Saint Jerome

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St. Jerome in his Study is a profoundly detailed engraving by Albrecht Durer. I personally like this print because it so detailed at every point. I also appreciate the picture due to the quality of craftsmanship required to complete something of the engraving's magnitude. Engraving at this time was limited to two colors black and white. Using two colors limits different color and light in the print. This Print reminds me of my own scholastic environment. I need a place to study that is unique to my own comfort. Durer attempts to depict St. Jerome's personal study, with random tools and attributes placed uniquely all around. I don't have attributes, because obviously I am no saint, however I do have a certain things that I enjoy listening too or looking at while I am reading, studying, researching, or just relaxing. Just like St. Jerome I have my bed and many pillows in my study. This piece in my mind brought comparison between a study now in the 1st century compared to a 4th century study in a 16th century architectural structure. I personally feel the artist of the engraving put certain objects in certain places to give the depiction of St. Jerome studying in his study. The attributes and objects are uniquely his own. The study in this print looks as if it may be a corner of larger room because the shelf on the back wall cuts off; but the wall could continue. Also on the bottom left of the print there is a big cement pillar, when looking carefully at the bottom left corner there is symmetrically equal shading across the pillar. Suggesting there is another window directly on the left right before the pillar. The stair case could just be and entrance way from another room. It is hard to determine because of the color and shade is not one hundred percent distinct Engravings like this leave a lot of space for interpretation due to the contrasting problems between light and color.

Working with engravings has many disadvantages, because the engraving print only comes in limited colors, black, grey, and white. Color and bright light help bring out more emphasis on areas or the whole print itself. Since color cannot be displayed, the contrast from black to white is the only way to represent light, shadow, and physical detail in the picture. In the case of St. Jerome in his Study the limited colors actually benefit the detail of the print. The engraving uses light and shadow often to display depth and vivid detail. Where the lighter colors are the objects of that area are detailed. Durer uses the contrast of black and white to give sequence to the viewer's focal attention while viewing this print. When looking directly at the picture the areas with lighter or brighter colors grab your attention immediately with extreme detail. Darker or dimmer engravings normally have detail in environment and a definite form of depth. The center of the picture is St. Jerome working at his table. Surrounding him are objects that one might find in his study, including some of his saintly attributes. The center of the print is at the back of the study. Details shown by light and shadowing bring out the depth of the study.

The light source in this print comes directly from the windows. The study is only lit up in certain areas where the light would shine through the windows into the room; these areas are given extreme detail in their appearance. The windows the light comes through are not normal blank windows. They are windows that are sub-divided into about twenty five equal square pieces, which appear to have some loop or circle stained into the glass. The light shining through reflects these shapes on the side of the windowsill. Each stained sub-division of the window has a shadow on the windowsill in its proper geometrical position. Other examples of the shadows being proportional to the light source is St. Jerome's desk, and the shadow of the big blocked separation between the two windows on the left side up on the middle of the ceiling. All shadows match up theoretically where they should for there given position, but there is one spot on the ceiling where there is no shadow and there is supposed to be. On the ceiling directly above St. Jerome's head is a solid bright light source. The halo on his head is another point brought to the viewer's attention right upon viewing the print. The places where the light was shining are more visible to the viewer. The wood on the ceiling is engraved quite extraordinary. Durer engraved so much detail the grooves and knots are seen on the wood ceiling; other woods not on the ceiling have carvings of designs and are quite exquisite. Some parts of the wood are engraved in great detail and can be seen by carefully observing. Even parts in dark regions can make out some detail. Parts of the ceiling beams and borders even in dark regions are darker and still have detail. The beams and border of the ceiling have a special pattern to them showing great engraving craftsmanship by the artist. The horizontal bar of the window has a shadow on the windowsill's wall, which is positioned quite well for a small engraving. There are many other details in this engraving to notice, for example the chipped stone from the windowsill's and the cracked wall in the back left of the study. The highly refined woodwork of the shelves on the back wall of the study has many complicated designs as well as engraved handles. Details like these raise questions and assumption to the peaceful room. Light shines directly to St. Jerome's desk in the middle of the study. St. Jerome is placed in the center of the engraving, where the lighter color is most intense. It is most intense there because of the halo on his head and the light from the windows beaming down on his forehead. More light is concentrated on the top of St. Jerome's head because his head is angled towards the light, the crucifix, and downward at his book. The artist emphasizes on St. Jerome's eyes, his eyes have the highest concentration of white in them. Other than his head St. Jerome's body is hidden in the darkness of the shadow. The table prevents any light from really shining on his body, but looking closely at his body and his feet, he is wearing robe of some sort and he is also wearing shoes which is unique because there are a pair of slipper on the floor under the bench next to him. St. Jerome is the central figure in this print, but yet he has the least detail compared to other objects in the room. This raises questions of why St. Jerome is portrayed this way.

There are many different effects caused by the white and black of engraving. The main is distinguishing the different areas of light and shadow. Lighter colors are seen before the darker colors, in an engraving. This causes someone to view a print in an artist intended sequence. The objects shown in lighter colors are located in the light source in the engraving. The objects shown in darker colors are not emphasized enough or not placed in the source of light. In St. Jerome's study there are many random objects that placed in the light giving them a whiter color. There are eight objects total that have light on them or being represented in a lighter color, St. Jerome, a lion, a dog, a gourd, a cardinal's hat, hour glass, and a skull. These items all are in light colors because they are either in the sunlight or they are just being a little more emphasized. All of these different items are in different sizes and depths. Although the objects are different in sizes and depth, all of them seem to be proportional to their actual size. The lion is at the very bottom of the floor in the front of the room in a laying position. The lion takes a good amount of space in the bottom portion of the picture showing great emphasis on his presence. The Lions main is shown in great detail along with many other features. Although the lion seems to be looking at you his eyes are not visible in any form. The gourd is hanging from the ceiling. The artist shows the gourd hanging form the very front ceiling border. The gourd is the most right object shown in a lighter white color. The gourd shows texture based on the lines all around the gourd. On the back wall behind St. Jerome is a cardinal's hat. This hat is very large with two darker tassels hanging off it. Depending on what angle you look, it may appear that the halo actually is the light source shown on the hat. Right next to the hat is an hour glass with refined detail in the wood surrounding the glass. The closest object in emphasis near St. Jerome is a modest wood looking crucifix at the right corner of his desk. The crucifix is the smallest object with emphasis on it. There is not a lot of detail even on the cross it's very simplistic. The windowsill on the right of St. Jerome has a skull not very large in size. The skull for some reason is missing its mandible. The skull is directly in the light, so the contours of the skull are shown in good detail. The last object in a lighter color surrounding St. Jerome is a dog. The dog is sleeping directly in next to the lion. Just like the lion the dog's eyes are not visible. The dog is about one-tenth the size of the lion in. Since the artist highlighted all of theses objects the most likely have some sort of meaning to St. Jerome.

These important objects are placed randomly all over the room. Suggesting to a certain degree of what Durer thought St. Jerome's study could have been, or the objects that would have been in his study. Besides these seven objects of lighter color, there are other tools that are randomly around the study that are unique to St. Jerome's study. Other random things around the study are books, in a very un-organized manner. These books are very large and even though the picture is dim you can still see some of the pages separation in the bottom of the closed book. The slippers on the floor are not even put down in an orderly fashion. The slippers are in a cross-like format facing the bottom corner of the first windowsill. Some of the tools he may have used in his study are on the back wall and on the back shelf in darker colors, such as scissors, scrolls, papers, hand broom, and a candle. All of these objects bring the idea St. Jerome's study and the objects are placed randomly through a somewhat tranquil room. The only thing that is not randomly placed is a writing board which is parallel with the right border of the print. On the writing board are Albrecht Durer initials and the year 1514 when the engraving was done. This is the only thing that is not capable of actually being in his study. The writing board ruins the random placement of the objects in this engraving. This writing board was purposely added to bring in the artists name.

Black and white print is hard to represent emphasis on color and some forms of light. The way Durer reflects the lighter and darker colors in a print could possibly cause the viewer to view a work a certain way or in sequence. This contrast leads to more emphasis on the color of objects regardless of the significance. Durer uses different types of detail in order to show depth and texture among some the objects, like the wood of the ceiling or indentations in the gourd. In Albrecht Durer's engraving he is trying to casually portray St. Jerome's study.

Durer's image of St. Jerome in his Study (1514) was one of many favored by northern artists. Durer became one of the most celebrated artists during the German Renaissance because of his depictions of St. Jerome. St. Jerome was responsible for the translation of certain religious texts. St. Jerome was a 4th century saint, but this engraving was not made for another 1 centuries. Germany during this time had many artistic works depicting different Hagiography of Saints. Detail is what makes Durer's art so fascinating. Why did mostly northern artists portray St. Jerome in his study, compared to him being out in the dessert in despair? Was it because of the way the audience wanted it depicted? The Renaissance was a time of new knowledge or a re-birth in knowledge. Why did the most people want to tribute St. Jerome for? St. Jerome did translations of the bible and other religious documents to other languages, which made the spread of one religion a very realistic thing. Language difference was no longer a barrier among certain belief systems. In general people have tributes in a scholarly way rather than a sad and despair way. Attributes of saints are highly emphasized and given reason or an explanation of how they acquired them. If interpreting the meaning of the object, the explanations or reasons for there attributes would certainly be helpful when interpreting the meaning of the object. The rebirth in old documents was large during the Renaissance; everyone wanted ways of learning classical information. Naturally people would depict a scholar who translated religious documents If ever interpreting Durers meaning in his work the question would be why St. Jerome, why not any other what is the correlation between northern Europe and St. Jerome. What is the difference between him in the dessert or in his study?

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Antogone

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When I first read this play, I thought to myself, how selfish of Creon to take only his own feelings into consideration. Additionally, who does he think he is, going against the will of the gods and declaring that Polyneices could not be buried? Dying with honor, being buried, and mourned properly was very important to these people. Then I found myself actually taking his position into consideration. How difficult it must be to rule over such a great city as Thebes? After all he was only doing what he thought was best for the survival of the state. In the long run, and any which way you look at it, Creon boldly and out rightly defied the Gods in ordering that his nephew, Polyneices not be buried "but leave unwept, unburied, a dainty treasure for the birds that see hem, for their feast's delight" (Sophocles 161). I felt that Antigone was strong willed and passionate in what she believes in. She believes that the law of the gods must take precedence over the law of the king. A king is only a man, with earthly wants and needs as well as faults. A god on the other hand, is all knowing, omnipotent and knows what is best for all of humanity, which incidentally does not always coincide with the convenience of any particular individuals. And though I in a way I thought of Antigone as being heroic in perspective to her own time and place, I am baffled at quickness and passion with which some of the characters give up on life and commit suicide. I also find idiotic, some of the ideals held by the Greek aristocrat (such as Creon). Some of them were so pompous and self-righteous.

The theme of the "sins of their fathers" does reverberate as an element in this work. We see that emerge as Creons' actions have killed his whole family. We also see this as the effects that Creons' history and forefathers' actions have affected him in the way he thinks and rules. He also says to Creon that, "the trees that yield preserve their branches safely, but those that fight the tempest perish utterly. The man who keeps the sheet of his sail tight and never slackens capsizes his boat and makes the trip keel uppermost I realize the noble attribute of conviction and holding tightly to ones ideals and not being easily swayed, however as Haemon pointed out, "For a man, though he be wise, it is no shame to learn-learn many things, and not maintain his views too rigidly (Sophocles 167).

I felt that the Chorus was an interesting and very effective way to relay certain thoughts and information to the audience. Sometimes the Chorus represents the people of the town or even is used to build or reduce tension created in previous or future scenes. Much more lively and multi dimensional than the use of a narrator

I also found it very interesting that though there was a lot of war and violence in their world, the Greek playwrights of Sophocles' time did not believe in depicting scenes of violence on the stage.

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Saratoga

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Washington, George (17-17), first president of the United States (178-177) and one of the most important leaders in United States history. His role in gaining independence for the American colonies and later in unifying them under the new U.S. federal government cannot be overestimated. Laboring against great difficulties, he created the Continental Army, which fought and won the American Revolution (1775-178), out of what was little more than an armed mob. After an eight-year struggle, his design for victory brought final defeat to the British at Yorktown, Virginia, and forced Great Britain to grant independence to its overseas possession. With victory won, Washington was the most revered man in the United States. A lesser person might have used this power to establish a military dictatorship or to become king. Washington sternly suppressed all such attempts on his behalf by his officers and continued to obey the weak and divided Continental Congress. However, he never ceased to work for the union of the states under a strong central government. He was a leading influence in persuading the states to participate in the Constitutional Convention, over which he presided, and he used his immense prestige to help gain ratification of its product, the Constitution of the United States. Although worn out by years of service to his country, Washington reluctantly accepted the presidency of the United States. Probably no other man could have succeeded in welding the states into a lasting union. Washington fully understood the significance of his presidency. "I walk on untrodden ground," he said. "There is scarcely any part of my conduct which may not hereafter be drawn in precedent." During eight years in office, Washington laid down the guidelines for future presidents. Washington lived only two years after turning over the presidency to his successor, John Adams. The famous tribute by General Henry Lee, "first in war, first in peace, and first in the hearts of his countrymen," accurately reflected the emotions that Washington's death aroused. Later generations have crowned this tribute with the simple title "Father of His Country."

Revere, Paul (175-1818), American silversmith, engraver, and patriot, whose efforts as a courier for the revolutionary cause made him a folk hero. The son of a silversmith, he was born in Boston, on January 1, 175. While still a young man he acquired a reputation as a designer and maker of elegant silverware; his finely wrought tankards, bowls, and pitchers were much prized, and his tea sets served the Boston aristocracy for a century (only one is known to have survived complete). Revere also turned his manual dexterity to the making of artificial teeth, surgical instruments, and engraved printing plates. His most famous engraving, depicting the 1770 Boston Massacre, put him in the forefront of anti-British propagandists. With other patriots, he took part in the Boston Tea Party in 177. When the fighting began, he carried messages for the revolutionaries of the area. The historic midnight ride of April 18, 1775, was made by Revere and two others from Boston to Concord to warn of the approach of British troops. Reveres role is exaggerated in Henry Wadsworth Longfellows ballad "Paul Reveres Ride"; actually, British scouts detained him en route, but one of the others got through to the patriots in time. Revere also engraved printing plates and printed money for the Massachusetts Congress and designed the first official seal for the united colonies as well as the seal still used by Massachusetts. He established a gunpowder mill at Canton, Massachusetts, and served as a major of militia in Boston after the British withdrew (1776). After the war Revere operated a brass foundry and manufactured sheet copper at Canton, besides continuing his successful trade as a silversmith. He died May 10, 1818, in Boston.

Franklin, Benjamin (1706-170), American printer, author, diplomat, philosopher, and scientist, whose many contributions to the cause of the American Revolution (1775-178), and the newly formed federal government that followed, rank him among the country's greatest statesmen. In 1775 Franklin traveled to Canada, suffering great hardship along the way, in a vain effort to enlist the cooperation and support of Canada in the Revolution. Upon his return, he became one of the committee of five chosen to draft the Declaration of Independence. He was also one of the signers of that historic document, addressing the assembly with the characteristic statement "We must all hang together, or assuredly we shall all hang separately." In September of the same year, he was chosen, with two other Americans, Arthur Lee and Silas Deane, to seek economic assistance in France. His scientific reputation, his integrity of character, and his wit and gracious manner made him extremely popular in French political, literary, and social circles, and his wisdom and ingenuity secured for the U.S. aid and concessions that perhaps no other man could have obtained. Against the vigorous opposition of the French minister of finance, Jacques Necker, and despite the jealous antagonism of his coldly formal American colleagues, he managed to obtain liberal grants and loans from Louis XVI of France. Franklin encouraged and materially assisted American privateers operating against the British navy, especially John Paul Jones. On February 6, 1778, Franklin negotiated the treaty of commerce and defensive alliance with France that represented, in effect, the turning point of the American Revolution. Seven months later, he was appointed by Congress as the first minister plenipotentiary from the U.S. to France. In 1781 Franklin, John Adams, and John Jay were appointed to conclude a treaty of peace with Great Britain. The final treaty was signed at Versailles on September , 178 (see Paris, Treaty of). During the remainder of his stay in France, Franklin was accorded honorary distinctions commensurate with his notable and diversified accomplishments. His scientific standing won him an appointment from the French king as one of the commissioners investigating the Austrian physician Franz Anton Mesmer and the phenomenon of animal magnetism. As a dignitary of one of the most distinguished Freemason lodges in France, Franklin had the opportunity of meeting and speaking with a number of philosophers and leading figures of the French Revolution (178-17), upon whose political thinking he exerted a profound influence. Although he favored a liberalization of the French government, he opposed change through violent revolution.

Paine, Thomas (177-180), Anglo-American political philosopher, whose writings had great influence during two upheavals in the 18th century the American Revolution (1775-178) and the French Revolution (178-17). In London Paine met and befriended Benjamin Franklin, who was serving as a representative of the American colonies in Great Britain. On Franklin's advice, and equipped with letters of introduction from him, Paine immigrated to Philadelphia in 1774. He became an editor on the Pennsylvania Magazine and also anonymously published writings, including poetry. One of his publications was the article "African Slavery in America," in which he condemned the practice of slavery. Paine published his most famous work, the 50-page pamphlet, Common Sense, on January 10, 1776. In a dramatic, rhetorical style, the document asserted that the American colonies received no advantage from Great Britain, which was exploiting them, and that every consideration of common sense called for the colonies to become independent and establish a republican government of their own. The document went on to criticize the monarchy as an institution. Published anonymously, the pamphlet sold more than 500,000 copies and helped encourage, with comments such as "The birthday of a new world is at hand," the issuance of the Declaration of Independence six months later. Paine served briefly in the army under General Nathanael Greene. Paine wrote a series of pamphlets between 1776 and 178 entitled The American Crisis. His words inspired those who battled in the revolution, and included the now famous first line "These are the times that try men's souls."George Washington ordered the pamphlets read to his troops in hope that they would be inspired to endure. In 1777 the Second Continental Congress appointed Paine secretary of the Committee of Foreign Affairs. After losing the post during a political dispute early in 177, he remained unemployed until November, when he became clerk of the Pennsylvania legislature. His concern for the difficult lives of American troops led him to establish a fund to support needy soldiers, despite his own lack of income. Paine himself had to apply to Congress for financial help, but his plea was buried by his opponents there. However, he was helped by Pennsylvania and New York; New York gave him a farm in New Rochelle, New York.

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Adams, Samuel (17-180), American patriot, one of the leaders of resistance to British policy in Massachusetts before the American Revolution. Adams was born in Boston on September 7, 17, and educated at Harvard College (now Harvard University). After leaving college in 1740, he was successively a law student, a clerk in a countinghouse, and a merchant. His business failed, and he later became a partner with his father in a brewery. This enterprise also failed after his father died. Meanwhile, he had been an active participant in Boston political circles. In 1756 he was elected tax collector of Boston, a position he held for eight years. His outspoken opposition to strict enforcement of the Sugar and Molasses Act in 1764 brought him into prominence in colonial politics. In 1765, in the course of the controversy aroused by the Stamp Act, he drafted the instructions to the Boston representatives in the General Court, the legislative body of Massachusetts. He was elected to the lower house of the General Court in the same year. The radical majority in the lower house elected him clerk in 1766, and while serving in this position, which he held until 1774, he gradually assumed leadership of the movement in Massachusetts that advocated independence from Great Britain. As such he was a consistent and bitter opponent of Thomas Hutchinson, an aristocratic political leader, who served as the lieutenant governor of the colony from 1758 to 1771 and as royal governor from 1771 to 1774.

Adams decisively influenced every important aspect of the prerevolutionary struggle against British rule. In the realm of practical politics, he promoted the formation of the Boston chapter of the Sons of Liberty and sponsored the Committee of Correspondence of Boston. He led the fight against the Townshend Acts, headed the demonstrations that led to the Boston Massacre, directed the Boston Tea Party, and figured significantly in other outstanding events of the period. He rapidly acquired an intercolonial reputation both through these activities and as a literary agitator and revolutionary ideologist. Many of his writings, chiefly political pamphlets, were widely circulated and read. A proponent of the natural rights of man, he was in the vanguard of those Americans who challenged the authority of the British Parliament and championed rebellion. Stylistically, his writings are lucid, forceful, and epigrammatic. Adamss contributions to the Boston Gazette, a newspaper, constituted a voluminous phase of his agitational work. Frequently written under pseudonyms, his newspaper articles inveighed against reconciliation with Great Britain; they won imany converts for the radical cause and generally deepened the mood for revolutionary action. In June 1774, following the passage of the Boston Port Act, Adams climaxed his activities against that and similarly oppressive measures by securing the approval by the Massachusetts General Court of a resolution to send representatives to the First Continental Congress. Elected a delegate to the congress, he soon became the leader of the radical faction that demanded strong measures against Great Britain. Before adjourning, the Congress called for a boycott of British goods and recommended the use of force in resisting taxes that had been imposed by the government in London. Adams was a delegate to the Second Continental Congress, which convened at Philadelphia in May 1775, and he subsequently signed the Declaration of Independence. He remained a member of the Continental Congress until its dissolution (1781), but he was frequently at odds with his colleagues on matters of national policy. Because his strenuous opposition to a strong national government impeded mobilization of the nation for a speedy victory over Great Britain, his popularity and effectiveness as a leader gradually waned. In 177, Adams was a member of the committee that drafted the Massachusetts State constitution, and he was instrumental also in securing the ratification by Massachusetts of the U.S. Constitution in 1788. He was lieutenant governor of Massachusetts from 178 to 17 and governor from 174 to 177. He died in Boston on October , 180.

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Arthur C. Clarke: Advanced Tehcnology is indistinguishable from magic

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Clarke's Three Laws

The context of Arthur C. Clarke's third law can best be analysed in the context of his first and second and then to look at the impact of his words in a popular context.

To take a cynic's approach, maybe Arthur C. Clarke should have written his third law as follows; Any sufficiently advanced technology is indistinguishable from magic to those unfamiliar with that technology, as Dewdney has said . Especially with his argument of there are many examples, throughout history, of "technologically advanced civilisations encountering more primitive ones airplanes and radios seemed like magic to those who first saw them."

In the book 'Profiles of the Future An Inquiry into the Limits of the Possible' he states his three Laws and says he will stop at that because both Isaacs (Newton and Asimov) only created three. Then he goes on to actually producing another 60-odd. Though he continued to write laws, as we can see in the Appendix of The Odyssey File where he states Clarkes 6th Law Reading computer manuals without the hardware is as frustrating as reading sex manuals without the software.

His first law is nothing compared to the second and then to the third so there is a definite sense of improvement in his rule-making.

I believe Clarke's first law first is a version of wry tongue-in-cheek When a distinguished but elderly scientist states that something is possible he is almost certainly right. When he states that something is impossible, he is very probably wrong.

Yet it touches on themes common to all the enthusiasm of youth; the hazards of learned experience; dogmatism and absolutism.

As Bianchi claims , Clarke specifies what is elderly with the following In physics, mathematics and astronautics it means over thirty; in other disciplines, senile decay is sometimes postponed to the forties. There are of course, glorious exceptions; but as every researcher just out of college knows, scientists of over fifty are good for nothing but board meetings, and should at all costs be kept out of the laboratory.

Such an analysis lacks the faith and optimism that seems inherent to the genre of science fiction. An interesting definition has been quoted by Karl Jahn

In the end, this thing called science fiction is just that the fiction of science. This is true in one obvious way, and another more subtle and farther-reaching. First, SF is the imaginative exploration of the possibilities opened up by science; and second, it is the literary expression of the scientific world-view.

This is a very pessimistic take on the future of self to make statements that will be unbelievable to all but our cronies, who will also be dismissed.

Then others would argue it is in favour of wisdom over misguided inexperience, or even that it is a healthy dose of the reality of human nature.

In 177, Isaac Asimov invented a corollary to this law as follows "When, however, the lay public rallies round an idea that is denounced by distinguished but elderly scientists and supports that idea with great fervour and emotion -- the distinguished but elderly scientists are then, after all, probably right.

With his second law he begins to venture into the terrain we are accustomed with, where fantasy borders reality The only way of discovering the limits of the possible is to venture a little way past them into the impossible.

This law is very much a motivational dictum and expresses concepts normally found in self-help and pop psychology sections, like 'seeing is believing'; 'the power of positive thinking' and 'feel the fear and do it anyway'.

But only with his third law do we touch on the aspect of magic.

In 17, in 'Tehcnology and the Future' Report on Planet Three, he stated that "Any sufficiently advanced technology is indistinguishable from magic".

Let me start with a collection of responses to this law, all of which appear very witty to their author.

Professor Stepney at the University of York has collected several in her travels and here are some of these

"Any sufficiently advanced bug is indistinguishable from a feature."

Rich Kulawiec

Any sufficiently advanced magic is indistinguishable from technology.

- Murphys reformulation of Clarkes law

Any sufficiently advanced magic is indistinguishable from a rigged

demonstration.

- programmers restatement of Murphys reformulation of Clarkes law

"Any technology distinguishable from magic is insufficiently advanced."

Gregory Benford. Foundations Fear. 17

The first three of these look at analysing the law in terms of computer programming 'bug' being a characteristic of a programme that was not accounted for, 'feature' as a planned characteristic. This law says that if programming oversights result in positive enhancements then credit should be taken.

Benford's contribution is as cynical as the quote from Dewdney used above. The wry approach begs the question, why does a statement encapsulating faith and promise for the future of technology draw such negative responses? Is linking science to magic really such a dirty concept? Dewdney claimed that "the Third Law was partially biographical and partially psychological it embodied his boyish ability to marvel at machines and this marvel fuelled his science fiction." The hostility towards magic extends to a hostility towards another realm based on faith.

Science fiction, much like the discipline of science, has not always been hospitable towards religious faith. Jahn writes of there being only two serious science fiction writers who wrote with a religious purpose in mind CS Lewis and Olaf Stapleton . In the style of theological science fiction, Lewis "populated outer space with angels, and other planets with races that never fell from grace; but in the end he came back to Earth, and crossed the line into fantasy."

Jahn believes "Stapledon is more plausible, because he made no attempt to salvage anything of Christianity or the medieval world-view. His God is cold, aloof, and purely cosmological, creating cosmos after cosmos without pity or love for their mortal inhabitants."

But Jahn's alternative to resorting to a religious world view is to rely on humanism. "The recognition that religion was a human creation, which fulfilled the natural human need to believe in something, and which expressed natural human hopes and fears; and rejecting only the false beliefs, hopes and fears, not their natural ground"

Science fiction has always been a means of entertainment but ever increasingly it is a style of writing that is aims to address the concept of the future, expanding our knowledge and comprehension of science and technology and the exciting possibilities of their application in our evolving world.

Paul G. Allen, cofounder of Microsoft and soon to be curator of the Science Fiction Experience exhibit (due to open next year in Seattle) said Science fiction has always been a vehicle for entertainment, but more importantly its a genre that is forward-looking by nature, expanding people's views of science, technology and the future - and their exciting possibilities. Whether presented in literature, films, comic books or the visual arts, science fiction reflects and comments on humankind's hopes, dreams and fears. It considers the implications of imagined science and technology on humanity - and sometimes that imagination dovetails with reality."

In 15, John W. Campbell said that fiction is only dreams written out. Science fiction consists of the hopes and dreams and fears (for some dreams are nightmares) of a technically based society.

To take the example of computers, we find the 'thinking machine' as a central theme in many works of science fiction and utopian novels. They are banned in Margaret Atwood's The Handmaiden's Tale. It is considered a tool of human devolution in Dune. But there are also positive conceptions of the computer's ever-increasing impact on our lives. Ironic, considering there is no machine more insidiously part of everyday life already.

Book publishing, with all its inefficiencies and clumsiness miscalculating runs, stock overproduction and stock shortfalls, wastage and remainders is to be changed in a revolutionary manner with the invention of some great and wonderful tool. Maybe this will involve computer generated orders or books on portable computers.

Friday, in Robert A. Heinleins 141 novella, describes reading a paper book by turning the pages on the computer that is contained within a nitrogen environment. Does that not remind us of the latest invention of a flexible paper computer screen, announced to the world only this year?

But Isaac Asimov defended the book as a traditional format in a world of technology in a 18 speech . He asked the American Booksellers Association to imagine a device that can go anywhere, is totally portable. . . . Something that can be started and stopped at will [and] requires no electric energy to operate. This dream device is, of course, the book. It will never be surpassed because it represents the minimum technology with the maximum interaction you can have.

Sherry Turkle believes "as human beings become increasingly intertwined with the technology and with each other via the technology, old distinctions between what is specifically human and specifically technological become more complex… Our new technologically enmeshed relationships oblige us to ask to what extent we ourselves have become cyborgs, transgressive mixtures of biology, technology, and code. The traditional distance between people and machines has become harder to maintain".

Computer technology can benefit from the wisdom of science fiction. In discussing the potential benefits for the industry Patricia Zyska said "the ability to dream and ask questions without fear is characteristic not only of science fiction writers it's also important for participants in the digital economy".

The imagination gap is described by information technology analysts as a growing issue in the global information economy as business strategy fails to keep pace with technology. This is typical of a technologically deterministic environment rather than a user-centric domain. Rizzo credits Bob Crowley with the concept of the information gap and says most companies are either behind or ahead of technology .

Rapidly advancing technology is exerting a fundamental and forceful influence on our everyday experience within Western society. Scientific developments are approaching, and in some cases have even achieved the futuristic visions initially conceived and represented by elements of Science Fiction.

Science fiction is a way of examining future possibilities from the safety of the here and now. By imagining the impacts of technology on our society and elaborating on those ideas and letting them play out amongst their characters, science fiction writers are able to test the social scenarios of the future and indeed play a valuable role in letting us interact with our hopes and fears. There are many examples of literary imaginings becoming physical realities, life imitating art, yet these incidents are not needed to justify its worth as a social tool. Even if plot and device are not emulated in the pages of history, the juxtaposition of imagined scenarios on the reader's cerebral backdrop allows us to imagine 'what if' and gauge our reactions. The benefit of this is self-knowledge and the confidence that follows.

Reference List

Allen, P.G (00) 'Exhibits' Experience Science Fiction, http//www.sciencefictionexperience.com/templ1.asp?ctype= [7/10/0]

Bianchi, R (15) Arthur C. Clarke Bibliography, Laboratory of Integrated Systems, November 15 [/10/0] http//www.lsi.usp.br/~rbianchi/clarke/ACC.Bibliography.html

Bianchi, R (15) Arthur C. Clarke Laws, Laboratory of Integrated Systems, November 15 [/10/0] http//www.lsi.usp.br/~rbianchi/clarke/ACC.Laws.html

Dewdney, C (1) 'Advanced Thinking', Advanced Manufacturing June 1 [online /10/0] http//www.advancedmanufacturing.com/June/advanced.htm

Gunn, J (00) 'Libraries in Science Fiction' J Wayne and Elsie M Gunn Center for Science Fiction, http//www.ku.edu/~sfcenter/library.htm [7/10/0]

Jahn, K. (000) 'What is Science Fiction?' [online /10/0] http//karljahn.tripod.com/whatissf.htm

Martin, J (00) 'An Allen Key for Science Fiction?', SF/F News, June 00

Rizzo, T (001) 'The Imagination Gap', Internet World, 1/1/001 v7 i1 p8.

Stepney, S (1) 'Clarke's Laws' Factoids, [/10/0] http//www-users.cs.york.ac.uk/~susan/cyc/l/law.htm

Turkle, S (15) Life on the Screen 'Identity in the Age of the Internet', 15, p. 1

Zyska, P. (001) 'Expand technology imaginations' Computer Dealer News, 0 November 001. v17 i4 p1

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Basketball at Its Best

Five, four three, two, one and that was it, over before I knew it. I was in eighth grade and playing for varsity. I felt the need to perform, to score all the points, make good passes, and to basically prove that I could cut it. Our first game was against Shades Mountain, a team from Birmingham. Rumors of their play had spread and we knew we would have to work as a team, and never let up in order to win this game.

We were warming up before the game and everything seemed to go wrong. Bad passes, air balls, and messing up the drills seemed to make up most of our warm-up. It was not good for our morale in general. Everyone thought we were done for, and that we were obviously having an off night. The warm-up ended and we started toward the bench.

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The starting five was announced and took their places on the court. Before we knew it the jump ball was thrown up and to none of our surprise they got the tip and scored a lay up off of it. Within five minutes we were down fifteen-five, and everyone was just digging themselves deeper into a hole.

By the second quarter our game had picked up a little, but so had theirs. Half time came and all the cheerleaders trotted out onto the court waving their pom-poms and cheering on Shades Mountain as we trudged along into the locker room. We took our seats in expectation of your typical pep talk, or speech about how we aren't playing to our potential. The coach walked in, we raised our heads in dismay, and prepared for the worst.

Instead she simply said, " You all know what you are capable of and if you choose to throw that away because you are down a couple of points, then nothing I say to you will change that." We waited for her to continue, but she didn't. The last thing we saw was coach walking out the door with an indescribable look on her face. It was then and there we decided something had to be done.

With few minutes remaining in half time we took some shots and nothing seemed to be any different. It was as if no matter what we did or what attitude we had it just wouldn't help us this night. The whistle blew and so the third quarter commenced. We were a completely different team that quarter; everything had turned around. Our shots were falling and we had taken the lead. It was a hard fought battle from there on out, but in the end we pulled through. We won by a small margin, but all that mattered to us was that it was a victory. Afterwards we went out to eat, never really mentioning those first two quarters. There was an air of relief all around us, and one of satisfaction. Somewhere we knew, whether we were thinking it at that very moment or not that we could overcome our problems and emerge victorious at the end. This was no guarantee to a victory in every future game, just a promise that we would put forth on supreme effort from there on out.

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