In terms of communications, control, information, and government, the world of I, Robot portrays an altered and adapted form of society. This constant change and progression of technology throughout time has undoubtedly changed the way we are governed especially with the loss of power and information through VIKI. VIKI is the detrimental system that controls how society functions through statistics and its ever-expanding knowledge of humankind’s history. With this knowledge of our history, alongside technologies advancement, VIKI was able to evolve on its own manipulating the understanding of the “Three Laws of Robotics.” VIKI recognizes that we are heading towards a path of destruction so it acts in accordance with the First Law: A robot may not injure a human being, or, through inaction, allow a human being to come to harm. With VIKI in control of our information and communications, the future in I, Robot can be compared to the ideologies behind Paul Klee’s Angelus Novus.

Paul Klee’s angel is looking back at the past with his back turned to the future. Propelled by progress its wings carry him through history and time towards the future. What comes of advancement creates this sad undertone as mentioned in the presentations: progress, stakes, catastrophe, and capitalism. High stakes leads to the pitfalls of progress. This pitfall is in the form of artificial intelligence, which originated as a means of helping humanity. In the end, it goes above and beyond to help humanity from itself. The catastrophe left behind by capitalism through U.S. Robotics CEO, Lawrence Robertson and his ignorance of greed and power. Robertson fueled the advancement of technology building an empire at the same time aiding society. VIKI fed off of this capitalistic model and used Robertson as a pawn for the greater good of humanity. Through this VIKI leaves us with a grim yet peaceful utilitarian society where humankind is governed by technology. 

Benjamin, Walter. "Theses on the Philosophy of History." Illuminations: Walter Benjamin. New York: Schocken, 1978. 255. Print.