One peticular motif that I find interesting is the way Gibson handles perception and unique points of view. For example, after the group retrieves the construct, there is a short scene in which Case convinces the construct that he is actually a construct. The theme of a true mind in a fake reality is rather ubiquitous, even in the local example of Neuromancer. However, the concept of a fake mind in a true reality is rarely explored in this manner. Gibson obviously shows this scene that is conducive to empathizing with Case, with details like “the sensatrion of someone reading over his shoulder”, but there is also enough details about Dix to give him character, even though the point of the passage is how Dix lacks true humanity. One cannot help but to try to empathize with Dix with all the details given about his thought process. We knew before that Dix is one of the best in his profession. We also see his speech is very informal. These colloquialisms in particular paint him as a “regular guy”. The way he responds to the name “Case” implies he has a lot of contacts and a sharp memory. The responses to Cases statements show he is on top of things despite his swearing.
Another interesting point of interesting perception is the simstim. The rather straightforward activities described in “simstim mode” are given an entirely new dimension, a new context in which to analyzes, with Case watching. Peticularly in the first bit where Case is first trying it out, the two points of view see the same thing in highly contrasting light.

Re: chiba city blues

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.

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.

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.

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.

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.

first~!

The title is probably too obscure even if you are familiar with Plato. In any case, I felt that this appropriate for this blog. Archaic words of wisom aside, I myself believe that fun and games are important. It’s an interesting observation that through the cutthroat crucible of evolution, “advanced” mammals are the ones that expend their precious calories on play. It would not be an absolute lie to say that a prominent life goal among my peers is to simply have fun.

Disclaimer: I probably accept this as true because it’s convenient for me.
Note: It might actually be true.
In any case:

I like to play games. Pen and paper games are endless entertainment. It takes so long to resolve a game like tic-tac-to compared to the time it takes to think of a minor rule change to turn everything upside-down.

Come on, there’s got to be another game theory buff out there somewhere, right….?
*cough*


Card games to me are the perfect embodiment of so many elements of life. The whole dynamic of each individual slowly sharing information in an order that most benefits them manifests itself from classrooms to political debates to “what were you doing last night?!”

There is also the competition aspect inherent in most games. I know some people thrive on the atmosphere of competition. There are people who love to sit in tournament and just soak it all in. The tension, the pressure, how where every single molecule of air is about to explode, some love it. I am not like that. What I do like, however, is the mindgames: that in order to win, you need to know your opponent. To “flip the chessboard”. To understand them deeply enough such that you can predict their actions. This is the knowledge that comes from playing, and not much else.