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"But the problem with reincarnation is that it's hard to imagine what the storage medium for past lives would be. Not to mention the input-output device. I hesitate to rule it out completely, but I'd need pretty definite proof."
- Arthur C. Clarke
 |
| Robot Pianist | ||
| A robot learns the fine art of playing classical music on the piano. |
The Maestro instructs his robot Rollo (the Rolleindex Personal Robot, model M-3) in playing an unusual apparatus - the piano.
"No, not for yours, Rollo," the Maestro said softly. "Mozart and Chopin are not for vacuum tubes and fuses and copper wire. They are for flesh and blood and human tears..."
"I should like to be taught how to produce these notes on the piano. I request that you feed the correlation between those dots and the levers of the panel into my memory banks."
After the Maestro instructs Rollo, he goes to sleep, leaving Rollo at the piano. The Maestro awakens, hearing beautiful music.
"Mozart? Chopin?" The duralloy sphere that was Rollo's head shone stark and featureless, its immediate surface unbroken but for twin vision lenses. "The terms are not included in my memory banks."
| The light over the music rack was an eerie island in the brown shadows of the studio. Rollo sat at the keyboard, prim, inhuman, rigid, twin lenses focused somewhere off into the shadows.
The massive feet working the pedals, arms and hands flashing and glinting - they were living entities, separate, somehow, from the machined perfection of his body. |
| Technovelgy from Virtuoso,
by Herbert Goldstone. Published by Magazine of Fantasy and Science Fiction in 1953 Additional resources -
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| DIY Robot Scorpion Crushes It |
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'Our planes are going to start bringing in bales of discarded plastics...'
'... completely forgetting the ship at sight of the awesome figure and great head of the giant Gaut...'
'So, Ender, we will now begin your education.'
'What strange sensitivity! What an amazing development of science was manifested in every move and act and word of this Robot!'
'Forget the head atop it, the legs below, feet, arms, hands. It compels erasure.'
'That explains how it was so easy for me to remain motionless in midair or to perch on a flagpole in imitation of a giant bird, even in the windy city of Chicago.'
'The thirty-odd miles of The Factory’s circumference...'
'Wandering mines, you took them out on the edge of the desert, set them down and activated them.'
