Life as an Extreme Sport

treated like a grad student

I sat down with Phillip this afternoon to go over my reality television paper. We got into a rather loud, 30 minute argument over the paper and the directions I took, with it culminating in my admitting that I ended with the conclusion I did because I’d run out of time and couldn’t think of anything else. Thankfully, the rather loud argument was fun, energetic, and full of compliments – just what I’ve envisioned a feedback session on a paper should be like. He also flattered me by saying he was giving me the treatment he would any graduate student, and that he truly loves my writing style.

I still really like the paper, and am happy and excited to take a crack at serious rewriting. I’ve never done that before, and this seems like a good opportunity. We also went over my other abstracts; much to my delight, I appear to have a knack for writing them, and he liked both very much. I’m waiting for the final approval of the second, and then I shall submit. I also found several other conferences I would be very interested in presenting at, including:

IMAGINING THE FUTURE: UTOPIA, DYSTOPIA AND SCIENCE FICTION
6-7 December 2005

Centre for Comparative Literature and Cultural Studies
Monash University, Clayton Campus
Melbourne, Australia

I’d love to go to Oz! …this life, academia, is definitely for me. Can you imagine me doing anything else? Me neither.

Take Two: Utopian Abstract : Proposal

After throwing together a second proposal on the way out the door, I met with Phillip, and surprise, surprise, he liked this second one better. I’m seriously not surprised, for two reasons. One, I had more time to think, so although it didn’t take me long to write, I had a lot of thinking time. Two, I could tell what the flaw in the first proposal was the first time I read it, and this abstract fixes it, quite solidly.

“Science Fiction as the Reflection of a Dystopic Present”

A common perception of science fiction is that it functions as cautionary warning tale of potential dystopic futures. If we are too reliant on computers, they will take over and use us as batteries, if we continue to tamper with biotechnology, a new mutant race will develop, or a plague will be released on the world. A closer look at major shifts in plots and themes indicates something else: the stories are less reflective of the future and more relevant to current dangers. For example, when Philip K. Dick writes The Simulacra, he is reflecting the current trend towards time-shared computing, the miniaturization of technology, and the disembodied ARPAnet. In the 1980s, William Gibson writes Neuromancer at the same time Apple and Microsoft ship the Macintosh and Windows, and personal networking allows computers to go virtual. These authors are not portraying a dystopic, distant future, they’re writing about the present, presenting a dystopic mirror to the promise of new technology.

This paper will use the work of Niklas Luhmann, Maturana and Varela, Katherine Hayles and others to show how cultural resonance influences technological inventions at the same time it inspires science fiction authors. It is not coincidence that major and influential works of science fiction occur at the same time as these technological advances. Science fiction novels are a reflection of our fears, not of the dystopic future, but the dystopic present, technology, and how it impacts our humanity.

Utopian Abstract : Proposal

“Science Fiction as the Reflection of a Dystopic Present”

In the early 20th century, Henry Ford perfected the production industry by developing a highly specific and efficient assembly line; while many people loved the assembly line there was also concern about the replacibility of each person on that line. In the middle of the century, technology shrank mainframes and inspired the idea of time-sharing; this idea of distributed computing time, combined with a fear of nuclear war wiping out standard methods of communication brought us the Internet. At the end of the century, the power of networking allowed distributed systems, moving computers to the realm of the virtual.

In each of these eras we find that science fiction does not, as commonly believed, predict dystopic futures. It actually reflects and resonates fear of current technology and what it means to be human. The fear of being turned into a cog in the machine can be seen in Fritz Lang’s dystopian movie Metropolis, and continues to resonate in the works of numerous science fiction authors. With The Simulacra, Phillip K. Dick moves postmodern science fiction away from the idea of the automaton replacing humans and towards a disembodied computer that augments, and often begins to control, humans. William Gibson brings us Neuromancer, which re-embodies the virtual. Utilizing the work of Maturana and Varela, Niklas Luhmann, Katherine Hayles and others, this paper explores the idea that science fiction does not represent the potential for dystopic futures but instead reflects our fear current technology and how it impacts our humanity.

abstract : proposal

Trust. It’s a daily requirement. We trust our milk won’t be contaminated, that our cereal will just contain cereal, that the mailman will actually deliver our checks, that the person we opt to confide in over lunch won’t laugh, that our advisers have our best interests at heart. We know the laws that require milk to be pasteurized, and our food to be inspected for and created in safety, it’s our trust in people that bears particular fascination for me. Laws, although useful for setting up social contracts, cannot dictate things as minute as trust in an individual. Yet everywhere a human turns in the web of human activities, he touches upon solicitations to trust – trust is everywhere. So why do we do it, and how do we do it? How do we decide who we will trust? This project will explore these questions of forming and reforming trust, of deciding to trust, of what happens when that trust is broken, and of trusting again.
The initial phase of this project will be research into trust and trust formation, looking into how and why we form trust, what we do when trust is broken, and then circling back to how and why we form trust after we know it can be impermanent, and can hurt. Accompanying this essay will be a photography exhibit detailing a personal journey through trust, utilizing black and white photography, several models, and a grey sweater once owned by my ex-husband.

wish for what you want, work for what you need

She lay in the shower, warm water lapping around her half-reclined body, engrossed in a book whose characters resonated. The strong silent one who had lost nothing yet was afraid of losing everything, the ones who had lost, and instead of retreating into shells they expanded and lived with a passion and vengence unsurpassed, and the one who had so much anger and hurt bottled up inside, all she could do was throw rocks at windows and run. Lost love, lost innocence, loss of lives – and tears slowly trickle down her face. She finishes the book, and sits up straighter, reaching for the razor blade to sheer the hair off her legs. She laughs at her silliness, laughs at her ability to empathize with and cry for fictional characters.

And the laugh catches in her throat, and as the pulls the razor up her legs it morphs into a loud, wracking sob. Before she realizes it, she’s crying with fury and rage, sliding the razor vigorously up and down her legs, determined to shave away all the layers of hurt, of touch, of pain. She shaves higher and higher, over the sensitive and swollen knees and up the thighs, tears running faster and harder. She shaves over the deep wounds given to her by the cat that was a parting gift, the cat that she’d been allowed to rescue, to adopt, because he knew he was leaving and he simply didn’t care about living with another feline for a few more months, because he had that out, that leaving. She shaves with vigor over the incision that removed a toxic bone growth from her body, that had incapacitated her, to his disgust and frustration. She shaved over the curves he loved, that she always kept so soft for his touch, and prayed the razor would catch and rip and make bloody, but it didn’t. And she cried.

Oh, how she cried. The parting-gift cat came and mewled at her in concern, leaving over the bathtub and sniffing at her lips, licking at her tears. A black shadow of a cat slid into the bathroom, perched on the sink and simply stared while she continued to sob. She touched her forehead to the cat licking her tears and whispered. She whispered about long nights in buses, with conversations that didn’t have the oh-so-stereotypical rah-rah of “you can do it” but instead the inquisitive “why aren’t you doing it?” His simple bafflement at meeting someone who had dreams and was poised to step but hadn’t. No encouragement, but curiousity. And of all the times he never felt encouragement was necessary, because of course she could do it, but that questions were, because questions teased out the details and laid out the path. Of the simple, strong faith, never doubting and always so sure. And how one day it was just yanked away, with no explanation, no questions, nothing. Just gone, as if somehow she was no longer worthy of that simple, strong faith. She had done something wrong, but she didn’t know what, and now she was adrift in a sea of well-meaning without any land in sight.

She slipped back in the tub so she could reach under her arms, to shave away the scent that was so strong an aphrodesiac, to make herself bare again so that she could emerge from the water, clean and new. And her tears shifted from pain and regret and confusion to loss, bitter loss. She realized that death was easier, because when someone dies there’s a reason they’ve been ripped so physically from your life, and you can work with it, integrate it. You didn’t do anything wrong.

She feels herself, smooth as silk, and realizes how different that is from her internal self of jagged sharp harshness. That physical ripping of husband and best friend has left edges that haven’t worn down, gaping red and raw wounds that have barely begun to heal. With a start, the tears turn back to laughter, hard and mocking, because she knows that if he saw her now, he would simply shake his head in disbelief and say he “didn’t understand why it was such a big deal, it never was to him, so how could it be to her?” Experience let her hear the words echo in her head.

Laughter gives way to hiccups, and with an abrupt jerk she yanks the stopper from the tub. The water swirls away gradually, and she alternates tears with hiccups until both subside and she’s sitting there, cold and damp, with two sets of cat eyes clouded with concern and confusion. She realizes slowly that she would never be a Jane Austen heroine like this, that she was embodying only the weak and negative traits of the girls of the sisterhood, and ever more slowly realized that traits are value neutral, and it’s all in how you use them.

She turns on the shower quickly, decisively, washing the final tears and red eyes away under a rain of water, meditating on how water has become so symbolically linked to rebirth.

As she dries herself off, resolve firming in her mind, she wonders why it is, whenever she talks about how she feels, she talks in third person.