To Ease

As technology progresses it takes on more and more of our burdens. The silicon chip has become the pinnacle of today's technology; it has become nearly ubiquitous in society. Progressively, the computer chip finds its way into all of our devices, making them more able to think for us.

Take the microwave, a device that has become commonplace in the household. The first microwave I had reminded me of a small oscilloscope. To thaw vegetables I would check that the knob was on high, turn the dial to three minutes, press the start button, and finally check to make sure it actually was running. Now a single button, conveniently marked "Vegetables" handles the entire process for me.

Computers have made their greatest impact in the ease of obtaining knowledge. The connection provided by the internet opens masses of data to our machines, which in turn present them to us. Nothing is difficult to find; as Slouka noted, "In the airy precincts of cyberspace, there are no hard facts" (154). With the information so readily available who will still enter a library? Who will page through books, searching for an elusive phrase? Who will go out to discover the answer themselves?

As the old saying goes, "Power Corrupts" with the advent of computer technology, this has become more true. The internet can place power at the finger tips of anyone. Novice crackers or ‘Script Kiddies’ can go to websites like insecure.org and download programs and scripts to attack computers. Without the knowledge or skills or even taking much of their time, these people are given power. The computer is more than just a tool. A tool can only enhance the person's own abilities; the computer is capable of acting independent of the user.

Can the ease help rather than harm? Can it cause development rather than stagnation? The modern researcher is spared the tedium of finding that one relevant fact with in a morass of texts. The hypertext, which so intrigues Ms. Guyer, brings together a host of related data. The automatons in the lab repeat to tedious experiments again and again, providing a wealth of data to the researcher. And when the experiment ends, the computer correlates that data, yielding compact pieces of information for the researcher to pick over. Does it truly matter that the biologist no longer handles his cultures or the chemist his test tubes?

Forbidden Planet shows both sides of technology. Robbie the Robot represents the benefits. He takes care of the house work, drives the vehicle, synthesizes materials and as Dr. Morbius demonstrates, he is incapable of harming a human. The monster portrays the negatives of technology. With nearly unlimited power behind it, the invisible creature attacks the crew several times.

A crumpled leaf draws my attention; a drab green against the stone. My sketch pad comes out, ready to capture the image on paper. Even in the minimal world provided by the leaf and my pad, ease and power pull at me. It would be so easy to just move the leaf, flatten it out and simplify the image.

Could powerful technologies that we develop lead to our downfall? Numerous writers have delved into the results of our ever increasing ease. The Krell of Forbidden Planet destroy themselves as their machines respond to subconscious hatreds. The Markovians of Jack Chalker's Midnight at the Well of Souls fall into deep ennui having nothing to challenge them. The ability to act independently of the computer is the first casualty of our ease, "Think? Why Think! We have computers to do that for us." comments Jean Rostand.

The Krell machines could produce anything, directed by just a thought, explained Dr. Morbius. The Krell eliminated desire, not through the contemplative path of The Buddha, but the analytical experimentation of Aristotle. All wishes were satisfied, including those that would bring harm to others. Infinite power, available to all.

Dutifully, the Krell machine executes the will of Dr. Morbius, or at least the strong subconscious desires of his. His anger with the scientific team, the scout ship's crew and finally his own daughter are manifested in a terrible creature. In the final scenes of Forbidden Planet, the characters watch the power gauges in the heart of the Krell complex as the machine provides what ever power is necessary to fulfill the doctor's hatred.

The Markovians of Midnight at the Well of Souls had similar creations; below the surface of their worlds, giant computers responded to their needs. Before the end of their civilization, their machines could manipulate the very laws that govern reality. But where to go from there?

As the last Markovian, Nathan Brazil, informs us of how the Markovian Race went back to their beginnings. They created new sentient races and colonized the galaxy with new species, in the hope that one would develop where they had failed.

Reviewer Andrew Hicks completely misses the point of the movie Forbidden Planet. While his review comments very accurately on the technical and action aspects of the movie, it skips over the plot looking for modern action scenes.

He first complains about the props, "You can tell from the first minute what quality entertainment the movie holds, as a giant pie-plate flying saucer on a string flies by," writes Hicks. If we were to judge out movies by the opening scene what would become of 2001 which opens with a gathering of primitive hominids? He continues his critique of the props, "Robbie the Robot, who looks like a giant jukebox with human legs." a view that is not widely shared, as shown by the numerous appearances of Robbie in other media.

His final blow at Forbidden Planet, attacks the selection of its cast. The major character of Commander Adams is played by Leslie Neilson, an actor now well known for his roles in parodies such as Airplane! and The Naked Gun. (This paper written by Joseph Strom) While Leslie Neilson's appearance may detract from the serious tone of the movie, at the time of production Neilson's other movies were still twenty year in the future.

Paragraph after paragraph of padding fills the page. The review spills forth quotation after quotation, describing scene after scene. And each one carefully avoids touching upon the plot. With the instant gratification provided by our technology, do we no longer want a story, but just a fast paced thriller?

Forbidden Planet cannot be watched as an 'action flick,' the entire movie is built around a central and interesting plot, unlike the modern Star Trek and Star Wars movies which are loaded with special effects and action scenes. As Dragan Antulov writes in his review: "That [the influence of the film] speaks a lot of about the ingenuity of intelligence of screenwriter Cyril Hume, who, unlike many other SF [Science Fiction] writers, didn't use the premise as a simple excuse for a standard action/horror plot, but actually built the real, intriguing story on it and led it to its logical and effective conclusion.

I sit down to write, the plastic keys come more readily than a pencil. And even when I do place my words in gentle grays on paper, it is no stick of wood and graphite I use; the pencil is made of plastic and dispenses a polymer on the page. My fingers wrap around a soft pad as I direct its movements. No longer need I try to grip a thin wooden peg, or worry about breaking the tip of a pencil.

Can we oppose the ease? Or more importantly, will it help us any to resist? Slouka rests his hopes upon the artist, "Because art, ultimately, is always a work of the individual creative imagination" (154). Maybe, as long as we stay free-thinking, we have already won.

"Forbidden Planet." TV Guide. 2003. 6 October 2003 http://www.tvguide.com/movies/database/ShowMovie.asp?27304.

Guyer, Carolyn. "Along the Estuary." Tolstoy’s Dictaphone Ed. Sven Birkerts. St. Paul, Minnesota: Grey Wolf Press, 1996 (3-15).

Hicks, Andrew. "Forbidden Planet." All-Review.com Movie/Video Review. 1996. 6 October 2003 http://www.all-reviews.com/videos-2/forbidden-planet.htm.

Schwartz, Lynne. "Only Connect?" Tolstoy’s Dictaphone Ed. Sven Birkerts. St. Paul, Minnesota: Grey Wolf Press, 1996 (3-15).

Slouka, Mark. "In Praise of Silence and Slow Time." Tolstoy’s Dictaphone Ed. Sven Birkerts. St. Paul, Minnesota: Grey Wolf Press, 1996 (3-15).