Machine Metaphor And The Writer

The brilliant and far-reaching comparative and interdisciplinary work explores the impact of the machine on the literary mind and its ramifications. Knapp displays an unusual command of world literatures in dealing with a topic that is of outstanding importance to a broad field of scholars and generalists, including those concerned with contemporary literature, comparative literature, and Jungian theory. It is very much in line with the current trend toward interdisciplinary studies. Knapp offers powerful and original analyses of texts by French, Irish, Japanese, Israeli, German, Polish, and American authors: Alfred Jarry, James Joyce, Stanislaw I. Witkiewicz, Luigi Pirandello, Antoine de Saint-Exupery, Juan Jose Arreola, S. Yizhar, Jiro Osaragi, N. K. Narayan, Peter Handke, and Sam Shepard. The authors explored here were deeply affected by the changes occurring in their lives and times and reacted to these ideationally and feelingly. In some of their writings, images, characters, and plots were used to create monstrous and robotlike individuals unable to accept the world around them and hence seeking to destroy it. Others of these writers attempted to understand and integrate the environmental, human, and mechanical alterations taking place about them, and to transform these into positive attributes. The realization of the increasing domination of the machine, we see, catalyzed and mobilized each author into action. Each in his own way spoke his mind, revealing the corrosive and beneficial factors in his world as he saw them.

The chapters in this book centre around one main theme, the concept of the machine and its use as metaphor in a variety of contexts. This concept is deeply rooted in western culture and is frequently used to interpret complex systems in nature and society. With the advent of electronic computers, the machine metaphor applied to thinking and the brain has becOIne even more pertinent. The idea of a machine has changed over time. In this book these transformations are made trans parent, various aspects of the machine metaphor are discussed and limitations and pitfalls of the metaphor are elaborated. The chapters are written in a non-technical fashion and are accessible to a large readership of scientists and also laymen interested in the scientific per spectives and logical foundations of the machine concept that has been so influential in western thinking. The idea of the book has its origin in a workshop held at the Sci entific Station in Abisko, Sweden, in May 1990, where several of the present authors participated. The meeting was organized and spon sored by the Swedish Council for Planning and Coordination of Re search (FRN). Since 1983, the FRN has actively promoted a series of such annual events at Abisko, all of which have been devoted to the exploration of various aspects of complex systems and their evolution.

A strikingly original exploration of what it might mean to be authentically human in the age of artificial intelligence, from the author of the critically-acclaimed Interior States. • "At times personal, at times philosophical, with a bracing mixture of openness and skepticism, it speaks thoughtfully and articulately to the most crucial issues awaiting our future." —Phillip Lopate “[A] truly fantastic book.”—Ezra Klein For most of human history the world was a magical and enchanted place ruled by forces beyond our understanding. The rise of science and Descartes's division of mind from world made materialism our ruling paradigm, in the process asking whether our own consciousness—i.e., souls—might be illusions. Now the inexorable rise of technology, with artificial intelligences that surpass our comprehension and control, and the spread of digital metaphors for self-understanding, the core questions of existence—identity, knowledge, the very nature and purpose of life itself—urgently require rethinking. Meghan O'Gieblyn tackles this challenge with philosophical rigor, intellectual reach, essayistic verve, refreshing originality, and an ironic sense of contradiction. She draws deeply and sometimes humorously from her own personal experience as a formerly religious believer still haunted by questions of faith, and she serves as the best possible guide to navigating the territory we are all entering.

Analyzing the power of metaphor in the rhetoric of science, this book examines the use of words to express complex scientific concepts.

This volume explains how metaphors, metonymies, and other figures of thought interact cognitively and rhetorically to tell us what writing is and what it should do. Drawing on interviews with writing professionals and published commentary about writing, it argues that our everyday metaphors and metonymies for writing are part of a figurative rhetoric of writing - a pattern of discourse and thought that includes ways we categorize writers and writing; stories we tell about people who write; conceptual metaphors and metonymies used both to describe and to guide writing; and familiar, yet surprisingly adaptable, conceptual blends used routinely for imagining writing situations. The book will give scholars a fresh understanding of concepts such as 'voice', 'self', 'clarity', 'power', and the most basic figure of all: 'the writer'.

"This is the first work to survey the myths created by the modern literary imagination about technology." --Herbert Sussman "... succeeds admirably, fascinatingly on all counts... " --American Literature "... a landmark in the study of literary and technological history." --NMAH "... fascinating... a welcome addition to the growing scholarship about the impact of technology on the modern imagination." --Journal of Modern Literature Annual Review This book chronicles precisely how the flying machine helped to create two kinds of apocalyptic modes in modern literature.

This work examines the methaphors through which culture comprehends new media, such as cyberspace, the information superhighway, the computer virus, and hot and cool media. It also gives a history of metaphor in oral, writing, print, and electronic media.

Popular media, literature, and theory suggests that technology has induced a newly evolved, posthuman and postmodern (or "post-Enlightenment") cyborg consciousness. I suggest, as an alternative reading to the notion that we are evolving towards a disembodied posthuman state which will revolutionise what it means to be human, that the literature of cyborgs incorporates and reinscribes traditional narratives about human identity. This project analyses representative tropes of the cyborg in contemporary discourse from an explicitly historical perspective. Although dualisms such as mind/matter or soul/body are recognised in current theorising of the cyborg, little has been written about the historical relationship of mechanism and humanity in the ongoing discussion of cyborg mind/body ontology. The cyborg in much of our literature throughout a wide range of genres is represented by the exaggerated and horrifying effacement of human embodiment to embellish an underlying concern about the consequences to the human spirit when we can be reproduced by technological means. This thesis argues that much of the discourse about the novelty of the "postmodern" human-machine, however, is not unprecedented. Cyborg literature re-presents themes and concerns regarding the man-machine of the seventeenth and eighteenth centuries, and continues to reflect a religious debate about the spirit within the material body. Beginning with current notions of the supposed obsolescence of the body, this thesis explores how the contemporary cyborg functions as a device to reflect traditional (frequently Christian) values. Drawing on eighteenth-century medical philosophy and the satirical literary responses to mechanist definitions of body and soul, I demonstrate literary connections between medical and literary metaphors of the Enlightenment man-machine and the postmodern cyborg in popular media, fiction, and theory. The debate surrounding eighteenth-century materialism, primarily metaphorical and.

An authority on creativity introduces us to AI-powered computers that are creating art, literature, and music that may well surpass the creations of humans. Today's computers are composing music that sounds “more Bach than Bach,” turning photographs into paintings in the style of Van Gogh's Starry Night, and even writing screenplays. But are computers truly creative—or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. Miller, an authority on creativity, identifies the key factors essential to the creative process, from “the need for introspection” to “the ability to discover the key problem.” He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy!, and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have, among much else, unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence, staged by Android Lloyd Webber and friends. But, Miller writes, in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans—and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature.