All I'm saying is that if Carlton Cuse and Damon Lindelof read my books they would know how to write complex hypothetical narratives

All I'm saying is that if Carlton Cuse and Damon Lindelof read my books they would know how to write complex hypothetical narratives

It wasn’t until her bikini thong hit me in the face that I recognized her. It was the sophomore from Holy Cross College I’d interviewed yesterday who had said her deepest desire was to marry a mature gentleman who would see her not just as a piece of flesh but as the intelligent entrepreneur she planned to be. I didn’t recognize her up on that stripper pole on the beach amid all this Spring Break mayhem. She had complained it was difficult to land a good man with all these loose girls sending the wrong impression.
Following up on my last post about artistic depictions of human life post-progress, the gentle reader is directed for his edification to our colleague Alan Jacobs’s New Atlantis essay on the “Culture” novels of Iain M. Banks. The novels are plainly meant first and foremost to be compelling science fiction, and Banks openly describes their universe as a sort of utopia in which he would gladly live (“Good grief yes, heck, yeah, oh it’s my secular heaven”) — but even so, Jacobs indicates that the problems of utopian alienation still crop up in characters “who try to restore unpredictability and drama to their lives”:What I find fascinating about the anatomy of the Culture novels is the dissonance between Banks’s straightforward statements about the Culture and certain recurrent features of the stories he writes. Banks talks about how “nice” the Culture is, and yet we see hidden cruelties and open desires for universal domination. He clearly envisions the overcoming of scarcity as the signal achievement of the civilization made by the Minds, and yet he focuses time and again on objects of unfulfilled desire. He is aware that the very language of the Culture is a subtle but immensely powerful training in “correct” ideology.To some extent these oddities are ... the inevitable consequence of the decision to write novels about the Culture. It is not possible to come up with stories as such about people who are perfectly nice and can have everything they want instantly. But one might also say that people of whom no stories can be told are not really people in any sense recognizable to us; and the lives that they experience are not lives in any sense recognizable to us.

Seeking more intelligence, wisdom, and effectiveness, an indefinite lifespan, and the removal of political, cultural, biological, and psychological limits to self-actualization and self-realization. Perpetually overcoming constraints on our progress and possibilities.
We need to carefully deliberate how best to reduce risks and expedite beneficial applications. We also need forums where people can constructively discuss what should be done, and a social order where responsible decisions can be implemented.

How very odd it is ... that the very moment he arrives at the threshold of his new city, with all its hard-won relief from the sufferings of the past, happens to be the same moment that he runs out of meaning!... The American novel in past years has treated such themes as persons whose lives are blighted by social evils, or reformers who attack these evils.... But the hero of the postmodern novel is a man who has forgotten his bad memories and conquered his present ills and who finds himself in the victorious secular city. His only problem now is to keep from blowing his brains out.

My previous post on transhumanism and morality elicited a response from James Hughes, whose recent series of essays was my prompt. I thank Prof. Hughes for his response, although it seems to me to confirm more than not the main point of my original post.
I’m confident that Prof. Hughes understands that what we are calling for the sake of shorthand “Enlightenment values” did not present themselves as “historically situated” but as simply true. Speaking schematically and as briefly as possible, it took Hegel (no unambiguous fan of the Enlightenment) to historicize them, but he did so in a way that preserved the possibility of truth. It took Nietzsche’s radical historicism in effect to turn Hegel against himself, and in so doing to replace truth with willful, creative overcoming. That opens the door to postmodernism.
It looks like it is almost axiomatic to Prof. Hughes that all “truths” are historically situated and culturally relative, so in that postmodern manner he is rejecting “Enlightenment values” on their own terms. Nietzsche, shall we say, has eaten that cake. But why then “privilege” “Enlightenment values” at all? Prof. Hughes wants to keep the cake around to the extent it is useful to pursue a grand transformational project (a necessary one, according to at least some of his transhumanist brothers and sisters). But why (assuming there is a choice) pursue transhumanism at all as a grand project, or why prefer one version over another? To this question Prof. Hughes’s axiom allows no rational answer (“Reason,” he writes, “is a good tool but ... our values and moral codes are not grounded in Reason”) although the silence is covered up by libertarian professions, the superficiality of which Prof. Hughes understands full well.
What Agnes Heller calls “reflective postmodernism” describes a response to the dilemma Prof. Hughes is facing that to my mind is not without problems, but at least seems intellectually respectable. Armed with Nietzsche’s paradoxical truth that there is no truth, the reflective postmodernist is alive to irony, open to being wrong and playful in outlook. But above all, the reflective postmodernist is an observer of the world, having abandoned entirely the modern propensity to pursue the kind of grand, “necessary,” transformational projects that made the twentieth century so terrible. Absent such abnegation, I don’t see how the postmodern-style adherence to “Enlightenment values” Prof. Hughes recommends for transhumanism can be anything more than anti-Enlightenment will to power.
We need to reassert our commitment to moral universalism and the political project of equality for all persons and institutions of global governance powerful enough to enforce world law and individual rights.... [But] we partisans of the Enlightenment cannot defend moral universalism by re‑asserting that rights are God‑given, natural, or self‑evident. We have to acknowledge that rights and moral status are social agreements, shifting daily with the balance of political forces seeking to limit and expand them. Moral universalism needs to be tempered with respect for diversity and, where meaningful, respect for individual consent and collective self‑determination. Our moral universalism needs to acknowledge the limits of our current perspective, the possibility that some of our universals may in fact be parochially human, and that our descendants may come up with better ethical and political models.



He proposed holding the 2008 Olympic Games in space.
Criswell first presented the concept at a meeting of the American Institute of Aeronautics and Astronautics; later, both Omni and the Smithsonian Institution’s Air & Space magazine ran stories about the scheme. [Note: Regis himself wrote the Omni article.] The idea was to build a two-mile-wide space station up in orbit, a structure big enough to hold ten thousand people.
Criswell had everything figured out: once around the ring would equal a ten-kilometer run; new zero-gravity sports events could be developed. He even invented a type of aircraft — a swing-wing space plane — that could get sports fans up there and back for the price of a typical ocean crossing....
Robert Helmick, president of the U.S. Olympic Committee, was actually quite impressed by the Olympics-in-Space concept. “It’s a fantastic idea, very creative,” he said. “The Olympic Games have a universal appeal throughout the world, and I think it would be great to hold them in space and for there to be some visible insignia up there that everyone could see.” [pages 287-88]
A 1956 article in Mechanix Illustrated asked scientists and engineers to propose redesigns of the human body. Among the offerings were:In order to understand fully what Man’s power over Nature, and therefore the power of some men over other men, really means, we must picture the race extended in time from the date of its emergence to that of its extinction. Each generation exercises power over its successors: and each, in so far as it modifies the environment bequeathed to it and rebels against tradition, resists and limits the power of its predecessors. This modifies the picture which is sometimes painted of a progressive emancipation from tradition and a progressive control of natural processes resulting in a continual increase of human power. In reality, of course, if any one age really attains, by eugenics and scientific education, the power to make its descendants what it pleases, all men who live after it are the patients of that power. They are weaker, not stronger: for though we may have put wonderful machines in their hands we have pre-ordained how they are to use them.
There neither is nor can be any simple increase of power on Man’s side. Each new power won by man is a power over man as well. Each advance leaves him weaker as well as stronger. In every victory, besides being the general who triumphs, he is also the prisoner who follows the triumphal car.

Because of the way human beings relate to narrative, we tend to identify with those characters we find appealing.... When everybody we seek to identify with for six hours a day [of TV watching] is pretty, it naturally becomes more important to us to be pretty, to be viewed as pretty. Because prettiness becomes a priority for us, the pretty people on TV become all the more attractive, a cycle which is obviously great for TV. But it’s less great for us civilians, who tend to own mirrors, and who also tend not to be anywhere near as pretty as the TV-images we want to identify with.... This very personal anxiety about our prettiness has become a national phenomenon with national consequences.... The boom in diet aids, health and fitness clubs, neighborhood tanning parlors, cosmetic surgery, anorexia, bulimia, steroid-use among boys, girls throwing acid at each other because one girl’s hair looks more like Farrah Fawcett’s than another ... are these supposed to be unrelated to each other? to the apotheosis of prettiness in a televisual culture?
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