Reflection: Reading

Catch-22 was the first book i attempted to begin my eleventh grade reading career with; failure. This caused me to, basically, give up on reading for a while. Once this passed, more than halfway through the quarter, I, Robot was the next attempt; success. Though it took longer than it should have, I finished the book and comprehended the content. Brave New World, assigned by the mediator, was embarked upon in a different manner: reading was accomplished in irregular, far-between intervals, though when reading was done, several chapters were behind the left hand. Life: The Movie was read daily. Being in bed by 2300 hours is demanded of me; after reading, 0100 is a more prominent bed-time.

"Inking your thinking," though thought tedious and, somewhat, unnecessary, the benefits have been realized. The friendship I sustained with the dictionary has recently been renewed. I think that my "inking" my thougts has broadened my mind, but the thougts translated into text on paper may not be able to be comprehended by others of a name not mine.

If only I knew how to more precisely render my thoughts tangibly, it would be done. How to go about doing this though, as said, is unknown. Trial-and-error/experience seems to be the only way.

I used to favor fiction that allowed for the derived evaluation of human nature and the components of life (I, Robot); now, with the discovery of Life: The Movie, more philosophical texts that actually reveal components of human nature and of life are desired. The cataloging and genres of nonfiction, however, are unknown to me; perusing of libraries will now take much longer to find that which interest me.

Socratic Seminar Reflection

The point of the socratic seminar seems to have been lost on me. The forced simulation of deep, intellectual discourse to be viewed and critiqued by others; the fixed time limit in which the discussion must be accomplished in; the strict regulations that could potentially hinder/intimidate the participants: all criticisms of the act.

The idea of an organized meeting designed to nurture the intellect and thought is, of course, a noble idea and something that should be pursued. Gathering information from the indicated source in the light of a proposed question/idea yields a greater understanding of the text, a greater understanding of the underlying themes.

My actual experience in the socratic seminar is not comparable to what is desired, ideal. Not liking the idea that the conversation is forced (though I do understand upon retrospect that this is really the only perceptible way to be able to grade the act), the fact that interrupting others is frowned upon and that anything mispoken or thought wrong by the majority would result in ridicule or a complete unacknowledgement in the future, to speak seemed an impossibility. Again, the concept is respectable; the actual act in action leaves much to be desired.

Annotated Bibliography for Brave New World

Miller, Stuart. "http://media.www.the-standard.org/media/storage/paper1059/news/2003/05/02/Opinion/California.Embraces.Dangerous.Excessive.Textbook.Censorship-3364436.shtml". Missouri (State University). "The Standard." 2003.

In Brave New World, the collective government, namely The Controller, Mustapha Mond, directly decided what was able to be accepted by the public without stirring any (substantial) feelings or thoughts (at all). In this article, California is pasted onto the dartboard of scrutiny and is not allowed to fall off until the several spears of Miller's criticisms penetrate/reveal. "The whole politically correct, ultra-sensitivity movement continues to escalate," the whole "justified" censorship, over-protective elements of today's media, by the government (the whole point of the censorship being to protect the public from what we do not wish to hear), is not inching, maybe "mile-ing" us towards a newer, braver realm.


Dunn, Douglas. "http://www.wordwiz72.com/cloning.html". Douglas Dunn/World Wizards. 1998, 2001.

Directly referring to Brave New World in his article, Dunn, without hesitation, allows his rambling arguments to spill forth, with no actual evidence to support his claim that "In their hearts, human beings know that it is not so terrible to have a genetic double," hoping to disprove the world Huxley envisioned. Stating that in-vitro fertilization underwent the same skepticism from the public as cloning is now, apparently hoping for the conversion of people from "Cloning is morally wrong," to "It is but progress."


"http://www.scienceclarified.com/Qu-Ro/Reinforcement-Positive-and-Negative.html".

"Conditioning," in the context of Brave New World carries an evil connotation. This article reveals that conditioning is nothing to be feared or avoided at all; it is actually what enables us to learn (touch a hot stove, recoil; conditioning); strengthening the belief that the ones who crafted the world After Ford were in all reality evil, despite whatever the intentions were. The architects of this "improved" world utilized conditioning to teach the children/sprouts what they "needed" to be taught, rather than allowing natural conditioning to run its course, allowing the man-plants to be in control of their own destinies; the choices made in life yield exposure to different elements of life, different knowledge applicable to life, different paths through life. The latter is the way in which the world runs now-for now-is the best way for people to live.

Annotated Reading List for Independent Reading

(NO FORMATTING COULD BE APPLIED, IN ALL ATTEMPTS)

Huxley, Aldous. "Brave New World." New York: HarperCollins. 1932, 1946.

In the year A.F. 632, there are is a significant difference in the ratio between types of people to number of people from our time. Inflicting a feeling of ominousness on the readers, achieved by enlightening the time travelers that "...the World State's motto [is], COMMUNITY, IDENTITY, STABILITY," it is almost certainly known before the end of the first chapter that some kind of, basically, moral dilemma is going to affect the way the world will evolve.
John the Savage, a man born of natural causes, (even mentioning this act in public arouses hysterical laughter or wary uneasiness of whoever spoke such "blasphemy") is actually quite civilized, rather as civilized as is possible, with being exposed only to the primitivity of, not really "his" people but the ones that he has been forced to live amongst. Because of this, it is quite plausible to believe that Huxley, in prophesying the dys-/u- topia that is sure to become, implied a certain, sort of devolution of the human race. Yes, the technology in this new world is extremely exceptional ("feelies" are movies that, by interacting with an apparatus, cause real emotions, sensations to be felt by the "viewers"), but by applying these advances (particularly to cloning), almost everything that makes humans human has been wiped from the civilized world (i.e., nothing but happiness is ever felt). This is what makes John such an easy character to identify with. Our world is constantly being "improved" by the daily technological developments, but humanity is still something to be treasured and flaunted (though it is slowly being marginalized by entertainment); John was raised by "savages," ones who forsook the progression of the world and decided to retain their traditionalist values (it is quite amazing how people in the future were able to revert back to a world almost identical to that of the Indians/Native Americans, especially with all history before the revolution (that brought on the "A.F." prefix to dates) being wiped from earth). ((259))

"I, Robot" began as seperate stories in science fiction publications.

Asimov, Isaac. "I, Robot." New York: Fictioneers, 1941; Street and Smith 1941; Street and Smith, 1941; Street and Smith, 1942; Street and Smith 1944; Street and Smith, 1945; Street and Smith, 1946; Street and Smith, 1947; Street and Smith, 1950. 1950

A reporter, Asimov incarnate, is extremely eager to interview the most prominent robopsychologist in this year, 2057. Robots have completely overtaken assembly lines, and the popularity of these machines is balanced by the criticisms of the traditionalists, effectively outlawing their presence on the earth (interplanetary travel has been "mastered," colnies exist on several other planets). Every chapter in this book was once published as its own story; Asimov crafted the story of the reporter and his interviewee, one Susan Calvin, to tie these seperate entities into one anthology, which reveals the history of robotics, how what progress has been made was made, problems and solutions to quandaries pertaining to robots and the Three Laws that bound them into servitude.
Of course, to do all this, Asimov had to become a robot during the writing process; the transformation from entity of flesh to an object of metal is completely seamless. In "Reason," one of the most advanced robots, at that time, questions everything his "masters," those foolish beings "...made of...soft and flabby [material], lacking endurance and strength, depending for energy upon the inefficient oxidation of organic material...", inform him of: the Energy Converter that powers the Solar Station #5 is not a tool created by humans for humans, absurd, it is the Master; space is "exactly what it seems-a black material just beyond this glass that is spotted with little gleaming dots... That is all." ((272))


Gabler, Neal. "Life the Movie." New York: Vintage Books. 1998

Hypothesis: Entertainment is slowly overtaking reality, becoming reality even. Discuss: Through the natural progression of humanity in every field, particularly technology, (')men have become lazier but more rebellious (of the ever ruling aristocracies), more wary (of those in any kind of power) but (despite that) content, more advanced but even more delusional (/ignorant). Chronicling the path to our current situation, to be informed is less significant than to be entertained, (entertainment represents the baser instincts and art is equated to the pursuit of knowledge, of the betterment of oneself on a transcendic level ("the difference between entertainment and art is the difference between 'spurious gratification and a genuine experience as a step to greater individual fulfillment.'")), from the 1800's to the present, so in-depth and precisely, that Gabler's opinions are hard to actually be called that.
Gabler's overall mission in having spawned this literature is to enlighten people of what is happening to us: we have become blinded by our addiction to entertainment, which we are exposed to almost ceaselessly, and from birth even!, and, while it is satisfying to "us," it hurts us, the true inner beings that need legitimate intellectual discourse, no matter what the means of achieving this. That description makes Gabler seem more like a (far-out) philosopher, which he is not, than a true crusader for men to, at least acknowledge what he has discovered, at most change their ways in pursuit of a higher level of civilization. ((303))

ARTICLES RELATED TO B.N.W. COMING SOON

Analysis Paragraph: "A Whole New Mind"

Pink's self-righteous humor (that is to say, he knows he is correct in what he writes ("On the off chance that you're still not convinced, let me offer one last-and illuminating-statistic."), but he attempts to use "comedy" to smoothly 'suade others rather than blatantly stating his truths) (somewhat) subtly warns his fellow academics of the impending doom progress bears for them: "our left brains have made us rich...(but) the very triumph of L-Directed Thinking has lessened its significance. The prosperity it has unleashed has placed a premium on less rational, more R-Directed sensibilities-beauty, spirituality, emotion." The development achieved thus far is due to the abundance of worldly knowledge cultivated and the applications found for that knowledge. Whether more progress cannot be made in this same way, or whether humans have grown weary of academics and would rather explore what our ancestors did, it is hard to say; regardless, "In an age of abundance, appealing only to rational, logical, and functional needs is woefully insufficient." To ensure modern legacies will be carried on, offspring must be exposed to as many members of the "hippie" (politically correct term unknown) population as possible (evolution will prevent any ancestors from being shamed, as these "hippies" will don suits), far from the domain of public education, where they must spend only the minimum amount of time required (until the education system realizes in what way the world is traveling), to become successful members of society. Attractive and somewhat functional services/products/etc. will sell more than plain services/products/etc. that are extremely functional. The all too necessary pursuit of (applicable (to the world)) knowledge will become the pursuit of "Why?" (knowledge applicable to (just) ourselves) (transcendence), which will, ironically, be trekked upon (/achieved) by means of creativity. Worldly pursuits do not make people happy; what else is there? The answers can only possibly exist in the "abnormal." "The paradox of prosperity is that while living standards have risen steadily decade after decade, personal, family, and life satisfaction haven't budged." Prophesying the end of (the flourishing) of minds like his, Pink uses this book as what could be a last opportunity to sound smart while smartness is treasured.

Advertisement Analysis

During the 1940's, every American was concerned with how World War II was unfolding. Several companies in the U.S. exploited patriotism to "build up hype" for whatever product was being sold. The Scotch tape company was no different.

In the ad found at http://adflip.com/addetails.php?adID=2323, Scotch tape applies ethos to improve potential sales. By mentioning Uncle Sam, the universal symbol for the United States (' army), readers are subconsciously forced to give their undivided attention to what Scotch tape has to say: American soldiers are using the tape to help bring Victory back home. If the United States Army can use Scotch to stay alive and vanquish the enemy, problems in our own country do not stand a chance. The "INVEST IN VICTORY - BUY WAR BONDS" at the bottom is more proof that the company is helping the Army, providing space in an ad the tape company paid for for the government to ask for help. By referring to their product as "good old Scotch tape," the company calls upon itself; "We've been around a while, so you can trust us." It is because of the long-standing record that the company holds that the readers are expected to understand that all the tape made is being sent overseas, as winning the war is more of a priority than pleasing the citizens. The tape will return when Victory does.

The men to the immediate right of the focal point, the woman in red, beam pathos from their faces. The woman in red (sexy, appealing to men, usually the larger demographic, especially from the viewpoint of an... "immature (and sexist)" publication) was carrying a lunch sack but now all her food has ripped through the puny bag and has fallen (which would not have happened had Scotch tape been applied). The two men are waiting for her to bend over and retrieve her food, like nearly any man, other than a gentle, would. Everybody on the train is smiling, except for the woman, who looks shocked, so readers are expected to either smile as well, or maybe even laugh at the woman, both positive responses. As mentioned before, the tape company uses the credibility of the nation's army to help sale the tape. By mentioning the fact that the army uses the tape, any readers who also use the tape, or that are planning on it, can feel a sense of patriotism, that they are helping the country.

It is logical for any company to list some of the potential uses of its product, and with the flexibility of the tape, Scotch is a brand to be trusted. However a company goes about advertising its product, though, if appealing to ethos, pathos or logos, no doubt the ad will help "move a few units."

Make Sense of This, You Are My Friend

Jeff Lyons, the illustrator of this painting, comments on the comments others have made at http://lyonsart.com/wordpress/surrealism-abstract-artwork/; he explains that there is no symbolism in paintings of his like this one: “These are essentially meaningless images.” Acknowledged… Because I spent two hours looking for any image that was not copyright protected, though, I am going to pretend that some kind of analysis of this image other than an aesthetic one is able to be made and attempt to make a few such examinations.

At first glance, the “surrealist abstract artwork” looks to be a picture of some kind of eastern dragon, such as the ones that roam the streets during Chinese New Year. The red curtains on either side are pulled aside to release the “beast.“ The green figure on top is the horns. The “house-like things” on either side could be the eyes. All the blue and orange (bright colors, such as the ones splashed onto the Oriental dragons) make up the nose and mouth region. The blue “C” shapes, the curved part inside them, would be the snout extending from the face. The minuscule brick region in the middle would be the actual orifice that would take in food and release fire. The tiny figures on the tiled floor are most likely humans, which gives the paining a somewhat eerie feeling (as if the alien-like figure on top (green skin tone and cloak, white eyes without pupils, mouth agape, slight horns, pose), surrounded by some sort of aura, didn’t already). Such a small “mouth” on such a huge “creature” and we are still able to be consumed when anything else would be safe from such a tiny hole. The staircases on either side of the form are the legs, ironically. The towers on either side of the green figure at the top look as if they could be part of the whole “creature,” but the towers also look to be part of the windows surrounding the “dragon” and for the whole complex to be one solid body, keeping the “dragon theory” in mind, seems unlikely.

The multiplex may be nothing other than that. Red curtains are drawn to reveal a show or attraction and all the people, those behind and those blocked off by the curtain’s path, before being drawn, are aimed towards the only opening (there are stairs but the proportions make it look as though the stairs are at least three feet tall (assuming the humans are six feet high) and why climb when there is an open door); the red above the door signifies, if not says, “Vacancies.” In the open windows are shapes that look like hands… “beckoning people to come closer,” to be polite and optimistic. The green “man” on top must be the manager, or at least the magician, as that “man” must have been the one to open the massive curtains, to conjure the huge shadowy “limbs” in the windows. The “man’s” expression does not seem to be one of malice and mischief, but of concentration or surprise or ecstasy, if anything. Upon closer inspection, what I assumed to be the guardrail of the stairs, as they dipped down into the floor, may be the actual stairs. Following those lines up leads the eye to the windows of the towers on either side of the extraterrestrial, where there are two more “human-sized” shapes.

Random objects could have been thrown together, arranged symmetrically, to truly make nothing more than a “surrealist abstract” work of art. The central yellow part looks like a bell that has been filled with brick, to never resonate sound again. The white pieces in the middle of the bell, in the middle of the blue and yellow ornate decorations on the bell, look like a flower, with the blue and yellow surrounding it being the organs of the flower (perhaps the alien turned the flower inside-out to be able to examine more closely). The brick walls surrounding the bell are the walls of the garden. The buildings coming out of the sides of the bell are the groundskeepers’ shacks. The eaves above the doors are fanned out banana peels with cherries at the center of the “spokes.” The doorways are covered in lambs’ blood, to prevent plagues coming to their doorsteps. The gardeners gloat about their preparedness, hands in the windows, but the other inhabitants on the ground were not so thoughtful. They are being attracted by the alien’s bright tractor beam, emitting from the bottom of the bell-shaped UFO; the master’s mansion was converted to the space creature’s chambers. The two sentinels in the windows of the highest towers are the galaxy’s last defense: Alien escapes and everybody’s doomed.

I doubt if all, IF ANY, of this made sense but I just wanted to prove that whether the artist intends for there to be deeper meaning in their works or not, the more you dig, the more potential meaning can be found. Any meanings that are found, if enough evidence is present, can be proven to be right. The artist creates a world that we are sucked into and to hold our hand through the journey and tell us any meaning instead of making us find it renders art pointless. Again, how much sense this all made is another matter but just to find meaning that the creator did not intend to be found in their works is an accomplishment (…or maybe just a sign of a lack of a life).