David never had a choice, he just followed the initial set execution procedure. The robot goes to extremes in order to execute the program, and "love" is symbolized in its body. He believes that getting the company of Monica means getting "love". It is difficult for him to understand the control of emotions, let alone the progress and cessation of thinking. The symbolized love and real emotions and consciousness need to be clarified.
Emotions have a characteristic that presupposes the existence of a disposition that is not itself an emotion, and an emotion requires the existence of two dispositions, or a disposition and a de facto obstacle (Ryle, 1988). David's desire for maternal love cannot be called an inclination, but a procedural necessity; much less a de facto impediment, since it is difficult to articulate David's motives at the beginning of his search for the Blue Fairy.
In addition, emotions have special intentionality, one of which is self-transcendence. In the emotional process, the object appears in consciousness, and the subject "endows him with a new quality, which constitutes him in a new field. This quality is in a sense not an attribute of the object." It is inseparable from the elements of object, representation, cognition, affective structure, and activities that endow the object with affective meaning (Sartre, 1988). Emotions are imprinted in David's body as a program, and David only has artificially synthesized programs and hard drives, but he cannot master a series of abilities of thinking, cognition and immediate functions. Its ultimate task is to execute it, without touching the series of elements mentioned above.
At the beginning of David's creation, emotions were a pre-set calculation state for him, but the complexity of emotions was not handled and understood by people in the movie. Emotion is a “suitcase-like” word that we all use to mask the complexity of different things on a large scale, the interconnectedness of which we do not yet understand (Minsky, 2016).
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