The first little bit takes place in a variety of settings characterized by their “dirtyness”. I am reminded of blade runner or other post apocalyptic sci-fis. Chiba is generally filled with cigarette smoke, “biz” and little details of how very technologically advanced this is and yet how everyone seems to be struggling to make a living. The “grubby” pink plastic arm, the back alley surgeons, the arcades are all examples of technology not being the shiny glittery savior in the future.
The office of Julius Dean are quite the contrast. Great pains are taken to emphasize how anachronistic it all is, but a lot of the impression of this place comes from Julius himself. Aside from the phenomenal wealth to stay alive for that long, as well as to support his passion of clothing, we learn that he himself has some experience of the street. His conversation with Case suggest so at least. But overall his effect on the environment is more stereotypical upper class British or the like. The “perfect knot” of his tie, the “very best” candy, and so on.
Lastly, we get the realm of Armitage. First the Hilton, which is described as spacious, luxurious, supplying coffee, etc. this change to cleanliness reflects Case’s own position of returning to his old life. The clinic seems to be a step above the various back alley ones previously mentioned.
The character of Molly is somewhat interesting in that by her very nature she transcends these boundaries. Work necessitates an affinity with the city, yet clearly there was a sizeable investment in the various prosthetic enhancements.
Cyberspace is not mentioned too much In this section. We do know that the experience is as pure consciouns, and it is described as a “hallucination”. Case seems to like drugs, so perhaps that has become his replacement for the experience of “jacking in”. Also from how Case treats the real worls we can learn something about cyberspace. Apparently merely being there gives one various freedoms of mind that are impossible when said mind is attached to a body. This seems to be Case’s primary complaint.
Wednesday, October 28, 2009
Monday, October 26, 2009
Re: an occurrence
The opening describes a very dramatic scene. By starting with the man on the precipice, both figuratively and literally, rather than by starting on section II, the reader gets a taste of action early. The images of a man bound on a bridge about to be hanged are more provocative than a job description of a civil war era gentleman. On the other hand, the point of view is completely passive. We get no immediate knowledge of Farquhar’s character. This vagueness has the effect of drawing the reader in. As the reader is fed little bits of information amidst such ambiguity, the reader wants to learn more.
The point of view transition near the end of the fourth paragraph is quite a contrast. The author describes various features of the scene, including how the prisoner has not been blindfolded, directly into a description of what the prisoner sees and subsequently what he thinks. With this, the reader develops a much more personal relationship with the prisoner. Up until this point, the reader sympathizes with the prisoner, particularly after the description in paragraph three, but the mechanical tone of the previous paragraphs seem to suggest that unfortunate inevitable outcome is merely the product of an event that occurred much earlier. In that sense, the execution is more of a formality than anything, and the condemned man is exactly that: condemned. This transition in point of view reflects the change from this attitude to the personal struggle of Peyton Farquhar.
In paragraph 9 of section III, there is another conspicuous change in point of view. There is the contrast between the incredibly personal internal imagery of the hot bullet against his skin to being called “the hunted man”. Because of this switch, the reader is forced to draw parallels from the beginning where this point of view is also used. The description of the soldiers working with mechanical precision in firing is certainly similar to their work ethic during the execution. The point of view casts the army in the roll of an entity that is just trying to do their job. However, after the recent struggle, this innocence seems to shift to cruel single minded efficiency. Additionally, moments like this could reflect the prisoners own state of mind. Under the extreme stress of the situation, it is likely that the prisoner is himself dissociating himself with his situation. it is rather ironic that this is in this point of view considering what we learn at the end of the story.
The point of view transition near the end of the fourth paragraph is quite a contrast. The author describes various features of the scene, including how the prisoner has not been blindfolded, directly into a description of what the prisoner sees and subsequently what he thinks. With this, the reader develops a much more personal relationship with the prisoner. Up until this point, the reader sympathizes with the prisoner, particularly after the description in paragraph three, but the mechanical tone of the previous paragraphs seem to suggest that unfortunate inevitable outcome is merely the product of an event that occurred much earlier. In that sense, the execution is more of a formality than anything, and the condemned man is exactly that: condemned. This transition in point of view reflects the change from this attitude to the personal struggle of Peyton Farquhar.
In paragraph 9 of section III, there is another conspicuous change in point of view. There is the contrast between the incredibly personal internal imagery of the hot bullet against his skin to being called “the hunted man”. Because of this switch, the reader is forced to draw parallels from the beginning where this point of view is also used. The description of the soldiers working with mechanical precision in firing is certainly similar to their work ethic during the execution. The point of view casts the army in the roll of an entity that is just trying to do their job. However, after the recent struggle, this innocence seems to shift to cruel single minded efficiency. Additionally, moments like this could reflect the prisoners own state of mind. Under the extreme stress of the situation, it is likely that the prisoner is himself dissociating himself with his situation. it is rather ironic that this is in this point of view considering what we learn at the end of the story.
Thursday, October 22, 2009
poetry in pop culture
http://www.thesimpsons.com/episode_guide/0203.htm
http://www.poets.org/viewmedia.php/prmMID/5735
http://www.scribd.com/doc/211203/3-South-Park-Haiku
Two rather different examples. The Simpson use poetry as yet another storytelling device, whereas the southpark example is using it as a higher class joke. Southpark has a habit of interrupting its violent, flatulent self with actual thought provoking ideas, so i hesitate to immediately call this example crass.
http://www.poets.org/viewmedia.php/prmMID/5735
http://www.scribd.com/doc/211203/3-South-Park-Haiku
Two rather different examples. The Simpson use poetry as yet another storytelling device, whereas the southpark example is using it as a higher class joke. Southpark has a habit of interrupting its violent, flatulent self with actual thought provoking ideas, so i hesitate to immediately call this example crass.
Wednesday, October 7, 2009
Re: all watched over
If one has the frame of mind that technology and nature are mutually exclusive, the poem could be interpreted as anti technology because of the general tone of sarcasm. The images he is presenting are so ridiculously contradictory; one must assume they are mocking. The parenthetical comments in particular are so enthusiastic, especially with their exclamation points, that irony seems to be the only explanation. Furthermore, rather than mention humans specifically, the poem references “mammals”, a term that seems to undermine human dignity. This is underscored by the title and last line which say that we will be “watched over by machines”, implying we are somehow subservient to them in a matrixesque sort of way.
Alternatively, the poem could be genuinely asking for a technology-facilitated return to nature. The idea that mentions that technology will “free” us of our labors is certainly old and generally accepted as truth. The fact that we need to “return” to our mammal brothers and sisters acknowledges that the ideals of the 19th century are well behind us. With respect to the phrase “it has to be”, the poem seems to indicate that with the trends away from nature continuing in the future, perhaps the only way to get back to nature is to embrace the aspects of our improving technology enough to help us in this goal. One might argue that recent trends in environmentalism are fulfilling this, as technology is driven towards being helpful to nature.
for me, the first approach to this poem seems more credible. Each parenthetical comment has the feeling of being insincere, weather by being outright sarcastic, or simply longing. It is difficult to imagine technology being either like pure water or clear sky. “spinning blossoms” invokes images of unwieldy, bulky processors that seem the furthest thing from nature. I would consider it a loss if nature had to change to such docility to live with technology.
Alternatively, the poem could be genuinely asking for a technology-facilitated return to nature. The idea that mentions that technology will “free” us of our labors is certainly old and generally accepted as truth. The fact that we need to “return” to our mammal brothers and sisters acknowledges that the ideals of the 19th century are well behind us. With respect to the phrase “it has to be”, the poem seems to indicate that with the trends away from nature continuing in the future, perhaps the only way to get back to nature is to embrace the aspects of our improving technology enough to help us in this goal. One might argue that recent trends in environmentalism are fulfilling this, as technology is driven towards being helpful to nature.
for me, the first approach to this poem seems more credible. Each parenthetical comment has the feeling of being insincere, weather by being outright sarcastic, or simply longing. It is difficult to imagine technology being either like pure water or clear sky. “spinning blossoms” invokes images of unwieldy, bulky processors that seem the furthest thing from nature. I would consider it a loss if nature had to change to such docility to live with technology.
Monday, October 5, 2009
Re: Design
Fat white spider
White heal-all
Spider holding a moth
Rigid satin clot
Morning light
Witch’s broth
Snow drop spider
Froth
Dead wings
Kite
Innocent flower
There are two contrasting types of images prevalent in this poem. Firstly, there are the images of death and decay centered on the spider and its prey. Secondly, there are the pleasant images of life concerning the flower. Firstly, there is the setting. Blooming flowers imply springtime. We are told that it is the morning. The poet encounters, of all flowers, a heal-all, a plant once prized for its curative properties, now valued for its general beauty.
This picturesque, perhaps cliché scene is marred by the greater part of the images in the poem. The spider is mentioned multiple times, most importantly with the adjectives “dimpled” and “bulbous”. This underlines the spider’s unusual anatomy, and in the context of the poem makes it seem alien or even obscene. The dead moth, wrapped in webbing is a powerful image of death. The two similes of the moth compare it to satin and a kite. One might expect more chilling comparisons than fabric and a toy, but considering another comparison, that of the scene to a witch’s brew, the satin and kite seem more appropriate. It underlines how exotic the scene is. The unique luster of satin is counterpoint to the organic surroundings, and emphasizes the spider’s distinctiveness. The kite simile, on the other hand, seems to be more of a testament to the moth as something that was once glorious in flight but is now not. It is notable that while the similes don’t reference directly disturbing items, they are both quite inanimate.
Having these contrasting images helps Frost when he eventually asks about the nature of”design”. If the imagery he had created had been completely consistent, it would be more of a stretch to ask if God has a strange sense of humor. As it is, however, the “witches potion” of contrasting imagery makes such a question more suitable.
Fat white spider
White heal-all
Spider holding a moth
Rigid satin clot
Morning light
Witch’s broth
Snow drop spider
Froth
Dead wings
Kite
Innocent flower
There are two contrasting types of images prevalent in this poem. Firstly, there are the images of death and decay centered on the spider and its prey. Secondly, there are the pleasant images of life concerning the flower. Firstly, there is the setting. Blooming flowers imply springtime. We are told that it is the morning. The poet encounters, of all flowers, a heal-all, a plant once prized for its curative properties, now valued for its general beauty.
This picturesque, perhaps cliché scene is marred by the greater part of the images in the poem. The spider is mentioned multiple times, most importantly with the adjectives “dimpled” and “bulbous”. This underlines the spider’s unusual anatomy, and in the context of the poem makes it seem alien or even obscene. The dead moth, wrapped in webbing is a powerful image of death. The two similes of the moth compare it to satin and a kite. One might expect more chilling comparisons than fabric and a toy, but considering another comparison, that of the scene to a witch’s brew, the satin and kite seem more appropriate. It underlines how exotic the scene is. The unique luster of satin is counterpoint to the organic surroundings, and emphasizes the spider’s distinctiveness. The kite simile, on the other hand, seems to be more of a testament to the moth as something that was once glorious in flight but is now not. It is notable that while the similes don’t reference directly disturbing items, they are both quite inanimate.
Having these contrasting images helps Frost when he eventually asks about the nature of”design”. If the imagery he had created had been completely consistent, it would be more of a stretch to ask if God has a strange sense of humor. As it is, however, the “witches potion” of contrasting imagery makes such a question more suitable.
Subscribe to:
Posts (Atom)