Saturday, November 27, 2010
Paradise Lost, gut response
What do I do? If I want to share some passages and insights that I have gained from Milton's epic, am I enacting Eve offering the fruit to Adam? Promethius... Persephone... how do you know good pursuits of knowledge from bad pursuits of knowledge? Is all knowledge evil? What are the limits? What are the loopholes? Is the pursuit of knowledge equivalent to the pursuit of a woman-- some original misconception, some mal-interpretation of intention? Both religion and reason have room for non-reason. You cant be a humanist and a Miltonist at the same time, can you? Can you be a literary theorist and a nun?
Tuesday, November 16, 2010
Clean House, gut response dialogue
: Clifford?
: Maybe.
: Just maybe? I love Clifford.
: What about Kevin?
Kevin? Kevin.
: Noooo! Noooo!
: Kevin! Kevin?
: No. Anything but Kevin.
: Why not Kevin? Kevin!
: Because it reminds me of dog food and bacon.
: Lord, Lucy. Tell me why Kevin reminds you of dog food and bacon.
: Well Kevin sounds like kibble, so theres that commercial kibble and bits... "kibbles and bits and mm mmm beefy bits!" ... and then bacon, well Kevin Bacon, obviously.
: Kevin Bacon.
: Yes.
: Kevin Bacon.
: Yes?
starts dancing towards Lucy
: We are going to name our son, Kevin Baconnnnn!
: Ew stop!
: Bacon bacon bacon bacon bacon bacon
They embrace
Monday, November 15, 2010
how does a cyborg die?
I had not thought of this before. In renaissance literature, humans and the physical world are seen as corrupt because their elements aren't mixed correctly. Consequently, they are mortal and subject to decay. On the other hand, ethereal beings are perfectly mixed and are thus eternal.
If a cyborg is built from replaceable parts, heals and grows from synthetic systems, and is immortal because of this, it either defies renaissance logic or is incorporated into the mental paradigm as a holy being. Whoever can kill a cyborg is probably a devil of sorts. Or someone who can unmix the balance... if that is possible. Descent into corruption and sin usually is depicted as a matter of choice and agency, not forced placement.
So. A cyborg dies by descending into human sin. Once tarnished and weakened by this transition, he is killed. He would be killed by simple violence-- off-stage, in the fashion of the Greeks. This is all fuzzy logic of course.
If a cyborg is built from replaceable parts, heals and grows from synthetic systems, and is immortal because of this, it either defies renaissance logic or is incorporated into the mental paradigm as a holy being. Whoever can kill a cyborg is probably a devil of sorts. Or someone who can unmix the balance... if that is possible. Descent into corruption and sin usually is depicted as a matter of choice and agency, not forced placement.
So. A cyborg dies by descending into human sin. Once tarnished and weakened by this transition, he is killed. He would be killed by simple violence-- off-stage, in the fashion of the Greeks. This is all fuzzy logic of course.
re-thinking
What I may secretly wish is that I take the alternate path: I struggle morally, psychologically, and mentally, but my struggles will spit me out in a place where everyone else has been all along, and that is somewhere safe. Does it count if I have this hidden intention? And do people subconciously build up conflict as a way to distract themselves from worse, bigger conflict? I think I know the answer to that question.
"We shall not cease from exploration, and the end of all of our exploring will be to arrive where we started and to know the place for the first time." --The Magus by John Fowles.
"We shall not cease from exploration, and the end of all of our exploring will be to arrive where we started and to know the place for the first time." --The Magus by John Fowles.
Friday, November 12, 2010
gut response, Translations dialogue
A: Sometimes I hear those sounds over the radio, and I get so frightened, especially when I’m alone. I switch the thing off, but that doesn’t always make me feel better.
B: You shouldn’t be afraid of music.
A: Well, if not music what should you be afraid of?
C: Its seems the literature and artistic endeavours of man will encapusulate some of his queries and miseries—can’t you be afraid of what you don’t know yet? Its what you fear that teaches you what you don’t know.
D: If you’re not scared, you’re not thinking.
C: Or is it the other way around?
E: I’d ruther be a brave fool anyhow.
D: And we love you for it, Beuford.
E: Damned pig robot should be scair’t of the things that he don’t understand. I’ll teach him to be.
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