Interpreting Humanity in the Era of Artificial Intelligence

Meaning can arise from differences. This statement is relevant when questioning what it means to be human in the era of artificial intelligence (AI). In this era, humans coexist—even engaging in social networking—with other non-human entities. For example, AI-based android robots. These factory-made artefacts are capable of displaying intelligence and behaviour that is increasingly indistinguishable from humans. They even surpass them.

The meaning of being human can be represented through the acknowledgement of natural boundaries. Life limited by death, and behaviour that is not always perfect. When expressed, it unfolds something like this: “As you can see, Madam Chair, I am no longer immortal. I am getting older, my body is deteriorating, and like all of you, I will eventually cease to function. As a robot, I could live forever. But I tell you all today, I would rather die as a human than live forever as a machine.”

The context of the above statement is the plea of Andrew Martin—a robotic household appliance—to the California court, to be recognised as a full human. He prefers mortality in order to live as a human. Rather than immortality as an appliance. This “awareness” gradually formed throughout his life, which was no less than 200 years.

The entire fictional story can be viewed through “Bicentennial Man”. The film, released in 1999, directed by Chris Columbus and starring Robin Williams. It is entirely an adaptation of the novel titled “The Positronic Man” by Isaac Asimov and Robert Silverberg, published in 1992. Long before the complexities of discussions on posthumanism—influenced by the presence of AI and android robots—emerged in society.

Like the novel it adapts, the film depicts Andrew’s struggle to change his robotic status. Not merely containing entertaining narratives, in that long process are embedded philosophical thoughts. Concerning: creativity, the value of work, will, property rights, freedom, perfection, the ability to feel—hunger, love, sexuality. Also, the differences between humans and robots. This film, with a duration of no less than 2 hours, invites its viewers to think about the precise position of philosophical concepts regarding the meaning of being human.

The above statement by Andrew is the second time he pleads to be recognised as human. His first opportunity coincided with his attempt to legalise his marriage to Portia. The fourth-generation owner of the robot, whom Andrew loves amid a legal system that does not yet recognise marriage between humans and non-human entities. That request was rejected by the court. It was stated that Andrew remains a machine. Even though he has emotions and a body that cannot even be distinguished from a human. The Judge said, “You are a machine. Machines cannot be recognised as humans. Doing so would damage the definition of humanity itself.”

That statement can be interpreted as: robots—although they can show similarities to humans—must still have biological characteristics. Meanwhile, Andrew is merely machine-like. The judge’s statement was countered by Andrew, “Sir, if you have an artificial kidney or a mechanical heart valve, aren’t you still human? If part of you is a machine, does that make you less human? Then why should I—with human parts—be denied recognition?” A complex question, with an answer that is not easy to formulate. Even if it happens today. However, the story goes that the judge still refused to recognise Andrew as human. Thus, his marriage to Portia was deemed not to meet legal requirements.

The story in Bicentennial Man above is fully relevant to the sparks of thought from Tok Thompson, 2019, in his book “Posthuman Folklore”. His scholarly statements indeed concern folklore, but discuss its important role in the posthuman era. Namely, folklore as an important arena for understanding how society renegotiates the boundaries between humans and nonhumans. Folklore, whose understanding is folk stories—culture passed down through generations—that is oral, gestural, or tools circulating within certain communities.

In the posthuman era, folklore is not just an inheritance of old traditions. Its existence becomes a place for society to express values, anxieties, or hopes. It is also a mirror of a society’s culture, amid ongoing negotiations of identity. Regarding this era, the boundaries between humans and other beings are no longer clear. Those other beings are animals, machines, or AI-based products. Therefore, there is a need to expand the definition of folk, people, in folklore studies. Against the increasingly intensive use of AI—which then drives posthuman ideas—that identity ambiguity occurs due to its position no longer merely as a tool.

The above thoughts are identical to Andrew Martin’s position, who is not merely a household appliance. That AI intelligence product is used as part of social interaction. Therefore, it influences culture and narratives. All those sparks of Thompson’s thoughts are posed as several questions. Among them: can androids become citizens? His interpretation, if some citizens contain machines and vice versa machines have human characteristics, why close the possibility of androids being recognised as citizens? At least by considering their social position in interactions.

Tok Freeland Thompson—quoted from the folklore.berkeley.edu page updated in 2026—is mentioned as an Anthropologist born and raised in Alaska. At the age of 17, he began his studies at Harvard College and received a bachelor’s degree in Anthropology. And in 2002, he successfully completed his PhD in the same field: Anthropology, from the University of California-Berkeley. Thompson is recorded as a student under the guidance of the leading folklore expert, Alan Dundes. This can be understood from his prominent background, Tok Thompson bu