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Some of the division is due to social and cultural factors: subfields have grown up around particular institutions and the work of individual researchers. AI research is also divided by several technical issues. Some subfields focus on the solution of specific problems. Others focus on one of several possible approaches or on the use of a particular tool or towards the accomplishment of particular applications.Thinking machines and artificial beings appear in Greek myths, such as Talos of Crete, the bronze robot of Hephaestus, and Pygmalion's Galatea.[13] Human likenesses believed to have intelligence were built in every major civilization: animated cult images were worshiped in Egypt and Greece[14] and humanoid automatons were built by Yan Shi, Hero of Alexandria and Al-Jazari.[15] It was also widely believed that artificial beings had been created by Jābir ibn Hayyān, Judah Loew and Paracelsus.[16] By the 19th and 20th centuries, artificial beings had become a common feature in fiction, as in Mary Shelley's Frankenstein or Karel . (Rossum's Universal Robots) Pamela McCorduck argues that all of these are examples of an ancient urge, as she describes it, "to forge the gods Stories of these creatures and their fates discuss many of the same hopes, fears and ethical concerns that are presented by artificial intelligenceAffective computing is the study and development of systems and devices that can recognize, interpret, process, and simulate human affectsIt is an interdisciplinary field spanning computer sciences, psychology, and cognitive science. While the origins of the field may be traced as far back as to early philosophical inquiries into emotion the more modern branch of computer science originated with Rosalind Picard's paper on affective computing A motivation for the research is the ability to simulate empathy. The machine should interpret the emotional state of humans and adapt its behaviour to them, giving an appropriate response for those emotions.Development of A.I. originally began with director Stanley Kubrick in the early . Kubrick hired a series of writers up until the mid-, including Brian Aldiss, Bob Shaw, Ian Watson, and Sara Maitland. The film languished in development hell for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would believably portray. In Kubrick handed A.I. to Spielberg, but the film did not gain momentum until Kubrick's death in . Spielberg remained close to Watson's film treatment for the screenplay. The film was greeted with generally favorable reviews from critics and grossed approximately $235 million. A small credit appears after the en