1089 lines
60 KiB
Plaintext
1089 lines
60 KiB
Plaintext
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################ ################## #########
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I n f o r m a t i o n, C o m m u n i c a t i o n, S u p p l y
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E L E C T R O Z I N E
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Established in 1993 by Deva Winblood
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Information Communication Supply 5/17/94 Vol.1: Issue 10-1
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Email To: ORG_ZINE@WSC.COLORADO.EDU
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E D I T O R S: Local Alias: Email: ICS Positions:
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============== ============ ====== ==============
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Jeremy Bek rApIeR STU521279258 Technical Director,Layout
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Steven Peterson Rufus Firefly STU388801940 Editor, Writer
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Russel Hutchinson Burnout Writer, Subscriptions,
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Editing
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Jason Manczur GReY KnYgHT STU523356717 Writer,Poet,Editing
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Deva Winblood MeTaL MaSTeR, ADP_DEVA Ask Deva, Tales of the
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Ephemeral Unknown, Editing
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Presence
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George Sibley MAC_FAC FAC_SIBLEY Editing, Supervisor
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_________________________________________
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/=========================================\
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|"Art helps us accept the human condition; |
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| technology changes it." |
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\ - D.B. Smith /
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\***************************************/
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+++++++++++++++++++++++++++++++++++++++
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_____________________________________________________________________________
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/ \
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| ICS is an Electrozine distributed by students of Western State |
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| College in Gunnison, Colorado. We are here to gather information about |
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| topics that are important to us all as human beings. If you would like |
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| to send in a submission please type it into an ASCII format and mail it |
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| to us. We operate on the assumption that if you mail us something you |
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| want it to be published. We will do our best to make sure it is |
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| distributed and will always inform you when or if it is used. |
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| See the end of this issue for submission information. |
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\_____________________________________________________________________________/
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REDISTRIBUTION: If any part of this issue is copied or used elsewhere
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you must give credit to the author and indicate that the information
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came from ICS Electrozine ORG_ZINE@WSC.COLORADO.EDU.
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DISCLAIMER: The views represented herein do not necessarily represent the
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views of the editors of ICS. Contributors to ICS assume all responsibility
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for ensuring that articles/submissions are not violating copyright laws.
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|\__________________________________________________/|
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| \ / |
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| \ T A B L E O F C O N T E N T S / |
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| / \ |
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| /________________________________________________\ |
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|/ \|
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| Included in the table of contents you will see |
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| some generic symbols to help you in making your |
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| decisions on whether an article is something that |
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| may use ideas, and/or language that could be |
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| offensive to some. S = Sexual Content |
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| AL = Adult Language V = Violence O = Opinions |
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|____________________________________________________|
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|----------------------------------------------------|
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| 1) First Word .................... Steven Peterson |
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| 2) Death of a Nation (Pt.1) ........ Jason Manzcur |
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| 3) Computer-Mediated |
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| Communication (Pt.2) ......... Steven Peterson |
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| 4) Introverted Psyche .................. Damian |
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| 5) Profit Margin ................. Steven Peterson |
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
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-------------------------------------
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\ First Word /
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\ by /
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\ Steven Peterson /
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-------------------------------
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Well, it does get lonely in the editor's chair toward the end of the
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semester. As you can tell from the table of contents, most of this issue
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is the product of my lone voice; yea, and I went forth into cyberspace,
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untethered and alone ... way too melodramatic. Sorry. Anyway, In this
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issue: Jason tries on the epic form for his poetic vision, I bring you
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the second part of my series on CMC (electronic brainstorming software,
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this time), Damian Riddle, a new contributor to ICS (local) offers another
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poem, and your humble editor winds up the frag with a short story.
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The story was fun to write - drop me a short note if the premise or
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the protagonist seems familiar. I'm interested in finding out if this is
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one of those "cultural" stories which reaches many people. I guess it's
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all part of developing as a writer, this search for the culturally
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relevant stories that need to be told. But, hey, it's supposed to be
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entertaining first and foremost, so enjoy.
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We'll be back in a couple weeks with the last issue of this term.
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we plan on producing two issues (or four frags) over the summer. So, if
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you'll be offline during break or away or need us to suspend delivery
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for a while, let us know.
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
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++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
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################################################################################
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DEATH OF A NATION (Part 1)
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It has begun!
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The world has ended!
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Lest, of course,
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The rift can be mended.
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They have started arriving
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Through the hole they have made
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In the fabric of space
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When their master, them bade.
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The invaders are here!
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I fret for the ones
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Who have not foreseen
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That thus the end comes.
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Death has little meaning
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For these abhorrations.
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They merely desire
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The end of all nations.
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They arrive by the hundreds,
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The thousands, the millions,
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And as they arrive,
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They build their pavilions,
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From which they can strike,
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North, East, South, and West.
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The human resistance
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Will prove who is best!
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I will be the leader,
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As I know their plan.
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If any can stop them,
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The resistance can.
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To all the people,
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Great people and small,
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I give you this message;
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"Please heed our call"!
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We will need all
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The support we can get!
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We will not give up
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On victory yet!
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The first attack!
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It happened at eight.
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These creatures
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Are taught only to hate!
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Machine gun fire
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Filled up the night.
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The people around me
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Tried to scream out their fright.
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We started resisting,
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And killed some of them, too.
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Though they were all dead,
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We knew we still weren't through.
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More of them came
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And began to slaughter.
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I heard my friend scream
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As they killed her daughter.
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They arrived en masse
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That they could kill more.
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Some began to revel
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Insane from the gore!
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You could see thousands
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In a grenade's light.
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The people retreated
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From Death's unholy rite!
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We will be triumphant,
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I am sure of that now.
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There are few of us left,
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But we will win somehow!
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Jason Manczur
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################################################################################
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<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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-------------------------------------
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\ Computer-Mediated Communication /
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\ Part 2 /
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\-------------------------------/
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\ by /
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\ Steven Peterson /
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---------------------------
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In the first part of this series, I examined some of the initial
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Computer-Mediated Communication (CMC) research conducted by Kiesler et.al.
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during the 1980s. From that work, I take five central questions which in-
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variably surface in subsequent research examining other, newer forms of CMC.
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These questions are:
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--------------------------------------------------------
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| Five Aspects of computer-mediated communication (CMC)|
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| 1) Time/Information processing pressures |
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| 2) Absence of regulating feedback |
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| 3) Dramaturgical weakness |
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| 4) Few status/position cues |
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| 5) Depersonalization of social anonymity |
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|______________________________________________________|
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In this, the second part of this series, I will examine recent research
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on electronic brainstorming software (EBS). Most of you are probably familiar
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with the traditional form of collaborative brainstorming which occurs in
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business and education. The basic idea is to gather people in a room and
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generate ideas in a free-form manner. Driven by a human sense of synergy,
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the traditional face-to-face form remains popular despite empirical studies
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that debunk claims of its efficacy (Gallupe 28).
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Recent innovations in software development have brought the idea of EBS
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into the hands of corporate America in the form of programs such as Group-
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systems and Teamfocus. EBSs take the original brainstorming concept and bring
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it to LANs, dividing the process into its constituent parts.
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The first step in the process - generating ideas - takes advantage of
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anonymous keyboarding in order to encourage participants to share ideas they
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probably wouldn't voice in a face-to-face setting. Aspects 2 and 4 are turned
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into advantages at this stage - without regulating feedback or status cues,
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inhibitions fade and more ideas are expressed. In a comparative study involving
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over eight-hundred people, EBS groups "have consistently been more productive
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than traditional brainstorming groups ... productivity advantages have ranged
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from 25 to 50 percent for four person groups and to nearly 200 percent for
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twelve person groups" (30). The same study notes "the advantages of parallel
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entry, anonymity, and, no doubt, novelty serve to make electronic brain-
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storming a much more productive way to brainstorm, particularly among larger
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groups"(30). While these programs overcome traditional problems of inhibition
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and "status-weighting", they lead to problems in the editing phase.
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Time and information processing problems mark the editing phase of EBS.
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Eliminating redundant ideas is described as the "grueling part." Anticipating
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such a problem, some of the available programs (in this case Groupsytems)
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offer a tool which enables users to "create his or her own categories for the
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ideas that have been generated. By scanning all the ideas generated, each group
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member can assign each idea to any number of categories. This process makes it
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easier for the group to identify similar ideas and combine or discard those
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that are redundant" (31). While sorting tools may speed the process up, asking
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participants to avoid obvious or trite ideas would seem to be a good idea.
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The next phase in the process, evaluation, also presents some problems.
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Traditionally, status and position determine the relative weight of an
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individual's influence. Recognizing the needs of corporate users, software
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developers have incorporated "rank-order voting" features to prioritize ideas
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according to consensus, or, in some cases, by caveat of management. Although
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weighted voting may streamline the process, "the anonymous evaluation of ideas
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is an important feature of EBS technology. We have all had the experience of
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seeing ideas adopted because they were advocated by powerful individuals.
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Once this happens, a groupthink process can produce unanimity on what some
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(privately) believe to be a bad idea" (32). Expanding on this theme, the
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authors note that "all the EBS procedures are designed to equalize power
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within the group ... when this [differential weighting] is done - and we
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acknowledge our misgivings about violating the power equalization feature
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of EBS - it should be made explicit that not everyone is equal in the
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group and why" (32). It is easy to see the resistance such equalization
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will engender in a hierarchical, profit-driven, competitive arena.
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Any resistance to the EBS process will likely surface in the next phase:
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implementing the ideas generated in a EBS session. Most of these programs
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offer a "window" style feature that allows individuals to enter steps used to
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define a "plan-of-action" for any given idea. If the plans are followed,
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employees seem to feel their efforts are worthwhile, and psychologically, they
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are likely to feel that "equalization of power" EBS offers. On the other hand,
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if management manipulates resources and funding to determine a course of
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action, employees may feel cheated and used at some level.
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As with any new technology, the potential for abuse conditions the
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possibilities for progress. Generalizing from their research, the authors
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of this study provide two short lists of advantages and disadvantages of EBS:
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Advantages Disadvantages
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*Parallel entry of ideas *May be oversold as cure-all
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*Anonymity *Requires keyboarding skills
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*More good ideas generated *Loss of power for senior people
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*Higher satisfaction with process *Loss of social interaction
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*Large groups can be effective *Overload during idea editing
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*Can be used by both face-to- *Cost of facilities and
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face and dispersed groups software
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*Records ideas for future *Not all topics are suitable
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(34) (35)
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These lists give a concise view of the surface features of the medium;
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however, the deeper issues of control, office politics, and credit for
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"intellectual property" will most likely determine if this sort of system
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actually gets adopted by a business organization.
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The "organization man" moving up a ladder of success in the traditional
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capitalistic sort of corporation will probably view the anonymity inherent
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to the EBS process threatening. As individual "scoring" systems give way to
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"team-based" measures of performance, the Horatio Nelson model of success
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undergoes a transformation from one of individualistic endeavor to one of
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collective, or team success. In cultures which already use team-oriented
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tactics to achieve their goals (e.g. Japan), EBS programs can be adopted
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with a minimum of resistance. In highly individualistic cultures (such as
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the U.S.), a "new order" of business practices must evolve in order for
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corporations to reap the potential benefits of EBS-style programs.
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The basic purpose of CMC software is to exchange knowledge. Corporate
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America's interest in the medium reflects the growing role knowledge often
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plays in defining economic realities, good or bad. In a recent interview,
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Peter Drucker (known as the father of modern corporate management) stated
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"international economic theory is obsolete. The traditional factors of
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production - land, labor, and capital - are becoming restraints rather than
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driving forces. Knowledge is becoming the one critical factor of production.
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It has two incarnations: knowledge applied to existing processes, services,
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and products is productivity; knowledge applied to the new is innovation"
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(Drucker 80). Citing numerous examples of efficiency gains in corporate
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America, Drucker identifies a strong link between business success and the
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application of knowledge in design processes. It seems the dual pressures of
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international competition and mass marketing are forcing national and multi-
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national corporations to react to the growing sophistication of their business
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rivals and their customers.
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Determining the course of that reaction may prove to be the defining
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moment for many workers in the American economy. Systems such as EBS offer
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one possible method of cultivating the "knowledge base" that will give
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corporations a competitive edge in the emerging "post-capitalist" economy of
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the 21st century.
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In the third installment, I will examine Group Decision Software Systems
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(GDSS), another form of CMC which may challenge the existing forms of corporate
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management. Stay Tuned ...
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_______________________________________________________________________________
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Works Cited
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Drucker, Peter. Interview. "Post-Industrial Society." With Peter
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Schwartz. *WIRED*. Vol.1, No.3, July/August, 1993. 80-83.
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Gallupe, R. Brent, and William Cooper. "Brainstorming Electronically."
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*Sloan Management Review*. Vol.35, No.1, Fall, 1993. 27-36.
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Kiesler, Sara, et.al. "Social Psychological Aspects of Computer-Mediated
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Communication." *American Psychologist*. Vol.39, No.10, Oct. 1984.
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1123-1134.
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________________________________________________________________________________
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################################################################################
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
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Introverted Psyche
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I frivolously disdain my outward appearence,
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Frequently subsiding to the injections of eternal thought.
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Crumbling slowly, logically at first, then wild,
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Stumbling, bumbling out of reality.
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My first reaction was no - no way!
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Then I accepted the tedious chore and
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Threw - it - away.
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You know what I don't care
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peace of mind is satisfaction enough.
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Life is cruel and I deserve it.
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I will strive to be levelheaded and
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full of meaning. Meaning is substance
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constant, relative thoughts, those
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which make us whole. Those that live and bleed.
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The beast is inside us, exorcise the beast and you're in.
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Only excessive force binds my style.
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I realize I extrude, and
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I retort inwardly, instantly.
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*Damian*
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
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********************************************************************************
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++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
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__________________
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| PROFIT MARGIN |
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| |
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| by |
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| ______________ |
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/ Steven Peterson \
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--------------------
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Coffee and cigarettes: as Ron reached for his Camels, he scorched his
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tongue on the icky-sweet flavored coffee his secretary had just brewed.
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Hot cherry and white chocolate flooded his throat as he tried to choke down
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the viscous fluid; his eyes began to water and his hands started to shake.
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Ron coughed and sent a perfect stream of java splashing down: a direct hit,
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right into the middle of his keyboard. Cursing silently, he stabbed the
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intercom button:
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--Marcy ... could you come here, my keyboard is down again.
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--I'll bring the spare ...
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Ron set down his mug and picked up the sodden keyboard. He began to
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shake the little brown droplets out onto the carpet, hoping to cover his
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slop before Marcy arrived. She'd been after him for months to get used to
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his new "secretary," and this was the third unit he'd trashed this month.
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It was starting to look deliberate, and the man upstairs had his "quota"
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of time "on-line" to measure, quantify, digitize, whatever they did with
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the little blips when Ron was done with them. He was glaring at the screen
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when Marcy entered:
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--What happened, Ron ... ashes or fluids?
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She had the spare keyboard tucked under one arm; Ron thought it looked
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like some sort of new appendage, perhaps the wing she was using to fly away.
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--Coffee again, Marcy. That thing's a damn magnet.
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--Well, scoot out of the way, and I'll have you back up again in just a
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minute. Really, Ron ... you'd better get used to it being there.
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--Yeah, I know. Say, could you bring up those new sales forms for me?
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I keep getting lost in the windows.
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Marcy began to trace the cord to the back of the machine. Her movements
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had a confidence that Ron had never really noticed before. Ron started to
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thumb through his ancient rolodex, looking for his first calls of the day.
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Marcy stood up, tapped a few keys, and fixed Ron with a cold look:
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--There you go. Now which form did you want?
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--Carlson's little gem. It's called sp or spr94 or something.
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--O.K., watch ...
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Marcy grabbed the mouse and began pointing and clicking.
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--First, get out of this directory ...
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As Marcy droned on, throwing acronyms and clipped references at Ron,
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he thought back to his first regional spring sales campaign. Marcy had just
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started working for him, so fresh out of high school he could smell the
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bubblegum on her breath. He ran her like a dog, another order damn near
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every hour. And she had kept coming back for more. He missed that loyalty,
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those trusting quiet eyes.
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--O.K., now you're in the dbase ...
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God, he had power back then. Ron had owned his own region, sales were
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booming, and a man's personal secretary worked for him, not some damn machine.
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Marcy was staring at him, waiting:
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--Yeah, that's the one. How do I send them again?
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--Just like anything else, Ron, hit Control-Z and Enter.
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Marcy glanced out the door, then back at Ron.
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--Anything else?
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--Um, yeah, if you could get me the southeast Indiana figures from last
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year, I could get on the horn and maybe accomplish something.
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--I'll forward them right away.
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--No, no ... on paper, Marcy. I need the whole screen.
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--O.K., Ron, let me fire up the printer.
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Ron watched Marcy make her way out the door, quietly lusting after the
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Old Marcy, the girl he could manipulate. It had been years, but Ron still
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remembered the soft tenderness of his old conquest. Her quiet ease with
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numbers, with so-called logic, had changed everything. At first, that skill
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had made her valuable (Ron hated math); ultimately, it gave her the upper hand.
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Carlson was looking to promote her right out of the building; West Coast
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was looking for bright minds ...
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Ron fired up a Camel and reached for his dog-eared rolodex. Flipping
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through, he stopped on a new one: fresh meat. Ron picked up the phone and
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started dialing, his fingers stabbing the buttons as he rifled through a pile
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of paper. In the background, a printer began its furious ticking and whirling.
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* * *
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After a fruitless morning of cold calls, Ron had to face Carlson.
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The young turk of management, Carlson was obsessed with the machines. From
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his desk, he could monitor all the sales reports from the building as they
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were entered; everything was defined on his screen.
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The meeting was, of course, in his office: lots of chairs arranged in a
|
|
web pattern around the terminal, a blinking cursor ready to reveal the frozen
|
|
figures of a month's work.
|
|
--Ron. I'm glad you're here early. I've been meaning to talk to you,
|
|
I haven't seen you logged on much lately. Come on, old man, everybody's got
|
|
to be part of the team. Let's face it ... nobody, not even you, can make sense
|
|
out of that pile of dead trees on your desk. HQ wants it all digital, and if
|
|
you can't get it online, Ron, you're going to be history.
|
|
--Right, Carlson. All the ram in the world can't give you my contacts,
|
|
my reputation. Twenty-five year's worth. Look, kid, HQ doesn't want me swingin'
|
|
over to the other side, so save your empty threats.
|
|
The other agents began to filter in. The monthly meetings had changed.
|
|
All the ladies who used to remain safely behind their Selectrics had arrived,
|
|
invading Ron's old domain and threatening his margin with their aggressive
|
|
forays into his territory.
|
|
Carlson's monitor beeped and he began:
|
|
--Good to see everybody. I've been watching, and I'm pleased to say that
|
|
most of you have posted good numbers. Most of you even found the new form.
|
|
Keep using it for now, I'll post an updated version after the spring season.
|
|
As you all know, the secretarial pool will only be available on a limited basis
|
|
from now on. So get used to those keyboards, men. These ladies are too valuable
|
|
on the lines; they're not going to correct your grammar forever. Speaking of
|
|
ladies ... congratulations Marcy, you win the bonus for this month: Marcy
|
|
posted the best numbers, part or full time.
|
|
--Thanks, Mr. Carlson. Our product sells itself, really.
|
|
Carlson beamed, his latest convert shining brightly.
|
|
--Mr. Carlson, I want you to know, I didn't make it happen on my own.
|
|
Ron laid the groundwork in that area ... and your form kept me on track.
|
|
Ron glanced at Marcy, then down at the floor. Carlson tapped a few keys,
|
|
grabbed his mouse, and started clicking away. In a moment, he found what he
|
|
wanted and swiveled the monitor around. On the screen, a chart listed the
|
|
active areas and the numbers for last month, last year, and the averages for
|
|
the last ten years. Ron noticed his territory was now called C-12:
|
|
--Carlson, them old numbers are a lie. The law of averages don't obey you
|
|
or anyone else. You can't expect us to maintain a quota based on a different
|
|
time, a different world.
|
|
--Ron, I hear you. Those numbers are for me. Do your best to hit the
|
|
target. We need you on the team; don't worry about it.
|
|
--Then stop breathing down my neck for those damn forms. I'll do
|
|
my job ... the way I've been doing it for the last twenty-five years.
|
|
--Relax, Ron. The machine is just another tool. And since we're all
|
|
using it, the least you could do is try and join the rest of the world.
|
|
Marcy tried to shrink into the background. Open conflict still made her
|
|
nervous, and she thought Ron was making a fool of himself; a dinosaur stomping
|
|
in the tar. She couldn't help feeling a little sorry for the old man, he had
|
|
shown her so much.
|
|
--Look, Ron, I don't care how much coffee you dump on your keyboard,
|
|
that unit stays in your office. Get used to it. And just so you know, I drafted
|
|
Marcy's transfer orders to San Jose this morning ... she won't be replaced.
|
|
Starting next month, you fly on your own, buddy.
|
|
Ron looked stricken as the news sank in. Marcy nervously shook the glad-
|
|
hands and avoided looking at Ron. Her old hero was on his way down, and she
|
|
felt a twinge of guilt. After all, she had done more than her share to bring
|
|
the master dbase online. But, then again, Ron had used her, in many ways.
|
|
Marcy steeled herself and leveled a gaze at Ron:
|
|
--Thanks, Ron. For everything. I know you'll be O.K., you don't need me.
|
|
--Well, I guess that's that, Marcy. Good luck.
|
|
|
|
* * *
|
|
|
|
The spring campaign was winding down, and Ron was alone in his office.
|
|
His numbers were terrible, and he was stuck in some directory. No coffee,
|
|
no Marcy, and no more mousing around.
|
|
Ron flicked the switch on his power-strip, and grabbed a pen and his
|
|
trusty legal pad. He slapped the keyboard on top of his monitor, cleared a
|
|
space on his desk, and began dialing in a last-ditch effort:
|
|
--Ralph, old boy, it's Ron. Can we talk? I know you've been buying from
|
|
SunStar lately, but I need a favor. I need to move some product, and I'm ready
|
|
to call a few in.
|
|
--Ron, you sound desperate ... and I wish I could help, but things just
|
|
ain't the same. Schumann would have a cow if I made someone reprogram the
|
|
invoice code.
|
|
--Invoice Code! Christ, Ralph, did you just say Invoice Code? Don't tell
|
|
me they've gotten to you, too. What the hell is the point, anyway?
|
|
--Beats me, Ron. Twenty years ago, they told us to send our kids to MIT.
|
|
Now, them kids are runnin' us through the better mousetrap. Go figure ...
|
|
--Yeah, don't I know it. See you at the club tonight?
|
|
--Not tonight, Ron. Gotta go.
|
|
Ron hung up and tried another number:
|
|
--Hello, John Farris, please.
|
|
--I'm sorry, Mr. Farris no longer works here. Would you care to speak
|
|
to another member of our staff?
|
|
--No. What happened to Farris?
|
|
--He retired last month, I think. If you're interested, I could connect
|
|
you to his replacement, Mr., ah, what did you say your name was ...
|
|
--Forget it.
|
|
Ron placed the headset on his shoulder and lit another Camel. After
|
|
brooding for a moment, he got up to make some real coffee, none of that
|
|
sweet stuff. There was a new girl at Marcy's old desk; she pointedly ignored
|
|
Ron as he measured the grounds and water. Her monitor beeped, and she clicked
|
|
to attention. E-mail from Carlson Central, no doubt.
|
|
While he waited for his java to brew, Ron tried to make small talk:
|
|
--How goes the battle?
|
|
--Excuse me, did you say something?
|
|
--Yeah, how goes it? If you'd like some good numbers, let me know ...
|
|
I can dig some out.
|
|
--No, that's O.K., Mr. Carlson has me working from the updated list.
|
|
Thanks, anyway.
|
|
She turned back to her screen, oblivious to Ron's lurking presence.
|
|
She was young, as Marcy had once been. But this one was untouchable, as alien
|
|
to Ron as the Inventory Code.
|
|
|
|
* * *
|
|
|
|
May 15th, the end of the spring season. It was a bright, cool day and
|
|
Ron was spiking his coffee with some very old brandy. He fixed his gaze on the
|
|
blinking cursor and raised his mug:
|
|
--A toast ... to progress, march on.
|
|
Carlson was on his way down; the machine had crunched all of his
|
|
numbers, and Ron's time was up. On his pad, in longhand, Ron had prepared
|
|
his resignation. Why not. It was over: the boys were deep down in Florida,
|
|
the kids owned it all now. Ron picked up his old rolodex, leaned back in his
|
|
chair, and began plucking cards from the spindle. One by one, he flipped them
|
|
into the trashcan, a vacant smile on his face.
|
|
|
|
|
|
Copyright (c) 1994 by Steven Peterson
|
|
|
|
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
|
|
*******************************************************************************
|
|
Information Communication Supply 6/23/94 Vol.1:Issue.10 Frag: 2
|
|
Email To: ORG_ZINE@WSC.COLORADO.EDU
|
|
|\__________________________________________________/|
|
|
| \ / |
|
|
| \ T A B L E O F C O N T E N T S / |
|
|
| / \ |
|
|
| /________________________________________________\ |
|
|
|/ \|
|
|
| Included in the table of contents you will see some|
|
|
| generic symbols to help you in making your |
|
|
| decisions on whether an article is something that |
|
|
| may use ideas, and/or language that could be |
|
|
| offensive. S = Sexual Content |
|
|
| AL = Adult Language V = Violence O = Opinions |
|
|
|____________________________________________________|
|
|
|----------------------------------------------------|
|
|
| 1) Gibsonian Mythology [O]......... Deva Winblood |
|
|
| 2) Love (Short Story) ............. Jason Manczur |
|
|
| 3) Squeezing the Juice [O] ....... Steven Peterson |
|
|
| 4) Multi-User List .................... Staff |
|
|
| 5) Last Word ..................... Steven Peterson |
|
|
------------------------------------------------------
|
|
|
|
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
|
|
********************************************************************************
|
|
--------------------------------------------------------------------------------
|
|
|
|
+-------------------------+
|
|
/ C y b e r S p a c e \
|
|
| ===================== |
|
|
| Gibsonian Mythology |
|
|
| |
|
|
| By |
|
|
| Deva Bryson Winblood |
|
|
\ /
|
|
+-------------------------+
|
|
|
|
|
|
In today's technology based cultures and cliques there is a common
|
|
interest in ideas that revolve around "CyberSpace." This term was first
|
|
popularized by William Gibson in his award winning book _Neuromancer_.
|
|
Gibson presented computer networks as a global medium of power. Similar
|
|
situations were described in books such as _Shockwave Rider_ by John Brunner.
|
|
Brunner's literature predates Gibson's and is perhaps more accurate in terms
|
|
of today's emerging computer networks. The difference between CyberSpace in
|
|
Brunner's and Gibson's books is that of perception. In Brunner's book,
|
|
cyberspace was viewed much as the internet is perceived today, but on a
|
|
grander scale that could very well be a forcast of the future of the internet.
|
|
Gibson's _Neuromancer_, on the other hand, projected the idea of a new
|
|
interface.
|
|
Gibson initiated the world to a new idea for a user interface.
|
|
To understand the major leap in the Gibsonian vision one must understand
|
|
what a user interface is. A user interface is the method by which YOU,
|
|
the user interfaces (accesses) the computer. Computers initially had almost
|
|
no interface at all when one recalls the TOGGLE switches of the first
|
|
computers. This was followed by punch cards which were equally
|
|
unfriendly. The step-up from these now prehistoric interfaces was the
|
|
development of the Command Line Interface (CLI). This enabled one to
|
|
type on a keyboard and have the typed-in material appear on a screen.
|
|
The user would then press RETURN (ENTER on some machines) and that
|
|
COMMAND would be processed by the computer. This was a purely TEXT
|
|
interface. This changed with the work of XEROX PARC research teams.
|
|
They were working on a Graphic Interface. This interface was the
|
|
predecessor of the Macintosh, Amiga, GEOS, Windows, and several other
|
|
interfaces. These interfaces are the CURRENT top of the line method
|
|
for user interaction with a computer. This interface is a Graphical
|
|
User Interface (GUI). Now one has a better foundation to understand
|
|
the vision of William Gibson.
|
|
Gibson introduced what might be called a Sensory User Interface.
|
|
This is a term just invented in this article. The interface as relayed by
|
|
Gibson involved all the senses and in fact was a step beyond the idea of
|
|
Virtual Reality (VR) as practiced today. In Gibsonian CyberSpace a person
|
|
perceives other users in computer systems around them as well as always
|
|
being in a setting that corresponds to the contents of a computer and other
|
|
computers in a geographical region.
|
|
|
|
ENTER MYTHOLOGY
|
|
|
|
Gibsonian ideas were created on a typewriter by a man who admits to
|
|
knowing little about computers at the time. This is one of those fateful
|
|
situations where a person of little background in a field gains insight
|
|
into something that those in the KNOW were not aware of. His idea brought
|
|
hope for more intimacy, realism, and excitement in the future of computing.
|
|
Quickly the Gibsonian ideas were embraced as THE FUTURE OF COMPUTING.
|
|
While the Gibsonian ideas should be used as a source of inspiration,
|
|
the current abilities of computers and the way they handle data causes
|
|
several blocks which inhibit the Gibsonian vision. These problems are
|
|
in areas of geopositional realism and speed.
|
|
The Gibsonian vision pitches the computer user into a computer world
|
|
that parallels that of the real world. If you JACK IN to your CyberDeck
|
|
and look around you will notice that your next door neighbor is also
|
|
jacked in. You will then look into the distance and see a sensory image
|
|
for every computer in your neighborhood. In the distance, you will see the
|
|
towering computer nets of local businesses. This is the geopositional aspect
|
|
of Gibsonian cyberspace. Enter the problem.
|
|
Computer networks do not work in a fashion that will enable this
|
|
geopositional aspect to function. Your computer does not know the difference
|
|
between crossing a satelite uplink to reach the next computer and crossing a
|
|
desk. Without this knowledge available to the computer, it would be difficult
|
|
to establish a perspective of SURROUNDING LOCAL COMPUTERS. Likewise, computer
|
|
networks function from computer to computer. Your computer can identify
|
|
whichever computers it is directly linked to and none beyond. Using modern
|
|
network protocols, you can still communicate with computers beyond your own.
|
|
There is no guarantee that those computers exist until your request for that
|
|
computer traverses the net and either succeeds or fails and bounces back.
|
|
The second problem that makes Gibsonian CyberSpace an unlikely future is
|
|
the issue of speed. Take a moment... Consider the processing speed required
|
|
to maintain the position and state of every USER and COMPUTER in your network
|
|
vicinity. IMMENSE processing time. It has been said by some computer
|
|
researchers that the real time RAY TRACING (Image processing) that would
|
|
enable VR of a minimum level to produce effects such as those seen in the
|
|
movie _Lawnmower Man_ would require a computer with a processing speed of
|
|
at least 400 million instructions per second (400 MIPS). Current desktop
|
|
computers average around 10 to 20 MIPS. This is the speed necessary to
|
|
maintain JUST the visual aspect of realistic VR. Gibsonian CyberSpace has
|
|
full sensory aspects (visual, touch, smell, taste, and sound) as well as
|
|
maintaining accurate geopositional setting and still leaving room to run
|
|
other programs. The speed of ANY computer interacting with a Gibsonian net
|
|
would have to be IMMENSE to the point of being most likely unattainable.
|
|
|
|
While these problems may place Gibsonian CyberSpace in the halls of
|
|
mythology, Gibson's vision can still be an inspiration to the programmers
|
|
of today. New interfaces that are attainable can be created and implemented
|
|
on even today's limited computer power.
|
|
|
|
GEOPOSITIONAL: The geopositional aspect can be maintained by a series
|
|
of localized computers that I refer to as MAP NODES. The sole purpose of
|
|
these computers would be to respond to queries and send geopositional
|
|
information to local computers. The map node would also handle incoming
|
|
messages of computers coming on and off-line and update its "MAP"
|
|
correspondingly.
|
|
|
|
SPEED: While keeping it real-time is currently unattainable, the
|
|
"MAP" updates could be often enough to make it workable. This would
|
|
not be a problem as long as each MAP NODE was only responsible for a
|
|
limited area.
|
|
|
|
VR: The VR aspect could be accomplished by creating a simple
|
|
communication protocol for the MAP NODES that would enable them to pass
|
|
on quick graphic information with query responses. All that would be
|
|
[Brequired would be a program that can interpret and react to these
|
|
graphic messages for each platform (computer).
|
|
|
|
Visionary thinking is useful no matter its plausibility.
|
|
Let all mistakes be a gateway to further knowledge.
|
|
|
|
--------------------------------------------------------------------------------
|
|
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
|
|
<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
|
|
|
|
+--------------------+
|
|
| Love |
|
|
| |
|
|
| A short story by |
|
|
| |
|
|
| Jason I. Manczur |
|
|
+--------------------+
|
|
|
|
|
|
Love is the greatest feeling I have ever come across. Love can
|
|
cause people to do strange things. Love can make nice people into jealous
|
|
fools, or turn mean people into nice (but lovesick) people.
|
|
Here's how it all started. I was minding my own business, just
|
|
killing time and a few other things, when she walked into my life. She
|
|
was beautiful. I offered to help her get some experience in life, and
|
|
she accepted. We walked and talked together for a while. We discovered
|
|
that we had a few things in common. We also discovered that we shared
|
|
some interests. Soon, I began looking for her whenever I was in the
|
|
neighborhood.
|
|
Now that you know that, let me begin my tale:
|
|
|
|
I am waiting for her to arrive at the airport. I am beginning
|
|
to get nervous. "Is she even going to come?" I ask myself. I am
|
|
beginning to think about all of the time that we have spent together,
|
|
and I think, "Yes, she'll be here."
|
|
Her flight is due in in ten minutes. How do I look? What
|
|
will I say? Will she recognize me? Will I recognize her? I may not
|
|
have decided to quit smoking soon enough, or maybe I shouldn't have?
|
|
No, it was the right time to quit. She will recognize me. I will
|
|
recognize her.
|
|
I walk into the lavatory to look in the mirror. "Oh, no!" I
|
|
gasp. I look at my tie. "Why can't I ever get the knot right when I
|
|
need to?" I ask. I try in vain to think of a way to tie it correctly
|
|
in a short time. "Why do things like this always happen to me?" I think.
|
|
I slowly walk back to the gate where her flight is to arrive.
|
|
I wonder if she will notice the stupid looking knot in my tie. It has
|
|
been so long since I've seen her!
|
|
As I get back to the gate, her plane is pulling in. Will she
|
|
be one of the first people off? Will she BE the first? I can only
|
|
hope.
|
|
The passengers begin to arrive in the gate area. 5 people,
|
|
10 people, 15 people, how big is that plane? I start getting extremely
|
|
nervous, where is she? Did something come up? Is she alright? Did
|
|
she decide she didn't want to see me? What was I thinking in inviting
|
|
her out here? Who did I think I was? Why would she want to see me?
|
|
Wait a minuite, there she is! I am impressed! She looks great!
|
|
She looks just like the goddess I expected her to resemble! Oh, my
|
|
heart is beating again! I must be the luckiest man ever to walk the
|
|
face of the earth!
|
|
She walks right up to me. She wraps her arms around me and
|
|
gives me a long and passionate kiss. She does remember me! Now I know
|
|
that my hoping was not for naught!
|
|
We walk down to the baggage claims area and pick up her bags,
|
|
(she packed light, smart girl!) both of them. I carry her bags out to
|
|
the car for her while we talk of old times and fond memories. She has
|
|
noticed that I trimmed my beard and moustache for her. I unlock the
|
|
trunk and carefully put her bags in. I close the trunk and open up the
|
|
doors. As we get in, she notices the roses I placed on the passenger
|
|
seat for her.
|
|
We leave the airport and begin the long drive to my place, a 5
|
|
hour drive. The trip should go pretty quick for her, as she has never
|
|
seen the mountains here. We will talk and have a picnic lunch on the
|
|
way home.
|
|
As soon as we get home, I will grab my stuff and we will be out
|
|
the door. We are going camping. I have already invested in a fishing
|
|
license and a new fishing pole. I packed everything up yesterday.
|
|
How will I ever live up to her expectations of me? Where should
|
|
we go? What fishing tackle should I bring? Should I kiss her now?
|
|
A famous person once said, "These are the times that try mens'
|
|
souls". I now know what he was talking about. He must have been in
|
|
love. The confusion, the overwhelming emotions, the chaos! The funny
|
|
thing is, I wouldn't give it up for the world!
|
|
|
|
################################################################################
|
|
================================================================================
|
|
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
|
|
|
|
/\
|
|
/ \
|
|
| |
|
|
/ \
|
|
| |
|
|
-----------------------------------------
|
|
| Squeezing The Juice |
|
|
\ /
|
|
\ By /
|
|
\ Steven Peterson /
|
|
-------------------------------
|
|
|
|
Well, the media is deeply engrossed in yet another orgy of contemporary
|
|
myth-making. Or unmaking, as the case may be. Unless you've been hiding in a
|
|
cave, you've probably been bombarded by the relentless coverage of the O.J.
|
|
Simpson story: the initial allegations, reportage of the ostensible evidence
|
|
(as it was being discovered), and, of course, the Juice's overdocumented
|
|
flight - his final broken-field rush through the ranks of the media, his
|
|
adoring public, and the L.A. police force.
|
|
|
|
The dismantling of an American hero lies at the heart of this sad little
|
|
drama: the edifice of celebrity surrounding this rags-to-riches sports figure
|
|
is being torn asunder by the same media which originally constructed it.
|
|
Innocent or guilty, the Juice is squeezed dry - his place in the pantheon
|
|
of American heroes has been erased by the taint of human failing.
|
|
|
|
As the gruesome tale of the double-murder unfolded, the media descended
|
|
on the grisly carcass of allegation and innuendo like a flock of vultures,
|
|
intent on presenting the "human interest" with the shining bones of the Juice.
|
|
The bizarre juxtaposition of footage from the funeral with late-breaking
|
|
accounts of newly discovered circumstantial evidence set the stage for an
|
|
American update of the ancient "fallen hero" myth.
|
|
|
|
Elevated to Olympian heights by the adoration of a nation transfixed by
|
|
sports, many of which resemble the gladiatorial games of ancient Rome, our
|
|
hero is brought down by a blood-lust for retribution; a lust which grotesquely
|
|
demands instant gratification.
|
|
|
|
Somewhere in the sub-conscious of our nation, we are willing to
|
|
substitute implication and surface appearance for the slow wheels of
|
|
Justice as we have fashioned them. In man-on-the-street interviews aired
|
|
by the networks, individuals gave their verdicts: it was an even split:
|
|
half believe he is guilty based on information presented by the media,
|
|
and half were willing to either suspend judgement until the "facts" are
|
|
presented in a court of law, or were unwilling to condemn the hero at all.
|
|
Even if Simpson is found innocent by a jury of his peers, the perception of
|
|
guilt among that fifty percent will ensure his fall from grace.
|
|
|
|
The Juice's six hour flight past the lines of the police and the media
|
|
(*AND the media* stressed in all t.v. accounts) is the most compelling act
|
|
of this drama, so far. The audacity, the boldness, and the confidence Simpson
|
|
displayed in his ill-fated "run from the law" played itself out like a tale
|
|
from Homer - a modern day Odysseus sailing past the siren song of police cars
|
|
and screaming fans. Putting a gun to your head may be an unlikely trump card,
|
|
but it proved effective in this case - gambling on the collective guilt of a
|
|
nation can still pay off. Apparently, we're comfortable with taking over the
|
|
grounds of the palace, so long as we don't have to actually pull any triggers
|
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- at least until we can drum up enough justification.
|
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Watching the coverage of the flight in progress, I couldn't help but feel
|
|
like one of the suitors vying for Penelope's hand in Homer's epic: feasting on
|
|
a memory of glory, gorging on a vicarious indulgence provided at the expense
|
|
of a deposed king. The human fascination with tragedy remains alive and well
|
|
heading into the 21st century; technology brings us hourly updates in techni-
|
|
color and stereo (hey, turn that up) and we find ourselves transfixed before
|
|
the spectacle.
|
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Unfortunately for Simpson, there will be no scene in the hall, no storming
|
|
the castle, no hope of reclaiming his place at the queen's side - she is gone.
|
|
Nicole Simpson cannot wait for his, or anyone else's return. As the real
|
|
victim in this all-to-human drama, she has paid the ultimate price for
|
|
consorting with an American hero.
|
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|
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The manner in which we tell our stories reflects the state of our cultural
|
|
spirit. Focusing a field of lenses, bathing a subject in the glaring reflection
|
|
of a forest of lights, we demand the disintegration of the individual soul in
|
|
a nova of invasive inspection. In our mad rush for information, consensus, and
|
|
swift judgement, we sacrifice a measure of our humanity. As we bear witness to
|
|
the continuing stream of media overkill, we must try to preserve our spirit -
|
|
seek a balance between our relentless curiosity and our need to maintain the
|
|
dignity of the individual soul.
|
|
|
|
Ultimately, the Simpson case may lead the state of California to
|
|
contemplate subjecting our former hero to the death penalty - the final
|
|
chapter, closing the circle. Will the Simpson children understand the verdict?
|
|
Or the tale? I doubt it.
|
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
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<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
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+-----------------------------+
|
|
/ M U L T I - U S E R \
|
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/ LIST \
|
|
| |
|
|
| By |
|
|
| ICS Electrozine Staff |
|
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\ /
|
|
+-------------------------------+
|
|
|
|
|
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This MULTI-USER LIST was designed by the staff of ICS to inform you of
|
|
the current status of MUDs, Talk Lines, IRCs, and other interesting multi-user
|
|
internet connections that are brought to our attention.
|
|
If you know of any internet places that should appear on this list, or
|
|
should be removed from this list, please send updated information to:
|
|
|
|
ORG_ZINE@WSC.COLORADO.EDU
|
|
|
|
This list will always be limited to a few entries per issue. ICS will
|
|
never list a place more than once unless a change in status needs to be
|
|
relayed to our readers. You may want to read back issues to see what
|
|
sites have been mentioned in the past. The first issue to contain this
|
|
list is volume one, issue ten.
|
|
|
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--- --- --- --- --- --- ---
|
|
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|
FORMAT:
|
|
Title of Multi-User Program CodeType:
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|
Internet Address: Port:
|
|
#connected: Builders?: Pkilling?: Theme?:
|
|
Description:
|
|
|
|
EXPLANATION OF FORMAT:
|
|
Title = Name given to the program by its owners.
|
|
CodeType = If a specific codetype, what is it? (MUSH, Diku, LP, etc.)
|
|
Internet Address = Address of internet computer.
|
|
Port = Port to connect to in order to reach this program.
|
|
#connected = Number of people using the program when we logged on.
|
|
Builders? = Is building allowed by everyone? YES NO
|
|
Pkilling? = Is player killing permited? YES NO or CHOICE
|
|
Theme? = What is the Theme, if any?
|
|
Description = A description of the program.
|
|
|
|
SUGGESTIONS FOR VMS USERS: The code types MUSH, MUCK, and MUSE usually
|
|
require that NEW LINE be activated. Press F3 and a menu will appear
|
|
press the ENTER key (not RETURN) and cycle throught the menus until you
|
|
see NO NEW LINE. Use the cursors to highlight it. Press ENTER and
|
|
it will change to NEW LINE. Press F3. When done with the terminal
|
|
it is suggested that you change it back to NO NEW LINE so that it does
|
|
not interfere with the next person to use it.
|
|
|
|
CONNECTING:
|
|
TELNET address port
|
|
VMS:
|
|
$ TELNET address/PORT=port
|
|
|
|
--- --- --- --- --- --- ---
|
|
|
|
Hercules CodeType: DikuMUD
|
|
Internet Address: 163.246.32.110 Port: 3000
|
|
#connected: 30 Builders?: N Pkilling?: N Theme?: Fantasy
|
|
DESCRIPTION: This is a good beginners DikuMUD.
|
|
|
|
CHOME CodeType: DikuMUD
|
|
Internet Address: 198.175.15.10 Port: 4000
|
|
#connected: 15 Builders?: N Pkilling?: C Theme?: Fantasy
|
|
DESCRIPTION: Expert DikuMUD with adapted DikuCode. New Areas.
|
|
More skill lists. You can cross train in any skill. Warning: Mobs
|
|
assist each other.
|
|
|
|
Tela Magica CodeType: MUSH
|
|
Internet Address: 198.151.161.6 Port: 6250
|
|
#connected: 10 Builders?: Y Pkilling?: N Theme?: Ars Magica RPG
|
|
DESCRIPTION: This is a MUSH based upon the the Ars Magica Role Playing
|
|
Game system that is a product of the Wizards of The West Coast.
|
|
|
|
The Damned: Pitsburg by Night CodeType: MUSH
|
|
Internet Address: 128.2.21.7 Port: 6250
|
|
#connected: 98 Builders?: Y Pkilling?: N Theme?: Story Teller RPG
|
|
DESCRIPTION: This is a MUSH based upon VAMPIRE: The Masquerade which is
|
|
a book in the Story Teller RPG system by White Wolf. You play a vampire
|
|
in this MUSH. You have 10 quota to build with.
|
|
|
|
Medievia Cyberspace CodeType: DikuMUD
|
|
Internet Address: 129.32.32.98 Port: 4000
|
|
#connected: 113 Builders?: N Pkilling?: ? Theme?: Fantasy
|
|
DESCRIPTION: This DikuMUD has 4 classes, 39 zones, and supports
|
|
ANSI COLOR. This is modified DikuMUD code.
|
|
|
|
Death's Domain CodeType: DikuMUD
|
|
Internet Address: 192.88.124.22 Port: 9000
|
|
#connected: 17 Builders?: N Pkilling?: ? Theme?: Fantasy
|
|
DESCRIPTION: This is a modified DikuMUD that features 12 races, 12 classes,
|
|
and allows multi-classes.
|
|
|
|
Rhostshyl CodeType: MUSE/MUSH
|
|
Internet Address: 128.253.180.15 Port: 4201
|
|
#connected: 8 Builders?: N Pkilling?: N Theme?: Fantasy
|
|
DESCRIPTION: This mush has been around for a long time. It goes through
|
|
periods where it is more like a tiny soap opera than a fantasy RPG.
|
|
A good place to get started with your MUSH learning.
|
|
|
|
TOS TrekMUSE CodeType: MUSE
|
|
Internet Address: 36.109.0.64 Port: 1701
|
|
#connected: 18 Builders?: ? Pkilling?: ? Theme?: Star Trek
|
|
DESCRIPTION: This is a MUSE where you can be klingons, humans, etc.
|
|
Based on Star Trek characters/mythos.
|
|
|
|
Regenesis CodeType: BSX
|
|
Internet Address: 130.236.254.159 Port: 7475
|
|
#connected: 4 Builders?: ? Pkilling?: ? Theme?: ?
|
|
DESCRIPTION: This is the first BSX mud. It supports graphics and clients
|
|
are available for Xwindows, Amiga, and IBM. I have not gotten much to
|
|
function on this MUD. You may be more successful than I was.
|
|
|
|
Cthulu MUD CodeType: LPMUD
|
|
Internet Address: 128.178.152.15 Port: 3000
|
|
#connected: 1 Builders?: ? Pkilling?: ? Theme?: Cthulu Mythos
|
|
DESCRIPTION: This LP MUD is based on the Cthulu mythos and the Cthulu
|
|
RPG system. Cthulu mythos were originally written by H.P. Lovecraft
|
|
and then entered Public Domain where authors such as Robert Bloch (Psycho)
|
|
continued the mythos.
|
|
|
|
LambdaMOO CodeType: MOO
|
|
Internet Address: 13.2.116.36 Port: 8888
|
|
lambda.parc.xerox.com
|
|
#connected: 145 Builders?: N Pkilling?: N Theme?: Virtual Community
|
|
DESCRIPTION: This MOO has been highly publicized in magazines. It has been
|
|
mentioned on several occasions in the magazine WIRED. This has only increased
|
|
the number of people that use this MOO. It was designed by Pavell Curtis.
|
|
|
|
--------------------------------------------------------------------------------
|
|
********************************************************************************
|
|
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
|
|
|
|
*--------------------------*
|
|
| Last Word |
|
|
| By |
|
|
| Steven Peterson |
|
|
*--------------------------*
|
|
|
|
Summer Snow. The cottonwood trees are in full, righteous bloom today,
|
|
and the sunny rural village of Gunnison resembles the site of the world's
|
|
largest pillow fight. So I'm in a goofy mood today ...
|
|
|
|
Life in a Dandelion Blossom aside, this frag winds up Volume 1 of ICS.
|
|
With the changing of the seasons, a few members of our staff are leaving
|
|
for a while - they all promise to e-mail and stay in contact, but still,
|
|
it just won't be the same. Deva, our founding father here at ICS, is moving
|
|
on to bigger places and opportunities. Occasionally, he'll drop in, zealously
|
|
check our ideas against the facts, and bail us out on programming problems
|
|
(uhm, where is that file, Deva?).
|
|
|
|
Meanwhile, I will be on a recruiting drive to harness more of the
|
|
creative energy around here for everyone's amusement and amazement.
|
|
Over the next couple months, we'll send out 3 or 4 more frags, and,
|
|
as always, submissions are welcome. We're especially interested in your
|
|
multi-user addresses and experiences, and, well, just about anything else
|
|
you'd like to send along. Live Well, SP.
|
|
|
|
================================================================================
|
|
--------------------------------------------------------------------------------
|
|
ICS would like to hear from you. We accept flames, comments,
|
|
submissions, editorials, corrections, and just about anything else
|
|
you wish to send us. For your safety, use these guidelines when
|
|
sending us anything. We will use things sent to us when we think
|
|
they would be appropriate for the issue coming out. So, if you send
|
|
us something that you DO NOT want us to use in the electrozine,
|
|
then put the words NOT FOR PUBLICATION in the subject of the mail
|
|
you send. You can protect your material by sending a copy to your-
|
|
self through the mail and leaving the envelope unopened.
|
|
--------------------------------------------------------------------------------
|
|
BACK ISSUES: Back Issues of ICS can be FTPed from ETEXT.ARCHIVE.UMICH.EDU
|
|
They are in the directory /pub/Zines/ICS.
|
|
--------------------------------------------------------------------------------
|
|
ICSICSICSICSICSICSICS/\ICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICS
|
|
CSICSICSICSICSICSICS/ \CSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICS
|
|
ICSICSICSICSICSICSI/ \ICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSI
|
|
CSICSICSICSICSICSI/ \CSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSI
|
|
ICSICSICSICSICSIC/ I C S \ICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSIC
|
|
CSICSICSICSICSIC/ \CSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSIC
|
|
ICSICSICSICSICS/ Electro- \ICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICS
|
|
CSICSICSICSICS/ Zine \CSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICSICS
|
|
\ /
|
|
\ /
|
|
\ /
|
|
\ / An Electronic Magazine from
|
|
\ / Western State College
|
|
\ / Gunnison, Colorado.
|
|
\ / ORG_ZINE@WSC.COLORADO.EDU
|
|
\/ '*'
|
|
-------------------------------------------------------------------------------
|