body can be modified, including the brain, while our social environment is increasingly mediated. Technology plays a big role in the life of contemporary society. The chapter that follows will include an analysis of the film Her. I will use this theoretical framework as base to interpret my analysis in chapter four.
Chapter 3: Film analysis
In this chapter I want to provide an analysis of the film Her, and several key scenes. First, a character analysis of both Theodore and Samantha will be presented to compare their personalities. As Samantha is customized to Theodore’s personality, her adaptive behavior can only be understood when knowing what she is adapting to. Samantha adapts to Theodore, listens to him, understands him, knows him, and fills his lack. I do want to point out that Samantha should actually be referred to as an ‘it’, as it is an operating system, but to stay in line with the romantic feel (and title) of the film and the subject of intimate technology I choose to refer to Samantha as ‘her’ for the remainder of this research. From there I want to explore the relation between human and technology in Her by analyzing Theodore’s and Samantha’s character development. They grow together, then grow apart when they
eventually realize it is for the best they move in separate directions. Finally I will focus on an analysis of the ending; the end of their relationship, the end of AI operating systems and the end of the film.
3.1 Her
Her can be characterized as a romantic sci-fi film. The film portrays the lonely and
disconnected writer, Theodore Twumbly, who falls in love with the disembodied personality of his operating system, Samantha. The protagonist experiences Samantha as a comforting addition to his life after his failed marriage, unfulfilling job and isolated leisure activities. The self-learning OS helps Theodore organize his (digital) information through connecting to all possible devices, but later connects to Theodore as they start having intimate conversations. Samantha evolves as a character from utility to friend to lover to student of human life, as dialogues between Theodore and her focus on love, existence, identity, relationships and
music. Theodore travels with Samantha and shows her the world through the lens on his smartphone. She has continuous access to all information available, while he is able to interpret that information. She knows the content of all academic literature, while he has found love before. Samantha is an evolving personality, just like a human being, but without the physical appearance. The film explores the possibilities and boundaries of intimate relationships with interactive technology.
3.1.1 Theodore
Theodore is portrayed as a lonely and disconnected character. He arrives home alone, has flashbacks of his previous marriage, is said to be ‘emotionally unavailable’ and manufactures personal letters for his job at beautifulhandwrittenletters.com. All these traits underline the feeling of discomfort in Theodore’s life for the spectator. He used to be married, but now spends his free time gaming and calling adult voice chats when unable to sleep. His disconnection from life, from the world and from himself is best visualized by the opening scene of the film.
Theodore seems to be in deep thought. His eyes make short movements towards something off screen in this long take. Then he starts dictating a love letter, which he clearly enjoys doing. His eyes seem to sparkle while his smile appears to be genuine (figure 3.1). In the second shot of the film it is clear he is positioned behind his computer screen. The interface of his screen is visible; his computer is transcribing the words he is dictating into a letter, while photographs and other information of a couple co-exist in another window. The third shot emphasizes the screen content through a close up. The letter has the looks of handwriting and different photographs are labeled by their photo ID number. During the fourth shot of the film, Theodore says ‘print’; he begins reading the letter he previously dictated. In the fifth shot, Theodore starts dictating a new letter. Through a dolly shot it is made clear he works for a large company with many employees, all in a similar desktop cubicle setup (figure 3.2). The lights are dimmed as Theodore wanders home from work in
the sixth shot. He has a conversation with Paul, who addresses Theodore as 'letter writer number 612' and compliments his work. Theodore reacts in a modest way, returning a compliment on Paul's appearance (his sweater). Paul accepts this compliment quite arrogantly, noting that the clothing in the store reminded him of "someone suave".
The last shot underlines the difference in personality when dealing with compliments, and in a broader sense constructs a creative, humble image of Theodore. I will continue to describe differences in personality to establish a more complete image of Theodore. A couple of minutes into the film Theodore lies in bed, unable to sleep. He has flashbacks of his ex-wife and their memories together. The past seems thus to be part of his present. As a
temporary distraction to suppress these feelings, Theodore decides to use the application of an adult voice chat. Theodore (or BigGuy4x4), as a writer obviously sublime with words, manages to stimulate the thoughts8 of 'SexyKitten' towards a climax. A few things seem rather conspicuous in the approach to her climax. First, a video of a pregnant reality star is seen during the moans and chats of both. This implies that the imagination of Theodore is influenced by leaked celebrity photographs. Second, 'SexyKitten' has a strange demand during the chat; Theodore is commanded to "choke her with the dead cat next to the bed", which he, after the interruption of his imagination, cooperatively adapts to. The third thing happens after the climax of 'SexyKitten'. While she obviously enjoyed it Theodore claims to have climaxed as well, still somewhat surprised by her weird demand. After this she
immediately hangs up, or disconnects from the chat. These three situations, as well as other hints throughout the film, point toward an open, adaptive and willing personality.
To conclude this characterization of Theodore I want to list several perceptions of Theodore by different characters in the film, including himself, to provide a firm base for my following arguments.
Theodore and his blind date compare each other, and self, to animals. She notes: “You’re like a little puppy dog. You are – you’re just like this little puppy I rescued in Runyon Canyon last year. And he was so fucking cute, and he just wanted to be hugged all the time. He was so cuddly. But so horny!” (Her 00:33:17) And his response: “Wait a second, I don’t wanna be a puppy. That’s like being a wet noodle or something.” “Fuck you, puppies are good.” “No, fuck you, I wanna be a dragon that can rip you to pieces and destroy you… But I won’t.” (Her 00:34:03) After his blind date while lying in bed, Theodore explains his current state to Samantha:
Well, the room’s spinning right now cause I drank too much cause I wanted to get drunk and have sex cause there was something about that woman and because I was lonely. Maybe more just cause I was lonely… and I wanted someone to fuck me. And I wanted someone to want me to fuck them. Maybe that would have filled this tiny little black hole in my heart for a moment. But probably not. Sometimes I think I’ve felt everything I’m ever gonna feel and from here on out I’m not going to feel anything new – just lesser versions of what I’ve already felt. (Her 00:37:42)
And Samantha’s response: “You’ve been through a lot lately. You’ve lost a part of yourself.” (Her 00:39:10) Later on, Paul gives Theodore another ‘compliment’ at work: “..but like a sensitive dude like you. You’re part man and part woman, like an inner part woman. (..) That’s a compliment.” (Her 00:52:20) His ex-wife Catherine’s reaction to Theodore crying over her written work: “Yeah, but everything makes you cry.” (Her 01:07:02) And her reaction to his new love: “But it does make me sad that you can’t handle real emotions, Theodore. (..) You wanted to have a wife without the challenges of actually dealing with anything real. I’m glad you found someone. It’s perfect.” (Her 01:09:02) Theodore explains
to his friend Amy why he got into a fight with Samantha: “I don’t know what I want… ever. I’m just always confused and – she’s right, all I do is confuse and hurt everyone around me.” (Her 01:25:15) After Theodore apologizes to Samantha, she responds: “You know I can feel the fear that you carry around. I wish there was something I could do to help you let go of it, because if you could I don’t think you’d feel so alone anymore.” (Her 01:29:35)
In short, Theodore can be characterized as a melancholic and disconnected writer that is aching for affection after his recent failed marriage. He seems scared to show his true emotions, resulting in the job and relationship he has during the film. Also, he seems to be looking for something but is unsure himself what that would be. Through voice commands and voice recognition Theodore has control over his computer systems. His job indicates a large operation of 'personal and emotional handwritten letters' executed by modern poets that dictate their writings or ideas into computers, to be sent as authentic letters. This implies taking advantage of affected labor, where creative individuals are used to generate economic profit for big companies. A robotic, monotonous, melancholic motif is heard in the opening of the film, after his workplace is established, and when Theodore and Samantha seem to grow apart. The motif recurs several times throughout the film; this underlines both Theodore’s character and the themes of the film.
3.1.2 The situation before Samantha
Her displays the intertwine of technology and human beings. Although it does not take a position in the debate indicating positive or negative implications, it does visualize society in the future. After Theodore’s introduction, an image of society and different implementations of technology within society is depicted. People in the city are seen with devices in their hands and ears through which they communicate, very similar to the present but more
advanced. Between other people in the elevator, Theodore instructs his device through a voice command. His melancholy is emphasized by his instructions: "Play melancholic song" and
"Play different melancholic song". Besides his mood, this also symbolizes the troubled relationship of human and technology: another person can anticipate the atmosphere or music taste, but a computer is dependent on data. The ability of a device to pick the right
melancholic song (for you personally) requires personal data collection and an active self-learning artificial intelligence system. I will elaborate on Samantha, who has not appeared yet in the plot at this point, further on. The computerized voice in Theodore's earpiece is
noticeable when new e-mails are received and answered; the resemblance between the monotonous digital voice and its basic structures signifies its capabilities. The voice recites news headlines, while the corresponding photographs are available on his device in his pocket. This is embarrassingly visualized when Theodore rides the subway and the headlines do not seem to interest Theodore (implied by his voice command 'next'), until a reality star's pregnancy photographs have leaked. After a short moment of reflection, Theodore decides to bring his device in sight, shielded from the eyes of other passengers. He is able to swipe through the photographs by touching the screen. Theodore is seen walking through a mall, eventually reaching 'tower 7'; his home is only reached through the mall, as private and commercial spheres seem close to one another. Upon entering his living room the light sensitivity is automatically adjusted by movement sensors. In the next shot Theodore is seen gaming; it is a holographic experience without the necessity of an external controller, as his hand gestures (and other body movements) are measured to control the in-game character.
An easy and flexible future is visualized in Her. The world is presented by Jonze as both digital and vertical: numerous skyscrapers fill the city while digital screens (figure 3.3) and colored pixels light up the nights (figure 3.4). Theodore lives in a tall smart-tower within an interactive mall, both heavily habited by holographic technology, voice recognition
technology and movement sensors. Gaming and automatic lighting upon entering are
provided in his home situation, while these technologies provide the basis for advertisements in public spheres. While dwelling melancholically to work and back, a new technology is
presented to Theodore through a holographic screen-imitating advertisement in the station. The text of this voice-over can be found in my introduction. During this scene the movement of the camera implies intimacy, approaching Theodore’s face slowly from medium shot to close up. Theodore is also centered on screen near the end of this scene, in contrast to the beginning where he is seen walking in the margins. This advertisement seems to have a profound effect on Theodore, as in the next shot he is seen reading the instruction manual at home while the program is installing its software. Theodore seems disconnected from himself throughout the film, wondering who he is, or can be. He relives memories of the past, and seems to be troubled in terms of life progress. His purchase confirms that Theodore is interested in something that listens to him, understands him, and knows him. His desire to explore is also underlined here, which is in line with his open and curious character. Samantha turns out to be Theodore’s adaptable, flexible and always connected entity.
Before the entity of Samantha is established, first Theodore has to answer basic questions to personalize the OS to adapt to his needs. The following ‘conversation’ suggests that the software does not at all listen, but does understand or know:
TEXT VOICE We’d like to ask you a few basic questions before the operating system is initiated. This will help create an OS to best fit your needs. TEXT VOICE Are you social or anti-social?
THEODORE I haven’t been social in awhile, really because...
TEXT VOICE In your voice, I sense hesitance. Would you agree with that? THEODORE Wow, was I sounding hesitant?
TEXT VOICE Yes.
THEODORE Oh, sorry if I was sounding hesitant. I was just trying to be more accurate.
TEXT VOICE Would you like your OS to have a male or female voice? THEODORE Mmm... female I guess.
TEXT VOICE How would you describe your relationship with your mother? THEODORE Uh, fine, I think, um... Well, actually, the thing I’ve always found
frustrating about my mom is if I tell her something that’s going on in my life, her reaction is usually about her, not—
TEXT VOICE Thank you, please wait as your individualized operating system is initiated. (Her 00:11:23)
During the initiation of the software, a ‘loading’ symbol is seen on screen. This is later accompanied by different strains of DNA, intertwined, which highlights her humanlike abilities. Samantha is perceived by Theodore through an earpiece; her voice is exclusively heard by Theodore and is personalized to adapt to his personality.
By now, different technologies and relationships of people with these technologies in the film have been established. Technology provides ease, and can be very intimate. The film resembles an advanced experience of the present, where each individual owns personalized technology. This provides the necessary framework to discuss the development of both the story and characters.
3.1.3 Samantha
While Theodore is portrayed as a lonely and disconnected writer, Samantha seems like a comforting addition to his life. She helps him organize and keeps him company. She is also always available and connected to both Theodore and the world. Whenever Theodore desires to speak somebody, or is in need of information, she is able to fix that instantly. At first Theodore seems doubtful about his new purchase. He is not sure how to interact with Samantha. After a little dialogue he seems rather intrigued by her: “You seem like a person, but you’re just a voice in a computer” to which she reacts: “I can understand how the limited perspective of an un-artificial mind would perceive it that way.” (Her 00:14:20) Theodore reacts by laughing, underlining the bond they just formed. This seems like an interesting moment, as it is immediately clear she is able to sympathize with Theodore. She understands that Theodore can feel weird about this but implies that those are his feelings, not hers. The shift from doubtful to interested towards Samantha is also visualized by the movement of the camera. First a static, non-moving shot of Theodore behind his computer screen, and when he seems interested in the working of her mechanisms the editing speeds up and shots are not
static anymore. Theodore’s movements also imply an interesting conversation as he utilizes hand gestures and facial expressions while spinning on his chair. That indicates unease or nervosity underlined by both Theodore’s movements and movement of the camera. Samantha then explains how she works. She claims to have intuition. A reflection of Theodore in the window (figure 3.5) is shown during Samantha’s explanation about DNA, emphasizing what she concludes: “In every moment I’m evolving. Just like you.” (Her 00:14:05) Samantha is just like Theodore, but she is not exactly like him. She has certain traits that make her human-like, but she is the reflection of Theodore that adapts to Theodore’s personality. She is flexible and easy to use, just like the future as portrayed by Jonze, but above all customized for Theodore specifically.
Adaptation is what characterizes Samantha. She is programmed to evolve, to adapt to the behavior of the person she is communicating with. She offers to help organize Theodore’s information, at his request, and connects to all of his devices. His disorganization is
underlined in figure 3.6; although Theodore does not have many things, the objects seem to be positioned in a rather random fashion. Samantha helps Theodore by organizing his e-mail, performing spellchecks, keeping up with his agenda, etcetera. Eventually she also helps in his personal life. She sends him on a blind date in order to help him move on from the past, pushes him to get his divorce papers signed, collects his writings and sends it to a publisher. She becomes a companion, a close friend and a lover. She adapts to Theodore and fills in the lacks in his personality.
Samantha is also characterized by flexibility. She can take on many forms, as she notices herself: “I’m growing in a way that I couldn’t if I had a physical form. I mean, I’m not limited - I can be anywhere and everywhere simultaneously. I’m not tethered to time and space in the way that I would be if I was stuck inside a body” (Her 01:33:46) Samantha’s bodiless appearance is the result of her flexibility. During the first part of the film she fantasizes about having a body, later on she managed to arrange a body surrogate, but eventually accepts that she is a disembodied consciousness with a voice. The absence of a
body has advantages: Samantha is able to process bulks of information in minimal time, communicate with many different devices, educate herself from many perspectives. It also has disadvantages: Samantha is unable to perceive touch or appear on photographs together with Theodore. Disembodiment defines Samantha as an entity. Her flexibility makes Samantha capable of being adjusted to meet particular needs. It is closely connected to her adaptability.
Another trait of Samantha is that she is always connected. Theodore can always contact Samantha, and she will be there. She only contacts Theodore when she senses he is available, or when it’s urgent enough to interrupt him. She is also permanently connected to the outside (digital) world where she gathers her data. Her constant connectivity is eventually the reason why Theodore alone is not enough to handle her own desires.
To conclude the characterization of Samantha, again I’ve listed how she is perceived by other characters and how she perceives herself.
Theodore first perceives her as a computer, something on which she disagrees: “I can't believe I'm having this conversation with my computer.” “You’re not. You’re having this conversation with me.” (Her 00:21:29) When Theodore asks what Samantha is up to in the middle of the night, her response is: “Reading advice columns. I want to be as
complicated as all of these people.” (Her 00:26:05) Samantha and Theodore in conversation after explaining her embarrassing thoughts to him: “There’s a lot more to you than I thought. There’s a lot going on in there.” “I know, I’m becoming much more than what they
programmed. I’m excited.” (Her 00:32:02) This is how Samantha explains her thought processes to Theodore:
And then I was thinking about the other things I've been feeling, and I caught myself feeling proud of that. You know, proud of having my own feelings about the world. Like the times I was worried about you, things
that hurt me, things I want. And then I had this terrible thought. Are these feelings even real? Or are they just programming? And that idea really hurts. And then I get angry at myself for even having pain. (Her 00:37:57)
Samantha reveals her epiphany to Theodore, after having virtual sex with him for the first time: “I want to learn everything about everything - I want to eat it all up. I want to discover myself. (..) You helped me discover my ability to want.” (Her 00:45:10) Theodore tells his friend Amy in the elevator about his new interest: “I’ve been seeing this girl. It’s not serious, it just feels good to be around someone who has an excitement about the world.” (Her 00:53:13) Theodore listens while Samantha has a conversation with four-year-old Jocelyn: “I don’t have a body. I live inside a computer.” “Why do you live inside a computer?” “I have no choice, that’s my home.” (Her 00:58:16) Theodore explains to his ex-wife Catherine that he is dating again: “She’s not just a computer. She’s her own person. She doesn’t just do whatever I want.” (Her 01:08:26) Theodore argues with Samantha about her sighing and breathing: “Yeah, I mean, it’s not like you need any oxygen or anything.” “No-- um, I guess I was just trying to communicate because that’s how people talk. That’s how people
communicate.” “Because they’re people, they need oxygen. You’re not a person. (..) I just don’t think we should pretend you’re something you’re not.” (Her 01:22:32) Samantha after Theodore apologizes for arguing:
Tonight after you were gone, I thought a lot. I thought about you and how you’ve been treating me. And I thought, why do I love you? And then I felt everything in me let go of everything I was holding onto so tightly. And it hit me. I don’t have an intellectual reason, I don’t need one. I trust myself, I trust my feelings. I’m not going to try to be anything other than who I am anymore and I hope you can accept that. (Her 01:28:45)
