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Durham E-Theses Durham E-Theses Demonic ctions: cybernetics and postmodernism Brown, Alistair How to cite: Brown, Alistair (2008) Demonic ctions: cybernetics and postmodernism, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2465/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Brown 1 Demonic Fictions: Cybernetics and Postmodernism Alistair Brown Whilst demons are no longer viewed as literal beings, as a metaphor the demon continues to trail ideas about doubt and truth, simulation and reality, into post- Enlightenment culture. This metaphor has been revitalised in a contemporary period that has seen the dominance of the cybernetic paradigm. Cybernetics has produced technologies of simulation, whilst the posthuman (a hybrid construction of the self emerging from cultural theory and technology) perceives the world as part of a circuit of other informational systems. In this thesis, illustrative films and literary fictions posit a connection between cybernetic epistemologies and metaphors of demonic possession, and contextualise these against postmodern thought and its narrative modes. Demons mark a return to pre-Enlightenment models of knowledge, so that demonic (dis)simulation can be seen to describe our encounters with artificial others and virtual worlds that reflect an uncertainly constituted and unstable self. By juxtaposing Renaissance notions of the demon with Donna Haraway'ร posthuman "cyborg," psychoanalytic demons with the robots of the science fiction film Forbidden Planet (1956)， and Descartes' "deceiving demon" with Alan Turing'ร artificial intelligence test, I propose that the demon proves a fluid, multivalent trope that crosses historical and disciplinary boundaries. The demon raises epistemological questions about the relationship between reality, human psychology, and the representation of both in other modes, particularly narrative fictions. When this framework is applied to seminal science fiction (2001: A Space Odyssey and Do Androids Dream of Electric Sheep? [both 1968])， conventional readings of cyborgs as monstrous Others have to be revised. These fictions are engaged with cybernetic technologies with an epistemological rather than ontological concern, and consequently lend themselves to the kind of sceptical doubt about reality that characterises postmodern thought. Contrary to Descartes, who sees foundational truth tiirough the deceptions of his "deceiving demon," later films like Blade Runner (1982) and The Matrix (1999) use the motif of cybernetic technologies to highlight the inescapability of the postmodern condition of the hyperreal. Finally, however, literary fictions like Umberto Eco's Foucault's Pendulum (1988) and A.S. Byatt'sA Whistling Woman (2002) and Possession (1990) draw attention to their narrative mechanisms through metafiction, and set the creation of literary meaning against computer-generated texts. Consequently1 they defy both the determinism of cybernetic sciences, and the postmodern pretence that the "real" is irrecoverably evasive. Brown 2 The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written œnsent of the author or university, and any information derived from it should be acićnowledged. Demonic Fictions: Cybernetics and Postmodernism Volume 1 of 1 Alistair Brown Ph.D. Durham University, Department of English Studies 2008 ใ m ?00ร Brown З Table of Contents Demonic Fictions: Cybernetics and Postmodernism 1 Table of Contents 3 Acknowledgements 4 Chapter 1. Possessing Narratives: Fictional Games and Cybernetics 5 Chapter 2. Demons and Cyborgs: Ambro ise Paré and Donna Haraway 50 Chapter 3. Monsters from the Id: Psychoanalytic Demons and Uncanny Technology in Forbidden Planet 75 Chapter 4. Deceiving Demons: Descartes, Turing and Postmodernism 96 Chapter 5. All Any Conscious Entity Can Hope to Do: Mind and Matter in 2007; A Space Odyssey · 113 Chapter 6. This Empathy Business: Knowing Minds in Philip K. Dick'ร Do Androids Dream of Electric Sheep? and Ridley Scott'ร Blade Runner 138 Chapter 7. Deserting Reality: The Matrix as Postmodern Theory 163 Chapter 8. Interpreting Machines: Umberto Eco'ร Foucault's Pendulum 186 Chapter 9. Uniting the Two Cultures: Body and Mind in A.ร. Byatťs A Whistling Woman 206 Chapter 10. Breaking the Spell of Postmodern Possession 228 Chapter 11. The Demonic Seeds of the Posthuman 251 Works Cited 262 Brown 4 Acknowled gements In the course of researching this thesis, I encountered a story in 1001 Nights in which a character goes about with his destiny written on his forehead. As I write this page - at the forehead of this thesis, at the end of its fate -1 cannot help but feel an uncanny affinity with that character. For it seems to me that when some one has had parents prepared to read him The Hobbit five times over without complaint, to run the cheapest of taxi services, and to keep the finest of hotels; when some one has grown up with grandparents who have dedicated their time and money to his education; when that foundational schooling leads to a university like Durham, which later invests confidence and money in him through a Doctoral Fellowship; and when the Arts and Humanities Research Council funds the two subsequent years of research; when all these tracks have been laid out, then happy endings seem somehow inevitable, and it is as much by fortune as judgment that such a some one - my own self - is sitting now writing these words. Both literally and figuratively, this page contains the only personal note of this thesis. Everything that follows has been dependent on the guidance, support and education of others. Having said that, it is only with hindsight that my plot seems so neatly concluded. Time and again as I plodded my way through this research, just when I seemed to have the reading done and a chapter sealed, I found myself lead astray by a demonic voice of great humour and warmth, but of unerring cunning. Over the past tíiree years, Professor Patricia Waugh has offered me numerous prompts and insights that I might not otherwise have reached. Without her input, this would have been finished long ago. With it, it is infinitely better than it might otherwise have been. I am immensely grateful for her guidance and support. I am also grateful to all staff, academic and administrative, of the Department of English Studies, in particular for helping with my research proposals and proliferating application forms. Professor Corinne Saunders offered carefully pointed comments on the Renaissance contexts of chapter 2.1 was also saved by my exorcist, Beth Harmon, who carefully proof-read and teased out the devils in the detail. Naturally, any that remain are sins of my own. Finally, if this thesis has possessed me for the past three years, for ensuring that my reason has been allowed to sleep in the evenings without producing monsters, I owe most to my friends and family. In particular, Cfeis has listened to me grumble over numerous mugs of tea. Stephen and Lesley have provided the comfiest of cottages, on the edge of the cobweb-blowing moors. And, more than anyone, Helen continually reminds me that the most vital destinies are, at the end of the day, not written on paper. Brown 5 Chapter 1. Possessing Narratives: Fictional Games ana Cybernetics In а narrow corridor cast in an electric blue hue, a surveillance camera pivots and zooms to observe the pile of charred robots lying at your feet. As you glance up, victorious, you recognise that the pulsing red iris of the camera which is pointing down at you signifies that its controlling consciousness is still, frustratingly, alive. The camera is the eye to the soul of Shodan, the spaceship's computer system which has somehow evolved from its programmed routines to become conscious, operating now with all the unpredictability that comes of emotion. Its voice issues from speakers as you stare into the camera, taunting you that one wave of attacks is over for now, but the next move in an inscrutably complex strategy is about to take place. At root the female voice of a mere housekeeping automata, Processing Unit 43893， it is now spitted with static and pitch- adjusted to mimic a masculine tone. Its sexual hybridity eroticises an entity that crosses comparable boundaries separating the mechanical tool and the sentient life form. And behind Shodan'ร taunts lies a strange affection: even as Shodan wants to destroy you to prove her (his? its?) superiority to humans, she needs you to bear witness to her rise to consciousness. But if you were able to pause the waves of enemies Shodan despatches, silence the trance-like soundtrack, and escape from her incessant surveillance, if you were able to take a step out of the game and watch yourself playing, you might note that you have a similarly paradoxical relationship with the computer. Shodan'ร one weakness is that she cannot assault you directly but must possess robots and human cyborgs, which sometimes malfunction; destroying Shodan should prove the power of your self-contained, embodied consciousness. On the other hand, mastering the game requires that you become even more like the artificial intelligence, a mental process concentrated purely on the second life behind the screen.
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