William Gibson's Idoru is a novel thick with implications and extrapolations related to the oncoming and (present) age of electronic para-reality. Stylistically, it is far from perfect, but in theme it has a firm grasp on the concept of the simulacra as it mimics, masks and replaces reality.
Gibson's characters are rarely paintings of great depth. While I would strongly disagree with the assertion that they are archetypes cut out from a mold, I would still note that they are not particularly rich or personal. This probably derives from the author's style of writing which is the radical end of the spectrum of "showing, not telling," so that we are shown the characters' pasts, physical status, and present situations, and as readers we are to intuit the logical psychological conditions associated with those factors. Gibson has rich situations, not rich characters.
That's why I find it so strange that the New York Times Book Review wrote, "Chia is one of [Gibson's] most winning creations." I fail to understand the logic. It's as though, by making her young and in a strange situation, we're to develop an instant affinity for her. Now obviously, Gibson himself is not the one to decree that his characters are strong or weak. So it is not a flaw on the part of his writing when a reader attributes an archetype to one of his characters, but I would tend to think that, by design or simple lack of skill, Gibson writes his characters a little flat. (Which, in the context of a discussion of simulacra, makes it all the more amusingly ironic that book reviewers would attribute what they would call a "hidden" level to the quality of the writing not otherwise apparent.)
Another stylistic tool Gibson employed wa...
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...and eventually defines reality? It was a simply computer, just like Idoru was simply a novel. Yet the seashells in the make of that case serve to create a fantasy as readily and importantly as the words on paper serve to create a reality (and, paradoxically, the reality in which those seashells existed.) Simply because each is not real does not disrupt the validity of their creations, for if that were true, then the seashells would never have existed in the first place, even in our minds.
Gibson understands this closely, and Idoru does an excellent job of illustrating it. While not technically perfect, it is effective, and creates an image which is useful for us to learn from.
Works Cited and Consulted:
Gibson, William. Neuromancer. (Ace Books: New York 1984)
_____, Idoru. (Berkeley Books: New York 1996)
Idoru by william gibson is nothing less than an awe-insiring book for me. no other author that i have come across can inspire one to recreate visions of reality at the turn of every page. Gibsons books are all compelling; neuromancer (1984) needing perhaps a special mention; as this book single handedly created the cyberpunk genre, aswell as coining phrases such as "cyberspace". However, as one of his later works (1996), we are able to find within Idoru's more contempory exploration of our worlds transformation into a high density infomation-governed datasphere, an analysis of what might happen to certain aspects of humanity as technology, infomation, and a new reality converge within the global infrastructure.
In the author 's next argument he uses a long illustration in support of a complex argument:
Jan Westerhoff, the author of Reality, A very short introduction called this the 1984 definition of reality. “Reality exists in the human mind, and nowhere else. Not in the individual mind, which can make mistakes, and in any case soon perishes: only in the mind of the party, which is collective and immortal.” That is an acceptable definition but it isn’t broad enough. Jan Westerhoff also argues that reality is solid and tangible. He argues, “As Philip K. Dick put it, a real thing is one which, when stop believing in it, doesn’t go away.” Reality is, that no definition is brief enough to capture every aspect required to describe reality.
Have you ever seen the homeless people on the street? Did you know that they have lives and families?What would you do if you had the opportunity to get to know and help these people would you help or would you not care?In the book The Soloist Steve tries to help one of these people but it's difficult the man Nathaniel is homeless and sick.Watching and reading the movie and the novel there were plenty of differences and similarities.One they changed was Steve.
...e. How We Became Posthuman: Virtual Bodies in Cybernatics, Literature and Informatics. Chicago: The University of Chicago Press, 1999.
...e, a new generation of sculptors who excelled in the treatment of marble surfaces had rose in Florence. With the change in Florentine taste, all of Donatello’s important requests came from outside Florence. They included the bronze group “Judith and Holofernes” which is now standing before the Palazzo Vecchio and a bronze statue of St. John the Baptist for Siena cathedral, also undertook the work of the pair of bronze doors in the late 1450’s. This project, which might have rivalled Ghiberti’s doors for the Florentine baptistery, was abandoned about 1460 for unknown reasons.
exist in the real would in an attempt to represent the world of ideas. All of these aspects
they may not know what constitutes capital murder, and if they have killed before they may not care (Bohm 2011).
In reading a text like this one can look at it through the formalistic approach and gather aspects on different perspectives. In HCAL it instructs a reader to analyze a specific text by seeing the setting, certain styles, imagery, form, and texture. In William Gibsons book Neuromancer all these approaches can be seen. The novel takes place in the future and how Gibson portrays it will be. Every place is dark and gloomy with an illusion of dystopia; despair and unhappiness. Gibson's structure is very hard to follow, such as how he is repetitive with the description of people and the color pink.
Khan, Mehr. Domestic violence against women and girls. UNICEF: Innocenti Digest. No. 6. June 2000.
But the closing/opening distinction prevalent in Gibson's Neuromancer is also evident in Idoru, although in a more mythopoetical sense. Lyotard's model of subdialectic Marxism suggests that the significance of the poet is significant form.
“One woman is beaten by her husband or partner every 15 seconds in the United States” (Stewart & Croudep, 1998-2012). Domestic violence can interfere with the husband-wife relationship because one spouse is always in constant fear of the other. This violence could vary from physical abuse to ps...
Maslin, Janet. “FILM REVIEW; The Reality Is All Virtual, And Densely Complicated” The New York Times, http://www.nytimes.com/movie/review?res=9400E0DB1F30F932A0
Thus, in our search to understand that which is intangible, we come to realize that the definitions that we seek are further than meets the eye. For although many may say they understand what is and is not real, they often rely on a surface level of understanding. Yet when the curious seek out a deeper grasp of the words real, surreal, and reality, many would discover that they are, in fact, unsolvable. Thus we will never know the ultimate truth, we only can get closer and closer to
In Hamlet on the Holodeck, Janet Murray argues that we live in an age of electronic incubabula. Noting that it took fifty years after the invention of the printing press to establish the conventions of the printed book, she writes, "The garish videogames and tangled Web sites of the current digital environment are part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication" (28). Although I disagree in various ways with her vision of where electronic narrative is going, it does seem likely that in twenty years, or fifty, certain things will be obvious about electronic narrative that those of us who are working in the field today simply do not see. Alongside the obvious drawbacks--forget marble and gilded monuments, it would be nice for a work to outlast the average Yugo--are some advantages, not the least of which is what Michael Joyce calls "the momentary advantage of our awkwardness": we have an opportunity to see our interactions with electronic media before they become as transparent as our interactions with print media have become. The particular interaction I want to look at today is the interaction of technology and imagination. If computer media do nothing else, they surely offer the imagination new opportunities; indeed, the past ten years of electronic writing has been an era of extraordinary technical innovation. Yet this is also, again, an age of incubabula, of awkwardness. My question today is, what can we say about this awkwardness, insofar as it pertains to the interaction of technology and the imagination?