In the beginning there was only the Self, like a person alone … But the Self had no delight as one alone has no delight. It desired another. It expanded to the form of male and female in tight embrace and then fell into two parts…. She thought, “How can He have intercourse with me, having produced me from Himself?”
There’s quite a few “braids” in Spike Jonze’s HER. Just looking at a screen cap from the movie, it’s obvious that there’s purely visual messages, verbal ones, and even some post-verbal (transcendental?) ones.
1) Color, saturation, light. The use of pastel colors in the background and strong saturated hues in the protagonist = simple joy of being alive.
2) Remote interactions. With Skype, Facetime (video calls in general) and Facebook, Twitter (async communications), we’ve become accustomed to an always ON, always available contact, even if it has some limitations when it comes to interactivity.
3) Machines already beat us in most cognitive tasks (chess, Jeopardy), what form will their love take? Will it be multi-threaded, cloud-based, etc. Maybe it will be exclusive and permanent (Steven Spielberg’s AI).
4) What form should a relationship take. In the midst of the discussion of gay marriage, the conventions for what constitutes a relationship will be challenged. Is Samantha in love with the other 641 people as a female AI called Samantha? I don’t think so but it’s up to us to decide.
5) In one way, the movie is a response to Lost in Translation; it’s also a commentary on Spike Jonze’s relationship with Sofia Copolla, Lost in Translation’s Director. Consider that Scarlett Johansson is central to both movies – as a platonic ideal.