Week 9 (Rachel)

What role does Hills (2004) suggest the fans play in the construction of cult TV? How is new media central to this?

Hills (2004) suggests that cult status is a combination of the text itself, inter-texuality, and fan base, he then goes on to explore each of these theories.  When I think of cult TV, the intense audience loyalty is one of its stand out features, and before this reading would have thought was the defining feature. Hills states that when intense fandom exists, the show becomes important to their lifestyles and identities. Fans may partake is various activities beyond just watching the show, which further integrates the show into their lives. Hills states that there are three main ways that fans raise shows to cult status. Firstly they inter-texualise their show, referencing other shows. They also use the word cult when describing their show. Thirdly they create a sense of community through conventions, blogs, fan fiction etc, in which they actively participate in the analysis of the TV show. They also buy memrobilia. I saw on a website that t shirts can be bought saying ‘the singing cult of Buffy.’ This is in particular reference to the episode, ‘Once more, with feeling.’ Thus is somewhat of a reward for being a loyal audience member, and an inside joke for other fans.  

Hills (2004) argues that cult TV is not profoundly affected the internet, however with blogging and fan fiction being so accessible is is easier for fans to find each other and converse. It makes it easier for them to communicate. I can imagine with the use of iPhone and iPad with their constant access to the internet would only result in more talk over these cult TV shows. I have seen on facebook people arguing over the merits of True Blood vs. Vampire Diaries, which means not only do fans of the shows participate in fandom through social networks, but their friends who are not necessarily fans of the show become more aware of the fandom that these shows have.

References:

Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences, The Television Studies Reader, in R. C. Allen & A. Hill. London and New York: Routledge.

Redbubble (2011). Redbubble. Retrieved from http://www.redbubble.com/people/thisisjoew/t-shirts/7226935-singing-cult-of-buffy?p=t-shirt

Week 8 (Rachel)

Based on a reading of Dick (1999;1964) and McKee (2004), what value did Dick place on the ordinary, low, and even trashy? How does this relate to the majority of his fiction having been written in the SF genre?

Upon reading The Man in the High Castle, I saw the reception of jewellery made by McCarthy and Frank Fink, as symbolic to the treatment of new art or literature. In the book, Childan does not know what to do with this jewellery as it is new to him and does not fit the usual conventions of what he is used to, but he is offended when Paul suggests that it has kitsch like value. Towards the end Tamogi gets very excited about new piece of jewellery, it provides him with a sense of hope, that there are new ideas circulating amongst society.

I feel that this relates to science fiction, as it is judged by many people to be somewhat of a ‘trashy’ genre, but in fact genres the break away from the norm should arguably held in as high of a value as other genres, as it is simply a different way of expressing ideas. I think the fact that as Dick describes himself as theologically inclined (Mckee, 2004). Science Fiction is genres in which he can show how society operates under certain ideologies, for example in A Man in the High Castle, a world were people rely so heavily on the I ching.

According to McKee, Dick placed value of the low, ordinary, and even trashy, as part of his overall philosophy. Mckee suggests that Dick found messages in these things believing that god ‘reveals himself where he is least expected.’ (Mckee, 2004, 39) This idea is also suggested from McKee’s title, ‘Pink Beams of Light from the God in the Gutter.’ (2004) This is key to his Science Fiction as he often portrays a rather dystopian future, for example the use of slaves in The Man in the High Castle. However through this dystopia he shows that there is still chance for enlightment for the characters, for instance in the final scene between Juliana and Abendsen seem to form a connection in the chaotic world around them.

In regards to the ordinary, Dick describes himself as a ‘normalist’ (Dick, P,K. 2004. p117) and suggests that we are all individuals who do not belong so much to the divides or race and religion that are placed on us. In his works he shows characters that very much fall into this idea. They are individuals with individual quirks and private thoughts, but having to live in a system.  I think that through creating this in a science fiction novel he is in his own way projecting certain truths.

References:

Dick, P.K. (2001; 1962). The Man in the High Castle. London: Penguin

Dick, P.K. (1995). Nazism and the High Castle. In Sutin, L.(Ed.), The Shifting Realities of

Philip K. Dick (pp.112-117).New York: Vintage

McKee, Gabriel (2004). A Scanner Darkly: Dick as a Christian theologian. In Pink Beams of Light from the God in the Gutter: the sciencefictional religion of Philip K. Dick. NY: U Press of America.

week eight [rhian]

Research the films that have been adapted from Philip K. Dick novels or short stories. Which have generally been acclaimed as the most successful? Why? 


Film Adaptations of P. K. D.:
- Do Androids Dream of Electric Sheep (novel) - Blade Runner
- We Can Remember it for You Wholesale (short story) - Total Recall (1990 + 2012)
- Confessions of a Crap Artist (novel) - Barjo
- Second Variety (short story) - Screamers
- The Minority Report (short story) - Minority Report
- Imposters (short story) - Imposters (film) and Out of This World (television)
- Paycheck (short story) - Paycheck
- A Scanner Darkly (novel) - A Scanner Darkly
- The Golden Man (short story) - Next
- Adjustment Team (short story) - The Adjustment Bureau
- Plus more coming out next year


It is commonly said that 'Blade Runner' is the most successful of P. K. D's adaptations. The fact that there have been multitudes of releases shows that there is always interest in this movie. Despite the fact that when it first came out, Blade Runner wasn't considered very popular, it's popularity has grown over the years and is now considered a cult classic by almost all film buffs. Though the differences between the film and novel are vast, they both bring something to the table and in the film, you can see Dick's imprint all over it (yes, every version).


Another popular adaptation that has been seen as successful is 'Minority Report'. The reason this has been seen as so successful is because a popular actor at the time, Tom Cruise, was the main character, and so a very popular movie. Also, as Steven Spielberg was the director, it was also popular for that. It compares to the original novel with having the basics of the story - characters, primary motives, climactic turnaround point, but a lot of the ulterior motives and details have been adapted to suit the film.


The third most successful film would be 'A Scanner Darkly'. It is very original as it used a rather rare form of presentation called rotoscopy: live action with animation done on top to give it an unrealistic looking feature. Keanu Reeves and Winona Ryder were the main actors in it. This is possibly one of the most relatable adaptation as most of the scenes are straight out of the book and put onto the screen. Only a few scenes were cut out and most of them are very well done.


Philip K. Dick has created some amazing works of writing and the adaptations are quite interesting. He is the go-to guy for science fiction movie enthusiasts and creators.

week seven [rhian]

According to Mountfort (2006), what role does the I Ching have as an organisational device in the structure of High Castle? How does the use of this device illuminate the character of the novel’s protagonists? 


Philip K. Dick used the I Ching as an aid while writing High Castle. He claimed that it was his directional guide, almost like a compass. At important crossroads within the novel, whilst writing, Dick would consult the I Ching as to where he should then go. Mountfort (2006) says "Dick regarded the I Ching itself as having in a sense written High Castle." It is also referenced in the book multiple times, even when consultations aren't made. It is used an a future telling device - an oracle.


There are ten separate consultations within the novel that Dick made. All of them include questions involving characters' decisions that need to be made. Involving how to treat another character or whether a character is worth pursuing. It is primarily based around the characters Frink and Tagomi and they are essentially the same questions, just different circumstances.


Frink and Tagomi, the protagonists, have their characteristics shown through the consultations Dick has used the I Ching for.


Frink has an ex-wife who is very arrogant and wants everything her own way. He also has business ventures that involve confronting his boss and going into another business (jewelry making). By using the I Ching in these situations, Frink is able to further understand what is to come.


Tagomi is a Japanese official. With this comes great responsibility and he deals with a lot of contacts, consulting the I Ching to understand them better. As he is a "highly ethical" person, by consulting the I Ching, he is able to make better decisions.


There are a few other characters that use the I Ching, but the protagonists of the story, Frink and Tagomi are the primary ones.


Despite the fact that in 1979, Dick regarded the I Ching as something that had led him astray in the worst possible way through the "final omen", High Castle received much praise and is still regarded today as great reading.

week six [rhian]

According to Napier, how does this anime (Mononoke) problematise traditional (or conservative) constructions of gender, class and race?


Princess Mononoke "undermines the myths of traditional Japanese identitiy" and gives a completely new one to go by. This involves creating completely new social constructions: gender, class and race. Miyazaki does this in a multitude of ways.


"Subversion and defamiliarisation" - Napier claims that this is quite possibly the most important strategy Miyazaki uses to reinvent the social constructions in traditional Japan. The defamiliarisation is of two important iconological motifs in Japan's history: that of females' traditional gender roles "supportive" and the like, as well as Japan's respect for nature. Mononoke challenges all of the Japanese conventions that have survived for years, running the state under the traditional ideals that have stemmed from its long history.


Miyazaki wrote "this is the story of the marginals of history." He aimed to bring the less known characters of tradition to the forefront and to shine a spotlight on them to tell their tale and give the ma sort of idol stature. These characters he familiarises with are non-conventional protagnoists such as "women, outcasts and non-Yamato (nonethnic Japanese)." With Mononoke, Hiyazaki was able to challenge the social constructions Japan stands by, by creating new heroes and heroines of the past. It makes for a less truthful account and a more interesting one.


"Princess Mononoke" does not aim to glorify the history or traditional ideals that is present throughout the scenes, but it creates a sense of uncertainty and problematic issues with the past that is usually a safe conventional bet in Japanese society. Miyazaki also influences the attitudes toward the traditional ideals through this movie, not as a serious, life changing opinion, but just in the movie.


Despite the problematic changing of traditional mythology in "Princess Mononoke" with the new gender roles, class structure and race inclusion, this is actually what draws the audience in because of it's originality and threshold breaking ideals. So instead of a negative view on the adaptations of conventions Miyazki has created, the new social constructions actually boosts Mononoke's popularity.

week five [rhian]

What is the ‘shojo’ and how does it often function in anime?


Shojo is a type of manga and anime. It is a genre. This genre covers storylines from drama to science fiction but they are all focused on one type of audience: that of young females, though older Japanese males are a large portion of the audience, primarily because it shows a different kind of theme that they are used to.


The term "shojo" can be translated to "female" in English but is always specifically a young female in Japanese culture. Cavallaro (2006) says "on the whole, the worlds depicted by shoujo stories are serenely dreamy and bathed in an atmosphere of magic and wonder..." and Prindle (1998) claims "the shoujo nestle in a shallow lacuna between adulthood and childhood, power and powerlessness, awareness and innocence as well as masculinity and femininity."


A great example of shojo in anime is in Miyazaki's creations. "Spirited Away" and "Princess Mononoke" both contain the ideal heroines by aesthetic means. They are both female and young. However, the storylines Miyazaki creates require these heroines to be more active than the generic ones. Although, in my opinion, Chihiro in "Spirited Away" may be more courageous than most shojo protagonists but she is the ultimate expression of a young female with her whining and complacency (in the beginning at least.)


Other examples of shojo anime and manga is "Sailor Moon", "Cardcaptor Sakura" and that hampster one that was super kawaii (cute).

(Week 6) What are the underlying thematics of Princess Mononoke? How does it ‘defamiliarise’ its historical setting, according to Napier (2005)?

“Although Princess Mononoke is not based on an actual historical event, it belongs properly in a section on animation and history because in its distinctive way, it is a meditation on Japanese History that provides a counternarrative to some pivotal myths of Japanese Culture and society” (Napier, S. 2005). In the film “the sense of a broken heterogeneous world is stridently manifest”. It puts together aspects of history such as ways of living and religious and cultural beliefs related to myths and legends. Princess Mononoke is based on what Miyazaki believes to be something that goes (somewhat) against accepted myths related Japanese Culture as well as the history of Japan.

Princess Mononoke takes on various themes that many aspects of Japanese History and folklore represent, including the status of people, different societies, outcasts and battles, both in a symbolic and literal form based on the Muromachi period (1336-1573).  In the film, the main protagonists are those who do not necessarily appear on the stage of history as major characters, rather this is the story of history’s marginals. These marginals include women, outcasts and non-ethnic Japanese, who would rather go unnoticed. The film remoulds archetypes and icons and tells the story from their perspective. Some of the themes that the film follows are:

·         Hero’s journey
Ashitaka is an important character in this story because of the many trying circumstances he is placed under, beginning with him being cursed and prompting him to visit Iron Town whose people, he believes can rid him of the curse. Along the way he realizes how this community functions and he also encounters the character we come to know as Princess Mononoke. His final step in the story is his attempt to resolve the conflict between Eboshi (Head of Iron Town) and her people and the Animal Gods and Princess Mononoke, all while trying to uplift the curse bestowed upon him.                                                                                                   
 

·         Romantic undertones
Ashitaka has heard tales of Princess Mononoke and is mysteriously drawn to her when he encounters her for the first time. Even though their first encounter is violent, later on the two tend stick up for each other. Eventually, they grow to build trust and understanding.
 

·         Championing a cause
Lady Eboshi is responsible for a community of seemingly downtrodden people who have been turned away from their society. With nothing else to provide for her people, other than the resources that the forest has to offer, she depends, almost entirely on the forest. To Princess Mononoke and the Animal Gods, this is seen as a threat to their homes in the environment. Lady Eboshi is willing to take on her enemies, in order to look after those who cannot fight their own battles.
 

·         Iconisation of woman
The story is set at a time when Japanese society was patriarchal. Yet in the film, at least two major (leading) characters,  reveal the inconisation of women, Lady Eboshi who is the head of her community Iron Town and Princess Mononoke herself
 

·         Emphasis on loss, giving up personal pleasure for the sake of others
Loss is another theme in Princess Mononoke. Both Mononoke and Ashitaka choose to carry on following their beliefs in what they are doing for the sake of their people who need them rather than come together.
 

·         Conflict
The atmosphere of the story appears to be one of conflict at different levels. The people of Iron Town invade the forest to provide for themselves when they have nothing else to rely on and the people of the Forest including the Animal Gods and Princess Mononoke see this as a threat, in turn invading Iron Town and forcing them into battle. The story revolves around this conflict

The film is set in a fabled world which exists only in our imagination and the director has mixed together both reality (based on history) and the myths and legends of Japan to create this realm in the story.

The natural world in this story has been given a supernatural tone and is filled with its very own systems and laws, especially the inclusion of ‘Animal Gods’ or ‘Kami’ the ancient Gods of Japanese people who represent or are closely linked/related to Nature. It appears to defy most conventions of Japanese history and folklore with examples such as a town in the story governed not by a man but by a woman.

The story is set in the real world, presumably at the time of the Muromachi period, thus the historical setting is familiar in terms of the people, lifestyle and culture. However, it ‘defamiliarises’ its historical setting by creating “a mythical space deeply removed ........ symbolically and literally’ and by focussing on the ‘marginals’. Miyazaki has not focussed on the main characters of that era such as samurai, peasants and feudal lords. Instead the focus is on people who would have, around this time, gone unnoticed or are seen as outcasts again ‘defamiliarising’ the audience by using unconventional characters.

Even though the film appears to have some historical basis, it is consistent with defying expectations of how that world ought to be. It appears to draw inspiration from the mythical purpose of ‘the hero’s journey’ as well as many other familiar stories such as Pocahontas (1995)

References

Napier, S (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan

Week 7 (Rachel)

What does Brown (2001) identify as the central themes and concerns of the novel? What elements conform to the wider generic features of SF?

Brown makes a point to note that Dick’s novels go against in the grain of other SF in that they tend to be pessimistic.

Brown states that dicks novels originally conform to the genre in that they have ‘Alien worlds, precognition, ray-guns” (Brown, 20001, vi) but Dick makes a point of noting that although brown uses these motifs, his novels are different from a lot of other sci-fi, in his creation on complex characters and complex themes. Particularly themes of philosophy not always dealt with SF writers. Brown explains that one of the ideas that Dick deals with throughout his body of work, is the concept of reality and our perception of reality. I personally find this theme quite hard to grasp. Although I feel that I partially understand these ideas I can’t express them myself. Like hearing a language but not being able to speak it. With the use of computers at the increase of technology in communication, I know that lines of reality are often debated over. It is not uncommon to use phrases such as 'that stuff on mtv is so fake' and although we toss words like 'fake' and 'real' alot, without giving them deep thought. I can see how this could show that the concept of reality as neccesarliy as set as we may perceive it to be. Dick presents opposing realities in The Man in the High Castle, using eastern philosophy in opposition to the totalitarian scheme, another key theme in the novel.

References

Dick, P.K. (2001: 1962) The Man in the High Castle. London: Penguin.

(Week 5) Looking at Napier and Cavallaro (2006), discuss how anime is culturally ‘located’ – in the East or West, or somewhere else?

I have always theorised that, Anime through both books and visuals is not only something for young children in (not only) Asia to look up to but also symbolises many aspects of Asian society in both historical and modern times. It “clearly builds on previous high cultural traditions”. These are evident in stories about rulers, heroes and even love stories. Because of this, people of all ages are attracted to Anime, not just children and young people. We know of Anime’s symbolism with Manga and this may be so because some of Anime’s productions are “based on stories that first appeared in Manga”, which were predominantly historical. It is thanks to Anime itself that “Japan has become an increasingly significant player in the global cultural economy” and it functions both as a “commercial and cultural force”.

Anime’s role in handling complex stories in an intellectually stimulating style by using “characters and settings that are neither clearly western nor clearly Japanese” made them popular with global audiences. It is mainly this feature that has to do with its “participation in Global Culture”, including the introduction of the word into American vocabulary. Even though Anime has “been enormously influenced by global culture, it remains an original product of the concatenation of circumstances that created the culture of modern Japan”. Many Anime works like those by Director Hayao Miyazaki appeal not just to Japanese audiences, but also to audiences worldwide.

In Japan, Anime is clearly a mainstream form of popular culture and is followed by audiences across all age groups.  In the Western World however, Anime is seen as a subcultural genre. This may be because Japan is where Anime originated and thus deals with themes which are familiar to the local audiences. Anime contains far more proactive themes and complicated storylines than does the American media and this case may support the hypothesis as to the integration of Anime into the Western World as well as its view as a Subcultural genre there. Anime’s influence appears to be increasing over American popular culture, an example being Disney’s The Lion King which appears to be heavily borrowed from Tezuka Osamu’s Kimba, The White Lion.

Most of all, Anime occupies a very important part in the culture of modern Japan due to its wide-ranging themes covering social, religious, cultural and historical aspects along with the use of technologically-sophisticated picturisations of characters and settings which appeal to audiences across the society.

References

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14).
Hampshire: Palgrave/ Macmillan

Napier, S. (2005). Anime and Local/Global Identity. In Anime: from Akira to Howl’s Moving

Castle (pp.15-34). Hampshire: Palgrave/Macmillan.

Cavallaro, D. (2006). Introduction. In The Anime Art of HayaoMiyazaki (pp.5-13). London: McFarland & Company.

Week 8: How does Dick’s essay (1999; 1964) illuminate his use of Nazism as a motif in High Castle?

P.K. Dick, the author of “Nazism and The High Castle,” ponders on a review that was not done on the works itself, but specifically the idea behind the justification of the persecution that Nazis did during the Holocaust of WWII; and the inspirational years that lead the same victims of the Holocaust to forming a nationalistic entity, who then go on to apply these same methods that the Nazis used during their own persecution. This essay shows a complex set of intertwined ideas that exposes the readers mind to how Nazis justified their actions towards their victims during WWII, and how it is similar to the same actions that are done and justified by the Zionistic nationalists of Israel in the lands of the Palestinians.

Initially, Dicks essay starts by pondering on why the Nazis would do such acts to fulfill their superior ideological bigotry. But in reality, just as anyone would answer, the author is quoted by saying, “Phobia is phobia.” To keep it plain and simple, that’s the answer. But in this case, it gets more complicated since history is repeating itself, but in reverse this time. The Nazi persecution has given birth to an evil product that went on to repeat these same tactics, and the continuation of this same cycle in order to fulfill their own individual agenda.

For example, Dick clarifies the use of Nazism, as a motif, by pointing out that there were some elements such as the ‘Jewish Nationalist,’ that were “overlooked.” Also goes on to say, “...at the time of the rise of anti-Jewish ideology among non-Jewish-Germans, the Jewish-Germans were beginning, in great part, to think—as not Germans or even Europeans, but as nationalists of the soon-to-be-reborn national state of Israel.”

Furthermore, the author also accentuates this same idea by agreeing with Harry Warners writings in Niekas, by stating,

“We squirm and we remember because it is not “them” but “us” who thought those awful thoughts, and hence instigated those awful deeds; and the “us” includes the Jewish nationalistic fanatics, some of whom live today in Israel, who invade schools, break up grammar school class meetings with their queasy-military thugs … because the teacher of the class is not racially “correct.” In this case, however, not sufficiently Jewish, rather than sufficiently German.”

Moreover, Dick clearly shows how Nazism has produced such a hypocritical and conniving movement (Zionism) that has been established on the inhumane tactics and methods, which seem to have been passed down from Nazism itself:

“We like to think of the victims of tyranny and cruelty as innocent (e.g., Chessman). But often the victim is bloodstained, too; i.e., he has participated actively in the situation that has at last claimed his life. Many Jews today wont ride in a VW, and some wont even listen to the music of Beethoven is this not as neurotic and “sick” as was the nineteenth-century ideologies of blood, race, and land being taught by both Germans and Jewish-Germans?

Finally, the author wraps up his essay about the ideological justification of Nazism atrocities committed against the Jews, by comparing it to the justification of the Jewish nationalists (Zionists) atrocities that are currently being committed against the Palestinian people. Dick concludes by stating, “Israel exists, and Jews exist. And –let us face it: Germany exists. Let’s live in the present and for the future, not dwelling neurotically on the outrages of the past.”

This would be convenient to claim when you’re the winning entity in any conflict, like the Jewish nationalists who suffered from WWII. However, the real question that Dick should be asking is ‘why should the Palestinian people suffer ongoing violent injustice, displacement, genocide, and persecution, for 60 years, and for something that Germany is the cause for? Wouldn’t it be more logical and sane to hold the responsible party accountable for its own actions? Shouldn’t the German government suffer consequences for its actions, or atleast play a larger role in the peace process? What people forget to mention and realize is the other information available out there regarding this matter.

For example, Jewish nationalists that used the calamity of WWII to their advantage in establishing their own Jewish state were successful in their tactics of manipulation and blatant duplicity, with the full-fledged support of the western super powers, regarding their cause. This could not have happened without the help of the founding father of Zionism, and also served as the driving forced behind the establishment of the Jewish state of Israel, Theodor Herzl.

When you have a state that was established on theories of people like the founder of Zionism, you can find that this is a clear indication of the injustice committed on the Palestinian people. For example, Herzl writes in his diary “The Jewish State,” about the use of anti-Semitism, and how it has served the Jewish causes interests by serving its own agenda by establishing Israel. Herzl stated in his diary in the late 1800's:

“It is essential that the sufferings of Jews.. . become worse. . . this will assist in realization of our plans. . .I have an excellent idea. . . I shall induce anti-Semites to liquidate Jewish wealth. . . The anti-Semites will assist us thereby in that they will strengthen the persecution and oppression of Jews. The anti-Semites shall be our best friends”.

The current turmoil in the Middle East region, along with the resentment of the Palestinians towards Israelis; because of the blatant inhumane injustice they have received for the past 60 years, will only inflame the friction throughout the whole region. I think of it this way, if the Palestinians and many Arab nations have lost too much already, they don’t have anything else to lose. This can be of grave danger for Israel if it forgets to realize that it’s completely bordered with countries who will seek revenge. This constant living in fear has made this Jewish state live in a sense of hysteria and heightened level of security at all times, and never lived in peace.

References:

• Dick, P.K. (1995). Nazism and the High Castle. In Sutin, L.(Ed.), The Shifting Realities of Philip K. Dick (pp. 112-117). New york: Vintage.

• Theodor Herzl, the Founder of Zionism. (n.d.). True Torah Jews Against Zionism. Retrieved September 05, 2011, from http://www.jewsagainstzionism.com/zionism/herzl/index.cfm

Week 7: What does Dick (1995) himself theorise about the I Ching?

In Schizophrenia & The book of Changes, the author Phillip K. Dick describes his personal thoughts and experiences about a thought process that not many people will ever have a good idea about, unless if your diagnosed or suffering from the illness itself. So reading about his personal experiences and thoughts can only give us readers a small idea of how this formation and complex set of structure functions with the use of I Ching.

Dick first starts off by mentioning his ideas about how many life forms are forced into existence, more specifically the koinos kosmos (the shared world), and that the idios kosmos (the personal world) for animals ceases for them as soon as they are born; but not for humans. He emphasizes on how a human child is born into

“…a form of semi real existence ahead of him: semireal in the sense that until he is didteen or sixteen years old he is able to some degree to remain not throroughly born, unknot entirely on his own; fragments of the idios kosmos remain, and not all or even very much of the koinos kosmos has been forced onto him as yet. The full burden of the noisnos kosmos does not weigh until what is delightfully referred to as “psychosecual maturity” sticks, which means those lovely days during high school epitomized by asking that cute girl in the new ahead of you if she’d like to go get a soda after school,” followed by a rejection.

Moreover, Dick shifts his thoughts from personal experiences to explain a personality type that has a state characterized by the coexistence of contradictory or incompatible elements, “Schizophrenia.” He mentions that the personality, which is in his own opinion, “is generally called ‘schizoid effective,’” and gives us an example of his own schizoid effective actions during his adolescence.

With this in mind, the author displays what distinguishes a Schizophrenic from the rest of “us.” Which is the ability not to feel time pass by, where as the rest of “us” experience it and feel it slowly pass by. The author forgets to mentions what and who he means by “us.” Does he mean regular non-Schizophrenic people, or people like himself, Schizophrenics?

Consequently, the author connects the powers from using the I Ching. He first gives a description of how this book, also known as the ‘Book of Changes,’ was first written by a Chinese King who was imprisoned for the rest of his life, and later became Schizophrenic because of his long incarceration. He wrote this book on the “basis of synchronicity- and is a device by which synchronicity can be handled.” Or, as the author mentioned, “you prefer the word ‘coincidence.’ Any how, both terms refer to acausal connectives, or rather events linked in that manner, events occurring outside of time.”

Additionally, the author tells the reader that the universe of the Schizophrenic is somewhat large. “Much too large. Ours, is controlled and finite; we rub up against only as much reality as we an handle—or think we can handle, to be more accurate.” With this in mind, it is evident that the sporadic stream of consciousness that the author displays throughout his writing only proves to show the seriousness of his illness.

Consequently, Dick connects these complex and opposing ideas with the ability to predict the future. He believes that the I Ching, for Schizophrenics, can be a tool or guide for living their daily lives. Since their whole psychological thought process is based on speculation and fear, they can use the I Ching to help make clear which answer to choose, and in some odd cases depending on how serious the illness is, it can tell you the future.

To sum up, Author Dick shares from his own ideas and experiences of what he believes the powers of the I Ching may possess, and that it will only show this power to those who are able to see it through this illness, Schizophrenia. But he emphasizes his negation of this idea much further by saying,

“Sure, we can tinker around and fix matters up so that it does depict the future precisely. But that would be to become Schizophrenic, or anyhow more Schizophrenic. It would be greater loss than gain; we would have induced our future into being consumed by the present. To understand the future totally would be to have it now.”

He concludes by suggesting that if you’re a person that suffers from Schizophrenia, then “by all means use the I Ching for everything, including telling you when to take a bath and when to open a can of cat tuna for your cat Rover.” But if your not a Schizophrenic, then you should basically take the I Ching with a grain of salt.

Reference:

- Sutin, L. (Ed.). (1995) The Shifting Realities of Philip K. Dick (pp.175-182). New york: Vintage.