Posts Tagged ‘literature’
“The clearest way to see through a culture is to attend to its tools for conversation”*…
Matt Pearce revisits Neil Postman‘s 1992 Technopoly: The Surrender of Culture to Technology…
In the 1960s, a German-American computer scientist named Joseph Weizenbaum coded an early version of today’s AI chatbots. Weizenbaum called his program ELIZA, after the “My Fair Lady” character Eliza Doolittle who takes speech lessons (and gets better).
How people reacted to Weizenbaum’s crude creation tells us almost everything we need to know about AI hype more than half a century later.
ELIZA could hold basic “conversations,” including playing the role of a psychotherapist with real human users. [In the example above, ELIZA’s responses to one woman are shown in capital letters.]
Anybody with a cursory awareness of recent headlines about AI romances and AI psychosis already knows where this is going. ELIZA’s human interlocuters in the 1960s, despite talking to a clunky machine they knew had been programmed by Weizenbaum, refused to believe that they were talking to a mere machine. His secretary, having watched him build the contraption over several months, after just a few exchanges with ELIZA, asked Weizenbaum to leave the room so she could have some privacy.
Weizenbaum, exhibiting a bit of Freudian sangfroid about all this, was not surprised to see people form emotional attachments with inanimate objects. He’d already seen people get attached to their cars or guitars or computers. But “what I had not realized is that extremely short exposures to a relatively simple computer program could induce powerful delusional thinking in quite normal people,” Weizenbaum wrote in his 1976 book “Computer Power and Human Reason: From Judgment to Calculation.”…
… I learned about Weizenbaum’s ELIZA experiment from Neil Postman’s 1992 book “Technopoly: The Surrender of Culture to Technology,” a work of technoconservatism that, like Weizenbaum’s writings, was imbued with foresight about our struggles with today’s vastly more powerful technologies.
Consider this passage from Postman’s “Technopoly”:
In a technocracy, tools play a central role in the thought-world of the culture. Everything must give way, in some degree, to their development. The social and symbolic worlds become increasingly subject to the requirements of that development. Tools are not integrated into the culture; they attack the culture. They bid to become the culture. As a consequence, tradition, social mores, myth, politics, ritual, and religion have to fight for their lives.
Technology, attacking and taking over the culture? Bending society to its own imperative for advancement? In my United States of America? Postman (most famous for writing “Amusing Ourselves to Death”) thought the U.S. was the world’s first “Technopoly,” a society marked by “the submission of all forms of cultural life to the sovereignty of technique and technology,” where information itself has become a form of pollution.
To Postman, “the milieu in which Technopoly flourishes is one in which the tie between information and human purpose has been severed, i.e., information appears indiscriminately, directed at no one in particular, in enormous volume and at high speeds, and disconnected from theory, meaning or purpose.”
Neil Postman wrote “Technopoly” before the introduction of ChatGPT and Sora; TikTok and YouTube; Twitter and Facebook; Google Search and the Netscape browser. Postman wrote the book before Windows 95 existed. A philosophy of technology that mostly holds up through successive eras of technical revolution has already passed time’s first test, which is for the philosophy to outlive the philosopher. And Postman’s philosophy is ultimately conservative, motivated by the desire to preserve the traditions of humanism, social cohesion and a shareable sense of collective history.
Technoconservatism was old before it was new. Postman quotes Plato’s “Phaedrus,” where Thamus warns that whoever learns writing (one of our first dangerous technologies) “will cease to exercise their memory and become forgetful” and “will receive a quantity of information without proper instruction, and in consequence be thought very knowledgeable when they are for the most part quite ignorant.” And Postman, to his credit, is like — well, yeah! Writing really did that. A new technology is neither good nor bad, but ecological: it “does not add or subtract something. It changes everything. In the year 1500, fifty years after the printing press was invented, we did not have old Europe plus the printing press. We had a different Europe.”
In previous generations, societies dealt with information revolutions (which always produced information gluts) by creating institutions that prioritize “good” information and deprioritize the bad; think about schools with their organized curricula, courts with their standards of evidence, newspapers with their party lines or codes of journalistic ethics. But Postman notes that we got lucky after the Gutenberg revolution, when information technology’s development slowed down long enough for societies to catch up and be excellent:
From the early seventeenth century, when Western culture undertook to reorganize itself to accommodate the printing press, until the mid-nineteenth century [with the invention of the telegraph], no significant technologies were introduced that altered the form, volume, or speed of information. As a consequence, Western culture had more than two hundred years to accustom itself to the new information conditions created by the press. It developed new institutions, such as the school and representative government. It developed new conceptions of knowledge and intelligence, and a heightened respect for reason and privacy. It developed new forms of economic activity, such as mechanized production and corporate capitalism, and even gave articulate expression to the possibilities of a humane socialism. New forms of public discourse came into being through newspapers, pamphlets, broadsides, and books. It is no wonder that the eighteenth century gave us in the work of Goethe, Voltaire, Diderot, Kant, Hume, Adam Smith, Edmund Burke, Vico, Edward Gibbon, and, of course, Jefferson, Madison, Franklin, Adams, Hamilton, and Thomas Paine. I weight the list with America’s “Founding Fathers” because technocratic-typographic America was the first nation ever to be argued into existence in print.
Contrast the luxuriously slow social pace of the Gutenberg era with today’s information development timelines. Over the course of three decades, we’ve seen the rise and now-decline of the open web; the rise and now-decline of social media; the rise of short-form video and the rise of chatbots and synthetic information. All created enormous economic and philosophical disruptions whose fundamental impacts you can’t get a group of people in a room together to describe accurately. Among the disruptions: These increasingly efficient forms of sharing information keep encountering falling test scores; universities are trying to implement AI as their own students use it for cheating or boo the tech at their graduations; people are falling in love with their chatbots, which sometimes tell their users to kill themselves. A society that wants to understand itself probably wouldn’t act like this…
Read on for how we might — dare one suggest, should— act: “A society that wants to understand itself probably wouldn’t act like this,” from @mattdpearce.com.
Compare to/contrast with with Yuval Avnar‘s riff on Pascal’s musing on the implications of his invention, the “arithmetic machine” (an early, if not the first, modern mechanical calculator): “The Inventor of the Thinking Machine Didn’t Worry. Neither Should You.“
* Neil Postman, Amusing Ourselves to Death: Public Discourse in the Age of Show Business
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As we introspect, we might send pointed birthday greetings to Ambrose Bierce; he was born on this date in 1842. His satirical lexicon The Devil’s Dictionary was named as one of “The 100 Greatest Masterpieces of American Literature” by the American Revolution Bicentennial Administration. His story “An Occurrence at Owl Creek Bridge” has been described as “one of the most famous and frequently anthologized stories in American literature”; and his book Tales of Soldiers and Civilians (also published as In the Midst of Life) was named by the Grolier Club as one of the 100 most influential American books printed before 1900.
A prolific and versatile writer, Bierce was regarded as one of the most influential journalists in the United States, and as a pioneering writer of realist fiction. For his horror writing, Michael Dirda ranked him alongside Edgar Allan Poe and H. P. Lovecraft. S. T. Joshi argues that he may well be the greatest satirist America has ever produced, and can take his place with such figures as Juvenal, Swift, and Voltaire. His war stories influenced Stephen Crane, Ernest Hemingway, and others; and he was an influential and feared literary critic. In recent decades Bierce has gained even wider regard as a fabulist and for his poetry.
In 1913, Bierce told reporters that he was travelling to Mexico to gain first-hand experience of the Mexican Revolution. He disappeared over the border and was never seen again.
Apropos the piece featured above:
TELEPHONE, n. An invention of the devil which abrogates some of the advantages of making a disagreeable person keep his distance.
– The Devil’s Dictionary
“A simile is just a metaphor with the scaffolding still up”*…
Russell Samora has been fooling around with figures of speech; with his colleagues at The Pudding, he’s fielded a fascinating analysis of of that comparative workhorse, the simile…
Similes are all around us. But, if you haven’t considered this figure of speech since grade school, here’s a refresher: similes compare a shared quality of two things, often using “like” or “as.”
I pulled every simile in the form “as ___ as ___” from tens of thousands of fiction books for the top 500 most common adjectives… I thought it would be a trivial exercise, but the more I poked around, the more questions I had…
Samora explains how similes are structured and how they are used (and with what relative frequency) in literature. He examines some of the most common– and several special cases (“The Ironic Ones”). And he explains his methodology and sources… all in the context of a lovely interactive data visualization.
It’s as cool as hell: “Comparisons as Predictable as the Sunrise,” from @pudding.cool.
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As we agree with Steve Martin that “a day without sunshine is like, you know, night,” we might recall that it was on this date in 1789 that Richard Kirwan published his essay in support of the phlogiston theory (the belief, that dates to alchemical times, in the existence of a fire-like element (dubbed “phlogiston”) contained within combustible bodies and released during burning. Kirwan was among the last of its advocates.
A well-regarded scientist in the late 18th and early 19th centuries, Kirwan met and corresponded with Black, Lavoisier, Priestley, and Cavendish. Indeed, while scientific history remembers him as a defender of an incorrect theory, his work probably spurred Priestley and Lavoisier, who respectively discovered and named the actual elemental agent of combustion, oxygen.
But Kirwan is also remembered for a personal eccentricity (one of many) that led to some referring to him (all too poignantly) as “crazy as a bed bug”: he hated bugs (especially flies). Kirwan paid his servants a bounty for each one they killed.
“Sex and death are the only things that can interest a serious mind”*…
As Greg Woolf observed, “The Epic of Gilgamesh is one of the earliest examples of what is sometimes termed a “Mirror of Princes,” a book that illustrates the conduct of both bad and good rulers, and makes clear the difference between them.”
Nicolas Liney reviews a new verse translation of the 4,000-year-old text by Simon Armitage and considers its remarkable power, its extraordinary history, and its profound relevance to our moment…
There are two stories of Gilgamesh, the ancient Mesopotamian epic written in the second millennium BCE. First, there’s the story of Gilgamesh himself, the semidivine king of Uruk. He is 11 cubits tall and four cubits from nipple to nipple (roughly 16 by six feet). He is hyperactive and priapic. He is not a good ruler. The gods create the wild Enkidu out of clay to keep him in check. The pair clash mightily, and then become inseparable. Restless and hungry for glory, they journey to the Forest of Cedar to defeat the monster Humbaba. Then they slay the Bull of Heaven sent by Ishtar, the god of sex and war whose advances Gilgamesh rejects. The gods deem that Enkidu must die, and so he does, slowly and unheroically. Gilgamesh watches over Enkidu’s body until a maggot falls from his nostril, a fantastically intense image that drives home death’s finality.
At this point, the register of the poem shifts, and Gilgamesh’s triumphs are replaced by sorrow and an overwhelming awareness of his own mortality. Alone and anguished, he journeys to the underworld to visit Uta-napishti, the immortalized survivor of a cataclysmic flood, intent on unlocking the secret to eternal life. Inevitably, he is disappointed and returns to Uruk. Gilgamesh is an epic about power, about self-knowledge, about passionate companionship and the unquenchable pain of its loss. Fundamentally, it is an epic about death. Rilke labeled it “das Epos der Todesfurcht”—the epic of the fear of death—and this is what gave it its vital appeal: “It concerns me,” he confessed. “Thousands of years later death is no less bewildering to humankind,” the poet Simon Armitage says in the introduction to his new translation of the epic; “there is no more relatable subject.”
The second story of Gilgamesh is about the text itself, one of the world’s oldest surviving long-form poems. Like Homeric epic, its roots are most likely oral, and questions of authorship are futile. The earliest version was a Sumerian cycle of five poems from around 2100 BCE, probably part of a larger group of stories about the heroic dynasty of Uruk. Sumerian eventually died out, and the five episodes were replaced by one unified version in Akkadian. This was recorded in cuneiform script, often carved in clay tablets, and spread throughout Mesopotamia and the Levant. Sometime between 1300 and 1000 CE, a man called Sin-leqi-unninni created a heavily revised edition organized into 11 “tablets”—referred to now as the Standard Version—which was copied widely and included in the great library of Ashurbanipal, the Assyrian king, built in Nineveh in the seventh century.
And then … silence. By the new millennium, Akkadian was a defunct language, and Uruk and Nineveh were in ruins. As far as we know, Gilgamesh was not translated into other writing systems, so when cuneiform fell out of use, the epic seemed to go with it. For centuries it slept, until the Library of Ashurbanipal was discovered by Austen Henry Layard and Hormuzd Rassam in 1850, and what documents could be recovered were transported to the British Museum. Cuneiform was eventually deciphered, and in 1872, George Smith, an assistant curator working on the archive, came across a fragment of the epic describing a great flood—similar to the one in the Book of Genesis,but in a work significantly older than the Bible. This was too much for Smith, who began stripping his clothes off in excitement: “I am the first man to read that after more than two thousand years of oblivion.”
Critics like to say that Gilgamesh is both incredibly old and refreshingly young. Its sheer age staggers—for comparison, just try to imagine a current novel being rediscovered in the year 5120 CE. As a quasi-historical figure, Gilgamesh was considered by Babylonians to be even older: the Sumerian King List,a chronographic record,hyperbolically places his reign in 7800 BCE. Within the world of the epic itself, time reaches back further still: when Gilgamesh meets Uta-napishti, the Noah-type figure who survived the flood long before Gilgamesh, even he can speak of an “ancient city,” Shuruppak, on the banks of the Euphrates. The epic constantly forces us into these dizzying loops of deep time, forces us both to drastically exceed the limits of our brief lifespan and to be persistently reminded of them.
But Gilgamesh’s comparatively recent reentry into the modern imagination makes it feel fresh, not overburdened by centuries of interpretation and adaptation, like Homer or Virgil, and firmly outside Western literary traditions. There is no first looking into Chapman’s Gilgamesh.This can be dangerous for translators and adapters: there’s an urge to treat the epic like a blank canvas, to make it say something relevant to contemporary concerns, which can strip it of its strangeness and also cut it loose from its Iraqi heritage. But the subject matter of Gilgamesh also seems undeniably contemporary: how could a story about ecological destruction, poor leaders, and misogynist alphas not concern us here and now?…
Eminently worth reading in full. A classic which has survived, against all odds, and what it offers us today: “The Epic of the Fear of Death” from @lareviewofbooks.bsky.social.
* William Butler Yeats
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As we reach back, we might recall that it was on this date in 2004 that the discovery of what was (and is) believed to be the world’s oldest seat of learning (dating from 295 BCE), the Library of Alexandria, was announced by Zahi Hawass, president of Egypt’s Supreme Council of Antiquities during a conference at the University of California. A Polish-Egyptian team had uncovered 13 lecture halls featuring an elevated podium for the lecturer. Such a complex of lecture halls had never before been found on any Mediterranean Greco-Roman site. Alexandria may be regarded as the birthplace of western science, where Euclid discovered the rules of geometry, Eratosthenes measured the diameter of the Earth and Ptolemy wrote the Almagest, the most influential scientific book about the nature of the Universe for 1,500 years.
See also: “Oldest University Unearthed in Egypt“
“Everything is ephemeral, both that which remembers and that which is remembered”*…
Sally O’Reilly on “gray literature,” why it fascinates her… and how an early “AI” attempt to harvest it misses the mark…
In my modest collection of gray literature, the specialist title that comes closest to a blockbuster is Jean Aspin’s Vaginal Examination: A Unique Pocket Guide (ca. 1980s). Or perhaps it’s Dovea Genetics’s Beef Directory (2014).
Aspin was a community midwife in Luton and Dunstable University Hospital’s maternity wing. Her pocket guide is a well-produced, ring-bound, wipe-clean, tongue-shaped booklet, published by the baby milk company Cow & Gate. Its Latinate lists, labeled diagrams, and die-cut holes of increasing diameters, representing vaginal dilation, step a midwife through the assessment of fetal skull position during labor. The Beef Directory promises “Rock Solid Beef Genetics.” It peddles not anonymous meat but the sperm of individual bulls with names that sound like variety acts: Tonroe Lord Ian! Utile Ben! Virginia Andy! Vagabond! Mornity Handyman! Pinocchio! Seaview Tommy! Atok Socrates! Kilowatt D’Ochain! Immense D’Yvoir! It is richly illustrated, suitably glossy, and a chilling ode to muscle. (Behold the bulging rumps of Belgian Blues!)
Among the most niche in my collection of niche titles is the UK Ministry of Defence’s Corrosion: R.A.F. and A.A.C. Aircraft (1966), a bone-dry primer on the control, rectification, and treatment of nine types of corrosion. The Kent County Constabulary’s booklet Special Constabulary Inter-Divisional Competition (1971) is possibly the least read of all. Copied from typewritten documents, with hand-drawn diagrams, and stapled between two pieces of medium-weight red card, the booklet was produced “to enable officials and spectators to follow the progress of the Competition and the fortunes of the teams” during a public event at a Kent police station.3 Fun-seekers watched on as teams, comprising police officers from different divisions within the county, underwent an inspection of uniforms and accoutrements, competed in a quiz, and responded to a hypothetical incident at a demonstration involving a vicar, an unconscious policeman, a drug-addled youth, and an old man with a loaded shotgun.
Gray literature is a diffuse genre. Informational at base, its tone might tend toward bouncy sales patter or flinty authoritativeness. Visually, it ranges between perfunctory pragmatics, rickety flamboyant amateurism, and the polish of corporate comms. The most reliable way to identify an item’s grayness is by its function and milieu. According to the 2010 Prague definition, established at the 12th Annual Conference on Grey Literature and Repositories,
Grey literature stands for manifold document types produced on all levels of government, academics, business and industry in print and electronic formats that are protected by intellectual property rights, of sufficient quality to be collected and preserved by library holdings or institutional repositories, but not controlled by commercial publishers i.e., where publishing is not the primary activity of the producing body.
Gray literature does not have the market or cultural value of a novel or textbook. It is not an end in itself, but facilitative paraphernalia of some other endeavor—midwifery, policing, animal husbandry, war. This vicariousness, and its heterogenous forms, makes it notoriously difficult to place in library catalogues. Should a practical primer on the mitigation of corrosion in airplanes be placed under Dewey Decimal class “671: Metalworking & primary metal products,” “387: Water, air & space transportation,” or “358: Air and other specialized forces”? When a bull sperm directory is a matter of genetics, food production, and commerce, which can it be said to be about? Gray literature isn’t made with libraries or bookshops in mind. It strides out into the world to do an honest day’s work. None of this hanging around on hushed shelves waiting to impart knowledge in the abstract. It’s got sperm to tout, babies to birth, aircraft to maintain, a policed public to mollify.
I find these publications compelling by their very existence and, for the most part, unreadable. Their content slides off my mind. Gray literature’s high and narrow window onto specialist processes is anathema to traditional general-interest non-fiction publishing, which delivers information like a tap dispenses safely managed water—filtered, chlorinated, and piped into your very own quarters. Gray literature is a sploshing bucket of someone else’s water, murky with unfamiliar vocabulary, its means of application not always entirely obvious. Each publication is an invitation to speculate on a sector’s operations, to marvel at the specificity of other people’s knowledge and the focus of their working lives. My paltry library gestures toward the infinite complicatedness of human activity and the vast, disorganized array of murky buckets out of which the materiality of our lives somehow continues to emerge.
I have recently acquired some items that confuse the already untidy category of grayness. While seeking out books on theatrical quick-change (more on that another time), I came across the Webster’s Timeline History series and, out of curiosity, bought the three cheapest of the second-hand editions available: Wallpaper, 1768–2007; Secrecy, 393 BC–2007; and Bristol, 1000–1893. They are collations of excerpts, references, and citations that feature their titular word or phrase, and there are thousands of them. The series’s aggregate subject matter reads like the archest of list poems, the word associations of a disheveled mind, or dying humanity’s life flashing before its eyes…
Do read on for a fascinating/horrifying/illuminating tale all-too-relevant to our times– the story of the Webster’s Timeline History series…
On gray literature and Webster’s Timeline History books: “The First Tomato to Know Everything,” from @sosallyo.bsky.social in @cabinetmagazine.bsky.social.
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As we hold onto the human, we might (in preparation for tomorrow) remind ourselves that it was on this date in 1914 that President Woodrow Wilson issued a proclamation declaring the first national Mother’s Day. The previous day, May 8, Congress had designated the 2nd Sunday in May as Mother’s Day and had requested the proclamation.
“The future is already here — it’s just not very evenly distributed”*…
… nor, perhaps, as widely read as it should be. “Urubos” is here to help…
The Extrapolated Futures Archive is a reverse-lookup for speculative fiction. Describe a situation you are facing, and find the SF stories that already worked through the implications.
The catalog connects stories (novels, novellas, short stories, films) to the speculative ideas they explore: thought experiments about technology, governance, biology, society, and more. Every idea is tagged with domains, scenario types, and outcome types so you can filter by the kind of future you are thinking about.
How to use it:
- Search by title, author, synopsis keywords, or idea descriptions
- Filter by domain (AI, biotech, climate, space, governance…), scenario type, outcome, decade, or series
- Browse ideas to find transferable thought experiments, then follow links to the stories that explore them
- Browse stories to see what speculative ideas a particular work contains
- Book Club discussions (marked with 📖) offer section-by-section roundtable analyses by AI personas modeled on SF authors
- What-If Query (via the What-If Query page/link) lets you describe a real-world scenario in plain text and get ranked matching ideas
The archive is designed for decision-makers in government, industry, and NGOs who want to widen their thinking by surfacing fictional precedents for novel real-world challenges…
Over 275 ideas, which cluster into 20 different “domains,” explored in over 1,900 stories, via over 3,500 links…
Mapping real-world scenarios to the science fiction stories that explored them first: “Extrapolated Futures Archive“
* William Gibson
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As we ponder prescience, we might spare a thought for Charles Hoy Fort, the prolific chronicler of paranormal phenomena; he died on this date in 1932. Fort collected accounts of frogs and other strange objects raining from the sky, UFOs, ghosts, spontaneous human combustion, stigmata, psychic abilities, and the like, publishing four collections of weird tales and anomalies during his lifetime: Book of the Damned (1919), New Lands (1923), Lo! (1931), and Wild Talents (1932). So influential was Fort among fellow-questers that his name has become an adjective, “Fortean,” often applied to unexplained events… The Truth is Out There…
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