Download - The Machine at the Heart of the World: Technology ...richardslaughter.com.au/wp...at_Heart_of_World.pdf · 1. The Machine at the Heart of the world (1) This is a gently ironic tale

TheMachineattheHeartoftheWorld:Technology,ViolenceandFuturesinYoungPeoples’MediaRichardASlaughterIntroductionAsthetitlesuggests,thisessaytakesacriticallookatthreethemesinyoungpeople'smedia:technology,violenceandfutures.Suchthemesareembeddedintextsandimageswhichhavebeendesigned,constructed,packagedandbroadcasttochildrenandyoungpeopleviabooks,comics,filmandTV.Butthisisnotaworkofliterarycriticism.Myconcernislesswiththeliteraryqualitiesofthematerialthanwithsomeoftheirwiderhumanandculturalimplications.Chiefamongtheseisthepenetrationoftechnologyintothesymbolicandactuallife-spaceofpeopleinthepresentcentury.Soover-archingisthisprocessthatitcouldberegardedasthegreatestfaitaccompliofalltime.Ithasoverwhelmedthesettledworldsoftraditionandarguablybroughttheplanettotheedgeofcatastrophe.Growingupinthiscontextisfarfromeasy.Childrenandyoungpeopleareveryvulnerabletotheconsequentthreatstotheirwellbeing.Thewayssuchthreatsarerepresentedarethereforeworthyofseriousenquiry.Thefocusontechnologyiscomplementedbytwofurtherthemes:thoseofviolenceandfutures.Bothplaypowerfulroleswithinpost-modernyouthcultures.Butviolenceisperhapsmorestructuralandmoreproblematicthanisusuallyadmitted,whereasfuturesareeitherobscuredormis-identifiedwithpowerfantasiesanddevelopmentsinscienceandtechnology.Theessaythereforelookscarefullyatasampleofcontemporarymaterialinanattempttoteaseouthiddenprocessesandtosuggestappropriateresponses.Itisanotablefactthatthesurfacesofmediaproductions–ie,thevisualandauditoryaspects-engagethesenses.Butverymuchelseisalsohappeningbeneaththesurface.Foronething,ideas,ideologies,commitmentsandparticularwaysofconstruingtheworldarealsobeingcommunicatedandlegitimised.Suchsymbolicandepistemologicalprocessestakeplaceatdeeperlevelsandinamuchlessdirectandopenway.Theymaythereforebemoreinfluentialthantheovertcontentofmediaproductions.Forthisreasonalonetheyneedtobeconsideredcarefully.InpartoneIconsiderseveralfuturisticfantasieswhichdeployimagesofviolence,magicandmachines.Twoarebooks,threearecomics,twoareTVseriesandoneofthebooksisa'spin-off'fromathird.InparttwoIlookatnon-fictionalprintedmaterialswhichattempttotreatthefutureasasubjectofserious(oratleastnotovertlyfictional)enquiry.Theconclusionstobedrawnfrombothareasaresurprisinglyconsistent.Partsoneandtwohighlightseveralmajorconcernsaboutthewaystechnology,violenceandfuturesareportrayedinchildren'smedia.However,partthreeprovidesacounterbalancetothiscriticalapproach.Itconsidersseveralexamplesof'goodpractice.'Thatis,materialswhichopenupthepossibilitiesfordeeperengagementwiththeworld,de-mystifyingotherwiseobscured

Copyright (C) Richard A Slaughter 1991, 2018 All rights reserved

2

phenomenaandprovidingindividualswithstrategiesforrespondingconstructivelytoaworldofuncertaintyandturbulentstructuralchange.PartOne:MachineFantasies1.TheMachineattheHeartoftheworld(1)Thisisagentlyironictale.Theobaldisakindly,absent-minded,middle-agedbachelorwhohappenstoliveunderthegroundtendinghisworldmachine.Butthemachinemalfunctionsandhecannotbebotheredtofixit.Theworldabovebeginstonoticethatthingsarenotright.Butwhenthepeoplediscoverthemachine,theydiscoveritspowerandthinkthattheycanhavewhatevertheywant.However,theworlddeterioratesrapidlyandthescientistsappearhelpless.ThesmallboywhofirstwitnessedtheearlysignspersuadesTheobaldtore-startthemachine.Heagreesandeverythingreturnstonormal-exceptthatTheobald'sroofstillleaks.He'llfixitoneday.Thereareanumberofthemeshere.ThedependenceofafutureworlduponmachineswasbeautifullysatirisedbyE.M.Forsteraslongagoas1909inTheMachineStops.Herethepictureismorebenignandnorealdamageseemstohavebeendone.Yetitisperhapsworryingtoimaginethattheworldnolongerfunctionsautonomouslyandthatamachinewhichcouldbreakdownisholdingitalltogether.Adifferentorderofthingshasemergedwhichcancompromisenature.Further,themachineitselfisdependentuponthewhimsofasinglepersonwhosometimescan'tbebotheredtomaintainit.Theanxietyhereiscertainlymuted,butitechoesourownanxietiesaboutourdependenceuponmachinesandthosewhocontrolthem.Arelatedthemeinthestoryisthatwhilewemaythinkwecanhavewhateverwewantthroughmachines,theymaynotbereliableand,moreover,thecostsinvolvedmayturnouttobehigherthanwehadexpected.It'sofconsiderableinterestthatthescientists,theoneswhowemightassumetohavethebestchanceofrestoringorder,areshowntobenomorecapablethananyoneelse.Theyjuststandaroundandtalkwhiletheworldfallsapart.Couldthisbeareferencetotheincorporationofscientificexpertiseinsystemsofoffenceanddefencethatnoonereallycontrols?That'sapossibility.Theyhavetheirheadsinthecloudsandnolongerknowhowtogetthingsdone.Perhapstheyworkforamulti-nationalcompany.ThecentralpuzzleofthestoryistheoriginandnatureofthemachineitselfandTheobald'sspecialrelationshiptoit.Noexplanationisgivenforthis.HeisveryclearlynotGod,yetsometimesheseemstoplayaGod-likerole.DidTheobaldbuildthemachine?Wearenottold.Hecertainlyseemstounderstandit.Andwhyshouldherespondtotheboy'srequest?PerhapsTheobaldrepresentsfalliblehumanityandtheboyitsconscience.Suchquestionscannotbeansweredbecauseitisinthenatureofstoriestoleaveopenquestions.Thebooktakesagentledigatpeople'sgreed,theirnaivetyandlackofunderstandingofhowtheworldreallyworks,theirdependenceuponmachinesandthosewhocanfixthem.Overall,thestoryraisessomekeyquestionswithan


3

enviablelightnessoftouch.Itpermitstheyoungreadertoreflectonsomekeyquestionsand,ifitdoesnotofferanysimplesolutions,neitherdoesitforecloseoptions.Therealworldisindeedfullofopen-endedproblemsandthebooksuccessfullydepictsthiswithoutbeingcondescendingandwithoutforcingthereadertowardpredeterminedsolutions.2.Transformers:theMovie(2)Thestoryisbasedonasophisticatedlineofwartoysthatestablishedanewsegmentinthemarketsomeyearsago.Thetoysrepresentsophisticatedmachineswhichchangeshape('transform')fromrobotstoothermachinesorpseudo-beastssuchasdinosaursorsharks,andthenbackagain.Themainfeatureofthestoryisacompulsiveandunexplainedbattlebetweenthe'heroic'autobotsandthe'evil'decepticons.Danielisasmallboywhoassiststheformer.OptimusPrime,leaderoftheautobotsis'dying'.He/itpassesonthematrixofleadership(acrystalofpureenergy)tothesuccessor,UltraMagnus.ThedecepticonsarecommandedbyUnicron,anenormousrobotwithspecialpowers.He/itordersthedecepticonstodestroythematrix(thoughitisnotclearwhy)andconstructsaplanet-sizedspaceshipfilledwithdecepticons.Galvatrondestroysthesecond-in-command,againfornoapparentreason,andtheotherrobotsaccepthisleadership.Therefollowsalongsequenceofbattlesonandinthespaceship/planet.GalvatronstealsthematrixfromUltraMagnusanddestroysthelatter.Theautobots'leaderis'dead'andGalvatrondeclares,"it'sapityyouAutobotsdiesoeasilyorImighthaveasenseofsatisfactionnow!"ThevastUnicron'punishes'Galvatronbyswallowinghim/itandthematrixwhole.ButUnicronisdamagedbyanautobotspaceshipcarryinghumansandrobotswhichcrashesthroughitseye.TheautobotsandhumansbattleoninsidethehugemachineandfindGalvatronwiththematrixwhichhe/itisunabletouse.HotRodtellsGalvatronthatthematrixcannotbeusedbyaDecepticon.Thelattertriesto'kill'HotRod,buttheautobotdrawsonthepowerofthematrixtooverpowerGalvatronandejectitforcefullythroughtheheadofUnicron.ThepoweroftheunshieldedmatrixthenunaccountablybeginstodestroythemightyUnicron'sothereyeanditsenormousbodyexplodesleavingaruinedheadtoorbitthemetalplanetitbuilt.Theautobots,nowundertheleadershipoftheelevatedRodimusPrime,leavesthescenetorebuildtheirhome.Thereareclearlymanyfeaturesofthisfictionaluniversethatdonotcohere,evenwithintheworldofthestory.Norationaleisgivenfortheendlesswarbetweenthetwotypesofrobot(whoarelargelyindistinguishableinallrespectsbutname).ThesourceofUnicron'spowerisnotexplained.He/itiscapableofbuildingaplanet-sizedspaceship,yetremainssovulnerableastobemechanicallybreachedandderangedbythematrixofleadership.Thepowerofthematrixisnotaccountedforeither.Sotwonullitiesaresetinconfrontationandoneunaccountably'wins'.Thisisamagicalsituation,butonewithouttheprinciples,rulesandprocedureswhichstructuretraditionalmagic.Thisismagicwithoutasourceandwithoutafoundationorrationale.Thisisashallowfantasy.Therobotshavethemajorrolesinthestory(OptimusPrime),butshowno


4

capacityformotivation.Theysomehowdisplay'anger','fear',aggression'.Theycan'die'.Buttheyremainproblematic.Theyarecertainlynotintelligent,eveninthediminishedsenseofbeingartificiallyso.Theirmovementscannotreallybeaccountedfororexplained.Thefewhumansinthestoryarenotinvolved.Theyaresimplyonlookers.Sincetheyaresophysicallypuny,bycomparison,thereislittleforthemtodo,evenwhenequippedwithexosuits.Danielmanagestosavehisfatherfrombeingdroppedintoabathofseethingacid,butthatisall.Thissymbolicactprovidesaveryslenderthreadforreaderidentification.Humansare,infact,residualcategoriesinthiscontext.Theyhavenothingmuchtodoexcepttowitnessthebattle.Thereisnolever,nomeansofintervention,forthehumancharacterstoeffectanychanceintheconflict,noranythingresemblingasolution.Thewarisendless.ThoughUnicronisdestroyed,newthreatstotheautobotswillemerge.Thedynamicforthestorydoesnotarisewithinit.Rather,itappearstobeaproductoftheconditionsunderwhichthestorywasconstructed.Thoseconditionsincludethemarketingimperative,whichisarguablythebasicreasonfortheproductionofthestoryinthefirstplace.Therealdynamicmodelledhereisnotthemanufacturedconflictbetweenmachines.Itistherealconflictengenderedbycompulsiveconsumptionandthedestructionofnaturalqualitiesandresourcesbytechno-capitalistsociety.Theunderlyingrationaleforthestoryanditsmanyspin-offsissimplythatofcapitalaccumulation,sincenoneedscanpossiblybemethereotherthanthoseoffalseidentificationwithpowersymbols.Arepetitiousdisplayofmanufacturedsurfacesservestoengagethesenses-indeedtooverloadthemwithfastcuttingandintenseaction.Butthiscolourfulshadowplaycannotnourishthesenseofsignificancebecausethereisnothingtoengagewith.Thecupboardisempty-butthetillisfull!Thechildisdrawnintothissurrogateworldbymanypromises:theexperienceofvicariousdanger,spuriouspowerfantasies,theappealofmachineswhichseemtopossesscapacitiesfarbeyondthoseofweakandvulnerablepeople.Yethereliesahidden(andthereforesubversive)reversal:thatofcreatorandcreated,ofmeansparadingasends.Fortheentireuniverseofmachinesisbutafragmentofhumanexpressivenessandsymbolicpower,notviceversa.Hencethedisplayofdestructivephysicalaggressionandviolencedivertsattentionfromthethinandunliveablenatureofthisfictionaluniverse;thatis,fromtherealweaknessesandwhollyderivativestatusofmachines.Itisthereforehardtoseehowachildcandeploysuchmaterialinanyusefulway.Thefantasydoesnotsuggestwaysofdealingwiththerealworld.Withnocharacters,nosociety(withapastandfuture)andnohintofanecologicalcontext,thestorybecomesasequenceofconfusing,butstructured,misdirections.Assuch,theyoccupytheattentionbutstarvethemindandspirit.Transformersarebasicallyawasteoftime.3.Zoids(3)Theseareanotherexampleofnumerousattemptsbytoymanufacturerstocashinontheboomin'futuristic'wartoys.Manyofthethemesaresimilarly


5

stereotyped.ThereisabattlewithoutcausebetweenredandblueZoidsonadesertplanet.TheZoidsaremechanicalwarmachines(theyhavenootherfunction)pilotedbyandroids(de-personalisedpeople).EachsideiscommandedbyahumanoidZoidaryan,assistedbypowerfulmechanicalbeasts:Zoidzilla(adinosaur)andRedhorn(ametallicrhino).MostfearesomeofallisKrark,PrinceofDarkness(agiant,pterodactyl,armed[literally]totheteeth).Allthemachinesarearmedwithavarietyofpowerfulweapons.Thecommonestaremultiplecannonsthatresemblecrudephallusesandspraydestructionwherevertheyarepointed.Yetthemachinesarealsohighlyvulnerable.Theyoftengetblowntopieces.Whentheboyinthestory(again!)takesoneover,theZoidaryaninchargeisunabletostophim.Hehasbecomepowerlessotherthanthroughthemachines.Thelatterhaveallbuttakenover.Yettheyareoutwittedbyamereboy.ItissignificantthattheshapesofthemachinesarederivativeofEarth-typeanimals,pastandpresent.Theyhavenodistinctiveshapeoridentityoftheirown.Theylookfearsome,butmustbeveryinadequateortheywouldnotneedsuchweapons;exceptthatmachinescannotbeinadequate,brave,angry,hostile-etc.Thispersistentassociationofhumancapacitiesandpowerswithmachinesisevidentlyoneofthestandardtropesofthissub-genre.However,Isuspectthatitunderminestheinterpretiveautonomyofthereaderinwaysthatchildrencouldhardlybeexpectedtounderstandorcompensatefor.(4)Thedeviceofhavingthemachinesapparentlycommandedbyahumanoidisnotasolutionforitisthemachinesthemselveswhichsaythingslike,"Youarehonouredbluezoid...youperishbeforetheweaponryofKrark....PrinceofDarkness."Howamachinecouldbeaprinceofanything,leastofallofdarkness,isawhollyirresolvablequestion.Thelanguageoftheseconfrontationsgivescauseforconcern.Zoidzillaisgivenlineslike:"Cowards!Traitors!I'llriptheirrenegadebodiestopiecesforthisoutrage!"Onedoesnotneedtobeabible-thumpingmoralisttoquestionwhetherreferencestopunishment,tortureanddismembermentamounttoanourishingdietforyoungminds.Suchreferencesareneitherisolatednorforced.ItismerelybychancethatthesymbolicassociationsofZoid-aryansuggest'mechanicalNazi'?ThisZoidaryancertainlybelievesthat"Namerandhisfriends...mustbepunishedmostseverely."Thecombinationofnegativederivedpower,falselytranscribedemotionsandcapacities,exaggeratedbiologicalfeatures(suchastheweaponphallus)andsub-humancrueltycreatesapatternofsystematicdistortion.Perhapsmaterialofthiskindshouldcarryhealthwarnings.4.He-Man:TheSirenSong(5)OneishardlysurprisedtofindthatonEterniaaconstantbattletakesplacebetweengoodandevil,betweenHe-ManandSkeletor.TheformerisbasedatCastleGreyskullthatpossessessomesortofmagicessentialtoEternia.Skeletor,LordofDestruction,isaidedbyassortednastieswhileHe-Man'scompanionsincludeasorceresswhocanchangeintoabirdandOrco,asmallflying


6

humanoidwithmuchmagicbutnolowerbody.MostofthetimeHe-ManisthegentleandmeekAdam.Butwhendangerthreatens,heissuddenlytransformed.InSirenSong,SkeletorhasbroughtanewmachinetoattackCastleGreyskull.Itemitsapowerfulnoise(the'sirensong')whichcausesthewallsofthecastletocrumble.He-ManandfriendsdealwithSkeletor'smonstrousassociatesbutitisOrcowhosavestheday.Hesimplycastsaspellandthemachinefallstopieces.Problemsolved!Thefirstthingtonoticeaboutthestoryisthatitisnotreallyastoryatall.Verylittlehappens:basicallyathreatandarebuff.Theprofuseillustrationbarelyconcealstheextremepovertyoftheplot.ConsiderthewaythatAdambecomesHe-Man.Heuttersawish:"BythepowerofGreyskull-Iamthepower"andistransformed.Thisisacompleteinversionofthereal-lifeprocessofhumandevelopmentthattakeseffort,applicationandworkoverasustainedperiod.Hereitisattainedinstantaneouslymerelybyspeakingthemagicwords:basicwish-fulfilment.Thisinversionalsodisruptsthe'MastersoftheUniverse'labelgiventothecomics,toysandTVseries.Fornorealmasterycanbeseenintheseslighttales.Thecharactersareinsufficientlycoherenttobetakenassuch.They'defeat'Skeletor(death)byinvokingmagic,wavingaweaponordeployingacrudedeusexmachina.ThelatterisdeployedinTheSirenSongthroughOrco'smagicwhich,bybeingabletodestroymachines,ismorepowerfulthantherationalitytheyrepresent.Yetthisisnotthesupra-rationalityofanyauthenticspiritualtradition.Insteaditlooksmorelikearegressiontothecrude(andcruel)powerofthepre-rational.Thisisbasicallystone-ageconsciousnessclothedingarmentsborrowedfrommanycultures.Theterm'sirensong'refers,ofcourse,toGreekmyth;tothelureofthehalf-wild,half-human.Butthereisnothingwhateversiren-limeorsong-likeaboutSkeletor'smachineorthenoiseitmakes.Hereisanotherdislocationofrichhumanassociationsthathavebeenstrippedofmeaning,contextandcoherence.SimilarlyCastleGreyskullhasanawkwardandunsustainablerole.Itisasymbolofdeaththatisusedhereasasourceofpower(life).Thiscanbereadasafurtheratavism:areferencebacktothesub-humanpracticeofritualsacrifice.(6)Furthermore,byidentifyingdeathinsuchalooseandincoherentwaywithevilandgood,itdeprivesthechildofthepossibilityofresolvingitsmostbasicanxieties.Itissafetoconcludethattheso-called‘MastersoftheUniverse’canbenothingofthesort.Iftheycannothandlebasiccategoriessuchasgood,evil,life,death,pre-rational,trans-rational,theycannotbemastersofanything,andcertainlynotoftheirownunder-dimensionedselves!Thesurfacecolour,thebrightimagesandtheaction-filledpaceservetoconcealaradicalpovertyofinsightandimagination.Thismaterialisnotworthyofchildrenforitisliterallybeneaththem.It'knows'lessthentheydo.5.Thundercats(7)Muchoftheforegoingappliestothiscloneof'Masters...'sotoavoidrepetitionIwilljustdiscussfivepanelsfromthestrip.ThefirstshowsLynxanabefore


7

confrontingthehero,ormoreparticularly,hissword.Sheispicturedasbeingstrong,lithe,capableanddetermined(ifsomewhatimprobablyshaped).Herlefthandrestsaggressivelyonherhipandherrighthandholdsaweaponsheisclearlypreparedtouse.Shelooksstraightoutofthepicture:nosubmissivenesshere!Yetthesecondframepresentsacompletecontrast.Heresheisfallingback.Herweaponispointeddownandaway.Sheisoff-balance,nolongerincontrol.OverherloomsthemightyanddominantfigureofLion-O,legsapartandswordheldthreateninglyoverhead.Energycascadesfromtheraisedweapon.Lynxanacries"...thesword!It'sdisruptingtheforce-field!"Sheisveryclearlyoverwhelmedbythesymbolandexpressionofmaledominance.Herownpersonal'force-field'hascertainlybeendisrupted.Sheispicturedincompletesubmissiontohis,orratherthesword's.incontrovertablepower.Therecanbefewimagesanywherewhichdepicttheprimitiveassymetricalrelationshipofmaledominanceandfemalesubmissionwithsuchstarkanduncompromisingclarity.InthethirdandforthpanelsLynxanaisshownstandingbehindLion-Owhoisnowusingtheswordtodefendthemboth.Shedevelopsasuddenintensedislikeofthecreatureattackingthem:"thisMumm-Rareeksofcruelty,ofwickednessandpain!I'veneverencounteredabeingsovile!"Herthoughtsturnbacktoherdefender:"No-onedeservestofalltoamonsterlikethat!No-one!"Herconversioniscomplete.Thelastframeshowshereclearlyinherdiminishedandsecondaryplacebehindtheherowhoisstillbattlingwithhissword.Fromherstanceofconfidentsplendouratthebeginningofthestripshenowseemstocowerbehindthemighty-thewedherowho,withthemonster,nowdominatestheframe,thestoryandtheworld.Thesub-textisnothardtoread.Womenhadbetterlearntheirplaceorbedestroyed.6.CaptainPowerandtheSoldiersoftheFutureItis2147andtheEarthhasbeenlaidwastebythemetalwars:"whenmanfoughtmachineandmachineswon."LordDreadrulestheBio-DreadempirefromVolcania,hisstrongholdandfortress.Bio-dreadsare"monstrouscreationsthathuntdownsurvivorsand'digitise'them."Butfromthefiresofconflicthavearisen"anewbreedofwarrier,bornandtrainedtobringdownLordDread'sempire...TheyaretheSoldiersoftheFuture...Mankind'slasthope."(8)CaptainJonathonPowerleadstheteam.Heis"masteroftheincrediblepowersuitswhichtransformeachsoldierintoaone-manattackforce."Theresultis"themostpowerfulfightingforceinEarth'shistory."Thissmallgrouplivesundergroundinahiddenbasewithothersurvivorsofthemetalwars.Theyarepermanentlyunderthreat,butseemtolivequitewellbetweenemergencies.Theyhaveaccesstoasupportinginfrastructurethatmostlyremainsoutofsightbutclearlyprovidesthemwithfood,weapons,communicationssystemsandthelike.LordDreadispartman,partmachine.Hesitsatopahigh-techconsoletodirecthisheartlessempire.Yet,attimes,hecanmoveandevenfeel-justlikeanyotherhuman.Buthisraisond'etreseemstobepittinghismachinesagainsttheremnantsofhumanityinthisruined,post-catastropheworld.Hehasaccesstoa


8

machineintelligencethatadviseshim,tocountlessandroidsoldiersandtoflyingrobotswhichobeyhiseverycommand.Surprisingly,perhaps,CaptainPowerandhisassociatesdonotuseandroidsorrobots.Buttheysurelycould.Theyhavea'supercomputer'whichcontainsthepersonaofanow-deadleader.SoclearlythetechnicalcapacityexiststoduplicateDread'sforces.Yettheyrelyinsteadonthepowersuits.Oncethelatteraredonnedandpoweredupaflareofelectricalenergytransformsthesepunyhumansintopowerfulfightingmachinesthatcanfly,heftenormousweaponsandwithstandallbutthemostoverwhelmingblast.Ifthesuitsarebreachedthey'shortout',leavingthewearerexhaustedandnakedlyvulnerable.Theconflictsinthisravagedearthseeminterminable.Yet,curiously,neithersideseemsabletodefeattheother.Thereisapermanentstalemate.Individualepisodesseemtofollowacommonpattern:aproblemorthreatisexperiencedandsomedangerousactionfollows(invariablycausingthedestructionofmanyofDread'sanonymoustroops).Somesortofconfrontationtakesplacebetweentheprincipals,aresolutionoccurs...thenitisbacktoroutinesurvival.Theseriessharesmanyofthefeaturesofexamplesdiscussedabove:endemicconflict,violentconfrontation,destructivemachines,easytransformationstoaugmentedstatesofpower.Butthereisalsoonemajordifference.InCaptainPower...thelinebetweenpersonsandmachinesisdecisivelybreached.Dreadisthemachine-likeman,'heartless',yetcapableofemotion.BothheandPowerhaveaccesstodisembodied'intelligences'thatareembodiedinmachinesbutactasiftheywerestill,insomesense,human.Theyseemtospeak,reasonandunderstand.Buttherearetwootherfeaturesthatstamptheserieswiththecoldimprimaturofdepersonalisation.OneistheabilityofDread'sflyingrobotto'digitise'people;theotheristhepowersuitsthemselves.Inthiscontext,to'digitise'signifiestheabilityofmachinestoreducealivingpersontoconstituentelementsthatare'coded',storedandre-assembledatwill.Thedevicehasbeenusedinmanycontexts(egStarTrek)toovercometheproblemsoftransportingpeopleacrossvastdistancesquicklyenoughsoasnottostraintheaudience'spatience.Buthereitisusedasaninstrumentofdomination.Theopeningsequenceshowsawomanscreamingassheistornapartbythedisintegratingray.Shewilllaterbereassembledforfurtherabuse.Theapotheosisofthemachineiscompleteanditspowerisabsolute.Itisanawesomepowerforitincorporatesboththeabilitytodestroylife,andtoreconstituteit.Assuchitdrawstoitselfallthemythicresonanceofhumanhistoryandculturewhichhassublimatedtheyearningofhumankindtobreachthebondsofdeath.Suchmachines,weretheypossible,wouldguardthegatesofeternityandquiteliterallybeGod-likeintheiromnipotence.Thereisanotherimportantfeatureofthisprocess.Itistheassumptionthatlifecansomehowbe'coded'and,forawhile,exist,orbeconserved,inadifferentnon-livingstate.Thisviewissimilartothatadoptedbyproponentsof'artificialintelligence'(AI)whoseenodifferenceinprinciplebetweenthehumanbrain/mindsystemanditssyntheticanalogues.Howevertheassumptionisadangerousone.Idonotknowifwewilleversee'machinesthatthink.'However,IamfairlysurethatifAIeverbecomesarealitythatwhatwemeanby'thinking'


9

andwhatamachinemight'mean'byitwouldbeutterlydifferent.Fortobehumanandtohavehumanqualitiesandneedsetc.requiresthatonebeborn,possessabodyandindeedabiographywhichyieldsmemory,experienceandidentity.The'identity'ofmachinesmust,atthispoint,beconsideredwhollyproblematic.Itisthereforeamajorerrortoattributehumanqualitiestomachinesthat,sofarasanyonecansee,infactremainderivativeanddependententities.Hence,thenotionthatthebiologicalstructuresandprocesseswhichsupportlifecanbe'copied','reduced','stored'orotherwisemanipulatedisrevealedasanunsustainableconceit,acategoryerrorwhichshouldnotbeblindlyaccepted,eventhoughitisrepeatedlymodelledonTVandfilm.Thepowersuitshaveadifferentrole.Theymakepalatablethatwhichiswhollyunacceptable.Thatis,depersonalisation-therenderingofhumanbeingsintomachinesormachine-likestatesofdependence.Hereatechnicalprocessseemstoconveypowerandnear-completeinvulnerability.Yettoattainthesecapacities,peoplemustyielduptheirhumanness:thewarmthoftheirflesh,thegraceoftheirmovement,theautonomyoftheirbeing-in-the-world.Theymustbecomearmoured,shielded,enclosedinametalandplasticskin,separatedfromeachotherandthe(residual)ecologyuponwhichtheystilldepend.Inthisprocessmostofhumanlifeismarginalisedoreliminatedaltogether.Herethereisnoroomforgentleness,insight,caring.Similarly,thenaturalworldhasallbutdisappeared.Perhapsamachinewillreplacethattoo.Iconcludethatthe'power'whichthegoodcaptain,hiscolleaguesand,indeed,LordDread,aspiretopossessisofaninferiorandderivativekind.Itisanegativeanddestructivepowerthathasbecomedissociatedfromitshumanandculturalsourcesandvestedinsub-humanforms(iemachines).Assuch,thestruggletosurviveonthisoranyworldisirresolvable.Theultimatemessageofthisparticularfictionisthathumanshavelostcontroland,insodoing,theyhavealsolosttheirsouls.DiscussionThreeconclusionsemergeatthispoint.First,muchofthematerialisformulatedandexpressedviathedisplayofsurfaceswhichlacktemporalcontext,humanity,societyandecologicalsubstance.Thepaucityoftheseunder-dimensionedsurrogateworldsmayprovidepartofthemotivationtoscourallofhumanandnaturalhistoryforsymbols,referencesandmeanings.Buttheusethatismadeoftheseresourcescannotdothem,orsubsequentreaders/viewers,justice.Fortobeincorporatedinthesethinandmotivelessworldstheymustfirstbestrippedoftheirrichhumansignificanceandassimilatedintoanotherwisefeaturelessframe.Dinosaurs,sirensongs,ritualsandrulesallbecomeflattenedanddiminished.Historysoftens,losesfocus,andeventuallydisappearsinthepaleglowofthesespuriousfutures.Asecondconclusionconcernsthechronicprimitivismdisplayedintheseproductions.Ittakesmanyforms,eg.:language,sexism,violenceandpunishment.Conflictsareendemicintheseworksbecausetheyprovidethemajorinnerdynamicforthestory(therebeingnocharacterstoprovidetheir


10

own).Yetthereseemtobeonlytwotypesofconflictresolution:oneisbydestruction;theotherisbydeus-ex-machina(whichusuallymeansmagic).Inotherwords,thesearenottruestrategiesfordealingwithconflictatall.Theimplicitmessageisthatconflictscannotbesolved.Youmusteitherdestroythe'enemy'byfrontalassault,bydeployingmachinesorbywavingyourwand/sword/phallusinthehopethatsomehigherpowerwillrescueyou.Finally,thereisadeeperissuetowhichIwillreturnintheconclusion.ItconcernsthewaysinwhichtheWesternworldviewincorporatesparticularmodesofunderstanding,withtheirspecificstrengthsandconfusions.Oneofthelatteristheconfusionofontologicallevels:thefactthatplantshavequalitiesrocksdonot;thatanimalshavequalitieslackedbyplants;thatpeoplehavequalitieswhicharesimplyunavailabletoeitheranimalsormachines.YetWesterncultureshavelostsightofthesedistinctionsduetothehomogenisationoftheworldthroughthescientificrevolution.TheNewtonian/Cartesiansynthesisconstructedamodeofunderstandingandofactionwhichdid,indeed,provideaccesstoimmensetechnicalpower.However,thedominanceofitsinstrumentalmodeofrationalityhasblurredourvision.Ithashelpeduslosesightofaqualitativelydifferentiatedworldanditspatternofemergentqualities.Thishelpstoexplainwhythesefictionsaresoconfused.Herearemachineswhichhavehadhumanqualitiesillegitimately'readupon'them.Heretootherearehumans,andhumanoidmonsterswhichexhibitsub-humanandmachine-likeregressions:compulsivedestructiveness,fear,narrowandreactiveresponses.Heredeathmasqueradesaslife,andlifeasdeath.Eventhemagichasnocoherence.Itisbothmightierthanmachines(rationality)andweaker(pre-rational).Itisbasicallyamanifestationofsimplewish-fulfilment.Hencethecosmologyofthesestoriesisderanged.Theirreality-principlesareincoherent.Oftheexamplesconsidered,onlythegentleironiesofTheobaldandhismachineprovidesufficientimaginativelatitudefortheconstructionofusefulresponsesandmeanings.Asframeworksforderivingunderstandingsabouthumandilemmastheothersareworsethanuselessbecausetheyfailtobringatavismstofullconsciousnesswheretheycouldbeworkedthroughandtranscended.Insteadtheydrivetheyoungbacktowardthedarkandprimitivepast.These'futuristic'fantasiesare,infact,archaic.PartTwo:TechnotopiaUnlimited1.LivingintheFuture(9)LivingintheFutureisthenameofabookandachildren'sTVseriesairedintheUKin1981.Themainthemecanbesummarisedas'howmicrocomputerswillimproveourlives.'Thispropositionisrepeatedmanytimes.Boththeseriesandthebookpresentasuccessionofbrightandsuperficiallyattractiveimages:wristTVs,aspaceshuttle(beforetheChallengerdisaster),afuturistichouse,apleasuredome,andsoon.Perhapsthemostusefulimageisthatwhichcompares17thand20thcenturylandscapes.Itusefullyinvitesspeculationabouthowprocessesofdevelopmentmightcontinueorchange.However,thecrucialtheme


11

ofhumankind'srelationswithnaturearenotexplored,notregardedasapossiblefuture-shapingissueorconcern.Themostunhelpfulandbiasedimageisthatofthetechnologistdoctorexaminingapatientwiththeaidofremotelycontrolledmachines.Toequatefuturehealthwithtechnologyinthiswayistomisrepresentboth,particularlyifonebelievesthatthelatterisatbestmarginallysupportiveofhealth.Ifacomparisonhadbeenmadewithconvivialordecentralistalternatives,someusefulcontrastscouldhavebeendrawn.However,theemphasisthroughouttheseriesandthebookisupontheexternalconstructionofthefuturethroughtechnology.Thereisnohintofthepersonalandinstitutionalchangesthatmanyothersseeascrucialtoanylivablefuture.(10)Theseproductionsareoverwhelminglyoptimisticintoneandpresentation.Thefuturetheyportrayisbasicallysafe,affluent,white,northernandanthropocentric.Farfromdealingwithfuturealternativesintheplural,itrepresentsanillustrationofahigh-tech.energyandresourceintensivescenarioforWesternsocieties.(11)Unconsciouslybiasedmaterialofthiskindisunsuitableforgeneralusesinceitconcealsinterests,assumptionsandcommitmentsandmakesoneparticularviewoffuturesseem'natural'.Itmaythereforereduceoptionsbyreinforcingtaken-for-grantedunderstandings.Theresultmaybeeducationalinintentbutitismystificatoryineffect.2.TheUsborneBookoftheFuture(12)Thisbookiscomprisedofthreeseparatelypublishedsegments.OnefeaturesRobots,andaddsalmostasanafterthought'ScienceandMedicineintothe21stCentury'.AsecondhighlightsFutureCities,whileathirdconcentratesonStarTravel.Thethreesegmentsareprofuselyillustratedandmostoftheillustrationsareofbiggerandbettermachines.Herearerobot-controlledaircraft,nuclearpoweredasteroids,starprobes,floatingcities,fullymechanisedfarmsandsoon.Theostensiblesubjectis'thefuture'buttherealsubjectistechnophilia,orloveofmachines.Theimagesinthisproductionhavebeenclearlydesignedtoappealtochildren.Likethosediscussedabove,theyarebright,eye-catching,oftendramatic.Butthumbingthroughthepagesitisobviousthatpeopleandnatureareresidualcategoriesinthisworld.Theyhavebecomesubordinatedtothethrustoftechnicalimperativesthatareherewritlargeuponthefaceoftheuniverse.Hereisconfidenceindeed,alongwithplentyofhubris.Thecontrastbetweentheunder-dimensionedhumansandthevastcityscapesandtechnologiesisverymarked.Bycomparisonhumanslookpunyandsmall.Verylittleissaidorpicturedabouthumandevelopmentassuch.WhenESPappearsitisnotdeployedforanyhumanlyusefulpurpose.ItispartofthearmamentofanESPERbattlecruiser!Productionsofthiskindarepresentedasiftheywereneutralandvalue-free.Buttheyspeakeloquentlyofacultureinwhichtheapotheosisofthemachinehas,atleasttemporarily,smotheredanddisplacedamorebalancedconcernforhumanwelfareanddevelopment.Hidingbehindtheshiningsleeksurfacesofthemachinesisaprofoundinsecurityandfear:alienationfromthebody,theselfandthenaturalworld.


12

3.FutureWorld(13)FutureWorldisabigbookthatmanagestoavoidtheshrilltechnophiliaoftheabovework.Itcoversdesignforliving,communications,energy,transport,space,foodandmedicineandisprofuselyillustratedthroughout.Itattemptstostrikeamorecrediblebalancebutsstillgivestheimpressionthatthefutureisbasicallyabouttechnologyinoneformoranother.Apartfromtheusualrocketsandcivilengineeringprojectsthereisaphotoofa'modern'Asianfarmersprayingpesticideonhiscropsandamock-upofa'futuristic'bed.Thelatterhasa"mastercontrolpanel(which)canbeusedtoselectlove,wake,sleep,andpeacemoodprograms,allofwhichcanbepre-set."(14)Onewonderswhathashappenedtothenervoussystemsoftheinhabitants.Havetheybeenpre-settoo?Againdoctorspeeratpatientsthroughsophisticatedscreensandmenandwomenliepassivelybeneaththerevealinggazeofenormousscanners.Onlyonepictureofanacupuncturistrevealsthatother,lessmechanised,optionsexist.Thereisnoneedtocataloguetherestofthebookforitismuchliketheothersingeneralcontent.Despiteitsmoremoderatetoneitremainsfirmlywithinthede-personalisedworldofthemachine.Thisimpressionisheightenedbytheend-paperswhicheachdisplaystylisedcomputergames.Atanunconsciouslevel,then,thebookisliterallywrappedinmechanisedimagery.4.AustralianStudyTopic:TheFuture(15)Thisbookletisaseriousattempttostimulatequestionsandenquiriesaboutfuturesissues.Itwasfundedbycommercialsources,publishedprivatelyanddistributedfreeofcharge.Itbeginswithashortpieceon'TheRoadAhead'.Herewelearnthat"thosewhorejecttheevidenceofthegradualimprovementofhumankind'sprogressoverthecenturies...sometimeschoosetoscornpresentachievementsandgenerateatunnecessaryfearofthefuture."Thewriterthenascribesourcontemporary"nightmarescenarios"totheseunnamedpersonsandarguesfor"thenecessityofkeepinganopenmind".Hewantsstudentsto"explorethescientificbasisforsomeofourbeliefs"andsuggeststhat"thechallengesoftomorrowwillbenomoretroublingthantheseemingly-insuperablechallengesofthepast."(16)Thisisnotapromisingstart.Itishardtoseehowonecankeepanopenmindifonemislocatesthesourceof"nightmarescenarios"withinunnamedgroupswhomonedisapprovesof.Neitherisitclearhow,orwhich,beliefshavea"scientificbasis".Thatlooksalotlikescientism.ThelastassertionIhavequotedsimplydoesnotholdupatall.Anyonewhobelievesthatpastandfuturecanbeequatedinthissimplisticwayoughtnottobewritingforschoolchildren.Thebookletdoesnotimproveasitcontinues.Thereisapieceon'PredictingtheFuture'whichunhelpfullyreinforcesthespuriousandfrequently-assertedassumptionthatfuturesstudycanbeequatedwithprediction.Nextthereisablatant'strawman'sectionwhichsummarisestheveryreasonablethesisofBirch'sbook'ConfrontingtheFuture',takesoneaspectofhisargument(resources)andproceedsto'demolish'itbydrawingonSimon'stendentious


13

book'TheResourcefulEarth'(1984).Throughthisandothersources,thewriterfinallyreachesthecoreofhisconcern."Economicfreedom",hedeclares,"hasbeenthekeytoprogressinthepastand...itisthekeytoprogressinthefuture".(17)Fromthispoliticalandeconometricpositionheconcludesthat"thedebatebetweenthepessimistsandtheoptimistsisreducedtoafundamentaldifferenceinunderstandingaboutthenatureoftheworld'sresources".(18)Thisiscompletenonsense,asanyonewhohadlookedattheoriginsofdystopiawouldknow.Population,scenariosandrisk-assessmentarecoveredwithequalincompetenceandbarely-concealedbias.Thecoverofthebookletdepictsfivebrightlysmilingfaces,butinthiscasethecoverisnottobebelieved.Thecontentislessattractive.Itsorigins,preferredsources,leadenandcontrivedargumentmakeitunsuitableforusebyanybuttheideologicallysophisticatedreader.Thebookletisscientistic,pro-technologyandclearlyinspiredbythelimitedagendaspursuedbycorporateentities.Itreadslikeamini-manualfromtheHudsonInstitutewhich,inaway,itis.Asawayofunderstandingfuturealternativesandchoicesithastoomanyhiddentrapstojustifyitsuseinschools.DiscussionThefouritemsconsideredabovewereallproducedexclusivelyforchildrenoryoungpeopleandtheworldtheyportrayissurprisinglyconsistent.Itisoneinwhichcapitalaccumulationandtechnicaldynamismhavebecometheprimarymotiveforceswithinculture.Existingpoliticalpatternsandtechnicaltrendsaresimplyassumedtocontinue.Inotherwords,thismaterialportraysaparticular,narrowviewofthefutureandbysodoingactuallyconcealscrediblealternatives.However,themajorpurposeoffuturesstudyisnottopredictoreventoforecast.Itisrathertodistinguishaspectrumofalternativesinanyfieldwhichre-enterthepresentasconsideredactionsandchoices.(19)Wherealternativesareconcealedorobscuredaradicalnarrowingoccursandhumanautonomyistherebyimpaired.Theexplanationfortheapparentunanimityofthesematerialsissimplythattheyspringfrom,orareheavilyindebtedto,adominantideology.Hence,farfrombeing'futuristic'theyaredeeplyconservative,harkingbacktoanepistemologyindeclineandinsensitivetothesourcesofculturalvitalitywhichimplywhollydifferentfutures.Thebrightworldofspacetravel,massiveartefactsandinstantaneousglobalcommunicationreinforcesascenariothatisbynomeansuniversallyacceptedordesirable.Italsorunscountertotheintuitionsofwritersandartistswhohavewidelyperceivedthatthemereextensionofpresenttrendsleadstowardarangeoftechnocraticnightmares.(20)Aprofoundcontradictionthereforearisesbetweentheup-beatrationalisticviewsoffuturesandtechnologywidelydisseminatedtochildrenthroughTV,filmandprintandthefarmorepessimisticviewswhicharewidelyheldwithintheculture.Itisnotsurprisingthatchildrenbecomeconfusedandfearful.Thestructuraldissonancesbetweenincommensurableviewscannotbereadilyresolved,evenbyadults.Itisfareasiertoregressintowish-fulfilmentandmagicthantomakesenseofaworldthathasbecomechronicallyincoherent.


14

PartThree:BeyondtheWorldMachineThemachineattheheartoftheworldhasnotalwaysbeenthere.Itwasinsertedatthetimeofthescientificrevolutionandsteadilybecameuniversalisedoversubsequentcenturies.Themachinemetaphorderivesfromaparticularworldviewwhichbroughtwithitanumberofassumptionsandprescriptions;assumptionsaboutpeopleandtheirrelationswithnature;aboutknowledgeandhowtoobtainit;aboutprogress,growth,andmostofallaboutthepre-eminenceofinstrumentalrationality.(21)Themechanisedworldviewsucceededforonemajorreason:itgaveaccesstohithertountappedpower.Butthreecenturiesofhumanexperiencehavealsorevealedthecostsofthistypeofpowerandtheweaknessesintheassumptionsthatweremade.Natureisnotinfinitelyforgiving,peoplearenotmachines,knowledgeforpower(afterBacon)isnottheonly,oreventhemostimportantformofknowledge.Furthermore,amechanisedworldcreatesnewrisksandnewdependencies.Thisisnotaparticularlyrecentinsight.Itwasunderstoodattheverybeginningofthe20thCenturybyE.M.Forsterwhoin1909wroteTheMachineStopspreciselyinordertocountertechnocraticassumptionsfoundinthewritingsofpeoplesuchasH.G.Wells.(22)Yetthemerecritiqueofthemechanisedworldviewwasnotsufficienttochangeit.Asthecenturyprogressedsonewdiscoveriesandinventionspermittedthedynamicexpansionoftechno/economicsystemsandpermittednewdisplaysofvirtuosityanddestruction.Soasweneartheendofthecenturythereisindeedaschitzophenic-likequalitytoourprivateandpubliclife.Whiletheproponentsoftechnicaldevelopmentcontinuetopropagandiseonbehalfofthebenefitsofcontinuedexpansionandgrowth,theover-archingcrisisofunsolvedglobalproblems(the'globalproblematique'or'metaproblem')loomssteadilylarger.(23)Itisintothishistorically-unprecedentedcontextthatchildrenareborn,grow,aresocialised,educatedandentertained.Yetthissurveysuggeststhatmanyofthemessagescontainedinyoungpeople'smediaareradicallydefective.Suchaconclusioncouldberegardedascausefordespair.Soitbecomesimportanttolocateworksandapproacheswhichpointinadifferentdirection;thatisawayfromconfusion,dependence,mystificationanddepersonalisationtowardmorehumanlyviableconcernsandends.1.TheMagicofLeGuinTwoworksmeritconsiderationinthiscontext:theEarthseatrilogyandAlwaysComingHome(24).Theformerpresentsuswithaworldinwhichmagicworks,butitworksonlyinarigorousandsystematicway.Likethebestfantasies,LeGuin'sEarthseaisinternallycoherentandconsistent.Powerisnotgainedlightlyandthenotionofbalancehasbeenelevatedtoastructuralprincipleinthenarrative.ThemaincharacterisSparrowhawkandhisgrowthtomaturityasamagicianprovidesthebackboneofthethreelinkedstories.It'sclearthatevenmagicalpowerrequiresdedication,patienceandhardwork.However,Earthsea


15

isnotaparableabouttheProtestantworkethic.RatheritdrawsmoredeeplyonTaoistnotionssuchasthemutualnecessityofduality: Onlyinsilenceistheword, onlyindarkthelight, onlyindyinglife: brightthehawk'sflight ontheemptysky.(25)Thisthemerunsthrougheachofthebooks.ForexampleinTheTombsofAtuan(vol2)it'sclearthatdarknessisnotevilsinceitalonecangivemeaningtolight.Similarly,inTheFarthestShore,thediscoveryofapartialimmortalitymeansthatthewholebalanceofnatureisthreatened.Ifdeathbecomesmeaningless,lifetooisdrainedofitsvitality.NamingisimportantinEarthsea.Toknowthetruenameofanypersonorbeastistohaveaccesstoenormouspower.Consequentlytruenamesarecloselyguardedandthebalanceismaintained.ThereisnotspacetoexplorethemanyrichaspectsofEarthsea.However,manythemesofgreatimportancetotheyoungareexploredwithoutatraceofdidacticism:responsibility,vulnerability,comingofageandsoon.LeGuinhasprovidedaveryrichtapestryofassociationsandmeaningswhichoffertheyoungmanyopportunitiestounderstandandreflectuponthe'real'world.IfEarthseaisachildren'sworkwhichisrichenoughtobeappreciatedbyadults,thenAlwaysComingHomeisanadultworkwhichalsospeakseloquentlytotheyoung.Itisnotastoryoranovelassuchbutadiversetapestryofsongs,stories,poems,asidesetc.depictingapeopleandtheircultureinanimaginativelydistantfuturetime.Thekeytothiscivilisationisthewaythattechnologiesandmachineshavebeenmarginalised,whilesong,dance,poetryandritualhavetakencentrestage.Theresultisapowerfulandmovingaccountofapeoplewho"mightbegoingtohavelived"sometimeinourfuture.Itisaverydifferentfuture,butonewhichresonatespowerfullywithourpresent.ThereisaCityofMindthatretainsthecapacitytore-createallthehorrorsofthepast.Butthisneverhappensbecause,foronething,the'worldwidetechnologicalweb',thefossilfuelsandotherabundantresourcesoftheIndustrialAgenolongerexist.Intheirplaceis"analmostetherealtechnology...ofnerveandgossamer."But,moreimportantly,thepeopleofthevalleynolongerwantthatkindofpower.Forthem"thequestionconcerningtheCondor'sfailuretobuildanempirewithitsadvancedweaponsisnotwhydidtheyfail,butwhydidtheytry?"Theycannotanswerthisquestionbutsuspectthattheattemptwas,insomeverymajorwayself-defeating-"verysickpeopledieoftheirsickness."(26)Thenaturalenvironmentanditsweboflivingcreaturesisofgreatsignificance,anendlesspalimpsesttobelivedin,celebratedandrevered.Ateachingrubricon"PraisingtheOaks"endswiththesewords:"ninenobleandpleasantoaks,vigoroustrees,sweetinthemaleandfemaleflower,townsofmanybirdsandsmallanimalandinsectpeople,givingmuchshade,givingmuchfood,greatwealthyonesworthyofpraise."(27)Inthiscontextpeopleandtheenvironmentinterpenetrate;theyarenotseparate.


16

ThestoryofFlickerillustratesanotherimportantdimensionofthisnarrative.Sincechildhoodshehasseenmorethanothers:"Ihadabigargumentwithmycousinoncewhenshesaidtherewasnobodyinthewashhouse,andIhadseenawholegroupofpeopletherepassingthingsfromhandtohandandlaughingsilently..."(28)Latersheseesthroughtheeyesofthehawkandhasdirectperceptionoftheuniversaldanceofenergyandform.Butthetotalityisbeyondher:"nomindormirrorcanholditwithoutbreaking,"sherealises.Moreover,

wemakeuseofsuchvisions,makemeaningsoutofthem,findimagesinthem,liveonthem,buttheyarenotforusoraboutus,anymorethantheworldis.Wearepartofthem.(29)

Suchaviewhastwoveryimportantconsequences.Ithelpstore-establishavertically-differentiated"hierarchyofbeing"whichwasobscuredbythemechanicalworldpicture.Italsoextendsthespatial/temporalviewbeyondtheconcernsofindividualsandsinglegenerations.Thisshiftoutofanarrowandself-centredhere-and-nowtowardabroader,extendedpresentisperhapsoneofthemainkeystoculturaldevelopmentbeyondtheindustrialera.Itre-connectsuswiththewiderworldofwhichweareapart,past,presentandfuture.ThisextensionofviewisexpressedmostdirectlyinapoementitledFromthePeopleoftheHousesofEarthintheValleytotheOtherPeopleWhoWereonEarthBeforeThem.(30)Thepoemwaswritteninourpast,byawriterofourgenerationonbehalfofadistantgeneration,thosewhowillfollow.Throughthisdevice,thosesilentvoicesspeakacrosstheotherwiseall-but-unbridgablegulfandremindusthattheveryexistenceofalllatergenerationsdependsuponthosewhoprecedethem.Itthereforeplacesourlivesintheirwidercontextandhighlightstheresponsibilitywehaveforthecontinuityandsurvivalofhumanandnon-humanlifeintheworld.Onecentralcentralconclusioncanbedrawnfromtheseworks.Itisthattheworldviewwhichwehaveinheritedfromthescientificandindustrialrevolutionisdestructive,narrowandalienating.Butunlikethesometimesshrillvoicesofcommittedactivists,LeGuinisnotdidactic.Sheisnottellingustomendourways.Rather,sheisexploringaspectsofthewiderworldwhichliebeyondthepurviewofindustrialideology.Hermagicisthemagicwhichflowsnotfromsimplefantasyandwish-fulfilmentbutfromre-establishingtheperennialgroundsofknowingandbeing.(31)2.Rubenstein:BeyondtheLabyrinth(32)BrentonTrethowanisafourteen-year-old,themiddlechildofthree.Hisbedroomwallsarecoveredwithpicturesofnuclearnightmares.HeplaysfantasyD&Dgamesandmakesdecisionsaccordingthefallofdice.Twelve-year-oldVictoriacomestostayandtheymeetCal,amysteriousanthropologist.Fromthesesimpleelements,Rubensteinhaswovenafascinatingstoryaboutmanythings.Thecruelpartialityoffamilylifeisonetheme.Familyconflictsaredepictedinalltheirgrittyrealism.Yetthisisnotsocialdocumentary.Theauthorknowshowtheworldlooksattheonsetofpuberty:theawkwardness,violentemotions,beingfrustratedat(andby)adults.


17

Cal,itseems,isnotfromEarth.Inaneatgender-reversal,itturnsoutthatsheisfromelsewhereandelsewhen.Fromherculturalviewpoint,lifeonearthdiedout.Shecametostudyanaboriginalculturebutarrivedtoolateanddiscoveredalateronethathadflourishedonlybriefly.Brenton'ssenseofthreatanduncertaintyisthereforereinforced.Butthisisonlytouchedonlightly.Thebooktakesamoresubtlepathtowardanambiguousendingbywayofmanyadolescentconcerns:dating,friendship,conflictanddeath(tonamebutfour).Yetitisalsohard-hitting.Someofthelanguageusedisentirely'realistic'inthesenseofbeingderivedfromstreetcultures.Inshort,thisisabookthatisbothoriginalandentertaining.Mostimportantly,itconstructstheworldthroughtheexperienceoftheyoungandyetdoesnotprovidefacileanswers.Twocontrastingconclusionsaregiven.Onebasicallysaysthereisnohope,theotherleavesopenawiderangeofundefinedpossibilities.Thisisabookwhichtheyoungwillenjoybecauseitreflectstheworldtheyliveinandprovidesmanyopportunitiestoreflectuponissuesofconcerntothem.Assuch,itdeepensanengagementwiththeworld,makesthingsclearer,opensoutoptionsandchoices.Basicallyitsays'thefutureisopen,youareresponsibleforthechoicesyoumake.'Byextension,itlinksthenotionofhumanagencywithculturalsurvival.Withinsuchasuggestionmayliesomeofthemostpotentantidotestothepoisonoftechnocraticnightmares.3.Calder:LivingTomorrow(33)Assuggestedabove,manyyoungpeople'sbookswhichattempttodealwithfuturesfailfortwomajorreasons:theytaketheexistingworldviewasgivenandtheylackacriticaldimension.YetCalder'sbooklet,firstpublishedin1970,pointedinadifferentdirectionentirely.Itgivesthelietolaterworkwhichconstructed'thefuture'largelyfromextensionsoftaken-for-grantedtechnicaltrends.Theauthorbeginswithanimportantdisclaimer:"mostbooksarewrittenbypeoplewhoknowalotoffactsabouttheirsubjects.Iknownothingaboutthefuture-nofactsthatis.Thereisnosuchthingasafactaboutthefuture."Laterheadds,

"...technicalchangesarenottheonlyonesthatmatter...Thereason(forlookingahead)istotrytoshapetheworldofthefutureaswewantittobe,insteadoftheruinthatpoliticiansandexpertscouldmakeofitifwedon'tkeepacarefulwatch."(34)

Thebookisgraphicallyvaried,balancedanddeliberatelyunderstated.Norisitmerelyacompendiumoftheusualissues.Italsotouchesonmoreimportantareassuchasvalues,meansandendsandparticipationindecision-making.Inasectionentitled'CouldandShould...theNeedtoChoose'Calderasksaveryimportantquestion:

Inventionscropupallovertheplaceandalterourlivesinallsortsofdifferentways....Butifwejustacceptthem,withoutthinking,theworldofourfutureisshapedmoreorlessbychance.Shouldwedo


18

thingsmerelybecausetheycouldbedone?(35)(Emphasisinoriginal)

ThereisevenanoutlineofaworkshopcalledInventYourOwnFuturewhichsetsoutasimpleprocedureforactivelycreatingandexploringfutureoptions.Here,again,theauthormakesexplicitwhatistoofrequentlymissingfromthefield:therecognitionthat"inventingthefutureis,aboveall,amatterofquestioningpresentinterests."(36)Inshort,thisisafineexampleofhowfuturesstudycanbeintroducedandmadeaccessibletoyoungpeople.Itdoesnotpreach,talkdownormystify.Unfortunatelyitstoodvirtuallyaloneinitsimaginativegraspofthefieldformorethantenyears.4.Gough:ProjectIFProjectIF(InventingtheFuture)tookshapeoutofaB.Ed.electiveunitentitledEducatingfortheFuture,taughtatVictoriaCollegesince1975.(37)Essentiallyitinvolvesthedesignofcurriculummaterialsandtheimplementationofteachingstrategiesforfuturesstudyinarangeofeducationalsettings.Themaintangibleproductsareaseriesofworksheetsandassociatedworkshops.Thekeyassumptionsofthisworkaresetoutveryclearly.Theyareasfollows: 1.theuseofarangeoffuturesandforecastingmethods; 2.theencouragementofoptimismandempowerment; 3.attentiontoavarietyofproblems,topicsandissues; 4.theplayfulrehearsalofsurprisethrough'mindgames'; 5.animportantroleisgiventospeculation,fantasyandsf;and 6.adeliberateeclecticismwithrespecttoscholarlysources.Fromtheseassumptionsandsourcesarisearichvarietyofteachingstrategies.Theyinclude:lookingateverydayphenomenainanewway;consideringfuturealternatives;examiningandusingfuturesmethods;andusingcontemporarymaterialstogeneratefutures-orientedpuzzles.(38)AnotherfeatureofthisapproachisthatitisexplicitlyrelatedtoaviewoftheschoolcurriculumandSchwab'snotionof'thepractical'thatencourages"theanticipatorygenerationofalternatives."Thelinksbetweencurriculumtheoriesandpracticesareexplored,alongwiththeroleoffuturesconcernsinboth.Finally,someworkshopstrategiesaregivensothattheseapproachescanbeunderstoodandexploredbyteachers,orteachers-in-training.Overall,thepackageprovidesafineintroductiontoteachingfuturesfromacreative/humanistperspective.Theextensiveuseofcontemporarymaterialsandofhumourgivesitanattractivelightnessoftouch.Astheauthorcomments"Icanthinkoffewmoreconstructivewaysofanticipatingalternativefuturesthantolookforortoinventhumourintoday'scrises."(39)


19

DiscussionThefourexamplesconsideredinthissectiondifferfrommostoftheearlieronesinatleasttwomajorways.First,theyprovideactiveandinterrogativecommentariesonthemesofinteresttoyoungpeople(includingtechnology,violenceandfutures).Second,theyexploreordepictstrategiesfordealingactivelywithsuchthemes.Worksofthiskindmaythereforehelptocounteracttheinfluenceoflessusefulmaterial.Sofarastechnologyisconcernedthisgroupsuggeststhatitisindeedofsecondaryimportanceintheschemeofthings.Whiletechnologiescanexertenormousinstrumentalpower,thisremainspaltryincomparisonwiththetransforming,symbolicpowersavailabletohumanbeings.This,perhaps,isthehiddenthemeofEarthsea.TheideaisrenderedexplicitinAlwaysComingHome.LeGuinisclearlyexploringanhierarchicalworldwhichisclearlydifferentiatedintoontologicallayersorlevels(machinescanbedispensedwith,buttherearevisions,orlevelsofreality,whichliebeyondhumanapprehension).Insodoing,sheishelpingtorestoreaqualityandabreadthofvisionthatwasallbutlostintheworldofthemachine.(40)Similarly,technologyispresentintheworkoftheotherwriters,butitisneverdominant,neverdetermining.Asimilarcontrastcanbeseenwithviolence.Whereasintheearlierworksittendedtobeendemicandirresolvable,hereitismutedandsporadicatbest.InLeGuinandRubensteinsuchviolenceasisdepictedtendstobesymbolicratherthanovert(thoughinthelattercaseitisvividlyexpressedinfamilyconflicts).Inaricherworldview,violencelosesitsroleassupplieroftheprimarydynamic.Itiskepttolerablebyotherculturalprocessessuchasritual,adventureandexperience.Byplacingviolencebackintothiswiderhumancontext,theseworksavoiditschronicrepetitionandde-fusetheotherwiseirresolvableproblemsthatitcreates.Futuresaretreatedexplicitlyineachofthisfinalquartet.LeGuinextendsourperceptionbydepictingapossiblefutureculturewhich'speaks'tousonanumberoflevels:throughitsstruggletotranscendthemajorlimitationsourrapaciouslifestyleimposedonthefuture;byaddressingusdirectlythroughdevicessuchasthepoemmentionedabove;andbysettingupcontrastswhichde-familiariseourparticularpresentreality,therebypermittingustoviewitinadifferentlight.Itisinthissense,perhaps,thatweare"alwayscominghome."Thatis,alwaysabletodevelopaclearer,moreauthenticvisionthanthatofferedbyatechnology-ledworldview.Asmentioned,Rubenstein'smaincharacterknowshisworldisunderthreat.Itisconfirmedbythealienvisitor.Sothisfutureisindeedproblematic.Therealityofalternativesisthereforeimplicitlydramatisedintheplotstructure,aswellasintheending(s)whichreturnchoicebacktothereader.Theotherwritersbothelaboratefutures-relatedthemesandresponses.Togethertheseworkssuggestanumberofstrategiesfordealingwithaworldintransition.Someareconsideredbrieflyhereundertheheadingsofdemystifying,engagingandresponding.Demystifying


20

Theseworksshowhowthesurfacesthatsurrounduscanbemisleading.Thenamesbywhichthingsarecalledarenotalwaystheir"truenames."Theworldisnotwhatitseemsbecausecultureshaveinterposedanopaquescreenoflinguisticsignsandbecauserealityhasamuchgreater'amplitude'and'depth'thancanbedirectlyscannedbythesenses.Tounderstandtheobscuringprocessesorthosewhichleaddeeperrequireseffort-theeffortsofGedtobecomeamagician,ofFlicker(inAlwaysComingHome)tounderstandhervisions,orofBrentontocopewithaworldunderthreat.TherearestrongdemystifyingimperativesinCalderandinProjectIF.Caldercastsdoubtonexpertsandwantspeopletothinkforthemselves.Goughuseshumour,imaginationandtherehearsalofsurprisetohelpstudentsfeelempoweredtoactcreatively.EngagingThefictionalandnon-fictionalfantasiesinpartsoneandtwoseemtoinhibittheattempttounderstandtheworldandengagewithit.However,thepresentworkssuggestvariousstrategiesofengagement.LeGuinconsiderswork,ritualandthedirectexperienceofintrinsicvalueinnature.Thelatterisaparticularlypowerfulwayoftranscendingtheillusionofseparatenessfosteredduringtheindustrialera.ForRubensteintheengagementisontwolevels:theperceptionofaworldpredicamentandthedailyinvolvementinrelationshipswithfamily,friendsandthealien.ForCalderandGoughtheengagementisthroughaseriesofexploratory,creativeanditerativeprocesseswhichprovideinsightintodifferentoptionsandalternatives.RespondingThewholethrustofEarthseaistowardmaturity,growthandtheresponsibleexerciseofpower.Thisprovidestheyoungwithstrategiesandcluesforactivelyrespondingtoaworldinchange.Rubenstein'scharactersareclearlyintheactivemodeandareshowntobecapable,independentandabletotakerisks.CalderandGoughoutlinearangeofresponsesaccessiblethroughhumour,imagination,workshopsetc.Thecollectivesignificanceoftheseworksstandsinclearandconstructiveoppositiontothoseexaminedearlier.Theysuggestthatcoherencecanbere-created,thatthefutureisnomereabstraction(butapowerfullyactiveprinciplewithinthemovingpresent),andthatpeoplearenothelpless.Theyhaveimmensecreativepowertochangetherulesandre-negotiatemeaningsandcommitmentsthatseemedtobelostwithinthenightmareofthemegamachine.(41)Thus,adifferentfieldofoptionsopensoutbeyondthosewhichareofferedbymostmediaproductions.Theygoalongwaybeyondpassivity,dependenceandimmaturity.Theypoint,infact,towardtheconstitutionofhumannessinachangingworld.Sincethisispreciselywhathasbeenunderthreatformostofthelast300years,theseworkscollectivelyidentifymajorlifeissuesfortheyoungandalsosuggestresponsesatatleastthreelevels:epistemological,symbolicandpractical.


21

Conclusion:schitzophreniaasawayoflife?Mostsurveysofchildren'sandyoungpeople'sviewsoffuturessuggestthattheirfearsderivefromtheprospectofundesirableevents:unemployment,socialconflict,nuclearwar.Thereisclearlysometruthinthisalthough,asIhavesuggestedelsewhere,negativepossibilitiesarenotinvariablydepressing.(42)However,theevidencepresentedheresuggestsanotherexplanation.Ifthisanalysisiscorrect,thefuturebecomesfearfulnotsimplybecauseofperceivedthreatsbut,moreprofoundly,becauseithasbeenrepresentedinwayswhicharedisruptiveandincoherent.Thechronicrepetitionofontologicalconfusionscannotbutworkagainstanyone'sattempttobuildupasystematicpictureoftheworld.Itisafactthatinmuchcontemporarymaterialbasichumandilemmasaredisplayedinsuchasparseandunhelpfulwaythattheyarestrippedofhumansignificance.Theconstantregressiontowardprimitivism,violenceandcrudemagicdonotleadontoviablelifestrategies.Theyleadbacktowardspartialandfragmentedmodesofconsciousnesswhichare,asIhavenoted,pre-,orsub-human.Ifwethenaddthemisdirectionsofideologicallydistorteddiscourseandthepre-judgementsofacultureobsessedwithempiricism,marketing,technology,webegintoseesomepartoftheimmenseweightofnegativitytheyoungareexpectedtobear.(43)Ifschizophreniainindividualsisaresultofirresolvabledissonancesbetweeninnerandouterexperienceitwouldappearthat,sofarasyoungpeople'sviewsoftheworldareconcerned,thereisacollectivelyinducedschizophrenia-likeassaulttakingplacefromearlychildhood.Thisisverydifferentfromthenecessarysimplificationsofdevelopmentalstages,forthelatterpossessahighdegreeoforderandinnercoherence.(44)Again,muchthematerialdiscussedabovestandsindirectcontrasttotraditionalfairystories.AsBettelheimnotes,thelatter

offernewdimensionstothechild'simaginationwhichwouldbeimpossibleforhimtodiscoverastrulyhisown.Evenmoreimportant,theformandstructureoffairytalessuggestimagestothechildbywhichhecanstructurehisdaydreamsandwiththemgivebetterdirectiontohislife.(45)

But"formandstructure"isjustwhatisdeniedincontemporarymedia.Thepositiveexamplesconsideredheremustbeweighedagainsttheincreasinglynegativeinfluenceofcommercially-motivatedmaterial.Itisanunequalstruggle.Theideologiesthatdrivethemarketingimperativearethemselvesreinforcedbydeeplyembeddedepistemologiesandunspoken,unregardedcommitments.Itishere,atthesedeeperlevels,thatresolutionslie.Meanwhile,wehaveaseriousproblem.Wemaynothavefinallysucceededindrivingawholegenerationmad.Yetifthereisanytruthinthisanalysiswearemuchclosertodoingsothanwemayrealise.For,manyyearsago,amachinewasinsertedattheheartofourworld.ButunlikeTheobald'smachineitdoesnot,willnotandcannotwork.


22

Notesandreferences1.Wagner,J.andFisher,J.(1983)TheMachineattheHeartoftheWorldKestrelBooks,Melbourne.2.Grant,J.(1986)LadybirdBooks,UK.3.ZoidsSpecial,CollectedComicsNo.4(April,1987),MarvelComicsLtd.,London.4.ThisthemeisdevelopedfurtherinChapter6ofSlaughter,R.RecoveringtheFuture,GradSchEnvironScience,MonashUniversity,1988.5.MastersoftheUniverseSpecialNo.1(1987),MattelInc.,London.6.ForapenetratingaccountofsuchatavismsseeWilber,K.(1983)UpFromEden,RKP,London.7.ThundercatsNo.4(April11th,1987),MarvelComicsLtd.,London,UK.8.SeeSlaughter,R.1988opcitChapter7.9.Radnor,A.(1983)LivingintheFuture,ITV/Macdonald,London,UK.10.SeeSchumacher(1977)SmallisBeautiful,Abacus,UK.11.Thiscorrespondstothe'normaldefaultassumption'ofbusiness-as-usualtrendsleadingtoa'surprise-free'future.However,suchascenariohaslittlecredibilityduetotheunsolvedaccumulationofglobalproblems(sometimesknownas'theglobalproblematique')whichimplyverydifferentfutures.12.Gatland,K.andJefferis,D.(1979),TheUsborneBookoftheFutureUsborne,UK.13.Goodwin,P.(1979),Hamlyn,London.14.Ibid,17.115.McGregor,P.(1986),CentreforEconomicEducation,Melbourne.16.Ibid,3.17.Ibid,7.18.Ibid,7.19.SeeSlaughter,R.opcit1988Chapter920.SeeIbidChapter6.


23

21.SeeBerman,M.TheReenchantmentoftheWorld,CornellUniv.Press,IthicaandLondon,1981.22.Forster,E.M.TheMachineStops,inTheEternalMomentandOtherStories(1929)HBJ.23.SeeBrown,L.(etal)StateoftheWorld1988,WorldwatchInstitute,WashingtonD.C.24.LeGuin,U.AlwaysComingHome,Gollancz,London,1986.25.EpigraphtoAWizardofEarthsea,Gollancz,London,1968.26.LeGuin1986,p.380.27.Ibid.311.28.Ibid.282.29.Ibid.297.30.Ibid.404-5.31.SeeHuxley,A.ThePerennialPhilosophy,Chatto&Windus,1945.32.Rubenstein,G.BeyondtheLabyrinth,PenguinAustralia,Melbourne,1990.33.Calder,N.LivingTomorrow,Penguin,London,1970.34.Ibid.2.35.Ibid.36.36.Ibid.62.37.Gough,N.SomeAustralianInitiativesinFuturesEducation:ProjectIFandOtherStories,VictoriaCollege,Rusden,Melbourne,1985(reprinted1990).38.Ibid.39.Ibid.22.40.Foradiscussionofhierarchicallevels,seeSlaughter,R.CulturalReconstructioninthePost-ModernWorld,JournalofCurriculumStudies,31,3,1989,255-270.41.Mumford,L.ThePentagonofPower,Secker&Warburg,London,1971.


24

42.SeeSlaughter,R.(1996)FuturesToolsandTechniques,FuturesStudyCentreMelbourne.43.SeeSlaughter,R.1988opcitChapter744.ForaconciseaccountofdevelopmentalstagesseeEgan,K.(1979),EducationalDevelopment,OUP,UK.45. Bettelheim,B.(1978),TheUsesofEnchantment,Penguin,London,p.7.11,239

-----------------------------ThispaperwasoriginallypublishedinPapers:ExplorationsinChildren’sLiterature2(1),MagpiePress,Perth,1991,pp3-23.AlaterversionwasalsopublishedinRSlaughter,FuturesfortheThirdMillennium,Prospect,Sydney,1999.

Download - The Machine at the Heart of the World: Technology ...richardslaughter.com.au/wp...at_Heart_of_World.pdf · 1. The Machine at the Heart of the world (1) This is a gently ironic tale

Top Related