Carolyn maintains (5-5-8) that despite "the sexing of the geek" the people/computers choice is still often either-or. In-- and here I feel like I better stress my unfamiliarity firmly -- Warcraft-themed live action pornography we see efforts to make a compromise, incarnating players' imagined cyberscenarios only to redigitize human acts and distribute them through the net.
Content-wise the images of women au/en naturel sold here aren't really unprecedented.
I'm troubled, though, by visions of "return" to the natural spooled out in the elfin liaisons above or in the poem "All Watched Over by Machines of Loving Grace" , for they hinge on an intervention by magic (either elfin, or the digital magic of post-singularity computing) to sanitize and settle (down) the world presented. Elves post-Tolkien are the high-born, simultaneously woodsy, immanent and immortal, transcendent; this suggests more enlightened eco-managerial methodologies than are available to humans. Similarly, the machines of loving grace benevolently "maintain" a static ecology of mammals, evergreens, pure water and clear sky.
Benedikt locates the implications of this vision (the rebuilding of Eden in a city of light) in architecture "From the Hollywood Hills to Tibet." Other latitudes are less nostalgic.
beginnings:
(Raven creates the world through a gleeful campaign of theft, trickery, murder, sodomy, feces-throwing, and general mayhem. "He also made the dog. It was at first a human being and did every thing Raven wanted done, but he was too quick with everything, so Raven took him by the neck and pushed him down, saying, "You are nothing but a dog. You shall have four legs.")
endings:
("Yggdrasil, the World Tree, will groan and shudder, shaking from root to limb, and nothing will then be unafraid on earth or in the heavens or in Hel." The wolf Fenris breaks free, joins the forces of chaos and swallows Odin whole.)
Content-wise the images of women au/en naturel sold here aren't really unprecedented.
I'm troubled, though, by visions of "return" to the natural spooled out in the elfin liaisons above or in the poem "All Watched Over by Machines of Loving Grace" , for they hinge on an intervention by magic (either elfin, or the digital magic of post-singularity computing) to sanitize and settle (down) the world presented. Elves post-Tolkien are the high-born, simultaneously woodsy, immanent and immortal, transcendent; this suggests more enlightened eco-managerial methodologies than are available to humans. Similarly, the machines of loving grace benevolently "maintain" a static ecology of mammals, evergreens, pure water and clear sky.
Benedikt locates the implications of this vision (the rebuilding of Eden in a city of light) in architecture "From the Hollywood Hills to Tibet." Other latitudes are less nostalgic.
beginnings:
(Raven creates the world through a gleeful campaign of theft, trickery, murder, sodomy, feces-throwing, and general mayhem. "He also made the dog. It was at first a human being and did every thing Raven wanted done, but he was too quick with everything, so Raven took him by the neck and pushed him down, saying, "You are nothing but a dog. You shall have four legs.")endings:
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