Neuromancer: Humans and Technology

Thesis:Technology-designed and used by humans? or Humans-cultured and manipulated by technology.

"'Shit. I don't need that. I need a gun. Like I maybe want to shoot somebody, understand?'"(14)

Case's desperation for a gun, demonstrates people's need of technology used for protection.

"Seven days and he'd jack in. If he closed his eyes now, he'd see the matrix"(37)

Case is anxious, and is already thinking about re-entering the matrix after not being able to for some time. Thus, illustrates people's addiction to technology.

"Program a map to display...outlines of hundred-year-old industrial parks ringing the old core of Atlanta..."(43)

Case even sees the outside world in a technological way.

"'Cyberspace. A consensual hallucination... like city lights, receding...'"(51)

The matrix described as a "consensual hallucination", again demonstrates machines controlling the minds of humans as humans seek escape from reality.

"It was disturbing to think of the Flatline as a construct, a hardwired ROM cassette
replicating a dead man's skills,obsessions, knee jerk responses"(76-77)

Technology can imitate human behavior?

" 'Wintermute, Case. It's time we talk.'...Each ran in turn, but only once, as he passed"(98)


"'Soon come, the Final Days ...'Call 'em Winter Mute..."

Show that communication between humans and technology can be reversed, where the AI can contact humans.

" 'I am the one who arranges things for Armitage...'"(120)

Wintermute controls Armitage?

"Nothing in the room looked as though it had been machine-made...handwoven fabric"(127)

Case feels awkward without technology.

"He extracted a rectangular object and passed it to Case...'but it's a weapon. It's a virus'"(130)

Humans are still in charge because they can implement viruses?

Neuromancer 001

Similar to many authors, William Gibson in the Neuromancer has an introduction phase where he introduces the reader to the lifestyle of the character’s of which the plot is revolved upon. Gibson’s descriptions however, are unique in that he uses an intensive vocabulary to describe objects which are in the setting rather than the setting as a whole or associate characters with objects than describe the person as a whole. “The sleeves of the blue zipsuit, had been ripped out at the shoulders” (page 9) as he describes Linda Lee. Gibson’s description does not necessarily depict the person through physical features, but rather through items that they hold or use. Thus allows, a shroud of mystery to cover these characters as well as rid them of the color of their skin.
With the addition of the 3rd person- subjective view of the narrator, these detailed images reveal more of the characteristics of the character. “Shin’s pistol was a fifty-year old Vietnamese imitation of a South American copy of a Walther PPK, double-action on the first shot, with a very rough pull. It was chambered for a .22 long rifle, and Case would have preferred lead azide explosives to the simple Chinese hollowpoints Shin had sold him” ( page 19). Often in the novel, the narrator would tell the reader about what thoughts a character may have on the subject matter without the character actually speaking. This gives the reader greater insight in areas where the object may not shed light. The gun here does not really suit Case’s likings. With long descriptions and short one-line dialogues, Gibson thus establishes an abstract setting alongside a physical setting.

Design: questions, tone, symbols, style

*Ting*, a double-sided coin is flipped; in the few seconds as it rotates about in the air to the point where the coin lands flat with one side facing up, can one tell whether it head or tails with one hundred percent confidence? This scenario evidently describes the concept of “random chance”, where although the outcome is always unknown, a process is always apparent. Scenario two, a man decides to build a house, after hard labor and a few years time, the house is built. This scenario describes “planned outcome”. Which of these govern our universe when it comes to living beings? This question is addressed by the poems, “Design” by Robert Frost and “The Tyger” by William Blake. Although both poems share the prevalent theme of intelligent design and both poets use similar styles, with each poet raising rhetorical questions throughout poising a seemingly ambiguous conclusion towards the question, Blake and Frost are in actuality subtly guiding the reader towards their beliefs, the speaker in Blake’s poem advocating for intelligent design while Frost’s advocates for random chance.

Both poets utilize rhetorical questions in their poem, however the content of the questions are highly different in accordance to their tone. In “Design”, Frost asks questions like “What had the flower do with being white?” when the flower is supposed to be blue, “What brought the kindred spider to that height?”(Frost line 9-11). These questions are stated with a tone of “I don’t know the answer because these events are all random”. Contrasting Frost, Blake’s questions are asked with the tone of “marvel”; “What immortal hand or eye Could frame thy fearful symmetry?” , “What the hammer? What the chain? In what furnace was thy brain?”(Blake, stanza 4 ,lines 1-2). These questions are those expressing fascination of God’s creation of the tiger. Questions like, “How did He do it?”, “What hammer did He use?” and “How did He make you so perfect?”. The difference then being Blake acknowledging that there is a God and that “He” could provide an answer to the question, whereas Frost’s questions are truly unanswerable as the events he ask of are due to “random chance” in his eyes. What is seemingly ambiguous is actually a tactic employed to subtly declare their beliefs.

Furthermore, it is not only the tone of the rhetorical question that declares’ the speaker’s positions, but the content of the rhetorical question themselves. For example, Blake asks “Did He who made the lamb make thee?”(Blake, 5th stanza line 4). The lamb is often referred to as a symbol of the Christian God for those who are unaware. The “H” in “He” is also capitalized, and that is another sign that “He”, must be referring to God, as it is like so in the Bible. Without this key line, we would not have known that Blake was talking about design in a naturalistic way, as in the creation of the tiger as a living being. Most would have assumed that the tiger was mechanical without this line, as other questions like “What the Hammer?” and “What the anvil?” makes it seem as though the tiger was man-made and artificial. In Frost’s poem, Frost purposefully placed the lines “What but design of darkness to appall? If design govern in a thing so small” (Frost, line 13-14) at the ending of the poem, as if to conclude his statements. As if to say that design is only a minute part of our life, which may not even exist in the macro world we live in. The line “Design of darkness to appall”, probably mean the limits and fear that Design plays on us, that is the thoughts of hell and devils possibly? Frost says we do not need the superstitions of heaven or hell through the use of this line.

Another subtlety by Blake and Frost is symbolism; straightaway, in both “The Tyger” by William Blake and “Design” by Robert Frost, a creature of the natural world are selected to act as a resounding symbol. Blake chooses a tiger “Tyger ,tyger, burning bright”(Blake, line 1), while Frost chooses a spider. “I found a dimpled spider, fat and white” (Frost, line 1). Here is where we see the two poets contrast. Spiders like most small creatures are hard to spot and in most occasions when spotted, the spider seemed to have appeared out of nowhere, let alone a “white” spider than the normal “black” coat that spiders usually have. These occasions therefore are so rare, that if it were to happen, it is as if it happened by random chance. On the other hand, the tiger often seen by society as a majestic beast; many people marvel at the sight of a tiger and many long to see one. The negative attributions associated with the spider and the positive attributions associated with the tiger, thus set and reveal the tone of the individual poems, where Frost has a tone of negativity towards “intelligent design”, and Blake having more of a positive attitude.

These symbols are not the only tools used by Blake and Frost to set the tone, other imagery and their choice of diction also suggest the same. In Frost’s poem, words such as “death”, “darkness”, and “appall” illustrates a much more negative tone than Blake’s “burning bright”, “immortal”, and “aspire”. Moreover, in Frost’s poem, “death and blight [are] Mixed ready to begin the morning right, Like the ingredients of a witches’ broth” (Frost, line 4-6). This image here again suggests “random chance” rather than that of a “designer” because why a designer would put items of death together, lest he create something as horrid like a “witches’ broth”. Yet Frost states that a “witches’ broth” is necessary to start the day right, thus perhaps random chance created it or a God that does not know what he is doing. In Blake’s poem, the tiger itself seems to be the creation and not just any creation, but one that seems to be perfect as the phrase “fearful symmetry” suggests; Contrasting Frost, Blake seems to praise God for his making of the tiger.

Though both poems share similar styles by asking rhetoric, and illustrating a distinct symbol, there are certain differences that make them unique. Frost uses iambic pentameter and a sonnet and this is somewhat more suitable than Blake’s villanelle. Frost’s objective was to present something common in the beginning and then dazzle the reader with a new perspective of the same ideas exhibited to them. The sonnet is thus most suitable where a Volta would allow for such a shift to occur. The villanelle is suitable to Blake because Blake desires to employ a tone of amazement. When one is amazed beyond belief, one tends to repeat phrases through the excitement. The villanelle with its unique style of repetition applies these effects.

While both Blake’s “Tyger” and Frost’s “Design” share a central theme of “intelligent design”, and seemingly never arrive at a conclusive answer. Both authors have strong opinions on the subject matter and do have opposing viewpoints, one advocating for “design” and another against “design”.

Intelligent Design:Frost and Blake's Intricate Creations

Intelligent Design has always been a controversial topic. In both “The Tyger” by William Blake and “Design” by Robert Frost, the idea of “Intelligent design” is the central theme for these two poems. Although both poems suggest opposing views, both poets use similar method; each poet uses a species of the naturalistic world to reverberate a resounding theme throughout the poem, and each poet also raises rhetorical questions throughout; poising a theme of ambiguity, Blake and Frost seemingly intends the reader to decide on their beliefs themselves, however is in actuality subtly guiding the reader towards their beliefs.

Similarly, while Blake starts off his poem with a Tyger, Frost starts with “I found a dimpled spider” (line 1). Then both poets go on to describe the creature: “[the tyger] is burning bright”, while “[the spider] is fat and white”. So far, both creatures are well off, having great characteristics attributed to them; “burning bright”, a picture of a tyger with a glowing aura comes to the reader’s mind, while the color “white” might represent purity, virtue, and all that is just. However, here is where Frost and Blake contrast. A white spider would look rather creepy, and the fact that it is a spider cannot be changed. Many people tend to fear spiders, while a tyger is the embodiment of majesties. We see this contrast in the choice of creature and the evident attributes society has for them, as well as the context of the poem. Blake seems intrigued by the creation of the tyger (“In what furnace was thy brain?”.), whereas Frost seems to see the spider “like the ingredients of a witches’ broth”(Frost , line 6). Blake clearly supports design, while Frost opposes it, although both try to mask themselves through ambiguous symbolism.

Additionally, not only do Frost and Blake hide under their symbols, they also hide within their rhetorical questions. “What immortal hand or eye Could frame thy fearful symmetry?” (Blake, Lines 3-4). Here we see immortal could be speaking about God and symmetry has a connotation of being perfectly shaped. Eventually, Blake reveals that he is talking about God when he asks “Did He who made the lamb make thee?”(Blake, 5th stanza line 4). The lamb is often referred to as a symbol of the Christian God for those who are unaware. The “H” in “He” is also capitalized, and that is another sign that “He”, must be referring to God, as it is like so in the Bible. By asking about symmetry, and referring to God, Blake seems to genuinely marvel at intelligent design, whereas Frost asks questions that he later on answers with just the tone of his diction.

Ex: “What but design of darkness to appall? If design govern in a thing so small.” (Frost, line 13-14).

Frost purposefully placed these lines at the ending of the poem, as if to conclude his statements. As if to say that design is only a minute part of our life, which may not even exist in the macro world we live in. The line “Design of darkness to appall”, probably mean the limits and fear that Design plays on us, that is the thoughts of hell and devils possibly? Frost says we do not need these superstitions in this line.

Both poets also use meter in their poems: Frost with iambic pentameter, often seen with sonnets, while Blake uses trochaic tetrameter in his villanelle. It is easily seen that the poems are organized starting with a description and ending with a series of questions. It is quite fascinating how two poets could have different views about a subject matter, yet use such similarly striking styles.

My Tribute to Big Boss

http://www.gamersgallery.com/gallery/watermark.php?file=74235&size=1

Known to many DC comic fans out there, Bruce Wayne is a multi-billionaire who after the loss of his parents, decided to become a vigilante of Gotham city. After a traumatic experience during the time when Wayne was a child, he had developed a fear for bats. Eventually, Wayne embraces this fear and made the bat the symbol of his crime-fighting, deliverance of justice; thus, the notorious Batman was born. This story in itself is already an “alternate universe”; not many billionaires become vigilantes in the everyday world. Bucky Sinister offers a more realistic version of Bruce Wayne, a version that will portray what a Bruce Wayne would be like if he were to exist in everyday life.

In Sinister’s depiction, evidently, Bruce Wayne is poor rather than rich, a hopeless romantic rather than a player of women. This is not surprising at all; much of Sinister’s portrayal could be foreshadowed. However, what is interesting is the way Sinister portrays Bruce Wayne more as a human, in which most people can relate. Bruce is not a symbol of justice, a rich, young handsome man with a hot body, but a drunk, friendless, depressed man with back pains.

Sinister seems to just portray what was already given to him and took it further. In the movies, Wayne had not many friends except his trusted butler, Alfred. I believed he was a consumer of wine, and a lonely man who believes in justice. We can already see that Bruce Wayne’s character, when not disguised as Batman was already in itself part of Sinister’s depiction. After all, Wayne’s loneliness and his sense of justice are why I can personally relate and the reason I am a Batman fan today. Sinister seems to just enhance Bruce’s flaws and although many Batman fans will be offended, I believe that some may accept it as a clearer picture.

In terms of literacy, at first glance, the poem was not really a poem, but more like prose. However, this is just one of the advance techniques that make it all the more a literary work. Sinister’s work is indeed literary as he uses literary devices such as imagery (“Bruce hobbles in.”). At the end of the poem, Sinister even uses a rhetorical question to raise ambiguity. “‘And in this other universe,’ he asks, ‘What are you?’ By this does Sinister mean that the speaker who is kind and caring is actually a villainous man? It is unknown. Sinister just utilizes short sentences and no set structure of a poem that makes it seem that it is not a literal piece of work, yet the work presents a problem and addresses it in the end just like how a sonnet would.

Tribute to Big Boss

This man is a soldier used as a tool
He claims not to be a hero.
His countenance resembles a ghoul

When it comes to combat, he is no fool
The ground where he trots become sterile
This man is a solider used as a tool

The death of a loved one caused him to lose his cool
Desolate, his number of friends amount to zero
His countenance resembles a ghoul

He no longer abides by the government’s rules
He tends to hide his SORROW
This man is a soldier used as a tool

There is no place he would go without his 9milimeter pistol
He lives just to see another tomorrow
His countenance resembles a ghoul

His life has been similar to a cesspool
Where his troubles are always so ample
This man is a soldier used as a tool
His countenance resembles a ghoul

I too DWELL in Possiblility!

When first glancing at the poem, one may already spot the numerous amounts of dashes, specifically the em-dash. The dash is a punctuation mark used as a way to connect two independent clauses; usually the clause coming after the dash expands upon the clause before the dash. By using the dashes in almost every line, Emily Dickinson seems to convey a chain of ongoing thoughts, each one of them linked to each other. Moreover, the em-dash could also be used as a way to emphasize a sentence, or to indicate that a speaker has been interrupted for a short amount of time.

In the poem, Dickinson seems to be envisioning a “house”, yet also alluding to writing styles like “Prose”.

“I dwell in Possibility—

A fairer House than Prose—“(lines 1-2).

She seems to say that Prose is inferior towards other types of writing, as it does not offer as much Possibility. “I dwell” then alludes to her.

In Dickinson’s case, she uses the em-dashes to connect the whole poem. Thus, any line may refer to another. For example, “Impregnable of Eye” was a thought on its own, surrounded by dashes on both sides; the thought of being” Impregnable of Eye” then can refer to either the “Everlasting Roof” in the line following the dash or to the “Chambers as the Cedars”, or even the “Doors of the Chambers”. The Doors may not even refer to the Chambers, but to the Windows maybe. Everything is unclear and ambiguous; demonstrating her point in that the possibilities in this form of writing are endless and very “impregnable to the Eye”.

Ex:

“Of Visitors—the fairest—For Occupation” (lines 9-10)

The thought “fairest” then can refer to the visitors that she receives or the Occupation/ house she dwells in.

Now, why did Dickinson also separate her work into 3 quatrains? She already has the dashes to connect the poem. To me, I believe it has to do with the last lines of the quatrains. Doors, Sky, and Paradise all convey a message of endless possibilities. The many doors, the limitless sky, and the different definitions of paradise all ending with the “—“further proves Dickinson’s point of no limits. Maybe there are lost quatrains within the breaks, maybe the Doors do not refer to the Chambers at all. Although “dwelling in a house”, or limited to the conventions of writing, Dickinson manages to make endless possibilities within these conventions.

Does Design Indicate a Designer?

http://scrapbooking.about.com/nkite.htm

http://www.flickr.com/photos/sankos/143520115/

Immediately after reading the first few lines, Robert Frost’s “Design” depicts three images: a spider, a moth and a heal-all (a type of flower I presume?). Furthermore, the color “white” seems to be associated to each of the three images early on in the poem. Later in the poem however, a more unnoticed, subtle but morbid theme of death and darkness is revealed as to have accompanied the images all along.

I believe Frost’s sonnet alludes to the overall theme of ignorance towards “design”. The title is Design, yet Frost only mentions “design” in the volta of the sonnet. Frost seems to say to the audience, design may only bring death “if design [only applies] in a thing so small” (line 14). Frost seems to praise “design” and tries to convince the reader to agree with his viewpoint. Frost also compares the white moth to satin cloth, dead wings to paper kites, as if to say that natural living beings are also designed. Perhaps Frost is asking for more appreciation towards the things that are “designed” in addition to designs being able to be applied at a larger scale than that of minute things like spiders and moths, satin cloth, or paper kites. There seems to be a large image of a “designer” in the sonnet; the “snow-dropped spider”, “a flower like a froth”, “dead wings and “paper kite”, seem to indicate that the spider, moth, and heal-all are all attributed as being light-weight “ingredients” that can be picked up at any time and tossed into a “witches’ broth” which seems to symbolize death as it connotes an uneasy image.

The organization of the paragraph is quite interesting in this poem. First, Frost presents the images as “white”; the color “white” is used quite often to symbolize virtue, cleanliness, purity, etc. Later in the poem, the whiteness of the images is in jeopardy of being stained as the “assorted characters of death and blight [are] Mixed ready to begin the morning right” (line 4-5). However, why does this have to be done to” begin the morning right”? This is still unknown to me. Even further in the poem, the second stanza to be exact, seems to be composed of questions and seems to accuse the reader of utilizing “design” to taint the once “innocent heal-all”, the “kindred spider”, and the “white moth”. Overall, Frost’s sonnet seems to advocate for the importance of design.