Cavern: a cave where soluble rock permits slow growth and change. This is a space where my conceptions of geek culture and media slowly evolve as I grow, consume, and mature. @JoeyDiZoglio
Sunday, November 14, 2010
SF Movie Concerns
Friday, November 12, 2010
Skyfaller
We Americans prefer action and adventure to pity and fear any day; directors must cleverly hide their tragic stories to reach the masses. George Lucas’ Star Wars saga is one grandiose story of redemption. The fifth movie in the story’s chronology, Episode V: The Empire Strikes Back, appears to follow the original Star Wars Episode IV: A New Hope, by creating a highflying space opera. Instead, director Irvin Kershner directly focuses on character development, “I like to fill up the frame with [the characters'] faces. There's nothing more interesting than the landscape of the human face." (Director’s Commentary). The movie baits the audience by opening as an epic then altering its style mid-way into a full-fledged Aristotelian tragedy.
As a technical sequel, Empire begins in medias res; the Empire and the Rebellion still play a galactic game of cat and mouse. After the rebels evacuate from Hoth, the story breaks into two simultaneous storylines: the shenanigans of the Millennium Falcon’s crew and Luke’s search for Yoda. Aristotle supports multi-faceted epic plot lines in The Poetics, “This has the advantage of giving grandeur to the poem, of affording a change for the listener, and of diversifying the poem with dissimilar episodes,” (52). Diversification is a major element to enjoying Empire. Kershner uses a variety of screen fades that capitalize on the dynamic scene changes from the insides of a space slug, to the bridge of a Star Destroyer, and then dark swamps of Dagobah.
The inklings of a tragedy appear once Luke crash lands onto Dagobah and begins training under Yoda. Before that, on Hoth, Luke plays the role of big shot hero and courageously leads the counter attack against the Imperial AT-ATs. When preparing for the defense of the base, we hear this dialogue, “DACK: Right now I feel I could take on the whole Empire myself. LUKE: I know what you mean.”. Luke arrogantly treats the battle as “just another day with the Rebellion”. The audience admires Luke’s bravery especially as he single-handedly destroys a walker. Luke’s combat and leadership superiority mimic the moral superiority of Aristotle’s tragic heroes. Once removed from the action however, his heroic pride starts becoming noticeably flawed as it clashes with his goal of becoming a Jedi Knight. Yoda, the exiled Jedi Master, identifies that hubris will not make a Jedi. Luke believes his hefty resume of anti-Empire actions is enough to prove his worth. The wise green one ignores Luke’s achievements, and responds:
“This one [Luke] a long time have I watched. Never his mind on where he was. Hmm? What he was doing. Hmph. Adventure. Heh! Excitement. Heh! A Jedi craves not these things. You are reckless!”
This recklessness appears all too soon when Luke tries to justify his decision to leave prematurely, “But I can help [Han and Leia]! I feel the Force!” but the spirit of Ben rebukes “But you cannot control it.” We see a well-defined Aristotelian hamartia when Luke leaves. He absolutely believes he can fix the problems at hand. Truth is, Luke can never comprehend how horribly unprepared he is.
Assured by both Yoda and Ben, the audience realizes Skywalker’s doom and yet they still support him as he ventures forth to Cloud City, literally “walking in the sky”. This mental duality produces dramatic irony that further builds the suspense during Luke’s clash with Vader. At the climax of the battle, Luke experiences the triple tragic blow: reversal, recognition, and tragic experience, all up to par with the Poetics. Losing his hand and light saber, Luke painfully falls from hero to Vader’s helpless victim. He also experiences the most tragic form of recognition, described as, “that which results from the incidents themselves in which the astonishment too results from what is probable.” (33), when Vader says, “I am your father.” Only the flow of the plot itself catalyzes this revelation, supporting Aristotle’s expectation that plot must control all other elements. Furthermore, Yoda’s earlier remark about Luke’s father causing Luke to respond, “Oh, come on. How could you know my father? You don't even know who I am,” amplifies the ironic recognition. In response to all the events conspiring against him, Luke’s actions remain true to his character as he rejects help from the Dark Side and falls down the central shaft.
Fitting for a tragic ending, Luke does not die. The scene of him grieving and hanging from the weather vane provokes a catharsis. As he holds on for life “pity is aroused by the plight of the man who does not deserve his misfortune.” (24). A boy who cares about his friends should not have his reality crash around him, and we see Luke in agony. Even after Leia and Lando save him, he never returns to his old farm boyself.
Sadly, Kershner breaks from the tragic frame, finishing with a dénouement that does not “result naturally from the plot” (30). Instead, the final scene implies the main characters have plans to “right the wrongs”. As a result, Skywalker’s personal tragedy gets sandwiched between the earlier epic and the resounding finale to the saga.
Saturday, October 30, 2010
Hyperion: Revisited with Keats in mind.
Sunday, October 24, 2010
I found my book
Friday, October 22, 2010
Begin the Countdown!
Tuesday, October 19, 2010
The Food Chain
Monday, October 18, 2010
Zany Picture
Sunday, October 17, 2010
My Philosophy Essay uses Star Wars
That's right, here it is.
E.F. Schumacher, a modern world economist, believes in the map of life. It is an instrument that can identify any object or idea you will encounter in your life. Each human’s map should have a safe, reliable path through any of life’s difficult problems, so the theory goes. But if the map itself is incorrect, then there is no way to safely move forward. In A Guide for the Perplexed, Schumacher wants to help modern day humans fix their maps to include a vertical dimension including landmarks and symbols outside of the field of science that our current maps lack. Once attained, then we can safely and accurately trek the countryside of life.
I noticed two distinct writing styles in Schumacher’s Guide: chapters of elaborate definitions regarding ontology and epistemology, and chapters when his economist creativity shines in the “Adaequatio” sections and “Two Types of Problems”. In the latter, he connects historic philosophies and metaphors with current human issues as easily as he may analyze the productivity of a corporation. In this dichotomy, Schumacher offers brick and mortar to readers such as myself in order for us to build a foundation and begin ascension into his well-defined vertical level. His overarching goal flows from Saint Thomas Aquinas’ belief that “The slenderest knowledge that may be obtained of the highest things is more desirable than the most certain knowledge obtained of lesser things.” (Schumacher 3). He is an engineer and I accept many of his blueprints for living my life to the maximum human potential.
***
My first instinct is to apply Schumacher’s ideas to the ever-important idea of entities greater than humans. I must tangle with the perfect being before I consider the human being. Schumacher’s talks about powers each that ontological level has. Plants, (m + x) have no sense of time, but many animals (m + x + y) have memories and learn from past mistakes. Humans (m + x + y + z) can anticipate future actions and events with some clarity. There is also the level of interaction with the world that matures from stimulus to instinct, and finally the z attribute of will, “that is the power to move and act even when there is no physical compulsion, no physical stimulus, and no motivating force actually present.” (Schumacher 28). To add another level, I extend Schumacher’s equation: m + x + y + z + Ω = god.
The Ω level is an absolute awareness, not just in the self, but also in the immensity of universe. The entity sees all instances of time simultaneously, removing all unknowns. Most importantly, “The progression from physical cause to stimulus to motivate to will would then be completed by a perfection of will capable of overriding all causative forces which operate at the four Levels of Being known to us.” (Schumacher 29). A god acts as he wants never as he needs. Note— I am hesitant to capitalize “god” because multiplicity of such beings are just as possible as a singular God entity.
Among my three years of high school, I have considered myself a young student of science. I enjoyed my biology, chemistry, and physics classes as well as participated in scientific research the past two summers. To maximize my senior year, I doubled up on science taking both AP Biology and AP Physics. Observing the current world over the past summer, science does seem to be the overwhelming force; any other belief system seems to be harassed endlessly as backward progression of man’s intellect. Schumacher anticipates my thoughts as part of the group of people
“who recognize the value and necessity of a “science of understanding” [yet] cannot resist the hypnotic power of the allegedly scientific picture presented to them and lose the courage as well as the inclination to consult, and profit from, the “wisdom tradition of mankind.” (Schumacher 56).
The feeling of forced hypnotism is an extremely descriptive concept, one I now sense during my daily life in the scientific community.
My case study is my relation to biology and grappling with definitions of life. My biology book tells me that life is a system of molecules that regulate themselves, create new copies of themselves, and change with each generation to better live in the environment. The book explains that organisms we see, from petals on a flower to a flying hawk, exist as emergent properties of molecular scale interactions (Campbell et. al). When Emergent property theories dominate biology, it simplifies life to a series of random chemical reactions that a cell stacks in its favor to remain functioning.
Schumacher gives me a different statement to observe life with his discussion of ontology, or chain of being consisting of: m, x, y, and z — mentioned above. His distinction is that the levels are ontological discontinuities or the difference in each successive step is absolutely distinct and harbors unique attributes different from lower levels (Schumacher). This ontological explanation is a throwback to vitalism, or the idea that there are unexplained forces that cause life to exist. Schumacher supports his idea; “There is nothing in the laws, concepts, and formulae of physics and chemistry to explain or even to describe such powers.” (Schumacher 16), yet I find that the vital “x-factor” is a massive proposition to accept in my mind. How can I accept a force I don’t see to have an affect on life I do see? On the other hand, to absolutely accept the biological emergent property explanation, there are unimaginably large series of probability statistics that obscure the “random formation and maintenance of life” argument.
The greatest problem that appears when I try support one of the above conclusions is their answers require a role reversal. The biologic randomness answer means that I indirectly have faith (which I define as supporting an idea with the will power derived from my z factor without other empirical evidence) in the universal laws of probability. I find this cop-out upsetting because of the power probability steals from the Ω-factor being(s). Albert Einstein sparks my unrest with his quote “I, at any rate, am convinced that He does not throw dice.” ("Albert Einstein"). Why should a being with the Ω-factor, whose will is the single most powerful force among all the ontological interactions, accept that actions in the universe occur without their conscious decision to do so? If Ω-factor beings have absolute will, they would not allow forces of probability to replace their absolute decision-making.
So now I try to accept Schumacher’s ideas of distinct levels of being. I know there are invisible forces, like radio waves and magnetic attraction, that science accepts. What about those that science does not accept? Just because we do not have the proper “eye” to see the unknown forces that affect the ontological levels does not automatically mean they do not exist (Schumacher). I find it is arrogant to assume that my species, spawned on one small planet in the outskirts of one galaxy must have all the organs to see all the forces in the galaxy. This extension means that the forces behind the ontological levels could exist without direct empirical evidence.
But I must stop. The above paragraph is logical, but that aspect, itself, means I have failed Schumacher’s original point. I am trying to use logic to explain phenomena even though he says, “life is bigger than logic.” (Schumacher 123). I cannot use logic to support his idea. Nor can I have faith in probability to support the scientific analysis of life. I am in paradox, but I feel comfort in Simone Weil’s statement that,
“a human being succeeds in making an effort of attention with the sole idea of increasing his grasp of truth, he acquires a greater aptitude for grasping it, even if his effort produces no visible fruit.” (Weil 107).
Wait, there are still other ways of thinking! I partially borrow this new idea from the concept of the Jedi philosophy in Star Wars. Obi-Wan Kenobi, an old Jedi Master inspired my thoughts, "The Force is what gives a Jedi his power. It's an energy field created by all living things. It surrounds us and penetrates us. It binds the galaxy together." (Lucas). This quote, applied to the Schumacher’s ontology implies that there is no energy that creates the levels of x but rather the x level creates its own energy. I find such a concept similar to the Quaker belief that, as a human, means I automatically have a sacred inner light. A concrete bunker with no plants has a different energy from a pasture; the feeling comes from the plant’s life itself. Furthermore, standing in an empty cathedral is different from standing there during a full Easter mass. Each entity in the ontological levels greater than m produces energy that human beings can sense.
Science and philosophy will continue to battle in my mind. I respect the understanding science gives me; its reasons for many of life’s events. I also agree with Schumacher’s hesitance to deluge the human mind with science. If I cannot side with their differences, I’ll accept what they agree on, life. I draw my conclusion from another source of science fiction. "If you need something to worship, then worship life - all life, every last crawling bit of it! We're all in this beauty together!" (Herbert)
Citations
"Albert Einstein." Wikiquote. Web. 17 Oct. 2010.
Campbell, N. A., & Reece, J. B., & Urry, L.A., & Cain, M.L. & Wasserman, S.A. & Minorsky, P.V. et al. (2008). AP Edition Biology, Eighth Edition. San Francisco: Pearson Benjamin Cummings.
Herbert, Frank. Quote from Paul Atreus, the Muad’Dib. Dune Messiah.
Lucas, George. Star Wars Episode IV: A New Hope.
Wednesday, October 13, 2010
A Quote and more
Monday, October 11, 2010
Halo: Reach reference
SF video games can't go wrong with some Star Wars themes hidden away. We cannot forget the hideously cheesy ion cannon in Starcraft 1's Terran finale ripped right out of Hoth's cold, frozen ground.
I present my theories on Reach's opening level, Winter Contingency. The architecture of the relay station circled below seems awfully familiar.
SF video games can't go wrong with some Star Wars themes hidden away. We cannot forget the hideously cheesy ion cannon in Starcraft 1's Terran finale ripped right out of Hoth's cold, frozen ground.
I present my theories on Reach's opening level, Winter Contingency. The architecture of the relay station circled below seems awfully familiar.
and
What other SF references lurk about the campaign?
Sunday, October 10, 2010
THX 1138
http://image.toutlecine.com/photos/t/h/x/thx-1138-1970-18-g.jpg
Just watched this dystopian sf and my friend pointed out how it perfectly melds with Socrates' Cave Allegory. In the beginning we see THX in the factory, lined up with other human beings all looking the same way. They are building robots (or androids), mere shadows of humans. They don't seem to care that they have such dangerous work. We quickly learn they use sedatives to keep their minds honed on the delicate mechanical labors. Once LUH gets the idea to stop taking the drugs, reality begins to take over, as does true emotion. This sparks desire to escape. We are then imprisoned in the white light limbo, a false escape. The sterile light is not the Truth. And yet THX does not have all the answers, it takes the insight of another to show us the next step. (And there is some humor to missing the blinking black spot in a world of white).
After various chase scenes we follow our hero to the brink of the city to where the monkeys live. (I forget their official name but they were primitive apes for sure). There is a sense of humanity degrading, a possibility that the entire escape was futile, perhaps the city is the only existence possible. Until we overload our preset criminal containment budget and climb the last cement tube. Behold, the True Light.
And now a word from our sponsors.
"You are a true believer. Blessings of the state, blessings of the masses. Thou art a subject of the divine. Created in the image of man, by the masses, for the masses.
Let us be thankful we have an occupation to fill. Work hard; increase production, prevent accidents, and be happy.
[or] Let us be thankful we have commerce. Buy more. Buy more now. Buy more and be happy." — OMM 0000
Friday, October 8, 2010
Exciting SF in the movie sphere
about this interesting movie
and the wikipedia site
http://en.wikipedia.org/wiki/Skyline_(film)
Admittedly, the trailer has a bit too much ironic humor with all the various vehicles getting destroyed once it seems they are safe. And yet I'm a sucker for interesting aliens. They seem to be cybernetic creatures, tentacled and layered with tendril components. Oh yeah, and they like the color blue.
Thursday, October 7, 2010
The humor in it all
In other news, my english teacher plans to have us write an essay on the Aristotelian components of a movie of our choice. Right now I'm considering either Star Wars episode 3, 5, or perhaps 2001: a space odyssey.
Tuesday, October 5, 2010
Unbelievable
Tuesday, September 28, 2010
Considering the etymology of units
Sunday, September 26, 2010
Halo: Reach, Legendary Campaign Gameplay Remarks
My rifle is my best friend.
It is my life. I must master it,
as I must master my life."
"Without me my rifle is useless.
Without my rifle, I am useless."
Halo: Reach, Campaign Discussion
Thursday, September 23, 2010
Productive Ecological Day
Monday, September 20, 2010
Local Ecological Upset
http://www.artsjournal.com/popcorn/Wild%20Turkeys.jpg
Saturday, September 18, 2010
Age and Aeons
Science is hip and modern but study about the ages, and literature that includes the past is a valuable part of human culture. While visiting Amherst College today, I had a run in with many objects of varying age and it really makes me think about how ancient the earth is.
Thursday, September 9, 2010
Five Short Stories of Quaint Fear
"The City", Ray Bradbury. A tale of an evil machine written with an archaic array of descriptions and imagery. You can find this in Bradbury's The Illustrated Man.
"I Have No Mouth and I Must Scream", Harlan Ellison. A nice contrasting tale also consisting of an evil machine. More modern and psychological themes present.
"The Hound", H.P. Lovecraft. The only Fantasy on this list. A classic demon dog tale but amplified by the strangeness xenophillic and antique loving hobbies of the main characters.
"The Hypnoglyph", John Anthony (a pseudonym for John Ciardi) Finding this gem will be the makings of miniature Odyssey but absolutely worth the effort. This story's namesake is an ingenious alien artifact and coupled with captivating prose.
Finally another Ray Bradbury story, "Pillar of Fire". Absolutely one of my favorite stories, not just in this list but in my grander library of fiction. In this world of cleanliness and Purell dispensers at every corner, it takes a zombie to remind us that dirt, fear, and ugly makes us human.
Monday, September 6, 2010
Inspirational Music Videos
I am particularly moved by the phrase, "A whole new glorious dawn awaits, not a sunrise but a galaxy rise." If that's not the definition of science fiction, finding that dawn in a book, then the genre can never be bounded by words.
Others
"We are all connected" - "I find it fascinating"
"Our place in the cosmos" - Notice Bill Nye the Science Guy, a hilarious way of putting emphasis on our incomprehensible smallness. Another favorite quote, "The beauty of a living thing is not the atoms that go into it but the way those atoms are put together."
THE SKY CALLS TO US.
Sunday, September 5, 2010
Alien compared to Aliens
We'll start with the singular Alien, setting; some gritty cargo spaceship and and for one part an uninhabited planet. The mystery factor a huge thrill ride when Cane discovers the field of hibernating eggs. The most important aspect is that the alien must escape from its host in a grisly manner. As much as its terrifying now, put yourself into the time period and realize that such a gruesome "birth" was a massive surprise to the first audience members.
The rest of the film follows Ripley and the crew as they try to survive against the invader. Plain and simple; human reactions to an unnatural enemy. The lack of light and space is absolutely detrimental to a human's natural abilities and scenes in the airducts ooze of claustrophobia. The only weapon available is Prometheus' gift. In addition, the discovery that "Ash is a robot" and the corporation considers the crew expendable completely destroy any sense of trust for the universe. In the end, Ripley escapes the ship with only Jonesy, a sylvan companion who will stand stand by the protag when the rest of space turns a cold shoulder.
James Cameron's sequel does not depend as much on the sci-fi setting but rather on the human interactions. Already, being 50+ years older can wreck havoc on your perspective of the galaxy. Using the allegory that the xenomorphs represent the feral, inhuman aspect of rape, the beginning scenes represent Ripley's inability to forget the terrifying monsters of her past. In addition, with the company ignoring her initial reports, she has no where to turn and lives a isolated life in an apartment complex. Agreeing to go on the expedition is only after trusting that she can get her old career back and hold hope of an attempted normal future.
Enter the marines. Classic science fiction reminiscent of Heinlein's troopers. On the planet, after a couple of interesting technology cinematics and the first alien encounter it becomes clear that training alone will not save you. It returns to ingenuity, Ripley's best resource. This time around, she is not as alone because of the discovery of Newt and the mother-daughter bond created. As the survival aspect of being locked up in the colony increases, the interactions between the humans becomes more important. Ripley needs to trust Bishop for the escape route (I would also say he represents a religious cleric who can help Ripley deal with all the rape, on a side note). Burke realized as a greedy corporate puppet and his supposed betrayal. And that one marine, the name evades me, who keeps having a break down about the inhumanity of their enemy and the hopelessness of the situation. Of course there is Ripley's lone venture into the hive center in the end but its the middle of the movie that comes alive with character development.Image via Wikipedia
As a conclusion, both movies follow the SF interaction between humans and nonhumans. Alien follows a more precise sci-fi "if-then" statement, "if an alien was in the ship what would the humans do?" with a great deal of unknown and darkness thrown into the mix. Aliens on the other hand, seems to have better character interaction, and slowly gives Ripley strength to save Newt and destroy the cause of her suffering and dreams alluded to in the beginning. Because of these redemptive qualities, Aliens is a more humanist approach of science fiction while Alien is content with discoveries and scares.
Related articles by Zemanta
Friday, September 3, 2010
An Enticing Enticement
Thursday, August 5, 2010
Curbed Joy and Minor Rantings on a Science Fiction Classic
Tuesday, June 22, 2010
Numbers
Below.
http://img1.fantasticfiction.co.uk/images/x0/x3479.jpg
It was enjoyable. It turns out many of math's roots stem from finger counting and the abacus. That was a truly ingenious invention. They should return them to grade school education as they provide visualization of all basic math.
In addition I was impressed with the later, advanced chapters. As being on the verge of taking BC calculus next year, I'm excited to see new ideas and concepts, particularly the ideas around infinity. I don't completely understand it but it is a logical first taste. And I'm still impressed with the information that "calculus" means pebbles in Latin.