Idea of a Pseudo Public Sphere Essay Example

Idea of a Pseudo Public Sphere Essay The Matrix an absence of a public sphere is expressed through three different dimensions of human consciousness. Neo, otherwise known as Thomas A. Anderson has always had some type of unorthodox feeling about the world he lives in and therefore Is on a hunt for a cyber-program called the matrix. The rising action of the story doesnt begin until a man who goes by the name of Morpheme concludes that Neo is the One that can save the seemingly oblivious and asleep humans from the fake world and more importantly, public sphere in which they live. Once Neo learns of the fake reality he was living In during his fake, life he loins a team of a hand -full of humans who broke out of the matrix to defeat the agents and make all humans aware that artificial intelligence is running their lives. The decision Morpheme makes to be the initial man to break free from the matrix is crucial to the story. Without it the rest of the world would have lived out their lives In battery pods while the machines sucked away their own resources for fuel. As the main characters in the film fought against the agents and a desolated wasteland here most of humanity have been captured by a race of machines that live off of the humans body heat and electrochemical energy, one couldnt help but wonder about the lack of Information being passed around In the human society. As a result, only a handful of humans knowing the truth, it seemed like a public sphere of information was being kept from everyone and everything. As a result human society could not be pictured as being free and full of democracy. We will write a custom essay sample on Idea of a Pseudo Public Sphere specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Idea of a Pseudo Public Sphere specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Idea of a Pseudo Public Sphere specifically for you FOR ONLY $16.38 $13.9/page Hire Writer In fact, it seemed like the world could never really be the same due to the giant virtual reality being placed on every human Ewing possible. Thus, the pseudo public sphere human beings actually live in Is quite different from the public sphere and fake ideologies holding together a virtual world made up of nothing. Thomas A. Anderson, also known as Neo, Is the protagonist in the film who represents the key to unlocking human beings from being slaves of their own mind. Neo is the centralized figure whose main focus is to break free from the pseudo public sphere in which human beings operate in and also change the fake ideologies the human race as a whole think they founded upon. Morpheme is true leader of the group and was the first human to break free from the matrix and Into the real world of artificial intelligence. With Morphemes mastery of the matrix system he becomes the man who is on a never ending hunt to find the supposed chosen one who can break the human race free of a pseudo public sphere and the simulated ideology running the lives of everyone. The oracle In the story represents an occurring theme throughout the movie, which deals with fate. As the film progresses Neo Is constantly contemplating if fate runs his life, or a self made destiny. The oracle is the figure that symbolizes this internal conflict and therefore plays a pivotal role in the struggle between being informed, or simply having ones life planned out before an individual Is born. Agent Smith Is the program who was made by artificial intelligence In order to protect the privacy of the real public sphere and keep human beings believing 1 OFF needs to be protected from the truth in order for artificial intelligence to prosper. For this specific reason Agent Smith can be labeled as the face of the protagonist in the film. One of the key scenes the movie portrays is where Neo is waking up from the matrix into what is now known as the pseudo- Public Sphere. The double meaning of this scene holds great significance not only because it reveals the major conflict in the story, but also because it serves as an abstract idea expressed throughout the film. This scene reveals that artificial intelligence has overtaken the human race and now uses their unconscious bodies as a source of bilaterally energy to fuel their world. All the while humans live in a fake reality, which is run and maintained by artificial intelligence. This reality is known as the matrix of modern human civilization as we know it exist today. The scene also represents a quite ironic false sense of knowing and being informed, known as a pseudo public sphere. Even though humans believe they live in a democratic society where information is freely passed around, in reality any type of ideology constructed by the human race in the last couple of thousand years has actually been fake. These fake ideologies are concluded by coming to the realization that humans are manipulated for their resources and pet hidden from the truth about how artificial intelligence runs the world. Another key scene occurs during the rising action of the film, a scene where Morpheme has offered Neo the choice between being enlightened and within the public sphere of society, or becoming an uninformed citizen who lives out the rest of his life in a world full of fake ideologies and a manipulated truth. This scene which is otherwise known as taking the red pill or the blue pill represents an important episode in the movie because Neo is offered the chance between two interpretive abstractions related to Ewing informed or lack there of. As discussed and viewed in the film, these two choices relate to being in the public sphere or confining to the rules and ideologies that run the program off fake human civilization. As Neo is finally about to learn his fate from the old and wise oracle as to whether or not he is the chosen one, he comes across an adolescent monk who is seen bending a spoon with his mind. Perplexed by the events that unfolded in front of him, Neo asks the young monk how he bent the spoon. The monk expresses to Neo Do not try and bend the spoon, thats impossible. Instead, only try to realize the truth. There is no spoon. Neo now knows everything he has ever known is Just a false construct and the spoon isnt real. His mind is simply envisioning the spoon Just as human beings are envisioning a false consciousness and reality. This is exactly what the interpretive abstraction of an ideology has lead them to believe. Neo finally concludes that he is in fact now part of the real public sphere of enlightenment rather than the pseudo public sphere that proceeds around him.

Story vs. Plot Definitive Differences Between Them - Freewrite Store

Story vs. Plot Definitive Differences Between Them - Freewrite Store Today’s guest post is by Jackie Dever, associate editor at  Aionios Books, a small traditional-model publisher based in Southern California.    One afternoon a few years back, as I was rowing merrily down my stream of consciousness, a big ol’ rock appeared through the mist, rearing up so fast there wasn’t time to navigate around. My paper boat crashed and crumpled, leaving the SS Plotin a disintegrating, broken mess on the Great Story River. In this personal test of story vs plot, the latter came out a wreck. Even as the events leading to the story’s conclusion continued to flow past that damned rock, my unstable craft just couldn’t get around the monolith. Reckoning with the nature of imagination can be intimidating. But half the battle is understanding the elements. Aren’t story and plot synonymous, though? Can’t we count on those items for automatic symbiosis, happily married in a thrilling rush of prose? Well†¦nope. What’s the Difference Between Story and Plot? A story is the requisite timeline of events present in any narrative. No story? No novel. Because any novel, however abstract must report events of some kind. A plot expresses rationale and informs the reader why a specific list of events belongs together, what the timeline is ultimately meant to communicate. The classic example by E. M. Forster in his collected lectures, Aspects of the Novel, still says it best: â€Å"‘The king died and then the queen died’ is a story. ‘The king died, and then the queen died of grief’ is a plot.† When reading a story, Forster explains, we wonder â€Å"and then?† When evaluating a plot, we ask â€Å"why?† (PaweÅ‚ Furman) These questions sometimes fire up in the same breath, so understanding their separate sources is tricky. But as naturally as the components may appear to support each other, it’s really an author’s skill that makes them seem that way. Which means that whenever I or you or Stephen King sit down to write, we’ve got to manage both. We’ve got to keep readers engrossed in a pattern of wonderful wondering about what next? and why? for as long as we want their attention. How Plot Supports Story Nobody wants to keep asking infinitely â€Å"and then? And then? Annnnd thennn?† We’re nosy creatures; we need to know why. Unfortunately, when plot is missing from or accidentally discordant to story, the real question on a reader’s mind is â€Å"huh?† Plot delivers the nifty tricks that reassure us there’s a point to storytelling. Plot sets up the cause and effect that gives readers a sense of rightness in the story’s conclusion. The same story can be plotted in multiple ways: The king died, and then the queen died avenging him in battle. The king died, and then the queen died from the communicable disease he had spread to her when he spoke his final words close to her face. The king died, and then the queen, eager to free the lover whom the king had jealously locked in the dungeon, slipped on an icy cobblestone and died.    How Where You Begin Helps Determine Where You’ll End Up On each new fiction project, I draw broad inspiration from either a story-focused or a plot-focused angle. Both starting points have their benefits and their challenges. Starting with Story When a story inspires me, I formulate a series of events that leads to a fixed conclusion. I may not know precisely my characters’ motivations or the logic in their decisions, but I can envision the stops they’ll make along their trip. In other words, I’ll know that the queen’s death follows the king’s. The relationship between the events? To be determined. It can be a big relief to sort story out first. When I have the comfort of parameters, I can train myself to a tangible goal. And I enjoy the intellectual exercise of connecting events in a believable sequence. Still, there’s always a catch.   Even with an endpoint clear to me, I need strong supporting evidence (i.e., an effective plot) to justify my events. A few years ago, I decided to write a story about a man who sells a cottage on the beach for the sum of one penny. I savored each of the scenes I created, but in the end, I had only a weakly conceived fairy tale. The imaginative verve delighted me, but no matter how I maneuvered, I was unable to match the plot to the currents of the story. Wipeout. Starting with Plot When a plot stirs my creative juices, I know characters’ feelings and intentions. I take on my writing like a righteous but undirected college kid- searching, motivated, assured of core values and reasons, but clueless as to where the hell I’m going to end up. I’m less concerned, in fact, with where I end up than with why I end up there, so the itinerary is subject to change. Not all who wander are lost. I enjoy making narrative progress along such an organic route. Plotting my way into a story lets me be guided by emotional responses, not by a sightseer’s list of stops. I careen over waterfalls on the strength of my anger, hilarity, or wild joy. And when that passionate feeling is synchronized with the story, I praise my muses and trust the currents. But when I let emotional connections alone be my guide, I begin to wish I’d made some reservations or at least studied the map before heading out. It always sounds noble to speed off for adventure, rely on instincts to take me where I need to be. The reality hits only once I’m shivering in the rain and have no idea where I can pull ashore for the evening. Although too much predictability is stifling, it’s frustrating to lose my mental compass entirely. There’s No Wrong Way to Start It’s hard to classify any real-life creative burst quite as strictly as I’ve done above. Flashes of  both elements are usually blended in that aha! moment. But understanding the elements of each- and how they affect the writing process- is always what prepares me for the excursion ahead. Will I need to focus extensively on my characters’ whys and wherefores to guide my plot? Or will I do better to ensure that their motivations can be satisfied by the events I allow them to experience? We all write differently. As we commit to our writing practice, patterns emerge in our process and style. I happen to be a story-focused writer. Moving the plot from one moment to the next, validating my story with a logical core, is my primary struggle. (Toa Heftiba) Whatever our personal tendencies, though, recognizing  the connected-yet-distinctive elements reminds us all that we can, if necessary, experiment. You may attempt to match several stories with an intriguing plot before everything falls in place. Or you may decide to remain patient with a great story whose plot lacks the sturdiness to carry you through, search the banks of the river for a new entry point, a more fitting course. It’s okay to take apart and rearrange, to radically transplant ideas. That constant reconfiguration is the source of diverse and sparkling literature, even as the same themes repeat themselves through the ages. The love and the death, the surprise, the resignation, the magic. None of these will ever grow trite when there’s such a big world to experience and so many ways to communicate the timeless ideas. I’ll approach the many crisscrossed rivers of my fiction from a thousand angles, strapping on mechanical wings for an aerial perspective or poking down a parallel back road in a coughing Model T. Wherever (and however) we roam, may we all learn to appreciate the view.    We'd love to hear your  thoughts of the differences in the comments!      Jackie Dever is an editor and writer in Southern California. She has edited blogs, corporate materials, academic texts, novels, and biographies. She is an associate editor at  Aionios Books, a small traditional-model publisher based in Southern California. She recently finished proofreading the 2017 San Diego Book Award–winning memoir  A Few Minor Adjustments  (September 2017) by Cherie Kephart. She blogs about writing and publishing, millennial lifestyle trends, and outdoor sports.