from Google AI:
Michael Flynn's 1990 techno-thriller novel In the Country of the Blind directly draws its title and central philosophical dilemma from H.G. Wells' famous 1904 short story, "The Country of the Blind". While Wells explores literal blindness, Flynn scales the concept up to "informational blindness" on a societal level. [1, 2, 3]The critical differences between the two works are outlined belowCore ComparisonFeature HG Wells Story (1904) Michael Flynn Story (1990)
Key Thematic Departures
- The Subversion of the Proverb: The proverb "In the country of the blind, the one-eyed man is king" fails spectacularly in both stories, but for different reasons. In Wells' story, Nuñez is deemed a clumsy misfit because the blind society has adapted completely to life without sight. In Flynn's novel, the "one-eyed" secret societies are not kings; they are terrified, blind-sided manipulators constantly sabotaging one another because human history is too chaotic for single-point control. [1, 2, 3, 4]
- The Nature of Reality: Wells focuses on how a society defines its own reality; if everyone lacks sight, sight becomes an unscientific myth. Flynn applies this to modern information: whoever controls the data controls the perceived narrative of reality. [, 2, 3]
- The Cost of Conformity: In Wells' tale, Nuñez is told he can only marry the woman he loves if he lets the village doctors surgically remove his eyes to make him "normal". In Flynn's world, individuals who accidentally glimpse the hidden structure of the world (like Sarah Beaumont) must either be aggressively recruited or permanently eliminated to protect the status quo. [1, 2, 3]
)))))))
ReplyDeleteand why I laughing?
because for me that is definite (as to one-eyed incomer) it looks as your endemic civilizational craze.
and your blindness to all other world history and realities
dude. Soviet Union WAS LIVING under that "control from one center"
and many, still live like it possible (like, following liliPut)
you really are antipode... to me, and european worldview(s)
ReplyDeleteWelcome to the Cyclops cave, Odysseus...
ReplyDeleteOr is it Plato's cave???
I'm never sure.
Cult-ure's a b*tch...
Delete"Culture is, before all things, the unity of artistic style, in every expression of the life of a people." - Nietzsche
“Culture” is the name for all those things we practice without really believing in them, without taking them quite seriously." - Slavoj Zizek
Religion is the mother of culture. –René Girard
Cult-ure
Ralph Waldo Emerson, "Culture"
Can rules or tutors educate The semigod whom we await? He must be musical, Tremulous, impressional, Alive to gentle influence Of landscape and of sky, And tender to the spirit-touch Of man's or maiden's eye: But, to his native centre fast, Shall into Future fuse the Past, And the world's flowing fates in his own mould recast.
Deleuze on "Culture"
Deleuze mocks the formula: "Be yourselves - it being understood that this self must be that of others". - Culture is not a movement of normalization or conformity. - "Culture(...) is an involuntary adventure, the movement of learning which links a Sensibility, a Memory and then a Thought, with all the cruelties and violence necessary, as Nietzsche said, precisely in order to "Train a Nation of Thinkers" or to "Provide a Training for the Mind."
Cross-Cultural Dialogues...
The only way to effectively fight “Eurocentrism” is from within, mobilizing Europe’s radical-emancipatory tradition. In short, our solidarity with non-Europeans should be a solidarity of struggles, not a “dialogue of cultures” but a uniting of struggles within each culture. - Zizek, "The Need to traverse the Fantasy"
Procrust's one
DeleteYawn
"Strap him (Proteus/ Nereus) to the iron bed and saw off his limbs!"
Delete"...Lest he escape and speak to Prometheus, enchained by Kratos & Bia, and develop some strategem to Use against Zeus, and thereby gain his freedom!" (Shelley, "Prometheus Unbound")
DeleteGoogle AI:
DeleteIn Percy Bysshe Shelley’s 1820 lyrical drama Prometheus Unbound, the Nereids (sea nymphs) serve as a celestial and aquatic chorus. They celebrate the overthrow of Jupiter and the liberation of the Titan Prometheus, embodying a triumphant return of joy, universal love, and harmony to the natural world.
Their Role in the Play
Celestial Chorus: In Act III, Scene 2, the sea god Ocean reports to Apollo that his daughters, the Nereids, are happily hastening to grace the "mighty sister's joy". This marks a shift from a universe characterized by Jupiter's tyranny to one of peace and restored equilibrium.
The Birth of Love: Later, the Nereids and other nymphs recount that when Asia (the spirit of love) first arose, she burst forth in a veined shell among the Aegean isles, flooding the earth, heaven, and sunless caves with a loving atmosphere.
Symbol of Unchanging Time: By linking Prometheus's freedom to the rejoicing ocean, Shelley uses the Nereids to show how the elemental forces of nature reflect the broader cosmic liberation of humanity from chains of mutability and suffering.
words, words, words…
Delete...instruments of the cult. Now play me another tune, Orpheus! make Ixion's wheel stop and spin backwards! But don't glance back to check on Eurydice! Be confident in your musical powers!
Delete