Answer:
1. One instance when D(ata), an android, appeared to exhibit emotion was when he was faced with the conflict of whether or not he should tell D(r.) J(uliana) T(anner) she wasn't human. He had a conflict of emotions and appeared to be experiencing empathy when he was told he could take away from J(uliana) what he had been wanting his whole life: to be human. In this case, it would have been okay if robots could feel and express emotion. However robots with emotions would be a negative advancement because there is a risk that if they experienced anger and that they would react dangerously, L(ore) is a good example.
2. I think that D(ata) made the right choice when he let D(r.) J(uliana) T(anner) continue to believe that she was human. Since D(ata) had always wanted to be human, I think he would have taken away from his mother the gift he wasn't given.
3. Though she demonstrates human traits, Dr. J(uliana) T(anner) still falls short of achieving humanity. One reason is that D(ata) knew that she wan't human before her identity was discovered by anyone else. This proves that she wasn't human enough, she still had some non-human flaws. Even if D(r.) N(oonien) S(oong) had made her without any flaws that could be detected at all, she still wouldn't have been human enough though. This was proved when she jumped of the cliff and hit her head. It cracked open revealing her true nature, and nobody would be able to look at her again without remembering that she was an android.
Brainly won't let people use names, so I had to improvise
Answer:
Typhoon Rammasun, known in the Philippines as Typhoon Glenda, was one of the only two Category 5 super typhoons on record in the South China Sea, with the other one being Pamela in 1954. Rammasun had destructive impacts across the Philippines, South China, and Vietnam in July 2014. Rammasun is a Siamese word for thunder god
Answer:
I would say c makes the most sense
The correct answer is D. The audience knows something the character or the characters don't.
This is a pretty common literary technique used in plays and its usage goes as far back as Ancient Greece. This is especially noticeable in tragedies where the audience knows what is being plotted while the main characters do not.
