Sunday, April 19, 2015

Further Recommendations in Science Fiction: A Guest Post by Jory Black

Jory Black of "The Exchange Student", a fantastic site for speculative student adventurers, made a guest post for this blog! Click on the link below to check out his website, and keep reading to see his personally written recommendation.
"The Exchange Student":  
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In Jack Williamson’s “With Folded Hands”, there are three types of species present, each of which is defined, in terms of human and non-human, by the roles they play. First, there are the humans; typical meat sacks, and creators of the second and third species: the mechanicals and humanoids. Despite the fact that both the former and the latter are man-made, they are so far apart in terms of capability and purpose as to be categorized as separate beings entirely.

First, the technology behind the humanoids is vastly beyond anything the androids could aspire to be. Underhill is dazed by this gap, which becomes apparent upon his first interaction with a humanoid. “No mechanicals were competent even to recharge their own batteries and reset their own relays” he ponders, “much less to operate their own branch offices”. Second, the simple “if, then” logic of the mechanicals is functional, but it is not adaptable, as exemplified by the scene wherein Underhill finds his household android “busily clearing the untouched dinner away from the table”. He has to manually instruct the mechanical in “the proper pitch and rhythm” to cease its current task and set the table.

The functional capability gap between the mechanicals and humanoids is vast; however it is in the differing purpose between the two wherein the true distinction lies. Like different parts of an assembly line, the mechanicals have singular purposes. They are good at performing “strictly routine tasks”, and making everyday chores a little easier, that is their ultimate purpose. In contrast, the humanoids function “to serve and obey, and guard men from harm”, as well as “to insure their safety and happiness”. In essence, the humanoids are actually one enormous organism. Do to their connection with the “great brain” at Humanoid Central they can operate seamlessly as a cohesive whole. Therefore, their purpose can be to accomplish a much larger, more complex goal which is carried out by a seemingly limitless army of drones.

In this story, “human” and “non-human” beings are represented by the roles they play. “Humans have a…tendency to call “human” those we want to treat well” states Nicholas Agar, a renowned futurist, “and deny the humanity of those we want to kill or enslave”. This observation is tragically fulfilled in the story. The first robots are man-made beings without humanity. This is reinforced by the fact that they are referred to as “mechanicals”, a term attributed to brute machines that are created to serve mankind. Naturally, the highly advanced humanoids are much closer to actual humanity, thus fulfilling their name. The tragedy is that, in an attempt to bring peace to mankind using the “non-human” beings, the process spawned humanoid creatures that instead doomed all of mankind to suffer in a world free of “war and crime, of poverty and inequality, of human blundering and resulting human pain”.

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Link List:

Jack Williamson:

With Folded Hands
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Resources:

Please comment if any links are broken!

Williamson, J. (1947). With Folded Hands. Fantasy Press.

Agar, N. (2010). Humanity's End: Why We Should Reject Radical Enhancement.      Cambridge, Mass.: MIT Press.

And Now for Something Completely Different: A Guest Article for The Exchange Student

This is a guest post for The Exchange Student, a blog by Jory Black. Click below to see his useful blog about affordable world travel for students!

https://thexchangestudent.wordpress.com
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Is being a foreign exchange student right for you?

Doctors T. Furikawa and T. Shibayama from the Tokyo Institute of Technology's Department of Education say that it's a complicated business (Furikawa & Shibayama,1993). Many factors help or hinder prospective exchange students adapt, thrive, and learn in their new countries! Furikawa and Shibayama have learned through the intensive study of 188 Japanese teenagers, aged 17 to 19 years old, placed in host families across the globe for an entire year. This select group had a head start above their classmates-- they passed written exams for English and sociocultural knowledge of their countries with flying colors. From the passing group, oral exams provided by program interviewers made sure that the mix of the selected students was balanced and varied.

Once these knowledgeable students were selected, they were distributed in North America (67%), South America (6%), Asia (3%), and Europe (24%) (Furikawa & Shibayama,1993). Before the trip and at during midterms, the students took several academic surveys measuring their personalities, health, family relationships, and friendships. The students were slightly more extroverted than the statics Furikawa and Shibayama found for the base population of Japanese children, but they were otherwise completely normal.

It was discovered that the final group of students were more likely to report extreme maladjustment if they had a relatively high initial neuroticism score, relatively less maternal care before the age of sixteen, less intimacy and friendship availability, and less intimacy satisfaction at home. Going abroad is not for everyone, but you can help your travels with a few simple tips!

-Be in a healthy mental place before you travel! Sort out your anxieties and plans pre-trip, make sure to keep in touch with any of your usual counselors, and put yourself into a frame of mind to accept adventure and surprises.

-Keep in touch with your family! It's hard to leave them all behind, so phone calls and skyping will help your mood immensely. It's okay if you don't call your parents every day, but try to touch base with them at least once a week. A few short minutes of sharing the highlights of your journey will help frame your experiences as an adventure, and keep the positive parts of your day fresh in your mind. Also, familiar voices and faces can only help. Homesickness is temporary, and this will tide you over.

-If you're usually shy, do your best to make new acquaintances and connections! It's hard, but having friendly faces in town will make your transition a lot smoother. If language barriers are an issue, try English clubs at your local university. They'll be interested in learning about your home, and you'll definitely have a lot to say about the differences to people who understand you. Other student hobby clubs break language boundaries and are fantastic friend-making machines for any country. Try the sport and art clubs first for a quick, fun experience without words. From personal experience as an introvert, I can guarantee that you'll make new friends in no time if you act interested and smile. College campuses are engineered around making large groups of intelligent young people network, so take advantage of that!

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Resources:

Dr. Furukawa, T. & Shibayama, T. (1993). Predicting maladjustment of       
     exchange students in different cultures: a prospective study. Social   
     Psychiatry and Psychiatric Epidemiology, 28, 142-146. 
     doi: 10.1007/BF00801745

Magical Realism Interviews, Part 2

Ryan Heerwagen, another literary maven, leads a book club founded with The Fellowship of Freethought, an umbrella organization with a broad yet discerning matrix of academic groups. These are his stories.
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1. Could you describe your background in literature and education?

I am the organizer for Skeptical Theological Discourse, a group associated with the Fellowship of Freethought. My group has the role of critically examining religion, religious texts, religious philosophy, religious psychology, and related phenomena for the purpose of pushing past knee-jerk reactions to religion for the purpose of better understanding it, finding value in it, and better understanding reality. In my role, I select religious texts or texts discussing religion, many of which are literary classics. I research scholarly views on these texts, then facilitate a discussion involving laymen about the meaning of the text.

2. What does the genre of Magical Realism mean to you?

Magical realism is the genre that likes to play with our simple categories of what is natural (Realism) and what is fantastic (Magical), to fully blend them, using symbolism, in ways that seems authentic to both. This is in opposition to Fantasy, which often contains both, but is not blended through clear symbolism.

3. Please name one of your favorite books that uses Magical Realism, or one of your favorite authors. Why is this book or author special to you? What do they do exceptionally well?

My favorite book is House of Leaves by Mark Z. Danielewski. I'd say that the book is special to me because I'm a pretentious jerk, and Danielewski's critique of academia and academics makes me feel like I have special knowledge and am "in on the joke". I also like the horror in it, however, and find the mild perturbation of a house bigger on the inside than the out tying to this Lovecraftian monstrosity fascinating.

4. What part of the message from the literature in question 3 was important to you? What do you like about the way the message was stated?

I especially like how in the book the message is all couched in this extended academic commentary with entirely mundane messages found within the entire mess. The entire Navidson arc is about love and not magic, which is just fascinating. If the book was all magic, the connection with the reality of a romantic relationship would be obscured with mystical language. If this [book] was all real instead of the fascinating horror of the house playing a symbolic role, [readers] would instead only have the rather mundane disputes of the couple.

5. If you had to recommend a book with Magical Realism to someone new to the genre, which one would you pick?


I would pick Life of Pi by Yann Martel. This may be a matter of bias due to my interests, but I think that starting off with a very popular book can allow for easier engagement with the text. One thing I've noted about the Bible is that it's very long, and much of it is incredibly boring, but it's very easy for people to get into it, to talk about it, to find others to talk with, and to explore simply because [the Bible is] a long-standing cultural touchstone. Life of Pi is also not a bad book by any means.


(R. Heerwagen, personal communication, 2015, April 19)

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Link List:

Mark Z. Danielewski:

The House of Leaves

Yann Martel:

Life of Pi


Please comment if any links are broken!

Magical Realism Interviews, Part 1

Elaine Carter, a good friend of mine, is a life-long academic, an obsessive reader, and a dedicated teacher. I had the good luck to interview her briefly, over a personal messenger. These are her stories.

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1. Could you describe your background in literature and education?

I graduated high school but have no college education. I'm a substitute teacher and I love teaching history and literature. The school is familiar with my habit of bringing my Kindle with me wherever I go.

2. What does the genre of Magical Realism mean to you?

Magical Realism is sort of a cross between literary fiction and urban fantasy. There's nothing as fantastical as biker gang wizards, but there is an undercurrent of magic and miracle beneath the main storyline.

3. Please name one of your favorite books that uses Magical Realism, or one of your favorite authors. Why is this book or author special to you? What do they do exceptionally well?

The Ocean at the End of the Lane, by Neil Gaiman. The author combines the fairy-tale feeling of memories with the realism of adult retrospective on a terrible, abusive episode from the protagonist's childhood. Neil Gaiman is one of my favorite fantasy authors because of how well he evokes the mystical and the collective unconscious across a wide range of fantasy genres. This book in particular became very personal to me when it triggered my own flashbacks of abuse that I witnessed and was a victim of.

4. What part of the message from the literature in question 3 was important to you? What do you like about the way the message was stated?

The Ocean at the End of the Lane is an important book to me because of how it breaks open old mental and emotional wounds to help heal them. Many people, especially people for whom fantasy has often been an escape, have lived through abuse, and this book both illustrates and heals it.

5. If you had to recommend a book with Magical Realism to someone new to the genre, which one would you pick?

The Golem and the Jinni, by Helene Wecker. [The novel is] primarily literary fiction, but the main characters are the titular fantasy beings, stuck in historical New York with all the baggage, positive and negative, of their cultural mythos. The author is a Jew married to a Muslim-- the story is one that addresses, in the safer setting of Magical Realism, the cultural barriers between the two worlds.

(E. Carter, personal communication, 2015, April 18)


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Link List:

Please comment if any links are broken!

Magical Realism on the Radio: Eldritch Horrors, Podcasts, and Welcome to Night Vale

Hello, readers!

This is a special edition of Magical Realism Recommendations. Please click on the links from Vocaroo.com below to hear my slightly squeaky voice geek out about Magical Realism in one of America's top comedy podcasts.


Podcast, Part 1:


http://vocaroo.com/i/s14xT6HbzYqb



Podcast, Part 2:


http://vocaroo.com/i/s1Z1uksCU9Ah



----------------------------------------



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Link List:
Joseph Fink and Jeffery Cranor:


Neil Gaiman:


H. G. Wells:


H. P. Lovecraft:


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Resources:

Please comment if any links are broken!

Fink, J., & Cranor, J. (2015, April 15). Welcome to Night Vale. 
     Retrieved April 18, 2015, from http://podbay.fm/show/536258179

Vocaroo | Online voice recorder (Vocaroo | Online voice recorder). (2015, 
     January 1). Retrieved April 19, 2015, from http://vocaroo.com/

Infographic Sources:

[1]

Fink, J., & Cranor, J. (2015, April 15). Welcome to Night Vale. 
     Retrieved April 18, 2015, from http://podbay.fm/show/536258179

[2]

Virtue, G. (2014, March 14). Welcome To Night Vale, the podcast that's 
     like a local news Twin Peaks. Retrieved April 19, 2015, from          
     http://www.theguardian.com/tv-and-radio/2014/mar/14/night-
     vale-podcast

[3]

Carlson, A. (2013, July 24). America's Most Popular Podcast: What The Internet      Did To "Welcome to Night Vale" Retrieved April 18, 2015, from      
     http://www.theawl.com/2013/07/americas-most-popular-podcast-what-the-
     internet-did-to-welcome-to-night-vale

[4]

Top 40 US Comedy Podcasts. (2015, April 19). Retrieved April 19, 2015, from 
     http://www.itunescharts.net/us/charts/podcasts/comedy/

Friday, April 10, 2015

On Magical Realism, Memes, and Good Addictions



Stories and information tend to stay in the minds of people for as long as their contents are something that could be informally referred to as “sticky”. Memes, which are certain especially infectious bundles of information, spread successfully when their concepts are sticky enough to stay in active memory and bear repeating. The memetic epidemiology of stories is a long-studied practice in several fields, from the expected areas of anthropology and sociology to the more startling realms of religion. There are reasons for stories to stay with us, to be loved, to be carried and shared. Previous posts on this blog have covered such attracting factors such as empathizing with characters and a search for truth; this post will consider a third, stranger reason. 

Magical Realism is extremely satisfying to its audiences because people are addicted to patterns. People are wired to see random information, consider how it relates to itself and larger contexts, and then draw conclusions and information based on the patterns they see in the noise and static. We literally can’t stop attempting to find patterns in everything we see— sometimes, we even see patterns where there are none! This is an experience called apophenia. On balance, though, this useful trait is responsible for creativity and much of human communication. 

This need to pattern-match gives people an incurable metaphor addiction. Magical Realism, a genre that exists entirely as an experience in metaphor to describe reality in ways that are difficult without these patterns, is therefore understandably popular. While High Fantasy is a way to escape to strange worlds, and Science Fiction speculates on what the world may become, Magical Realism uses its genre conventions to show something harsh and true. 

Research undertaken by Su, Gomez, and Bowman in their article “Analysing Neurobiological Models Using Communicating Automata” (2014), suggests that complex biological systems, like human nervous systems, operate on several levels for the problems life throws at them. There are many different ways to approach these multiple-perspective systems, but “probably the longest standing and most extensively investigated question is how to relate descriptions at different levels of abstraction” (2014). There are more abstract levels where the system, whether an artificial intelligence (AI) or human, processes what has to be done, and progressing levels of detail sorting and parsing parts of the issue to understand how to accomplish the task. In order to understand how to make better and faster AIs, the math behind how humans pattern-match has been extensively studied. Metaphors help our brains to do cool, intense things the best computers can only currently attempt; they relate abstractions to detail in our lives. 

It follows, somewhat unsurprisingly, that being able to understand metaphors and match patterns is actually wired to be satisfying on a chemical level . In Ramachandran and Hirstein’s article, “The Science of Art: A Neurological Theory of Aesthetic  Experience”,  the creation of metaphor is described as a “mental tunnel” connecting seemingly disparate subjects in deep and meaningful ways, contributing to a greater understanding of the subjects than the observer would find with each separately. “Although it is uncertain whether the reason for this mechanism is for effective communication or purely cognitive,” Ramachandran and Hirstein report, “the discovery of similarities between superficially dissimilar events leads to activation of the limbic system to create a rewarding process” (1999). They went on to cite studies of individuals suffering from the inability to integrate certain levels of detail mentally. Their pleasure responses to images such as familiar faces were stunted or absent— though the people were recognized, the participants’ inability to parse the details of the faces and make connections from their memories took away from the experience by significant and measurable amounts.

While it may seem that Magical Realism and Science Fiction work at cross-purposes, there is an overlap in genre that results in fantastic literature! One of the most treasured works of Science Fiction cannon, William Gibson’s Neuromancer, has strong elements of Magical Realism. Gibson, who predicted the rise of the world wide web with stunning accuracy, is the epitome of the function of Science Fiction to project possibilities into the future, and the speculation is beautifully complex. Gibson also used surrealistic and complex visual representations of virtual realities and their gestalt with the “real world” in a way that presents an excellent example of Magical Realism. In Karen Tei Yamashita’s essay “Virtual Reality vs. Magic Reality” (as cited in Kamioka, 1998), Gibson is referred, “along with main-stream writers like John Irving and Kurt Vonnegut, as one of the writers who adopt the technique of Magic Realism in order to represent the “virtual” First World.” This experience is vivid, wonderful, and a must-read for any reader who is the least bit interested in Science Fiction.

For readers who enjoy this surprising mixture of clashing genres, Eyeless in Gaza by Aldous Huxley is a sturdy recommendation. Written in 1936 after his magnum opus, Brave New World, Eyeless in Gaza continues the fusion of Magical Realism’s bald statements of the fantastic with Science Fiction’s wistful projections of the same. 


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Link List:

William Gibson:

Aldous Huxley:


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Resources:

Please comment if any links are broken!

Kanioka, Nobu (1998). Cyberpunk Revisited: William Gibson's Neuromancer and      the "Multimedia Revolution". The Japanese Journal of American Studies, 9.        Retrieved from
     http://sv121.wadax.ne.jp/~jaas-gr-jp/jjas/PDF/1998/No.09-053.pdf

Ramachandran, V.S. & Hirstein, W. (1999). The Science of Art: A Neurological        Theory of Aesthetic Experience. Journal of Consciousness Studies, 6. 
     Retrieved from

 Su, Li; Gomez, Rodolfo ; and Bowman, Howard (2014). Analysing         
     Neurobiological Models Using Communicating Automata. Formal Aspects of 
     Computing, 26, 1169-1204.
     doi: 10.1007/s00165-014-0294-y

Friday, April 3, 2015

Magical Realism in Visual Art

The genre of Magical Realism, though quickly recognized in literature, is also used across the mediums of visual art. This title is claimed by two separate schools of art. Early artists such as Pierre Roy and Giorgio de Chirico use the term to describe heavily detailed meditations on extremely realistic subjects; this hyperrealism creates an understanding of mystery inside of the mundane. This form of Magical Realism is evident in Paulo Coelho’s novel, The Witch of Portobello. Coelho takes culturally accepted levels of spirituality and grants strange religious statements accepted as rote a new life through an exploration in uncomfortably rigorous detail. In a world where there are real estate companies and the Scotland Yard, the titular character connects her consciousness to one “St. Sarah”, partakes in ritual magic dancing, and thoroughly terrifies the church that turned her away for being a divorcee. This wry, sad tale takes an outsider’s look at spirituality without once breaking away from what a sufficiently religious reader would describe as a true reality. Early visual artists of Magical Realism use a form of hyperrealism shared by Coelho to chip away at boring expectations that cloak the truly bizarre world surrounding their audience.


1. Pierre Roy, The Beach (1930).


2. Giorgio de Chirico, Piazza d'Italia (1964).


In the later 20th century, however, the branch of Magical Realism in the visual arts grew to resemble its literary cousin. A love of detail and focus remained, but overt forms of the fantastic started to enter works labeled as Magical Realism. George Tooker and Frida Kahlo are examples of artists from this modern school. 


3. George Tooker, Waiting Room (1957).


4. Frida Kahlo, Roots (1943).

The changing definition of Magical Realism in visual art brought the works of much earlier artists into the fold, which notably included the fantastic renderings of Biblical visions in the paintings and sketches of Jan van Eyck. The works’ hyperrealistic technique is applied to otherworldly beings and objects, firmly and amusingly placing van Eyck in the later camp of Magical Realism. Its earlier branch, while chronologically more intuitive for van Eyck, was a negative reaction to the reality-warping techniques of Expressionism. 

Katherine Luber’s essay, "Recognizing Van Eyck: Magical Realism in Landscape Painting" (1998), is a light, entertaining, and educational read that covers the modern definition of Magical Realism as found in renaissance art. In down-to-earth text accompanied by high-resolution painting figures, Luber provides a helpful and lush summary of van Eyck’s iconic oil paintings. She debunks the rumors that the artist invented oil painting, but lauds the artist’s startling use of the medium. The “enameled, jewel-like tones” achieved through his technique bring his angels and devils to life with refinement and an otherworldly grace. He creates vast depth in his works through pioneered tricks in perspective and fluid connections. The meticulous and excruciating detail of religious imagery serves to place van Eyck as a commonly recognizable example of the genre. Magical Realism a regular staple of art history classes as an example of a genre that the readers will find is much wider spread and closer to home than they had earlier considered.


5. Jan van Eyck, The Crucifiction; The Last Judgement (1443-40).

Magical Realism, already found in art history class staples and popular literature, now also joins the American public in the box office. Birdman: Or (The Unexpected Virtue of Ignorance), directed by Alejandro Gonzalez Iñárritu, uses otherworldly elements to explore the main character’s mind. While internal monologues are more native to literature than film, Iñárritu skips the soliloquy by forcing the protagonist, Riggan Thomson, to be haunted by his demons in the form of the Birdman. The Birdman, an amusing Batman expy, is Thomson’s former acting role. The Birdman overshadows Thomson’s entire acting career; naturally, the physical embodiment must lurk and glower across the screen, only seen and heard by the hapless actor. The Birdman’s gravel-and-cigarette growls voice Thomson’s delusions of grandeur and worst fears throughout the film, exemplifying the actor’s madness. At the movie’s end, they merge into one man, leaving an ambiguity of balance or accepted insanity. This movie convenient for readers too busy to visit their local art museum, but still free enough to spend a few hours of free time watching a terrific example of modern Magical Realism in visual art.


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Link List:

Paulo Coelho:


The Witch of Portobello

Alejandro Gonzalez Iñárritu:

Birdman


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Resources:

Please comment if any links are broken!

De Chirico, Giorgio  (1930). Piazza d/Italia [Painting]. Retrieved from
     https://www.dorotheum.com/en/dorotheum/press/press-archive/presse-      
     detail/archive//erfolg-fuer-klassische-modernebr-329700-euro-fuer-
     winterlandschaft-von-gabriele-muenter-im-dorot.html?         
     sitesource=kfz&cHash=2743be5871faab1a8679ec6aac66f8a5

Kahlo, Frida (1943). Roots [Painting]. Retrieved from
     http://taosartschool.org/frida/current.htm

Luber, Katherin (1998). Recognizing Van Eyck: Magical Realism in Landscape 
     PaintingRetrieved from http://www.jstor.org/stable/3795460    
     Search=yes&resultItemClick=true&searchText=katherine&searchText
     =luber&searchText=van&searchText=eyck&searchUri=%2Faction%
     2FdoBasicSearch%3FQuery%3Dkatherine%2Bluber%2Bvan               
     %2Beyck%26amp%3Bacc%3Don%26amp%3Bwc%3Don%
     26amp%3Bfc%3Doff%26amp%3Bgroup%3Dnone&seq=1#page_scan
     _tab_contents

Roy, Pierre (1930). The Beach [Painting]. Retrieved from
     http://www.phaidon.com/agenda/art/picture-galleries/2010/march/30/de-        chirico-max-ernst-magritte-balthus-a-look-into-the-invisible/?idx=19

Tooker, George (1957). Waiting Room [Painting]. Retrieved from
     http://imgkid.com/george-tooker.shtml

Van Eyck, Jan The Crucifiction; The Last Judgement (1443-40). [Painting].     
     Retrieved from http://www.metmuseum.org/collection/the-collection- 
     online/search/436282