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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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********************************************************************************
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Established in 1993 by Deva Winblood
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Information Communication Supply
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Email To: ORG_ZINE@WSC.COLORADO.EDU
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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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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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Information*Communication*Supply ElectroZine Staff, 93-94:
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Daniel Frederick; Russell Hutchison; Benjamin Price; Luke Miller;
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Donald Sanders; Matthew Thyer; Deva Winblood; Ted Sanders; Jeremy Bek;
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Jeremy Greene; Clint Thompson; Steven Peterson; Jason Manczur;
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Stephan Manzcur; and, [ICS Test Pilot] David Trosty.
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Faculty Advisor: George Sibley
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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 responsibilities
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for ensuring that articles/submissions are not violating copyright laws and
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protections.
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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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| BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4|
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| Three Years Later -=- By George Sibley: Introductory essay |
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| from the ICS Faculty Advisor and Drum Major. |
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| E S S A Y S : |
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| The Friend I Never Met -=- By Bob Wilson: |
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| Notes On Electronic Faith |
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| Email Culture -=- By George Sibley: |
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| Part 1 - The Subversive Sweatshop |
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| Part 2 - Creating the Email Elite |
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| New Prejudices -=- By Steven Peterson: |
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| On Human Rights and Intercultural Citizenship |
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| Cyberspace: Gibsonian Mythology -=- By Deva Winblood: |
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| On Virtual (and other) Computer Realities |
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| N O N - F I C T I O N : |
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| Russian Scientists Seek Net Connections -=- By George Sibley |
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| Building A School Without Buildings -=- By Ken Blystone: |
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| On The Academy Virtual School of El Paso, Texas |
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| Computer-Mediated Communication -=- By Steven Peterson: |
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| Part 1 of a series; a social-psychological approach |
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| WorldNet Tour Guide -=- By Staff: Digital Freedom Network |
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| P O E M S : |
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| Two Poems -=- Heather Eliot |
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| The Map -=- Gayle Allenback |
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| Several Poems -=- Heather Eliot |
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| 2 (of 6) Poems -=- Stewart Carrington |
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| i wish i could write -=- Clint Thompson |
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| Women -=- JamiJo Tobey |
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| Eyes Of Love -=- Jason Manczur |
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| Walking Alone ... -=- Bob Wilson |
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| What Is Mine -=- Clint Thompson |
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| Introverted Psyche -=- Damian Riddle |
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| Enclave (3 Poems) -=- David Trosty |
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| Unneeded Technology -=- Andrew DeSplinter |
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| The Fate of Ethnic Diversity -=- David Trosty |
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| A P A I R O F P A R A B L E S : |
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| Impure Mathematics -=- Rodrigo de Almeida Siqueria: |
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| Adventures of young Polly Nomial |
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| An Eagle Speaks On Evolution -=- George Sibley |
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| S H O R T S T O R I E S : |
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| Martin Safari -=- H.G. Emert |
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| Rush -=- Daniel Frederick: Voted "Most Twisted" |
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| Eye Opener -=- Russell Hutchison |
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| The Man In The Ice -=- Mark T. McMeans |
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| Profit Margin -=- Steven Peterson |
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|------------------------------------------------------------------|
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THREE YEARS LATER
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Three years ago, when four students here at Western asked me to be
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faculty sponsor for an "electronic magazine," I had no idea what they were
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talking about.
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I was not, in fact, at that point really even aware of what the
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"Internet" was. But such ignorance was excusable three years ago, and that
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is a measure of just how fast things move these days. Within a year of that
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first encounter, all of the popular magazines working the shadow-zone between
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trendsetting and trendfollowing had carried cover stories about the 'net, and
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terms like "information superhighway" had become part of the erosion of
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meaningful language.
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After some discussion with the students, I agreed to be the front man
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(locally known as "faculty advisor") for their idea, to the extent that I
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understood it, but only with a kind of a *quid pro quo* arrangement: I would
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provide instruction, advice and criticism as needed on the journalistic and
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literary aspects of the publication, so long as they would practice on me
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the job of cultural education that would need to be done to make the idea of
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an electronic magazine engaging to a largely unsuspecting society.
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My "advisory" capacity, in other words, would be fulfilled in large part
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through my critique and evaluation of their efforts to educate me, as a
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typical enough know-nothing in the technoelectronic society. So, rather
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than saddling myself with a co-curricular responsibility--the impossible task
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of trying to get not just caught up with them, but far enough ahead to be
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their teacher--I was allowing them to saddle themselves with the 21st
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century's equivalent to the 15th century skeptical peasant. I'm not sure
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about the pedagogical ethicality there, but at least we all went into it
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with our eyes open.
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At the three-year mark, I will say that I have undoubtedly benefitted
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more than they have from the relationship. I will confess that I am still
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pretty much of an "inneterate"--that's a word I just invented for "net
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illiterate." This is not their fault at all; due to a host of prior
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commitments, I simply haven't had the time necessary to sit down at the
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screen and learn to negotiate cyberspace. I'm still stuck in whatever is
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the opposite, or predecessor, of "virtual reality." I'll never have time
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enough to read through my ever-expanding list of user-friendly books--and
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I need a few BBSs on top of that? I can send email, but I can't organize
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my email any better than I can organize my desk, which I only try to do
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when I have to move my office.
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But how have I benefitted? First, some good reading, not just from
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here but from all over the place, and a few email exchanges that would
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probably grow if I had time to water them with a little attention.
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But mostly, my benefit has been through the association with the guys
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doing the magazine. Yes, only guys so far: we've had a couple of
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submissions from women, but--except for one femme fatale who was the
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boyfriend of one of our writers (who ended up losing his account when
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he took the rap for an electroscam she pulled in the lab)--otherwise
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it has been an all-male show.
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Two of the 'zines leaders stand out--each in his own way a kind
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of incipient mental force in the organizing stage:
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-- Deva Winblood, the man who--more than any other, put the college on
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the 'net: not because he had any power or authority, but because he just
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KNEW about it, and talked about it until things happened, then wrote the
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first program that made it easily accessible to novices. He also wrote
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the program that mails the 'zine, and if it ever crashes, we will have to
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track him down. Deva was a lousy student in the standard sense of the term--
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I'm still carrying an incomplete for a classroom course he took with me.
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But in addition to writing esoteric programs, he wrote--presumably still
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writes--esoteric stories, "Tales of the Unknown." He also began the
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"Worldnet Tourguide" series that continues to be one of the most
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valuable features of the 'zine.
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-- Steve Peterson, the second and current managing editor. Steve is an
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English major with one of the sharpest and most challenging minds I've ever
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encountered. With a little help from Deva initially, he had managed to
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teach himself to negotiate the 'net; he recently assembled Deva's old
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"Tourguides" with what he has learned himself into a manual which (except
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for his unfortunate refusal to leave spaces between paragraphs) is an
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excellent guide for getting into cyberspace. Like Deva, he also writes
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"creatively"--short stories, essays and the start of a play.
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There are others. Matt Thyer, who was spokesperson for the initial
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crew that approached me, who hardly ever wrote anything for the 'zine,
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but who kind of ran around in the computer sweatshop being a zany muse
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for everyone else. Dave Trosty, a Dionysian poet learning to negotiate
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the Apollonian grids of the 'net. Ben Price and Dan Frederick, who briefly
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but brilliantly passed through both the 'zine and the college: both what
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the dominant culture would be better justified in calling dropouts if the
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culture had ever figured out how to get them to drop in in the first place.
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All of these guys seem to me to working through their own responses
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to the "two cultures problem" described by C.P. Snow 35 years ago--the
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growing division between the traditional "literary humanistic" perspective
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with its mytho-tragic undertones, and the upstart "scientific humanistic"
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perspective with its "can-do" optimism. They all like to write, but they're
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as likely to reading SCIENTIFIC AMERICAN as HARPER'S (when they descend to
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paper at all)--or most likely of all: reading WIRED. But they are even
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more likely to be pulling in this or that from some FTP site, or practicing
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their scales with someone on a BBS. They are already the interdisciplinary,
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or metadisciplinary, scholars we're trying to figure out how to "produce"
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here--and they do it all without much help from us. In fact, they avoid
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the traditional classroom as much as they can.
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Those associations are what I have gained, working with this publication
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--arguably, at this point, under Peterson's disciplined eye, the most literate
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and literary thing now coming off this campus in a regular way.
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Over the past three years, I have from time to time used the 'zine to
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express some concerns about the future of the 'net, which currently seems
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to be in a "golden age" of ripe, jungly redundancy and splendid inefficiency,
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with a lot of little users more or less subsidized by the big users who built
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the thing in the first place (mostly with public money, of course).
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A publication like Western's 'zine is pretty dependent on this kind
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of "subsidization"--which is essentially the same kind of democratic
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subsidization we generate for our highway system, as opposed to the
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oligarchic subsidization to the powerful that we provided for the builders
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of the railroads a century and a half ago. Given the current political
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climate, I fear that choices will be made over the next few years that
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will gradually "organize" the 'net in ways that will make it yet another
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tool for the privileged and powerful for maintaining and increasing
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privilege and power. Instead of an "information superhighway," in
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other words, just another "information railroading."
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But that's another editorial, which I've already written. I'll close
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now with the hope that the medium continues to prove compatible with the
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hopes and efforts of people like Deva Winblood, Steve Peterson, Dave Trosty,
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and the others who see in it a different kind of "greening" for American
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culture than just another infestation of the "long green" about which the
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culture has become so obsessive. And a further hope: that these guys
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can find a faculty advisor who will always be a little out of front of
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them, rather than struggling as I always am just to keep up.
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Read on: our bark, so to speak, gets better by the byte.
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-- George Sibley
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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The Friend I Never Met - Notes On Electronic Faith
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By Bob Wilson
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I'm one of those people who has always had a hard time making friends.
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Oh yeah, I'm out and about, social and friendly enough, and I know (am
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acquainted with) quite a few people. But there are very few that I trust
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enough to touch my soul, allowing them to see the person behind the mask.
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Yet, what has most surprised me of late is the number of friends, real
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friends, I have made on the Internet. I'm absolutely amazed by how quickly
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I came to trust someone I had never physically seen, touched, or spoken to.
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Given the ever-increasing traffic on the global networks, I don't think
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I'm alone in this discovery.
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When I subscribed to my first electronic discussion group, I had no idea
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what would be involved - what my or anyone elses level of participation would
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be. I remember thinking, "Well, I'll just sit quietly over here on the fringe
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and read what these folks are writing about." My hesitancy to become involved
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was due to a lack of trust; I didn't trust the global blackbox called Internet,
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and I didn't initially trust the content of the messages flashing across my
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screen. The idea that I would have a personal exchange never occurred to me.
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I expected clinical opinion -- lists of lists -- dry discourse -- data.
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That is not what I got.
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What I found instead was absolutely wonderful! Here was the whole
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human experiment being played out on my desk. I sank into pools of language,
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expression, wit, and thought. The logical arguments offered were stark and
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beautiful, like Euclid's Postulates, while the illogical drew circles in the
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clouds and called them cowboys. Every morning my terminal spewed out blips of
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new ideas and numbing doubts, snobbish aloofness and secured acceptance,
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unremitting rage and unplumbed patience. I was allowed to read the thoughts,
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written just the night before, of someone who lives in Austria or Brazil or
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Finland. I had no idea what these folks looked like, what they sounded like,
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what economic level they enjoyed, what skin color they were. But none of that
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mattered; what mattered was that they wanted to share their ideas with me.
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Once involved in some of the discussions, I was drawn to those sub-
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scribers who had a better gift for the English language than I. Language
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skills are a lot like music skills or math skills, some people are better
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endowed with the gift than others. I wanted to be like them. I coveted
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their command of language, their ability to deftly paint pictures in the
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mind's eye using nothing but an ASCII text file. I also coveted their ability
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to approach a problem or idea from more than just one direction at a time.
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They consistently attacked or supported ideas from completely unanticipated
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directions. Although most of the time they came up with junk, there were
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also times that they hit on something really new and exciting. I learned
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that nothing was more delicious than a fresh, juicy idea marinated, broiled,
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and served in a sauce of humor - and that the quality of the dish reflected
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the skill of the chef.
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Although it served for introductions, electronic friendships weren't
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built through a listserver discussion group. It required a one-to-one
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contact. I had to shove aside that universal fear of rejection, knock on
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private electronic doors, introduce myself, and be invited in for tea.
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The usual reaction to my gentle tapping was typically, "Yes, what do you
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want?".
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I remember feeling awkward and intrusive. I wanted to go to great
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lengths to explain that I really didn't want any money from them and that
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I wasn't trying to sell life insurance on the Internet. I finally just said
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"Hello - I liked what you wrote the other day. Where did that idea come
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from?". For some people, that's all the encouragement they needed. They
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poured themselves out like water from an artesian well.
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Making and keeping electronic friends requires all of the same elements
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as personal friendships, but in somewhat amplified form. A primary element
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is honesty. Your words, opinions, and ideas HAVE to be honest to a fault -
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you can't lie and expect to keep your friend. With nothing else to support it,
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an electronic friendship is built on words and a fragile thread of trust that
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binds them. The smallest lie, discovered, snaps it.
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The second element is permission. If I send my friend a note about my
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faith or family or whatever, I also convey my permission for him/her to
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comment upon it, whatever they think about it. An electronic friendship
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cannot withstand the strain of a detonated emotional word-trap laid at the
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door. If you don't want comment on a topic, don't throw it out there.
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As in cards, if it hits the table face up, it's played.
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Keep it private. An electronic friendship is a pact, a covenant of
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privacy between two human souls. It is strange to get email discussing
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marriages, relationships, money, job security, etc., from persons you have
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never physically met. To get such mail at all is an extreme statment of
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faith. If you betray the privacy of your friends, the voice in the back of
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your mind begins to wonder aloud if your friends may likewise betray you.
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And then there is that nagging remembrance that Email files are, at least
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occasionally, archived.
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I prefer the term "grace" to define the final element necessary for
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electronic friendships. It means to demonstrate patience, acceptance,
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compassion, understanding, and empathy. Your friend is just as human as
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you are, with all the fears and failings you have. You won't have answers
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to all their questions and you won't necessarily be in a position to help
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them. You can disagree with them without dishonoring them. You may be
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able to help them in ways that no one else can, but it will require a
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certain quality of grace to do so.
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Here's to a long and fruitful life - and a few good friends.
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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EMAIL CULTURE, PART 1: THE SUBVERSIVE SWEATSHOP
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By George Sibley, 'Zine Advisor and Cheerleader
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I comb my hair everytime before I send email hoping
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to appear attractive. I try and use punctuation in
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a friendly way also. I send :) and never :(.
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--Bill Gates in John Seabrook's
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"E-mail from Bill," NEW YORKER 1/10/94
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A recent explosion in email use here at Western State College for
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in-house communications has me pondering again--as is appropriate for
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journalism faculty--the relationship between culture and communication.
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Until just this past fall, most intracollege communication here was
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via the paper trail and/or the phone; now, suddenly, everybody seems to be
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on the net, locally at least; and rather than taking the usual wad of brown
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envelopes from my mailbox back to the office to read, where I am usually
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interrupted often by the phone, I have to try to reorganize my time to sit
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down at least once a day in front of a screen to read and answer email.
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This is immediately a new and slightly disorienting cultural experience
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for me in a totally unexpected way. Being a pretty low-ranking person here,
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I have an old Ford Pinto of a PC in my office but do not yet warrant a VAX
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port, so I have to go find an open terminal somewhere else on campus in order
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to stay even close to the loop, let alone be in it.
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There is a "Faculty Computing Room" on campus for even lower ranking
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faculty members than I who don't even warrant the Ford Pinto model of PC.
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But there is one faculty person who is apparently writing a book on that
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terminal, as he is almost always there. So it is usually easier just to
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slip into one of the student computer "labs" to read and answer my mail--
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if there is a terminal open there. That's where I am now, as I input
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these observations.
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This process alone--finding an open terminal and then working at it in
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a computer lab--has awakened me to an awareness of how sheltered my life has
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been to this point. I now recognize what it has meant to grow up in a middle
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class that is unconsciously obsessive about privacy. I didn't have a car when
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I went to college in 1959, which marks me I guess as "lower middle class," but
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I did have a typewriter, which gave me access to that which I have always taken
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totally for granted: a "private place" for "thinking on paper."
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Accordingly, it is something of a culture shock to go into the sweatshop
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environment of a student computer lab, where everyone works elbow-to-elbow in
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long ranks of machines. Every college writing teacher probably ought to spend
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at least an afternoon a week in such a place to truly understand the thinking-
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on-paper he or she receives.
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These labs are usually orderly enough, but they are not quiet places.
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The machines "breathe"; printers clatter to life, then go quiet; and a few
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hundred fingers on keyboards may not make the noise they would on typewriters,
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but you still hear them all. But there are people noises too, as you'd expect
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in a work environment. Turfs get staked out: nodes of MUDheads cluster
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around two or three machines here and there, whispering over their timeshared
|
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fantasies; two or three students bunched around a terminal with prescreen
|
|
infofiles (books) propped beside it appear to be group-groping a class project;
|
|
a coterie of serious prehackers is chronically present communicating through
|
|
adjacent screens and reeking of contempt for everything not them. When someone
|
|
has a system problem, or maybe discovers something really clever or sexy in a
|
|
fingerprint, larger clusters form, chatter, and disperse to reform elsewhere.
|
|
|
|
When the MacIntoshs started to "talk," the noise level in the labs went
|
|
up another notch. Instead of acknowledging your stupidity with a quiet, user-
|
|
friendly beep, one day all the Macs might be mooing, the next they might all
|
|
be flushing or barfing. Once here they were all loaded up with a woman's voice
|
|
uttering a long orgasmic groan, which everyone seemed to like: for weeks the
|
|
lab sounded like a French seaside bordello with the fleet in.
|
|
|
|
Even when the audible noise level is low, however, it is not like
|
|
working alone in one's office. A kind of an elevated energy level always
|
|
wafts, occasionally swirls and gusts, through the lab. All those minds working.
|
|
And a young strong but still awkward mind just learning the disciplines of
|
|
linear thought is a little like a primitive engine starting up on a cold
|
|
morning. For one accustomed to the luxury of privacy for thinking, the kind of
|
|
uneven, not-quite-humming silence that settles over a college computer lab when
|
|
everybody in the room is intensely into whatever it is he or she is working
|
|
on--that kind of "noise" in a full room can be either more invigorating or
|
|
more disconcerting than any burble and buzz of whispers. Sometimes I seem
|
|
to be "channelling" that ambient lab energy into my work on my own terminal;
|
|
other times I find myself barely able to control the urge to shout "Fire!"
|
|
or to just break out in hysterical laughter. No one would of course even
|
|
look up; they'd just assume it was a MacIntosh.
|
|
|
|
In short, the student labs are pretty lively places, with burgeoning
|
|
communal sensibilities--maybe the most vital places you'll find on a campus
|
|
today, despite all the millions being poured into "student centers"--where
|
|
students mostly go, I think, to fulfill adult expectations that they are
|
|
indeed still just irresponsible, immature, pleasure-oriented, self-seeking
|
|
kids, growing up to be good consumers.
|
|
|
|
Growing numbers of students hang out in the labs more than they do
|
|
anywhere else, for the company, I'd guess, and access to that ambient lab
|
|
energy, but also perhaps because there they feel closer to the edge of a
|
|
future than anywhere else on campus--and not necessarily the future planned
|
|
for them.
|
|
|
|
Sitting and working in such places, I begin to wonder about their
|
|
educational--not to mention the ultimate socio-political-- implications.
|
|
Communications theorists talk about the "noise" or static that all
|
|
communications systems generate--the unintended and ultimately uncontrollable
|
|
random energy fluctuations inherent in the systems themselves. Black educator
|
|
and author Jules Henry, in CULTURE AGAINST MAN, contended that education
|
|
systems also generate that kind of "noise"--and the noise becomes part of the
|
|
educational process, part of the lessons learned: subliminally, unconsciously,
|
|
and therefore usually very well.
|
|
|
|
The "noise" in my own pre-electronic education was mostly about
|
|
competition, "personal development," the right to (and lust for) privacy
|
|
and the wealth necessary to support it, and all those other fundamentally
|
|
antisocial things that Americans have always confused with "individualism."
|
|
Most of that is still the formal and culturally sanctioned "noise" in the
|
|
system. Students still compete for scholarships and "good schools," compete
|
|
for grades in "curved" classes, compete for honors, get indoctrinated
|
|
against those forms of sharing defined as "cheating," and are otherwise
|
|
prepared to accept as "natural" the aggressive and acommunal culture driven
|
|
by self-interest: a world of winners and losers, with the ultimate winners
|
|
those possessed of or by a "terminal" existence in utter privacy (e.g.,
|
|
that modern American legend, Howard Hughes), and the ultimate losers -
|
|
those condemned by "laziness" or misfortune to that terminally public
|
|
life of homelessness.
|
|
|
|
But . . . can it be that the computer, one of the greatest achievements
|
|
of that privacy-driven culture, is generating pockets of a subtly un-American
|
|
"noise" markable by the kind of "sweatshop camaraderie" that once led to
|
|
unionization, a communalism of shared information that is dangerously
|
|
contemptuous of "intellectual property"? Could the uncontrollable ambient
|
|
energy of such places give a new and more ominous sense to the phrase,
|
|
"electronic revolution"?
|
|
|
|
Reading the CHRONICLE OF HIGHER EDUCATION, I am learn that the counter-
|
|
revolution to this is already "coming on-line." Growing numbers of schools--
|
|
as one might expect, mostly the "private" schools, where America's winners
|
|
send their kids to learn how to bear forward the torch of civilization as they
|
|
know it--are installing terminal ports in all their student dorm rooms. Once
|
|
that is accomplished, the subversive labs can be dismantled; the primacy
|
|
of privacy will be re-affirmed.
|
|
|
|
The CHRONICLE touts the advantages: students will be able to research
|
|
their papers, write their papers, send drafts to their instructors in their
|
|
cubicles and get feedback, all without the inconvenience of having to leave
|
|
their desks. One projects: it will probably eventually be possible to
|
|
receive one's entire education, get one's diploma, get a job, have a long
|
|
career, and retire, without ever having to leave one's terminal.
|
|
(On retirement, one won't even need a gold watch, since the terminals
|
|
can tell you the time.)
|
|
|
|
Either that--or the unquiet, untidy, germ-infested (can you get AIDS
|
|
from a keyboard?) sweatshop revolution of the lab, like the one where I sit
|
|
now, where someone has just screamed, "Shit! Jesus saves; why didn't I!"
|
|
|
|
Memo to the administration: better get my office ported in before
|
|
I'm lost forever.
|
|
|
|
NEXT ISSUE: Email and the narrowing and deepening of language.
|
|
|
|
|
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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EMAIL CULTURE 2: CREATING THE EMAIL ELITE
|
|
|
|
|
|
Email is a unique communication vehicle for a lot of reasons.
|
|
However email is not a substitute for direct interaction.
|
|
|
|
I comb my hair everytime before I send email
|
|
hoping to appear attractive. I try and use punctuation
|
|
in a friendly way also. I send :) and never :(.
|
|
--Bill Gates, email to writer
|
|
John Seabrook, THE NEW YORKER
|
|
|
|
In one of our earlier issues, one of the Western State writers working
|
|
on the 'zine expressed his own fascination with the net in particular and the
|
|
emerging electronic culture in general:
|
|
|
|
A computer screen and a connection to the world become the greatest
|
|
equalizing force I have ever known. Once you sit down and enter
|
|
Cyberspace, there are no longer any judgments; there is no race,
|
|
no creed, no gender. . . You are defined simply by how much you
|
|
know and how you choose to use that knowledge.
|
|
|
|
I found that very appealing at the time, but have been thinking about it
|
|
a lot since--trying to figure out to what extent I really believe, and to what
|
|
I extent I just wish I did.
|
|
|
|
It is true enough that the email culture is color-blind and gender-blind.
|
|
Nobody knows anything about you that you don't tell them. The flip side of
|
|
that, of course, is the extent to which e-mail culture can become color-and-
|
|
gender fantasyland: it is hard to check up on what anyone tells you about
|
|
themselves. Most of the stories relevant to this point going around the
|
|
computer sweatshops at the college are gender-related: either about an
|
|
"e-romance" that turned out be an "all-users" kind of a mass mailing to a
|
|
stable of potential significant others, or an electronic cross-dresser
|
|
pulling a Tootsie on someone of the same gender. In cyberspace, the
|
|
distinctions between "sex" and "gender" either take on a new significance
|
|
or lose significance. Observations and experience on this would be
|
|
appreciated here.
|
|
|
|
The racial implications of the flip side are even more interesting.
|
|
While I haven't heard the possibility verified in practice, I've been
|
|
cogitating a story--one of the ones I'll never get around to writing, and
|
|
so hereby release to anybody with the time and interest: the story is about
|
|
a racist-fascist-fanatic who "fishes the nets," pretending to be a radical of
|
|
whatever race he happens to hate the most, just to see who he can uncover.
|
|
In my favorite version, a KuKluxer type gets his virtual rocks off by starting
|
|
a black supremacist EBB full of a virulent anti-white invective, and hunting
|
|
down any hapless blacks who respond. The denouement comes when he finds
|
|
himself stalking another "cyberracist" like himself, who is in fact
|
|
stalking him . . . Do your own ending.
|
|
|
|
Such thoughts, however, engender meditations on what happens to
|
|
communication when it is reduced entirely to a message--when, for the
|
|
recipient, the messenger can only be inferred from the message, and vice-
|
|
versa. John Seabrook explored this phenomenon at some length in his recent
|
|
NEW YORKER essay on Microsoft founder Bill Gates, whom he did not meet in
|
|
person, face to face, until several weeks after communicating with him via
|
|
e-mail. His reflections on the differences are worth perusing on your own.
|
|
|
|
E-mail, of course, does not introduce this situation; it is as old as
|
|
writing. But it does bring it to a global extreme that probably warrants
|
|
consideration. Human culture depends absolutely on human communication, and
|
|
all communication occurs through expressions in a variety of "languages."
|
|
The word "language" itself derives from the Latin word for "tongue" (lingua),
|
|
and originally referred just to "the body of words and systems for their
|
|
use, common to a people who are of the same community or nation, geographic
|
|
area, or cultural tradition" (Webster).
|
|
|
|
Through time and usage, however, the meaning of the word broadened
|
|
(or deteriorated, if you prefer) to mean "communication of meaning in any
|
|
way"--any set of consensual agreements in the cultural group on what certain
|
|
movements, looks, touches, and the like mean, as well as sounds or symbolized
|
|
sounds. "Language" is thus "body language," "eye language," eyebrow language,"
|
|
and any number of other more or less formalized ways we have of communicating
|
|
meaning without having to say or write anything.
|
|
|
|
Even if you don't accept "body language" or "eye language" as true
|
|
"languages," you cannot deny that when we make the spoken word the centerpiece,
|
|
so to speak, in a direct person-to-person communication, we consciously or
|
|
unconsciously augment the tongue with a host of body movements, eye movements,
|
|
vocal inflections, and other ways of communicating meaning. What we are wearing
|
|
while speaking communicates meaning, as does the platform from which we speak
|
|
(above the audience behind a podium, beneath the audience in a chair, beside
|
|
the audience in bed, etc.).
|
|
|
|
And all of this takes place in a atmosphere of (usually) silent but
|
|
constant feedback from the recipient-audience that also communicates meaning--
|
|
the glazed look we professors see in the eyes of students (which is why some
|
|
professors never look up while professing), the intensely interested look
|
|
which can sometimes inspire elucidation far beyond our previous development
|
|
of any idea, the look of irritation or anger that causes us to modify or
|
|
temper our speech, and maybe our body language. Seabrook found disconcerting
|
|
Gates' tendency to rock back and forth in his chair during conversation.
|
|
|
|
Others have observed at great length that all of the technological
|
|
"extensions" of human communication have, in one way or another, limited the
|
|
richness and diversity of communication found in the person-to-person exchange.
|
|
The telephone eliminates all communication but the spoken word; radio and tele-
|
|
vision are generally used in ways that eliminate any two-way communication.
|
|
|
|
But no form is "barer" in this sense than the first "technological
|
|
extension" of communication: written language. Even the voice is eliminated;
|
|
what you see before you is nothing but abstract markings, symbols animated
|
|
only be whatever empathetic vibes I, the writer, can awaken in you, the reader,
|
|
out of our common backgrounds of affective and cognitive experience. That it
|
|
works at all is no small part of the miracle of the human mind. That it works
|
|
so magnificently so much of the time for serious readers is a phenomenon that
|
|
may deserve more attention than we give it.
|
|
|
|
For example--children who live with books before they come to live
|
|
with television are initially disappointed with television: the jumpy little
|
|
pictures on the tube cannot come close to matching the pictures invoked in
|
|
their minds by symbols on paper. But it may be only a paradigmatic bias that
|
|
makes us assume this makes television inferior to reading. Aren't those
|
|
magnificent imaginings a little . . . addictive? They certainly were for me,
|
|
as a pre-TV person. And aren't they a kind of a deliberate manipulation of
|
|
the mind--a partial deprivation of the mind's usual sensory inputs to induce
|
|
a kind of artificial stimulation? Would it alter our cultural and educational
|
|
perspectives any, if "nine doctors out of ten" agreed that reading is a
|
|
potentially dangerous adventuring in "guided sensory deprivation for the
|
|
purpose of inducing hallucinations"? ("It's midnight and your child is in
|
|
bed with a book. . . . Do you know where she is?")
|
|
|
|
Well. But coming back to the original student comment that inspired
|
|
this exploration--I am less and less convinced of the egalitarian quality of
|
|
the nets. Anyone who has had the experience of trying to teach writing at any
|
|
educational level from elementary school to college knows what an elite is
|
|
created by any medium that only transmits written language. As a writing
|
|
teacher, I am no longer susceptible to the democratic fiction that, if only
|
|
the schools were better, we could all become truly literate. When it comes to
|
|
the practice of written language, we are not all created equal. We might as
|
|
well say that, if the gym teachers would all only do their job, we could all
|
|
be NFL quarterbacks.
|
|
|
|
To say that we can all learn "competency" in literacy only begs the
|
|
question in a sense. We can all learn to throw well enough to play ball with
|
|
the dog and get most of our trash in the wastebasket. But taking that kind of
|
|
"competency" into a cultural arena designed by and scaled to NFL standards
|
|
hardly puts one on a level playing field.
|
|
|
|
Nevertheless, that is what the really literate people--call us the
|
|
"ultraliterate"--have, consciously or unconsciously, attempted to impose on
|
|
our cultures through the education system. We expect people who barely read,
|
|
and who will never really enjoy it, to be intelligent on paper about
|
|
Shakespeare--and not real Shakespeare but "read Shakespeare." These are
|
|
not necessarily stupid people; they are just aliterate people--probably
|
|
something well over half of any given human population at this point in our
|
|
evolution. (And on the other hand, there are some truly stupid, insensitive
|
|
people for whom literacy is easy--quite a few of them seem to end up in
|
|
English Lit Departments. Who can figure?)
|
|
|
|
In the essay--that faring-forth into idea, that attempting, the essay--
|
|
we can see what happens to communication when the ultraliterate take over a
|
|
culture with print media like magazines, newspapers, and email (an attempt to
|
|
wrest back the tube?). Prior to around the middle of the 19th century, most
|
|
essayists wrote out of an awareness of--and probably substantial experience
|
|
in--an oral culture: they wrote as if they were giving a speech to an audience
|
|
they couldn't quite see but of which they still had to take account. Which is
|
|
to say, more specifically, they were making a presentation as if someone might
|
|
suddenly challenge them on a point, maybe with an old vegetable.
|
|
|
|
But after the turn of that century, after the burgeoning of the
|
|
new "mass media," when print became as cheap as trees, we can see that
|
|
"orational essay" begin to be replaced by the "journalistic essay": an
|
|
unloading of literary broadswords, rapiers, daggers, needles and other
|
|
cutting instruments with which the speaker "spoke," not as a target up in
|
|
front of a possibly armed multitude, but as a shielded "weapon" himself,
|
|
firing from behind a battery of increasingly expensive equipment, invulnerable
|
|
to rotten vegetables, and able to both select and have the last word with
|
|
responses from the audience. The mass print media made the audience a passive
|
|
nonforce rather than an active participant in communication--an entity to be
|
|
seduced rather than approached, "dealt with" rather than engaged. If it
|
|
sounds like I am saying that the print media have led to an increasingly
|
|
uncivil discourse in the one-way transmissions that pass for communication
|
|
in modern society--I guess that is in fact what I am saying.
|
|
|
|
Television cannot, however, be at all considered a way of restoring
|
|
civility (or true communication) to communication--it just adapts for an
|
|
oral elite the strategies that worked for the literate elite, in turning
|
|
communication into a one-way tool for manipulating people. If it is more
|
|
successful, it is only because more people are reachable through oral, as
|
|
opposed to literate, approaches. But television learned its strategies from
|
|
the newspaper, not from the theatre--which like the oration, was, is, a
|
|
two-way interactive process of communication. The hard truths behind the
|
|
observation that "we allow freedom of the media to anyone who can afford one"
|
|
makes a mockery of the concept of communication in a market economy.
|
|
|
|
In one sense, e-mail culture does begin to be a step back toward a
|
|
truer form of communication: everyone on the nets is more or less equally
|
|
accessible; as soon as you put your thoughts out there with an electronic
|
|
address, you set yourself up for a splat by the virtual vegetable. We will
|
|
see whether this will tend to restore a more "oral" civility to written
|
|
discourse.
|
|
|
|
Whether the medium changes the nature of the messages or not, however,
|
|
it is important to recognize that it is a medium of communication among a
|
|
privileged elite: an elite because it selects for literacy, and privileged
|
|
because of the access, which is still pretty much limited by participation
|
|
in certain economic and political institutions.
|
|
|
|
Just based on the part of the population it draws from, the nature of
|
|
the discourse one encounters, and the fascination with gaming and role-playing
|
|
evident in the college computer sweatshops turning out the next generation of
|
|
emailers, I would predict that the "email elite" will probably evolve into a
|
|
class somewhat like the samurai of feudal Japan: a potentially dangerous
|
|
warrior class that has been neutralized by elaborate behavior codes, privilege,
|
|
and a generous access to the leavings and scraps from the real powers. The
|
|
nets will keep most of us ultraliterati docile and happy, consciously or
|
|
unconsciously directing our work-energy toward maintaining the status quo
|
|
that maintains the net that "nets" us all.
|
|
|
|
--George Sibley
|
|
fac_sibley@wsc.colo.edu
|
|
BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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|
|
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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|
|
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|
|
New Prejudices
|
|
By Steven Peterson
|
|
|
|
Control. That's what everything seems to be about these days.
|
|
In personal terms, or at the sociological level, a pathological desire to
|
|
maintain physical and psychological control of others lies at the foundation
|
|
of our basest acts. Last week, I caught the television interview with
|
|
Jeffery Dahmer, who is perhaps America's most notorious and frightening
|
|
criminal. The one reason he offered to explain his desire to commit
|
|
grotesque and brutal acts was "an obsessive need to control others;
|
|
to make them do whatever I wanted them to do." Absolutely terrifying
|
|
in its simplicity, Dahmer's rationalization is hardly new or original.
|
|
|
|
Last week, I kept running into this "logic of control" as I began to
|
|
read the Human Rights Country Reports (prepared by our U.S. Department of
|
|
State). Released last month, these reports are drawn from a variety of
|
|
sources and cover the state of internationally recognized individual,
|
|
political, civil, and worker rights as set forth in the Universal Declaration
|
|
of Human Rights. This grim review of armed conflicts, torture, and arbitrary
|
|
detention reveals a lowest common denominator of human behavior: an obsessive
|
|
drive in individuals to use political organizations to maintain power over
|
|
individuals. This drive typically expresses itself in the overt mechanisms
|
|
of "laws" written and designed to grant a select few absolute control over
|
|
the lives of a population.
|
|
|
|
For purposes of illustration, the two Koreas (North and South) provide
|
|
an excellent portrait of two nations moving in opposite directions on the
|
|
road to a more humane, civilized world. According to the report, the
|
|
"Democratic People's Republic of Korea" (North Korea) continues to suffer
|
|
under the absolute rule of the Korean Workers' Party (KWP), a political
|
|
organization which exercises power on behalf of Kim Il Sung, a self-styled
|
|
dictator. In order to maintain his position, Sung has constructed a form of
|
|
government predicated on repression, rigid control of the citizenry (there's
|
|
that word again), and a general prohibition on individual rights. According
|
|
to Amnesty International, entire families are imprisoned together in forced
|
|
"reeducation through labor" camps for various crimes. While scant information
|
|
on North Korea's criminal justice process is known, portions of their Criminal
|
|
Law are pretty revealing: Article 52, for instance, mandates the death penalty
|
|
for crimes such as "ideological divergence", "counter-revolutionary crimes",
|
|
and "collusion with imperialists".
|
|
|
|
The North Korean report goes on to detail a spectrum of insults to the
|
|
human spirit: detention centers described by defectors as "concentration
|
|
camps", routine denial of Fair Public Trials to political offenders, strictly
|
|
curtailed rights of freedom of expression and association, travel restrictions
|
|
(internal and external), and a total lack of worker's rights - most of the
|
|
population seems to exist in a state of servitude resembling slavery. In a
|
|
passage which would fit right into "1984", the report states "Citizens in all
|
|
age groups and occupations are subject to indoctrination designed to shape and
|
|
control individual consciousness. This effort is aimed at ensuring reverence
|
|
for Kim Il Sung and his family, as well as conformity to the State's ideology
|
|
and authority." About the only missing ingredient in this perverse life-
|
|
imitating-art tale of anguish and despair is the "Two-Minutes Hate".
|
|
|
|
On the other side of the 38th parallel, the Republic of Korea (South)
|
|
has taken several long strides toward reforming their nation. Last year,
|
|
the South Korean people inaugurated Kim Young Sam of the Democratic
|
|
Liberal Party as their President. According to the report, Kim, the first
|
|
civilian chief executive to take office in the last thirty years, has
|
|
"instituted sweeping political reforms to reduce corruption, further
|
|
institutionalize democracy, and improve human rights" during his first
|
|
year in office. These reforms are designed to curb, eliminate, or make
|
|
reparations for the previous administration's excesses and violations of
|
|
basic human rights. Aside from releasing hundreds of political prisoners,
|
|
the South Korean government has "mandated disclosure of financial and real
|
|
estate assets by government officials, first in March, and then in June
|
|
[of 93], the latter of which led to the resignation of many judicial
|
|
officials, including the Supreme Court Chief Justice, the Prosecutor General,
|
|
and the national police chief in September." The ensuing personnel shuffle
|
|
has replaced these draconian law-givers with individuals "generally
|
|
considered committed to the independence and integrity of the judiciary."
|
|
This shuffle has had immediate consequences: violent student unrest has
|
|
declined radically, political dissidents are being allowed to stage peaceful
|
|
protests (May Day march), and arrests for political crimes have decreased
|
|
dramatically (from 305 in 1992 to around 80 in '93). These developments
|
|
underscore the potential for rapid change in a society committed to the
|
|
erstwhile values represented by the Universal Declaration of Human Rights.
|
|
|
|
Although the South Korean report paints a pretty rosy picture of
|
|
progress, it also points out an Achilles heel - the long-standing fear
|
|
of invasion or domination from the north supports certain sanctions against
|
|
travel across the border and free speech deemed "pro-North Korean" or
|
|
socialist. Given the North's recent escalation of the nuclear threat and
|
|
the continued cold-war style military stand-off, their fears and sanctions
|
|
seem reasonable.
|
|
|
|
In comparing the two Koreas, it's tempting to reduce the situation to
|
|
an archetypical face-off between socialism and capitalism. To some extent,
|
|
there are characteristics which lend themselves to that sort of analysis,
|
|
but the gory details presented in these reports bring the reality of
|
|
people's pain right into your face. The dispassionate tone of a government
|
|
document, with its statistics and legalistic language, usually allows me the
|
|
distance to gain some measure of "objectivity" - not so in this case. So far,
|
|
I've only read a handful of the more than two hundred reports released last
|
|
February ... and every one of them can pierce right into my soul.
|
|
|
|
For myself, awareness has been the first step toward attaining a
|
|
personal sense of "world citizenship". Becoming part of the larger community
|
|
of *humanity* carries with it certain responsibilities: acquiring personal
|
|
knowledge of and about the condition of your fellow man and woman, wherever
|
|
they may be; a desire to do what you can to improve the lives of individuals;
|
|
and finding the courage to *feel* the pain, the anguish, and the terrible
|
|
weight of the injustices we would rather not contemplate. It is our outrage,
|
|
our conscious refusal to accept the status quo, which fuels the collective
|
|
human drive toward moral evolution.
|
|
|
|
It's up to us, people. On the personal level, we can use our economic
|
|
power to boycott the products of repressive regimes, we can use our
|
|
power of the vote in democratic societies to support candidates who will
|
|
lean on other heads of state to bring their people the rights and
|
|
guarantees which are the birthright of all humans, and finally, we can
|
|
pledge our support to human rights groups like Amnesty International.
|
|
Start in your homes and bring the battle to the larger world.
|
|
Send letters, attend meetings, be loud, get nasty, whatever it takes -
|
|
don't let our silence support the despots.
|
|
|
|
I began this column talking about control - the obsessive drive for
|
|
it we all feel at some point, in some way, in our lives. For me, it's my
|
|
dog - I go a little nuts when my "training" fails (I never use violence,
|
|
tho', it simply confuses and scares animals - people too). As Don Quixote
|
|
discovered in his mythical forays into the "world-as-it-is" of medieval
|
|
Spain, individual control is illusory; it fails as an instrument for changing
|
|
the "world-as-it-should-be". It is the collective spirit and drive of a
|
|
people which ultimately brings change to a society - the days of the
|
|
benevolent dictator have passed. I, for one, do not mourn their passing.
|
|
|
|
"Every decent man is ashamed of the government he lives under."
|
|
- H.L. Mencken
|
|
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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 forecast 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 satellite 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
|
|
required 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.
|
|
|
|
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|
|
|
|
A Cautionary Note to Congress
|
|
By Steven Peterson
|
|
|
|
[Note: The Clipper chip is an integrated circuit the U.S. government
|
|
wishes to place in all computers, cellular phones, and cable t.v.
|
|
boxes. Its purpose is to allow our National Security Agency and other
|
|
law enforcement agencies to "tap" and decode our messages. Our leaders
|
|
are pushing the Clipper as an alternative to "PGP" and other robust
|
|
encryption programs. The "backdoor" feature designed into the program
|
|
creates a conflict between our right to privacy and the government's
|
|
desire to prevent criminals and terrorists from using the 'Net.]
|
|
|
|
The Clipper Chip is doomed to fail miserably ... for many reasons.
|
|
Our government's arrogance and ignorance shine through with a special
|
|
luminosity on this piece of legislation. One of the first laws of the
|
|
digital culture (if you can build it, we can hack it) will prevent the
|
|
chip from serving its intended purpose. No matter how brilliantly you may
|
|
design it, there are sixteen-year-old kids out there who *will* tear it
|
|
apart, figure it out, and subvert it for their own purposes. Simply for
|
|
the challenge it offers. The Clipper proposal makes as much sense as
|
|
building a state-of-the-art safe, sticking a million dollars in it, and
|
|
then putting it in a safe-cracker's living room. It will be broken, it's
|
|
just a matter of time. The underlying arrogance of the NSA and the designers
|
|
of this chip will prove to be their downfall; there is no way any team of
|
|
individuals can stay ahead of the collective abilities of an entire sub-
|
|
culture bent on maintaining its right to privacy.
|
|
|
|
The second law of the digital culture (if it can be established,
|
|
it can be subverted and/or compromised) will give the NSA more grief than
|
|
the first law. Anyone bent on using the National Information Infrastructure
|
|
(NII) for nefarious purposes is going to love the Clipper. Government
|
|
agencies are not the only organizations which understand the value of
|
|
dis-information. Anyone bright enough to use advanced tele-communications
|
|
is bright enough to send anyone listening in on wild goose chases around
|
|
the globe. Remote login and mirror commands will distract investigative
|
|
agents, embedded or multiple layers of encryption will confuse the issue,
|
|
and with 40 million plus users of e-mail, the sheer volume will prohibit
|
|
any systematic efforts to isolate criminal or terrorist messages.
|
|
|
|
The third law of the digital culture (knowledge cannot be suppressed)
|
|
points out the "pandora's box" problem of attempting to control encryption;
|
|
PGP and other encryption programs are already out there. The government
|
|
can prohibit, proscribe, and prosecute, but it cannot put the djinni back
|
|
in the bottle. Drawing battle-lines between the Constitution and the NSA's
|
|
misguided, foolish attempt to maintain its ability to snoop at will only
|
|
divides our nation and diverts everyone from the real issue - how can we
|
|
use this tool to improve the state and quality of human civilization.
|
|
Technology is rapidly changing the human condition; wasting grotesque
|
|
amounts of money trying to prevent any undesirable elements from changing
|
|
with it is as foolish as trying to stop the hands of time.
|
|
|
|
I realize that we all must bow to the absurd from time to time;
|
|
however, the price tag on the Clipper folly is just too high to quietly
|
|
accept. Dissipating our time, money, and energy on a quixotic battle to
|
|
contain the uncontainable will only slow progress. The Clinton White House
|
|
and Congress must face the fact that the only way to achieve any real
|
|
control of digital communication will be to: a) dismantle the Internet;
|
|
b) confiscate all computers and modems (and the parts used to build them);
|
|
and c) transform our nation into a totalitarian state. No power on Earth
|
|
has managed to make that plan succeed (the first example that springs to
|
|
mind is the underground 'Net distribution of reports from Chinese students
|
|
during the Tianneman Square demonstrations). Indeed, no plan to grant a
|
|
government that sort of power deserves to succeed - it's an open insult
|
|
to the dignity and character of human beings.
|
|
|
|
Please feel free to re-distribute this note to all who are involved
|
|
in this debate. We must STOP and THINK before we set in motion any measure
|
|
such as Clipper which threatens to rend the fabric of our society.
|
|
Future generations of Americans will not forgive us for our ignorance
|
|
and short-sightedness on this issue. Act Now!
|
|
|
|
[Note: This file is also available on the EFF ftp site. --Ed.]
|
|
|
|
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|
RUSSIAN SCIENTISTS SEEK NETWORK CONNECTIONS
|
|
By George Sibley
|
|
|
|
I.C.S. received a copy of a communication from A.E. Varshavsky at the
|
|
Russian Academy of Sciences in Moscow, announcing the creation of a non-
|
|
profit "Strategy Priorities Foundation" (SPF), whereby Russian scientists
|
|
in the post-Cold-War era hope to offer services and establish connections
|
|
with private and public entities around the world.
|
|
|
|
Observing that "now Russian science has a hard time," Varshavsky
|
|
essentially announces the availability of Russian scientists in all fields
|
|
for collaborative projects in and out of Russia. The purpose of the Strategy
|
|
Priorities Foundation, he says, is to "avail leading universities, research
|
|
institutions, and companies in all countries of the world of unique economic
|
|
and technical information on the state and perspectives of science and
|
|
technology in Russia. An analysis of the economic problems of stability,
|
|
conversion and disarmament is in the framework of SPF's interests as well."
|
|
Among other possibilities, Varshavsky envisions Russian scientists acting as
|
|
consultants for private or public entities interested in the opportunities
|
|
afforded by the Soviet political meltdown.
|
|
|
|
E-mail addresses for Varshavsky are (BITNET) C20501@SUCEMI
|
|
or (INTERNET) vars@cemi.msk.su.
|
|
|
|
Snailmail: SPF, Central Economics and Mathematics Institute,
|
|
Russian Academy of Sciences, 32 Krasikova St. (Room 406),
|
|
Moscow, 117418
|
|
RUSSIA.
|
|
|
|
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|
|
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|
|
|
|
|
|
Building a School Without Buildings
|
|
|
|
By Ken Blystone
|
|
|
|
Thousands of students in El Paso, Texas are going to school without
|
|
leaving home. They "travel" to school via computer modem, meeting in new
|
|
electronic hallways and classrooms not because they have to attend, but
|
|
because they want to. This summer, students from all parts of the city will
|
|
attend the Academy Virtual School. This new electronic school provides kids
|
|
of all ages a fun and exciting place to gather. It is a safe environment that
|
|
can be explored from home under parental supervision, and local public schools
|
|
are starting to catch on to the concept.
|
|
|
|
Over the past decade, telecomputing activities have become highly popular
|
|
with children. This has caused rapid growth in local, regional, and national
|
|
educational computer networks. Computers attached to modems allow computer
|
|
users to transmit and receive text files, software programs, digitized images,
|
|
and digital music over standard telephone lines. Such activities are becoming
|
|
commonplace for computer users, especially for young people who have computers
|
|
in their homes.
|
|
|
|
Public schools have recognized the need to teach students how to use
|
|
computers and have installed many machines for this purpose. But the
|
|
educational use of computers has focused primarily on using the computer
|
|
in a "stand-alone" fashion. Now, more and more schools are beginning to
|
|
connect their computers to instructional networks by purchasing modems and
|
|
linking their computers together through the telephone system. Schools have
|
|
found that it is easy and relatively inexpensive to start a campus-based
|
|
computer network.
|
|
|
|
Last school year, five public schools in El Paso started educational
|
|
campus-based systems run by teachers. Del Valle High School, Wiggs Middle
|
|
School, Desert View Middle School, Indian Ridge Middle School, and Eastwood
|
|
Heights Elementary each run a campus computer their students can call.
|
|
Each school system is connected to FidoNet, a 22,000 member computer network
|
|
established in 1984.
|
|
|
|
FidoNet is a "grassroots" network that provides connectivity for
|
|
millions of people all over the world at little or no cost. The UTEP
|
|
College of Education sponsors a system on this network to allow future
|
|
teachers the opportunity to be mentored by experienced teachers. Since
|
|
many of the electronic conferences on FidoNet are "gated" to Internet,
|
|
many non-university people (parents and public school children) now have
|
|
access to Internet through FidoNet.
|
|
|
|
In 1990, a group of teachers in the United States and Canada started
|
|
the International K12 Network. Operating as a sub-set of FidoNet, the K12
|
|
Network has spread to nearly 500 systems in 12 countries in only three years.
|
|
By "piggy backing" the smaller K12Net on the larger structure of FidoNet,
|
|
students and teachers are the winners.
|
|
|
|
Using school computers connected to FidoNet/K12Net, students and
|
|
teachers have the ability to form friendships with people all over the world.
|
|
The familiar term "pen-pals" is changing into "key-pals" since children now
|
|
use keyboards instead of pens to write to each other. Teachers from around
|
|
the world volunteer their time and expertise to make the system work.
|
|
|
|
The French teacher at Desert View Middle School, Toy Wong, uses the K12
|
|
Network in her classroom to help students learn the language and culture of
|
|
France. Her students are encouraged to write e-mail messages in French to
|
|
students in France or Canada. After students in France receive messages from
|
|
students in El Paso, they respond in English (the language they are trying
|
|
to learn) through the computer network. Since messages are transmitted
|
|
electronically, it is usually only a matter of hours before the mail is
|
|
"delivered." This makes the process of key-pals much more interactive than
|
|
pen-pals since hand delivered letters to distant countries can take days or
|
|
even weeks to deliver.
|
|
|
|
In addition to using computer networks for key-pal activities, schools
|
|
have found many other instructional benefits of telecomputing. Students can
|
|
use modems to tap into electronic libraries to look up information stored in
|
|
computer databases. Some systems allow students to take tests on-line that
|
|
are automatically scored and recorded. Students also use telecomputing to
|
|
work collaboratively on the creation of digital artwork and music. Most K12
|
|
Network systems make free educational software available to teachers and
|
|
students through a process known as downloading.
|
|
|
|
On-line peer tutoring is also possible on multi-line systems. Callers
|
|
type back and forth to each other while connected to the system. This has
|
|
become one of the most popular activities for students ages 10 through 18
|
|
on the Academy Virtual School. Students spend many hours on-line each day
|
|
writing to their electronic friends.
|
|
|
|
The Academy serves eight school districts in west Texas. Its success can
|
|
be measured, in part, by the extent to which local teachers and students have
|
|
voluntarily embraced this computer-mediated environment. Over 5,000 students,
|
|
teachers, parents, and community participants meet in this electronic
|
|
environment without the need for a physical school building.
|
|
|
|
The Academy is operated by Academy Network Systems, a non-profit
|
|
organization dedicated to enhancing educational opportunities for students
|
|
to learn and teachers to teach via modern telecommunications technology.
|
|
The system gets approximately 30,000 calls per month. Through the work of
|
|
many dedicated teachers and community volunteers, the Academy Network has
|
|
grown from a simple single line system started in 1985 into a dynamic 15
|
|
line electronic school built out of modems and microchips instead of bricks
|
|
and mortar.
|
|
|
|
The impact of computer telecommunications on how we conduct education
|
|
is likely to be greater than we can presently imagine. As a virtual school,
|
|
the Academy is radically different from traditional schools. It remains open
|
|
24 hours a day, 365 days a year. Students read lessons, take tests, ask
|
|
questions and get answers "virtually" as they would in a traditional physical
|
|
school building - but without leaving their keyboard. Instead of students
|
|
going to school, the virtual school comes to them through their computer
|
|
screen.
|
|
|
|
|
|
This school, although it has no physical campus, serves thousands
|
|
of students and it only cost $5,000 to create. This is an important fact
|
|
to taxpayers and school board members who are looking for economical ways
|
|
to provide instruction to children. While a traditional school that serves
|
|
thousands of students would cost millions of dollars to build, a virtual
|
|
school can be started for a fraction of that cost.
|
|
|
|
Inasmuch as limited funding is available for desired school improvements,
|
|
it is important to understand the potential for new technologies to help bring
|
|
about fundamental educational change. By expanding our mind-set from one that
|
|
can only conceive of education taking place in a traditional physical school
|
|
building to one that includes reaching students using virtual schools, we may
|
|
actually be able to provide instruction in new ways.
|
|
|
|
I encourage parents, teachers, and school board members to work toward
|
|
the development of community sponsored virtual schools that serve all children
|
|
within their locale. A virtual school can serve the collective educational
|
|
needs of students in new and exciting ways. Yet, to be able to take advantage
|
|
of electronic schools teachers need access to educational networks. Schools
|
|
need the money necessary to buy modems and telephone lines that will allow
|
|
them to begin to explore the electronic global village.
|
|
|
|
Modems and the instant networks they create can join schools,
|
|
businesses and homes together. Every minute a child spends in an electronic
|
|
virtual school is a minute spent reading and writing--interacting with an
|
|
educational community that is global in scope. Electronic schools are
|
|
interactive, inclusionary, equalizing, provocative, and educational.
|
|
Electronic virtual schools are dynamic and, most importantly, affordable.
|
|
Electronic learning environments are changing the way in which children learn.
|
|
Every day a virtual school can present the student with new and interesting
|
|
challenges that come from a worldwide community of learners.
|
|
|
|
|
|
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Computer-Mediated Communication
|
|
|
|
Part 1
|
|
|
|
By Steven Peterson
|
|
|
|
ICS is, by design, a 'zine devoted to providing our readers with a
|
|
distillation of the best or most interesting thoughts and ideas we come
|
|
across. In a sense, we (the humble staff and contributors) are using
|
|
technology to present symbolic information to you, our audience, in a
|
|
relatively new and different manner. Although we employ a traditional
|
|
sort of lay-out, what makes this enterprise unique is the delivery
|
|
mechanism (e-mail); it is an example of one of the forms of computer-
|
|
mediated communication (CMC) which now offer individuals, small groups,
|
|
and larger organizations new and different methods of channelling
|
|
information and routing communications.
|
|
|
|
Most forms of CMC utilize networked or multi-user programming;
|
|
this simple fact fundamentally alters the nature of small-group and
|
|
mass communications through shifting the focus of interaction from a
|
|
one-to-many to a many-to-many distribution architecture (within the
|
|
context of the machinery, at least). In this series of articles, I will
|
|
survey CMC related research conducted during the 80s and 90s which
|
|
examines human responses to this new technology and defines some of
|
|
the communication challenges it presents to all who use it.
|
|
|
|
The proliferation of computer networks and their growing use for
|
|
communicative purposes during the 1980s led Kiesler et. al., a research
|
|
group from Carnegie Mellon university, to investigate the social and
|
|
psychological issues CMC technology presented. Working with the existing
|
|
technologies (1984), the team identified five important social and
|
|
psychological aspects of CMC: time and information processing pressures,
|
|
absence of regulating feedback, dramaturgical weakness, few status and
|
|
position cues, and the potential depersonalizing effects of social
|
|
anonymity (Kiesler 1125). As many of you are no doubt aware, these five
|
|
aspects surface as either benefits or drawbacks to virtually every form
|
|
of CMC, depending on the context, the intended purpose, and the degree
|
|
of structure imposed by the specific format.
|
|
|
|
Kiesler's initial study (the first to use modern, fast terminals
|
|
and flexible conferencing and mail software) examined the impact of CMC
|
|
on group interaction and decision-making processes as compared to
|
|
traditional face-to-face methods. The study charted the efforts of
|
|
three-person groups to reach group consensus on choice-dilemma problems
|
|
in varied conditions: face-to-face conferencing, simultaneous computer
|
|
conferencing, anonymous simultaneous computer conferencing, and e-mail.
|
|
|
|
The first variable (or aspect), communication efficiency, identified
|
|
time-consuming information processing problems in the many-to-many
|
|
format of CMC. Kiesler noted "CMC groups took longer to reach consensus
|
|
than did face-to-face groups, and they exchanged fewer remarks in the
|
|
time allowed them" (1128). Apparently, the swift distribution of many
|
|
thoughts and ideas taxes the individual's capacity to sort information -
|
|
somewhat analogous to putting a two-barrel carburetor on a twelve-cylinder
|
|
engine - it fires, but not very efficiently.
|
|
|
|
At the individual level, attempting to deal with the combined outputs
|
|
of multiple listservs can become overwhelming in a hurry. Many of my
|
|
peers describe various methods of "editing" on-the-fly as they browse
|
|
through subject lines, describing the process as "crude, but effective".
|
|
Quite often, they confess to "unsubscribing" from one list or another
|
|
because they simply do not have time to sort through it all (a message
|
|
common in ICS unsub requests). This sort of all-or-nothing response to
|
|
the electronic "tower of babel" underscores the human need for context,
|
|
organization, and relevance.
|
|
|
|
To varying degrees, the other four social and psychological aspects
|
|
identified by Kiesler affect the efficiency and rate of participation in
|
|
CMC environments: the absence of regulating feedback is linked to an
|
|
increase in uninhibited verbal behavior ("flaming") and to a greater
|
|
rate in decision shifting; dramaturgical weakness (the lack of non-verbal
|
|
cues and reinforcement) seems to affect the decision-making process by
|
|
masking leadership cues (1129); the status and position cues evident in
|
|
face-to-face communication create an inequality of participation which
|
|
is reduced in CMC formats; and the social anonymity CMC offers can be
|
|
liberating or alienating, depending on the perspective of the individual
|
|
and the amount of "embedded structure" in the specific format (1130).
|
|
|
|
Despite the difficulties and drawbacks Kiesler's team identified,
|
|
they somewhat prophetically note the popularity of the medium and
|
|
predict "a more permanent effect [of CMC] might be the extension of
|
|
participation in group or organizational communication. This is
|
|
important because it implies more shared information, more equality of
|
|
influence, and, perhaps, a breakdown of social and organizational
|
|
barriers" (1131). This breakdown of barriers occasionally surfaces at
|
|
Western State (home to ICS); personally, I have exchanged some e-mail
|
|
with administrators and professors, and Western has an on-line advising
|
|
service which offers same-day e-mail responses to a wide variety of
|
|
questions. Although the technology may be in place, the barriers still
|
|
have not really fallen: the address may be widely available, but if the
|
|
receiver chooses to ignore all messages, no progress is possible (we all
|
|
may be aware of president@whitehouse.gov, but it's not quite the same as
|
|
getting a message into the man's hands).
|
|
|
|
Kiesler's ground breaking study provides an excellent base for a
|
|
comparative analysis of CMC research - the same social and psychological
|
|
aspects surface in many of the studies conducted over the last ten years.
|
|
As a reminder, I will lead off installments in this series with a "boxed
|
|
set" of the five central issues of CMC research:
|
|
______________________________________________________
|
|
| Five Aspects of computer-mediated communication (CMC)|
|
|
| 1) Time/Information processing pressures |
|
|
| 2) Absence of regulating feedback |
|
|
| 3) Dramaturgical weakness |
|
|
| 4) Few status/position cues |
|
|
| 5) Depersonalization of social anonymity |
|
|
------------------------------------------------------
|
|
|
|
As I examine research on electronic bulletin boards (EBBs), electronic
|
|
brainstorming programs (EBS), and group decision support software (GDSS)
|
|
in future installments, I invite you to e-mail your thoughts and
|
|
suggestions concerning possible solutions to the "big 5" to me at
|
|
Org_Zine@wsc.colorado.edu - please incorporate "CMC" into the subject
|
|
line. I will attempt to append a distillation of the most promising
|
|
solutions as something of a public service (guerrilla innovation?).
|
|
Part 2 will cover EBS research, so please send in your suggestions for
|
|
handling large numbers of ideas on a daily basis.
|
|
|
|
Work Cited
|
|
Kiesler, Sara, et.al. "Social Psychological Aspects of Computer-Mediated
|
|
Communication." *American Psychologist*. Vol.39,No.10,1984. 1123-1134.
|
|
|
|
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|
W o r l d N e t Tour Guide
|
|
Digital Freedom Network
|
|
|
|
WorldNet Tour Guide returns! We will strive to make it a part of
|
|
each issue. The Guide will contain articles to help in using the WorldNet
|
|
to the fullest potential. The articles here will range from tutorials on
|
|
aspects of WorldNet to reviews of sites and resources on the WorldNet.
|
|
|
|
If you would like to write a file or document to appear in this
|
|
section, please do so. Send your final copy (in ASCII format) to:
|
|
|
|
ORG_ZINE@WSC.COLORADO.EDU
|
|
-------
|
|
*
|
|
|
|
The Digital Freedom Network (DFN) is one of the more interesting
|
|
sites I've run across on the 'Net - imagine a place where writers from
|
|
around the world can share their cultural, religious, and political
|
|
experiences with people around the world, and you will likely dream up
|
|
something very much like the DFN.
|
|
|
|
Billed as an "Anti-Censorship BBS", the DFN currently offers
|
|
material produced by dissidents (and just plain citizens) from Russia,
|
|
Iran, Indonesia, China, and Egypt. There is also a file titled "Index"
|
|
which details the aims and goals of the "Index on Censorship" - a
|
|
supporting member of the DFN and constant defender of free speech and
|
|
Human Rights. Gopher iia.org 70, cd "Digital Freedom Network" to access
|
|
the files (You can skip the following review if you like to preserve
|
|
the sense of net-adventure).
|
|
|
|
A brief description of available files:
|
|
|
|
China: Extracts from _Wei Jingsheng Searching for the Truth_ selected
|
|
and edited by Peter Harris - A description of one man's odyssey
|
|
through the "cultural revolution" and his political and thinking
|
|
resistance to the events he witnessed.
|
|
|
|
Iran: Text from _The Hejleh_ - A mother's reflections on her martyred
|
|
son's fate. Very touching, and a bridge of understanding that's
|
|
worth crossing.
|
|
|
|
Egypt: _Death on the Nile_ - A chilling expose of Moslem fundamentalism
|
|
and its holocaustal effects on the minds and souls of a nation.
|
|
|
|
Russia: _My Diary Under the Iron Heel_ by Mikhail Bulgakov - an unusual
|
|
glimpse of the life of a Russian writer during the twenties as
|
|
he searches for signs of life in a world of madness. Culled
|
|
from the KGB literary archive (somewhat spotty translation).
|
|
|
|
Indonesia: Two excerpts from _This Earth of Mankind_ by Pramoedya
|
|
Amanta Toer, translated by Max Lane - A personal story
|
|
describing the life and times of a soldier in the Dutch
|
|
Indies Army. Told from a mother's point-of-view.
|
|
|
|
For more information, contact:
|
|
|
|
Digital Freedom Network Headquarters / IDT
|
|
dfnidt@iia.org
|
|
294 State Street
|
|
Hackensack, NJ 07601 USA
|
|
|
|
INDEX on Censorship
|
|
indexoncenso@gn.apc.org
|
|
Lancaster House
|
|
33 Islington High Street
|
|
London N1 9LH UNITED KINGDOM
|
|
|
|
Human Rights Watch
|
|
hrwatchnyc@igc.apc.org
|
|
485 Fifth Avenue
|
|
New York, NY 10017 USA
|
|
|
|
International Freedom of Expression Exchange (IFEX)
|
|
Committee to Protect Journalists
|
|
ccpj@web.apc.org
|
|
490 Adelaide Street West -Suite
|
|
205 Toronto M5V 1T2 CANADA
|
|
-----
|
|
|
|
Note: ICS founder and former WorldNet Tour Guide author Deva Winblood
|
|
has moved on to other challenges. Various members of the ICS staff will
|
|
be offering Tour Guide installments for your enjoyment, and, as always,
|
|
we accept contributions from any and all corners of cyberspace [Ed.].
|
|
|
|
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|
|
|
T W O P O E M S
|
|
By Heather Elliot
|
|
----------------------------------------+------------------------------------
|
|
|SPACE BAR
|
|
761-TIME |*
|
|
* |sittin at the bar
|
|
Hello you have reached... |with the reals
|
|
* |scoping missles
|
|
To commemorate the |in walked an hourglass
|
|
idiosyncrasies of |time warped
|
|
TIME |men were moving at light speed
|
|
It is currently 11:01pm.. |converging on a black hole
|
|
* |us reals inched along like sloths
|
|
Thank you for calling First National |realized we weren't chicks
|
|
|just flew the coop
|
|
----------------------------------------+------------------------------------
|
|
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|
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|
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|
|
|
|
|
The Map By Gayle L. Allenback ++
|
|
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
|
|
|
|
|
|
Planning my route to paradise,
|
|
I'm aware of the stack of books on the table.
|
|
Reading them would make me blind,
|
|
So I travel on with my sight,
|
|
Getting worn down by gravel roads.
|
|
|
|
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
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|
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|
|
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|
|
|
|
S e v e r a l P o e m s
|
|
B Y Heather Elliott
|
|
-------------------------------------+---------------------------------------
|
|
AURA |RUB
|
|
* |*
|
|
i felt the cold breeze |turnout
|
|
wrap around me |step
|
|
yet i retained |transfer
|
|
a shell |transfer
|
|
of warmth |focus
|
|
* |HALT
|
|
i can only feel |*
|
|
your cool breeze |you were bug-eyed
|
|
but i know | hands dropped to the side
|
|
that such warmth |*
|
|
encases you |saw your cute belly
|
|
* | became Buddha
|
|
i want to wrap up |*
|
|
in the aura |could I feel that warmth
|
|
of your warmth | again?
|
|
on a cold clear |
|
|
night |
|
|
-------------------------------------+--------+-------------------------------
|
|
FreeFall |AN EVENING WITH _
|
|
* |*
|
|
You said you'd catch me |mellow
|
|
if I fell |comforting
|
|
but I couldn't let myself fall |relaxing
|
|
* |soft drums beat in the
|
|
|background
|
|
Afraid of that sinking feeling |pillows fly
|
|
so much resembling |smiles sparkle
|
|
utter disappointment |eyes glitter
|
|
* |yet, we each have our own drum
|
|
Filled with worry |stunts
|
|
became a wallflower |games
|
|
* |jokes
|
|
Saw that I could do the steps |and my drum beats out of sync
|
|
said I'd be fine |
|
|
if I followed your lead |
|
|
* |
|
|
I followed with such grace|
|
|
I'm falling |
|
|
catch me |
|
|
----------------------------------------------+-------------------------------
|
|
|
|
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|
|
|
POETRY: 2 (of 6) Poems By Stewart Carington
|
|
|
|
SUBJECT:emotion
|
|
---------------
|
|
Mental tears shall all abound; Yet in the physical realm none shall be found
|
|
Mortal thoughts may all remain; But no love is there left to yet reclaim
|
|
When you trace the sullen flight, Of a Crow into the speckled night
|
|
All that remains a distant dream-Until the sun breaks the endless seam...
|
|
|
|
Sunlight turns in it's puest form, Releases the traced emotions worn
|
|
Grips the fist on one's fate, Gives the choice that you shall in time berate
|
|
Inters the worth of your wealth, to find in the end it should have been health
|
|
|
|
Cross the cavern of your dreams- To caress the tears of mighty seas.
|
|
Think of yesterday as freedom's chain, And never know that bond again.
|
|
Drink from the pool of broken sorrow, Then breathe the air of newborn morrow
|
|
Awaken to that light, tender touch, and remember to feel....
|
|
I miss you much.
|
|
|
|
SUBJECT:a walk through my wall
|
|
------------------------------
|
|
no, It's not the same, and I would love to walk through the rain with you.
|
|
A lonely sill, lonely true. A silent dove, through the window grew.
|
|
Sit next to me for mine life, scream the silence of eternal strife,
|
|
To be with me you must leave me alone, let me face myself, the ugly clone.
|
|
desert rain beat through my brow, a speared patter, hits me now
|
|
tis the tear of your lip, from above reflected in the isles of love.
|
|
silent pondering one-hundred proof, sink emotion,
|
|
but bury me away....
|
|
from truth.....
|
|
for tis not like me to do this here,
|
|
not like me to put you through this spin...
|
|
only alone can I but win.....sorry,
|
|
it's true, let me be for a while.... insanity's not new....
|
|
an old friend,
|
|
back again
|
|
doesn't like visitors.......
|
|
.............will leave in a while....
|
|
-----------------------------------------------------------------------------
|
|
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|
|
|
|
|
)============== i wish i could write =============(
|
|
By Clint Thompson
|
|
|
|
i wish i could write.
|
|
|
|
i wish i could reach the
|
|
deepest
|
|
deep
|
|
of my soul with a pen,
|
|
and wrench it free.
|
|
|
|
i wish i could write
|
|
the wings of a bird,
|
|
or explain the sound of
|
|
love
|
|
in spring.
|
|
|
|
i wish i could capture
|
|
the taste, in a word, of
|
|
a breath of
|
|
mountain air
|
|
at twilight.
|
|
|
|
the sun in twisting robes of red and orange
|
|
descends
|
|
into
|
|
her bed.
|
|
|
|
no, i must watch the moment
|
|
then watch the moment leave...
|
|
unable to hold it here
|
|
with paper and ink.
|
|
|
|
the greatest moments of my life
|
|
are volumes
|
|
only read by me.
|
|
|
|
unable to live by paper and pen
|
|
for all the world to see.
|
|
|
|
|
|
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|
|
|
|
|
"Women"
|
|
By Jami Jo Tobey
|
|
|
|
I am alive
|
|
searching
|
|
seeking
|
|
yearning for the unknown
|
|
the untouched.
|
|
Waiting for the sun
|
|
listening for the moon
|
|
dancing with the earth
|
|
watching the clouds laugh
|
|
kissing the melting rainbows
|
|
running down the mountains
|
|
swimming upstream
|
|
and being still.
|
|
You never see me
|
|
but you touch me
|
|
when you breathe
|
|
and cry.
|
|
You hold my hand unaware.
|
|
We are of the same seed
|
|
yet completely different.
|
|
I am the rain
|
|
and you soak me up with your warmth.
|
|
I am the snow that makes you smile
|
|
and the fire that keeps you warm.
|
|
I will live forever within you
|
|
and of you.
|
|
You will never know me
|
|
but you will forever love me.
|
|
I am you best friend
|
|
perhaps your worst enemy?
|
|
|
|
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|
|
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|
|
|
|
|
Eyes of Love
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by Jason Manczur
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How can one set of eyes be
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So very deep, and so very bright?
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They shine like the stars,
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With a heavenly light.
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They're deep like an ocean,
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Pretty as they can be.
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I love your eyes,
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But do they love me?
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A better question
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Asks the same of you.
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If the answer is yes,
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I'll ne'er be blue.
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I want to tell you
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Just how much I care,
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That I really love you,
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And will always be there.
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If you need someone
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for any reason,
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If my heart is not there,
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It will hang for treason.
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That is how much
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I love you my dear.
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When we are together,
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You have nothing to fear,
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For my love will protect you.
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I love you with all
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of my heart and my soul.
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If you do not love me,
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It will take its toll
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On my heart and my spirit,
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And the depths of my mind.
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When I am with you
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I always find
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A warmth and a caring
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That fills up my life.
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Oh, please my love,
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Will you be my wife?
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KNYGHT
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Walking Alone In A Wet Autumn Night
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Closed, cluttered quarters, relinquished control
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Captive by chance and exacting it's toll
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Remove conversation
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Regain affirmation
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Walking alone in a wet autumn night
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Dark, like a comfort, a safe place to hide
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The mist held my face in her arms as I cried
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Remove all the sound
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Shoes pummel the ground
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Walking alone in a wet autumn night
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The dew in the grass is soaking my feet
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I've come here for answers to questions complete
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Remove just the fear
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A healing draws near
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Walking alone in a wet autumn night
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This love in my life lies gently with me
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Possessing a strength not easy to see
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I'll seek out her light
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Relinquish this fight
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By walking alone in a wet autumn night
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___________________________________________________________________________
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Bob Wilson bobw@ncatfyv.uark.edu
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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WHAT IS MINE
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By Clint Thompson
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"It established the Commerce Department to
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therefore and hitherto, etcetera,
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etcetera,
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etcetera..."
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Sometimes I don't understand our world.
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(Or the countries and people in it)
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But when Our Flag is unfurled there is a small spot
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in my heart that understands a courageous act.
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Right now I wish that I could be somewhere else.
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I mean besides this class,
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Not on some other planet or anything.
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(Even though the thought has crossed my mind)
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I get tired of sitting on this hard wood chair with
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it's hard wood back.
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I get tired of hearing this nonsense of
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"Expressed, Implied, and Inherent Powers"
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POWER to me is wielded with a Silver Sword from astride
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a White Horse.
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Evil against me and thee.
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I have never seen such an act outside of dreams.
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(Dreams I paid four fifty to be)
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"Please turn to page 358 for a list of the
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Blah, blah, blah, yak, yak, yak..."
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By now I have listed and catalogued my complaints in my mind,
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I suppose I keep them for a day that will not come.
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(That day I will tell the world how I really feel)
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But then,
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I think that maybe it isn't quite as bad as all that.
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I mean,
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Yesterday I held a sunrise,
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Free of charge.
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And when I finished the book I knew that light
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still burned in my own eyes.
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Clint Thompson
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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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Enclave: 3 Poems By David Trosty
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-------------------------------------------------
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Theme to an Imaginary Drama
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Sometimes traveling through the city
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I see faces all alone.
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Sad faces standing in the shadows,
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abandoned, on their own.
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Vicious city, without compassion.
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Cold concrete, hard as stone.
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Unforgiving and uncaring,
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will make you calloused to the bone.
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Tired faces, lined with ashes,
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cracked and worn, they show their age.
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Acting helpless to solicit,
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the sidewalk is their stage.
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Huddled quietly, under the streetlight,
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holding in their deepest rage.
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To them, life's an empty book.
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It doesn't help to turn the page.
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Homelessness is a disease,
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and the cure can't come to soon.
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People waiting, slowly suffering,
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looking for a bottle before noon.
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Sometimes I give them the change they ask for,
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because I'd want to get drunk too,
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If I was like them and had to live here,
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In this awful concrete zoo.
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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The Hunter
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They call me the hunter,
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it's a very fitting name.
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'Cause I'm always on the prowl
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for the essence of the earth.
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It seems my search never ends,
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eternally I hunt.
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There's not enough lush bounty,
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to fill every wanting hand.
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All people that I know,
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they play this very game.
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Desiring unmentionables,
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a vain attempt to ease their pain.
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What is it about desire,
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that plagues most every man.
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To taste the sweet pure nectar,
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makes him only want much more.
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All pleasures seem to have the power,
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to hypnotize from within.
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One can see it in all eyes,
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a cold and empty gaze.
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The cessation of reality,
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comes strong, and then it fades.
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Like the tides upon the sea,
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and the crashing of the waves.
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- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
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28,000 feet above civilization
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Checkerboard grids
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patchwork quilt.
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Someone lives there.
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Connected by barely perceptible threads
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each island has a way off,
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and on to every other.
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Country isolation,
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secluded peace,
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sometimes broken by colonies
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of stone and flesh.
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The social animal
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demonstrates its paradoxical tendencies.
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Some of them,
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insecure with isolation,
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huddle together.
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Afraid to be alone
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in this vast and desperate world--
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yet afraid of each other.
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In their clustered colonies they walk about,
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their eyes darting nervously
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away from the others,
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apprehensive when they connect
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out on the street.
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(c) David Trosty, 1994
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Unneeded Technology
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-----------------
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-----------------
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Brought to a place too soon
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temptation
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It creates a home for itself
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desire
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Soon, the people will want it
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compulsion
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Those with the money take it
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envy
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Those who are poor steal it
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crime
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Luxury has a price to be paid
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sin
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--Andrew DeSplinter
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The Fate of Ethnic Diversity
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Bit by bit,
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one person at a time,
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my heritage is being diluted
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by my own generation.
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The stories that we were taught
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are being neglected
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and forgotten.
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What will the next generation know of its past?
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What lessons will they learn,
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and where will they come from?
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We have all fought too hard
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against blood-thirsty foes
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too let ourselves dissolve
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into humanity at large
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until the sweetness
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of our ancestors' philosophies
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is too watered-down to taste.
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Will the children of the future
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benefit or suffer
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from the breakdown of barriers
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that have long stood
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like great pinnacles in the desert,
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slowly eroding
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until they can no longer
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support their own weight
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and they crumble
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into a pile of rubble.
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I have heard them crashing
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to the ground.
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It is not too late
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for us to pick up the pieces
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and re-examine them
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and tell our children
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what we have learned.
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--David Trosty, 1994.
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IMPURE MATHEMATICS
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By Rodrigo de Almeida Siqueira
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Wherein it is related how that polygon of womanly virtue, young Polly
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Nomial (our heroine) is accosted by that notorious villain Curly Pi, and
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factored (oh, horror!!).
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Once upon a time (1/t) pretty Polly Nomial was strolling across a field
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of vectors when she came to the boundary of a singularly large matrix. Now,
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Polly was convergent and her mother had made it an absolute condition that
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she never enter such an array without her brackets on. Polly, however, who
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had changed her variables that morning and was feeling particularly badly
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behaved, ignored this condition on the basis that it was insufficient, and
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made her way amongst the complex elements. Rows and columns closed in from
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all sides. Tangents approached her surface. She became tensor and tensor.
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Quite suddenly, two branches of a hyperbola touched her at a singular point.
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She oscillated violently, lost all sense of directrix, and went completely
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divergent. As she reached a turning point, she tripped over a square root
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that was protruding from the ERF and plunged headlong down a steep gradient.
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When she rounded off once more, she found herself inverted, apparently alone,
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in a non-euclidean space.
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She was being watched, however. That smooth operator, Curly Pi, was
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lurking innerproduct. As his eyes devoured her curvilinear coordinates, a
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singular expression crossed his face. He wondered, was she still convergent?
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He decided to integrate improperly at once.
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Hearing a common fraction behind her, Polly rotated and saw Curly Pi
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approaching with his power series extrapolated. She could see at once by his
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degenerate conic and dissipative terms that he was bent on no good.
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"Arcsinh," she gasped.
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"Ho, ho," he said. "What a symmetric little asymptote you have. I can
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see your angles have a lot of secs."
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"Oh sir," she protested, "keep away from me. I haven't got my brackets on."
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"Calm yourself, my dear," said our suave operator. "Your fears are purely
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imaginary."
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"i,i," she thought,"perhaps he's not normal but homologous."
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"What order are you?" the brute demanded.
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"Seventeen," replied Polly.
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Curly leered. "I suppose you've never been operated on."
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"Of course not," Polly replied quite properly; "I'm absolutely convergent."
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"Come, come," said Curly. "Let's off to a decimal place I know and I'll
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take you to the limit."
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"Never," gasped Polly.
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"Abscissa," he swore, using the vilest oath he knew. His patience was gone.
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Coshing her over the coefficient with a log until she was powerless,
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Curly removed her discontinuities. He stared at her significant places and
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began smoothing out her points of inflection. Poor Polly. The Algorithmic
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Method was now her only hope. She felt his hand tending to her asymptotic
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limit. Her convergence would soon be gone forever.
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There was no mercy, for Curly was a heavyside operator. Curly's radius
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squared itself; Polly's loci quivered. He integrated by parts. He integrated
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by partial fractions. After he cofactored, he performed Runge-Cutta on her.
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The complex beast even went all the way around and did a contour integration.
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Curly went on operating until he had satisfied her hypothesis, then he
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exponentiated and became completely orthogonal.
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When Polly got home that night, her mother noticed that she was no
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longer piecewise continuous, but had been truncated in several places.
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But it was to late to differentiate now. As the months went by, Polly's
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denominator increased monotonically. Finally she went to l'Hopital and
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generated a small but pathological function which left surds all over the
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place and drove Polly to deviation.
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The moral of our sad story is this:
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"If you want to keep your expressions convergent,
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never allow them a single degree of freedom ..."
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________________________________________________
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AN EAGLE SPEAKS ON EVOLUTION )
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___________________________________________)----
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_____________________________________)
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_____________________________)
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______________________)
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It's a story eagles have always told,
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But humans are just again learning to hear it.
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It's a story from back when the dragons ruled
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And bigger was known to be better:
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Bigger and tougher and more armored against all
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Even life, those were the standards:
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Might made right; the strong got stronger
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And the big just got bigger and bigger.
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That's like the story the humans tell;
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But as humans tell it, it goes nowhere:
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Things changed, and the dragons simply perished.
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But the story the eagles tell is different,
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The story humans are just learning to hear.
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The way the eagles tell it, some of the little dragons,
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Little in some ways, but strong in their own way,
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Began to change too.
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They gave up on the claws and armor;
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And their claws grew long and delicate and fragile,
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And their scales became long, soft and fluffy.
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How the big dragons laughed!
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Har! Har! thundered the thunder-dragons,
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As the soft little lizards hopped and flapped along
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Little soaring leaps to avoid being clawed and bashed
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Trampled and smashed by the heavy armored feet.
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But the webbing claws and the feathering scales
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Continued to lengthen even as the thunder-dragons
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Continued to laugh their thunderous laugh, repeating the wisdom:
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Bigger is better; might makes right; nothing succeeds
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Like success: bigger claws and thicker scales--
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Think of that now, says the eagle,
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As you watch me ride the shatter of light
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Up the face of the mountain.
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Think of that as you strain to see the cranes
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A mile up with their great transcontinental wingbeat,
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Or follow the dart and swoop of the swallow.
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Think of that as you look for your way
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In a world going mad with bigness, toughness, armor.
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--George Sibley
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Martian Safari
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By H.G. Emert
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From the conservation of water to the way he must dress, everything is
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very different here. Musing over the difference between his present location
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and his personal stretch of North Carolina beach front on Earth, Major Graham
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Wilson kicks at the crusty, red soil of this foreign world, stirring up dust
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that quickly falls back to the surface. Graham's mandatory environmental suit
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has a way of distorting his body into an almost unrecognizable, squat form with
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tubular appendages for arms and legs. Graham is uncertain he would recognize
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his own picture; of course the title "Boss-man" painted on his helmet by his
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crew does make him stand out among the generic vanilla suits. Major Wilson is
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the commanding officer for the geological survey team assigned to map and
|
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sample this portion of Mars for the largest mining conglomerate on Earth.
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After offering to finish packing up the remaining equipment for his men,
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Graham stands alone on the surface enjoying a few precious moments of solitude.
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His crew is probably spending the extra time on the communications link before
|
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the transmission window to Earth closes. The video messages sent to their
|
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families will take several minutes to arrive at their destination; Graham
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imagines the messages as bottled slices of time thrown into space and destined
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for a distant shore.
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"Major Wilson?" The voice of the dispatcher over the speaker in his
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helmet interrupts Graham's daydreams of ancient sailing vessels.
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Graham replies once the microphone in his helmet is open to transmit.
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"Yes, Trevor, I'm here; what's the problem?"
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"Sir, we are looking at fifty-nine minutes until night phase, and you have
|
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a long drive back. It's going to get cold out there. Last night it got down
|
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to minus one hundred and fifty-three celsius; the temperature could dip even
|
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lower tonight. Some of the equipment you are hauling can't take the cold as
|
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well as your environmental suit. Control encouraged me to..."
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"Control," Graham states breaking into Trevor's dialogue, "wants you to
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talk me into hurrying back to the Base before their equipment freezes solid.
|
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It figures that they are worried more about the condition of the equipment;
|
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nobody down there gives a darn about the people that drag this stuff around
|
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thousands of square miles of charred sulfur and silt traps."
|
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|
|
"Yes sir, but you know they don't like it when you, I mean, anyone stays
|
|
out on the surface alone."
|
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|
"Fine, I'll finish up here and be on my way soon. Trevor, please don't
|
|
forget to tell Control not to worry about me; I'll be fine, Wilson out."
|
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|
|
"Trevor, I mean, Base M-32 out."
|
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|
|
In slow, jerky motions which he never feels accustomed to, Graham packs
|
|
up the remaining measuring devices, meters and equipment. Graham's body mass
|
|
requires the same amount of effort to move about as it does on Earth, even
|
|
though he currently weighs only forty percent of his earth-weight, which can
|
|
lead to some very awkward moments. Graham brushes off the dust after climbing
|
|
into the large, open four-wheel drive transport that is very similar to his
|
|
own dune-buggy. Reminded of the beaches at home, Graham wonders how the
|
|
martian sand would feel between his toes.
|
|
|
|
That, however, is impossible. This hauntingly elegant landscape does not
|
|
allow for the type of indulgences Graham enjoys. In the daylight, the surface
|
|
is an impressionistic finger painting in vibrant shades of red, black, orange
|
|
and brown; mammoth shield volcanos envelope the horizon; the view is breath-
|
|
taking. Lacking much of an atmosphere the temperature plummets after sunset
|
|
from a balmy minus ten to overnight lows in the negative one hundred and sixty
|
|
degree range. With deep shadows to hide large boulders or ravines, Mars is
|
|
left a cold, dark, dangerous, nightmare of a world.
|
|
|
|
Starting up his vehicle, Major Wilson heads for Base as the sun begins to
|
|
set. Like a large luminescent coin disappearing into a child's piggy bank, the
|
|
sun falls slowly behind the mountains, lacking the multi-colored spectacle of
|
|
an Earth sunset. Even with the starkness of the scenery, it irritates Graham
|
|
that this planet is considered no more than a rock that will be raped of every
|
|
mineral of value. Graham releases a deep sigh; "This has to stop," He said
|
|
talking to himself; "I'm really getting depressed. What I need is a vacation
|
|
or, at the very least, a diversion from all of this." The switch quickly opens
|
|
Graham's microphone once again.
|
|
|
|
"M-32, are you on line?" Graham called, "Trevor, are you still there?"
|
|
|
|
"Yes sir," Trevor responds.
|
|
|
|
"I need some traveling music, and this blasted buggy doesn't have a decent stereo."
|
|
|
|
"But sir," Trevor protested, "it's against regulations, and we got into
|
|
deep trouble the last time I did that for you."
|
|
|
|
"Control deprived me of my few precious moments of solitude. the least
|
|
they can do is allow me some tunes to tool on home by. So come on, Trevor,"
|
|
Graham said sternly; "You know what I want, and I live much closer to you than
|
|
those number crunchers down at Control, so please, just do it."
|
|
|
|
As the shadows cast by the cart lengthen into distorted, dark shapes that
|
|
sweep over the ground, Graham's head begins to bob up and down inside his
|
|
fish-bowl helmet with the first sweet notes of his favorite tune. With the
|
|
"pedal to the metal," Graham drives into the sunset with the music soothing the
|
|
realities of today by reviving memories of yesterday. "Let's go surfin' now,
|
|
everybody's learning how, come on and safari with me..."
|
|
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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R U S H
|
|
By Daniel Frederick
|
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|
|
It was getting closer. With every second that slowly passed it was
|
|
getting closer. This was nothing like I had wanted. All I could do was
|
|
scream. My legs wouldn't even move anymore. They were solid lead and my
|
|
body was still attached to each leg, my own fleshy ones gone.
|
|
|
|
A demonic dark shape only some forty feet away was approaching me in slow
|
|
motion. What ever had happened to my legs was nothing compared to lying on top
|
|
of all these spiders. Thousands of them crawling on me, even into my mouth.
|
|
I could feel each of their millions of legs as they danced over my bare body.
|
|
|
|
Now that shape was in my vision, and I could see that it too was a large
|
|
hideous spider. It was almost upon me. I tried to crawl with my arms, but
|
|
they wouldn't move either because of the amount of poison the spiders had
|
|
stung me with. It seemed all I could do now was lay frozen by poison and
|
|
fear in this spider hell.
|
|
|
|
My eyes were unable to close from the sight of tiny legs on my eyelids.
|
|
My vision was slowly darkening and I thanked the supposed gods that my family
|
|
had always praised. Take me away from here. Life was closing in on me, and
|
|
I no longer cared that I was dying or that thousands of legs crawled over me
|
|
looking for anywhere to bite or walk.
|
|
|
|
It was a feeding frenzy from hell. It was almost over and I sat back
|
|
content to die. My will was gone and my mind wandering.
|
|
I had forgotten the looming shape.
|
|
I was almost gone when I suddenly became all too aware of it again.
|
|
Why couldn't I have died now that I was so close to peace. I was in
|
|
its grip, my body slowly swaying and dead. Seeing it clearly now, I saw
|
|
its thousands of eyes staring hungrily at me. Its hairy long legs held me
|
|
up to its mouth pincers. Death awaited me.
|
|
|
|
WAIT, MY GUN. If I could reach it. My arms--I needed to move them.
|
|
I had to. Scared out of my mind in this insane hell, I became horribly mad.
|
|
It couldn't do this to me. It was going to kill me. I pulled for the .48,
|
|
jabbed its muzzle under those staring eyes, and pulled the trigger.
|
|
|
|
It hurt. My fingers could hardly move, but even with impaired vision
|
|
I knew I had not missed. I could see and hear its horrible cry through my
|
|
eyelids and the tiny legs as it threw me back violently. As I fell, the .48
|
|
fell from my limp fingers. The blast of the gun and howl of the spider rang
|
|
in my ears like a grenade going off in an empty room. The queasy sensation of
|
|
spiders in my stomach and mouth gagged me. I could no longer breathe and my
|
|
eyes were bugging painfully out of my head. Agony! Somehow I was screaming.
|
|
How? Screaming and gagging and crying.
|
|
Then . . . God I'm sorry I had nothing left.
|
|
|
|
--- --- ---
|
|
|
|
Immediately after their partner was shot, Officers Jonson and Rean made
|
|
it to him. They had been only fifteen feet away from him. Only fifteen feet
|
|
away from helping him. Now Driscoll was dead. Another good cop dead from
|
|
another drug using scum.
|
|
|
|
The damn high was more important to them then even life. Their life or
|
|
anyone else's life killed by drug scum. "Ahhh, the ultimate rush to death."
|
|
I hope he enjoyed it, the damn scum.
|
|
Well there is nothing left to do now but dispose of them both.
|
|
"God, I hate the smell of dead spider, but I suppose we all smell this way
|
|
when dead," Jonson remarked as he kicked the scum with five of his six legs.
|
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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|
Eye Opener
|
|
By Russell Hutchison
|
|
|
|
The dark cloak of sleep was pulled slowly away from Eric's eyes and mind.
|
|
He knew something was happening, something important, but he felt as if he was
|
|
trying to think through a black gauze bandage. The young boy opened one of
|
|
his eyes, his half-gaze fell upon a small, dark, hunched shape, with multiple,
|
|
blazing red eyes, squatting well within his arms reach. Panic started to build
|
|
in Eric's chest with a warm pressure and a heady, almost fuzzy feeling gripped
|
|
his still groggy mind as adrenaline kick started his thoughts. At the same
|
|
time the creature's unseen jaws snapped shut. Eric hardly noticed that he
|
|
screamed as he slammed his back into the wall behind his bed, trying, by force
|
|
of will, to merge with the wall or grind a path to safety through it with his
|
|
shoulder blades. The creature, which seemed to be smaller than a toaster,
|
|
didn't even flinch. Eric's vision finally cleared and in the weak moonlight
|
|
he found himself staring at the glowing face of his new digital clock.
|
|
He stared at it a while longer while his breathing returned to normal and
|
|
his hands began to shake slightly.
|
|
The sound of foot steps approaching his closed door and his mother's
|
|
voice calling his name helped to calm him down. The door was pushed open
|
|
and the vague shape of his mother's head poked through the dark rupture.
|
|
"Eric, honey, are you alright?"
|
|
Eric could hear the worry in his mother's voice and the sound of
|
|
her hand sliding across the wall, vainly searching for the light switch.
|
|
He closed his eyes, waiting for his vision to become red.
|
|
"I'm fine, mom." Eric heard the heavy, ponderous footsteps of his
|
|
barrel-chested father coming closer. "I had a bad dream, and the clock
|
|
scared me."
|
|
"We heard you scream," his mom said. There was a sharp click and the
|
|
insides of Eric's eyes glowed red.
|
|
"Yeah, I thought the clock was a monster, it scared me."
|
|
"Awful short monster," said his father from the hall. His balding head
|
|
visible in the light spilling over the mother's shoulder into the hall.
|
|
"I don't think you have anything to worry about, son." A yawn
|
|
contorted his face into the visage of a man in pain. "Good night, pup."
|
|
The father disappeared from view.
|
|
"Good night, dad."
|
|
"Good night, Eric. Get some sleep, you have school tomorrow."
|
|
"Yes, mom. I love you."
|
|
Eric looked back at the clock, making sure that it was really a clock.
|
|
A small tag was taped to the clock. It read: "Happy eleventh birthday!
|
|
Love ya bro', Mike." There was a click and the room was draped in darkness
|
|
once again. Only the glowing numbers on the clock were visible as his eyes
|
|
adjusted back to the moonlight. Eric watched the time change from 1:10 A.M.
|
|
to 1:11, and his night vision had almost completely returned.
|
|
But the horror, when, in the crystalline silence left in the wake of
|
|
his parent's departure, the sound of the monster's jaws snapping shut sounded
|
|
from the far side of the room. Eric tore his gaze from the glowing machine
|
|
and tried, fruitlessly, to spot the creature. But the moonlight pooling on
|
|
the floor made the section of the room between the window and the light as
|
|
black as pitch. Young Eric was about to call to his parents again when the
|
|
sound happened again. But this time he knew the source.
|
|
Someone was bouncing pebbles off his window.
|
|
Eric hopped out of bed and walked quietly to the window. Pressing his
|
|
face against the cool, clear glass he saw his best friend, Paul, waving to
|
|
him from the ground, one floor down. Wasting no time, Eric put on warm
|
|
clothes that were warm and dark in color. He then slipped out his bedroom
|
|
door and took his usual path, the one where he knew all the squeaky floor-
|
|
boards to the front door. He checked to make sure he had the key in his
|
|
pocket before he closed the door. While he did this Paul had come around
|
|
the corner of the house, moving in the shadows around the base of the house.
|
|
The two boys held their greetings until after the door was closed and they
|
|
had safely crossed the street into a greenbelt between the neighbor's yards.
|
|
Eric slapped Paul on his shoulder, "You dork, you scared the hell out
|
|
of me! I thought Mike's clock was a monster ... for a second."
|
|
"It's good to see you, too. I sneak out of my house, risk getting
|
|
grounded for life by seeing you, all just to say happy birthday, and you
|
|
slap me because your rapist brother's clock scares you. Gawd, what a jerk!"
|
|
Paul, with arms akimbo, fixes Eric with a gaze of mock hurt.
|
|
"I'm sorry about hitting you, but I was scared ... and don't talk like
|
|
my brother is bad. He's my family ... even if he was guilty. And how can
|
|
you say bad stuff about him when he used to play with us both all the time?"
|
|
"I guess my mom is rubbing off on me. She still forbids me to see you.
|
|
I guess she thinks that you'll turn out bad too, and you'll pull me down with
|
|
you. She says that you only care about him because you've never known a
|
|
female who was raped."
|
|
"Bull, I know what I feel! Your mom is full of it!"
|
|
"Who cares anyway? I just want to go stealthin'. We haven't done that
|
|
since Mike's trial."
|
|
"Yeah, lets go. I ... I need to be moving or something."
|
|
The two boys started to play their game of stealthin', and after twenty
|
|
minutes of dodging and hiding from cars and people Eric's humor returned.
|
|
But then, while they were hiding in a bush, the faint sound of Paul's mom
|
|
calling his name drifted to their silent hiding place.
|
|
"Oh no! I gotta go! I'll see you later, Eric," Paul jumped up from
|
|
behind the bush, startling a group of college kids who were heading home
|
|
from last call.
|
|
"Take care!" whispered Eric, but Paul was long gone.
|
|
When the students had passed he stood up and decided that it would be
|
|
best to go home. He began to sneak his way from bush to bush, and car to
|
|
car. He only had a few blocks to go and was cutting through a greenbelt
|
|
when he noticed the dark shape of someone walking into the other end. The
|
|
person was stumbling around, drunk, and since he was already hidden, Eric
|
|
thought that he would stay behind a bush and wait until the person was gone.
|
|
As the dark figure got closer he could tell it was a woman. Then, a large
|
|
figure burst from the bushes, followed by two more. The first shadow tackled
|
|
the woman with a shoulder in the small of her back. Eric heard the breath
|
|
burst from her lungs as she hit the ground. Then the other two shadows
|
|
swarmed over her. He watched as they cursed at her, wrapping their hands
|
|
around her throat, hit her, tore her clothes. All the time he could hear
|
|
the woman's sobs, labored breathing, and choked off pleas to be released.
|
|
Eric was shaking, he knew he had to do something. Everything was so
|
|
terrible that he felt like he was watching T.V. Then it occurred to him
|
|
that, if it was T.V. then he couldn't get hurt. All he would have to do
|
|
is yell or something, then the shadows would leave. Slowly he stepped
|
|
around the side of the bush. The dark pile of people was making strange
|
|
noises and saying words that only older kids used before they fought.
|
|
Eric tried to yell but he couldn't while looking at the writhing pile.
|
|
He looked up and tried to keep away the sounds by covering his ears.
|
|
"Go away," he said, in a voice barely louder than a whisper.
|
|
"GO AWAY!" his shriek tore the muffled comments of the shadows into
|
|
silence.
|
|
"GO AWAY!" He yelled again. Eric was starting to feel panic, like he
|
|
was watching the dark monster again, but this time it was moving. This time
|
|
it was saying words, words that he couldn't understand. They were quiet,
|
|
deep in tone and spoken quickly. It's voice was like a hypnotic spell that
|
|
was placing the black gauze back around his mind. Then a small whimper, from
|
|
a female voice, escaped from under the monster. The spell was broken and
|
|
Eric inhaled to scream again. But the monster struck and the world flashed
|
|
bright as the sun, then faded to darkness.
|
|
When he woke it was still dark. There was no sign of the monster or
|
|
the woman, except for a piece of clothing or two. Eric couldn't see out of
|
|
one eye and his face ached with heat and pain. He ran the rest of the way
|
|
home, racing through the neighborhood like something was chasing him. He
|
|
threw open his door and rushed through his house. As he ran, a long yell
|
|
began to leave his throat. He shoved open his door, slamming it into the
|
|
wall. In three steps he was on top of the monster squatting by his bed.
|
|
He grasped it by the tail and whipped it against the nightstand over and
|
|
over, screaming.
|
|
"I HATE YOU, I HATE YOU..." finally the monster shattered in his grasp.
|
|
Eric dropped to the ground and began to cry. The world flared white and a
|
|
pair of arms grabbed his shoulders. It was his mother.
|
|
"What's wrong, what are you doing?!"
|
|
Eric looked down at his hand, where an electrical cord was clenched
|
|
instead of a tail. A tag reading: "Happy eleventh birthday! Love ya bro',
|
|
Mike" lay in the wreckage of the clock.
|
|
"I never want to see Mike again," Eric whispered. "He's a monster."
|
|
"What happened to your face?"
|
|
"The Monster bit me."
|
|
|
|
BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
|
|
|
|
|
|
The Man in the Ice
|
|
|
|
by Mark T. McMeans
|
|
|
|
The man in the ice occupied a small vacant corner of the bus station.
|
|
It was night and the station empty, unusual for the summer season. No one
|
|
had heard him that day, and in typical fashion he had drifted off to dream-
|
|
less sleep.
|
|
He awoke to the sound of someone nearby. Looking up, he saw a stunning
|
|
young lady kneeling at a newspaper rack just a few yards away. "Hello, who
|
|
are you?" he said.
|
|
She perked up as if she had caught a strange smell, and looked around
|
|
giving him a better view.
|
|
"You are beautiful!" he said with awe.
|
|
She turned. "Who's there?"
|
|
The man wasn't sure what he was seeing was true. "You hear me?" he asked
|
|
wonderingly.
|
|
"Yes. So unless you're gonna' mug me, come on out."
|
|
"I wish it were that easy," he answered. "But see for yourself. I'm over
|
|
here in the corner."
|
|
Squinting, she peered in his direction. "Oh no! Not another man on ice!"
|
|
she exclaimed. "This must be my lucky day," she mumbled walking away.
|
|
No, wait!" he yelled. "You're the only one that can free me!"
|
|
"Why's that?" she asked, turning.
|
|
"Because you heard me. For two god-forsaken years, I've stood here, calling
|
|
and no one has ever heard me. But, today, you came along, and, and we can
|
|
communicate. You must be my answer!"
|
|
She was curious, but her face revealed skepticism.
|
|
"What are you doing here?" she asked, after a pensive pause.
|
|
"I came here to get a ticket out of town," he said, "but before I could
|
|
board the bus, I found myself trapped in this ice."
|
|
She regarded him with raised brows, one hand stroking her chin.
|
|
"What were you leaving town for?" she asked.
|
|
He paused. He knew the answer, but he wasn't sure he wanted to share it
|
|
with this lady. For some reason she made him nervous. And yet, he had to be
|
|
free.
|
|
"To get away," he said. "The time had come for me to be a man, to grow
|
|
up, but I couldn't do it. I ran."
|
|
"From what?"
|
|
"My past," he laughed, a sad sound. "And my future." As he spoke, his
|
|
face grew somber. "I never felt important as a child, a gift from parents too
|
|
busy keeping up with the Jones, I suppose. When I came of age, the only thing
|
|
I had a hold on was my insecurity. I was afraid, didn't think I could control
|
|
my life. There I was, ready to step out on my own, all of that indiscernible
|
|
frontier of life before me, and all I had to do was leave my past behind and
|
|
become a man."
|
|
He took a deep breath, gritting his teeth.
|
|
"Only when that time came, I couldn't do it. I ran. And here you see me,
|
|
frozen."
|
|
"That's very sad." The way she said it, he found it hard to believe that
|
|
she meant it.
|
|
"But not now!" he exclaimed. "You've come, and you're the one who can
|
|
free me!"
|
|
"Boy, you're just full of lines, aren't you."
|
|
"No, I mean it," he said trying to keep the desperation from his voice.
|
|
"Everyday, hundreds of people come walking by here. They buy their tickets,
|
|
board their buses, and live their lives. Sometimes they glance at me, but
|
|
it's like they can't see me, or see me through a veil, like I'm not completely
|
|
real to them, just a shadow. So they move on. I try to call them, and sometimes
|
|
scream 'till I think I'll explode, but no one ever hears.
|
|
"Then the seasons change," he continued. "Summer drifts into fall, and
|
|
winter on its heels. The people lessen each day; the cold is too much for
|
|
them. Those are the loneliest months. The only people I would see, then,
|
|
are the occasional young lovers come to steal a moments privacy late in the
|
|
night.
|
|
"But now you've come, and you heard me and see me. I'm sure if you just
|
|
try, you can save me. You're the one."
|
|
"Hmmm..." she said, thoughtfully. "In spite of that, I can't help you."
|
|
His heart dropped. "Why not?"
|
|
"Because even though I may be the one, that doesn't mean you are. The
|
|
last thing I need is a frozen man."
|
|
Her words slapped his face. "What?"
|
|
"You don't think you will thaw out overnight, do you?"
|
|
Her question caught him off guard.
|
|
"Believe me, you won't. I've seen this before, and it takes time to get
|
|
back on your feet."
|
|
"But you can't just leave me here!"
|
|
"I won't. I'm gonna' board my bus. If you stay, that's you're choice."
|
|
She turned to walk away. Before he could call out to her, she turned back.
|
|
"You see, I had a rough childhood, as well. My father was very demanding.
|
|
I'd even say jealous. He wanted me always to be his little girl, and didn't
|
|
want to share me with anyone else. I lived a life of closed doors and high
|
|
fences. When my time came, I chose to live differently. I promised myself
|
|
I would never be contained by anyone again."
|
|
She looked straight at him, her deep blue eyes piercing his. "That's why
|
|
I don't have time for you."
|
|
There was a long pause.
|
|
"I don't know what to say," he muttered, ashamed. It was true, he had no
|
|
right to make her his hero. He knew whose fault his being there was.
|
|
"I'm sorry for bothering you," he managed finally. "It was nice speaking
|
|
with you."
|
|
"I'm sure," she said. She cocked her head sideways and looked at him
|
|
again. "It must be tough going through life looking for someone to rescue
|
|
you."
|
|
"You don't know the half of it," he answered shaking his head.
|
|
"You never told me your name."
|
|
"My name?" He hated this. "I don't have one; I haven't earned it yet."
|
|
"You are Unnamed? That explains it all."
|
|
It was a great impropriety to ask of another while without, but he had to
|
|
know who she really was.
|
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"Wh- what do they call you?"
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"Amanda," she answered, nonplussed by his impertinence. "It means 'lead
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into gold'." She looked at him then with more compassion than he thought her
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capable of. Then, wishing him good day, she turned and walked away.
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As he watched her leave, he felt the chill of the ice next to his skin.
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But inside, he felt a warmth, growing, like a rain of hot tears. He smiled.
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The water dripping from him had already formed a small puddle at his feet.
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Copyright (c) 1993 by Mark T McMeans
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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PROFIT MARGIN
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By Steven Peterson
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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
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last 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
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the Old Marcy, the girl he could manipulate. It had been years, but Ron
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still remembered the soft tenderness of his old conquest. Her quiet ease
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with numbers, with so-called logic, had changed everything. At first, that
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skill had made her valuable (Ron hated math); ultimately, it gave her the
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upper hand. Carlson was looking to promote her right out of the building;
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West Coast 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
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web pattern around the terminal, a blinking cursor ready to reveal the frozen
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figures of a month's work.
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--Ron. I'm glad you're here early. I've been meaning to talk to you,
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I haven't seen you logged on much lately. Come on, old man, everybody's got
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to be part of the team. Let's face it ... nobody, not even you, can make sense
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out of that pile of dead trees on your desk. HQ wants it all digital, and if
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you can't get it online, Ron, you're going to be history.
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--Right, Carlson. All the ram in the world can't give you my contacts,
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my reputation. Twenty-five year's worth. Look, kid, HQ doesn't want me
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swingin' over to the other side, so save your empty threats.
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The other agents began to filter in. The monthly meetings had changed.
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All the ladies who used to remain safely behind their Selectrics had arrived,
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invading Ron's old domain and threatening his margin with their aggressive
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forays into his territory.
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Carlson's monitor beeped and he began:
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--Good to see everybody. I've been watching, and I'm pleased to say
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that most of you have posted good numbers. Most of you even found the new
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form. Keep using it for now, I'll post an updated version after the spring
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season. As you all know, the secretarial pool will only be available on a
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limited basis from now on. So get used to those keyboards, men. These ladies
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are too valuable on the lines; they're not going to correct your grammar
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forever. Speaking of ladies ... congratulations Marcy, you win the bonus
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for this month: Marcy posted the best numbers, part or full time.
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--Thanks, Mr. Carlson. Our product sells itself, really.
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Carlson beamed, his latest convert shining brightly.
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--Mr. Carlson, I want you to know, I didn't make it happen on my own.
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Ron laid the groundwork in that area ... and your form kept me on track.
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Ron glanced at Marcy, then down at the floor. Carlson tapped a few keys,
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grabbed his mouse, and started clicking away. In a moment, he found what he
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wanted and swiveled the monitor around. On the screen, a chart listed the
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active areas and the numbers for last month, last year, and the averages for
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the last ten years. Ron noticed his territory was now called C-12:
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--Carlson, them old numbers are a lie. The law of averages don't
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obey you or anyone else. You can't expect us to maintain a quota based
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on a different time, a different world.
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--Ron, I hear you. Those numbers are for me. Do your best to hit the
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target. We need you on the team; don't worry about it.
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--Then stop breathing down my neck for those damn forms. I'll do
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my job ... the way I've been doing it for the last twenty-five years.
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--Relax, Ron. The machine is just another tool. And since we're all
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using it, the least you could do is try and join the rest of the world.
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Marcy tried to shrink into the background. Open conflict still made her
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nervous, and she thought Ron was making a fool of himself; a dinosaur stomping
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in the tar. She couldn't help feeling a little sorry for the old man, he had
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shown her so much.
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--Look, Ron, I don't care how much coffee you dump on your keyboard,
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that unit stays in your office. Get used to it. And just so you know,
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I drafted Marcy's transfer orders to San Jose this morning ... she won't
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be replaced. Starting next month, you fly on your own, buddy.
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Ron looked stricken as the news sank in. Marcy nervously shook the glad-
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hands and avoided looking at Ron. Her old hero was on his way down, and she
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felt a twinge of guilt. After all, she had done more than her share to bring
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the master dbase online. But, then again, Ron had used her, in many ways.
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Marcy steeled herself and leveled a gaze at Ron:
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--Thanks, Ron. For everything. I know you'll be O.K., you don't need me.
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--Well, I guess that's that, Marcy. Good luck.
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* * *
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The spring campaign was winding down, and Ron was alone in his office.
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His numbers were terrible, and he was stuck in some directory. No coffee,
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no Marcy, and no more mousing around.
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Ron flicked the switch on his power-strip, and grabbed a pen and his
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trusty legal pad. He slapped the keyboard on top of his monitor, cleared a
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space on his desk, and began dialing in a last-ditch effort:
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--Ralph, old boy, it's Ron. Can we talk? I know you've been buying from
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SunStar lately, but I need a favor. I need to move some product, and I'm ready
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to call a few in.
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--Ron, you sound desperate ... and I wish I could help, but things just
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ain't the same. Schumann would have a cow if I made someone reprogram the
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invoice code.
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--Invoice Code! Christ, Ralph, did you just say Invoice Code? Don't
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tell me they've gotten to you, too. What the hell is the point, anyway?
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--Beats me, Ron. Twenty years ago, they told us to send our kids to MIT.
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Now, them kids are runnin' us through the better mousetrap. Go figure ...
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--Yeah, don't I know it. See you at the club tonight?
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--Not tonight, Ron. Gotta go.
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Ron hung up and tried another number:
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--Hello, John Farris, please.
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--I'm sorry, Mr. Farris no longer works here. Would you care to speak
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to another member of our staff?
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--No. What happened to Farris?
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--He retired last month, I think. If you're interested, I could connect
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you to his replacement, Mr., ah, what did you say your name was ...
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--Forget it.
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Ron placed the headset on his shoulder and lit another Camel. After
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brooding for a moment, he got up to make some real coffee, none of that
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sweet stuff. There was a new girl at Marcy's old desk; she pointedly ignored
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Ron as he measured the grounds and water. Her monitor beeped, and she clicked
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to attention. E-mail from Carlson Central, no doubt.
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While he waited for his java to brew, Ron tried to make small talk:
|
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--How goes the battle?
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--Excuse me, did you say something?
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--Yeah, how goes it? If you'd like some good numbers, let me know ...
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I can dig some out.
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--No, that's O.K., Mr. Carlson has me working from the updated list.
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Thanks, anyway.
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She turned back to her screen, oblivious to Ron's lurking presence.
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She was young, as Marcy had once been. But this one was untouchable, as
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alien to Ron as the Inventory Code.
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* * *
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May 15th, the end of the spring season. It was a bright, cool day and
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Ron was spiking his coffee with some very old brandy. He fixed his gaze on
|
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the blinking cursor and raised his mug:
|
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--A toast ... to progress, march on.
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Carlson was on his way down; the machine had crunched all of his
|
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numbers, and Ron's time was up. On his pad, in longhand, Ron had prepared
|
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his resignation. Why not. It was over: the boys were deep down in Florida,
|
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the kids owned it all now. Ron picked up his old rolodex, leaned back in his
|
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chair, and began plucking cards from the spindle. One by one, he flipped them
|
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into the trashcan, a vacant smile on his face.
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Copyright (c) 1994 by Steven Peterson
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BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4*BESTOF93/4
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--------------------------------------------------------------------------------
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BACK ISSUES: Back Issues of ICS can be FTPed from ETEXT.ARCHIVE.UMICH.EDU
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