https://www.clockworks2.org/wiki/index.php?title=The_Fall_of_Hyperion&feed=atom&action=history The Fall of Hyperion - Revision history 2024-03-29T15:22:15Z Revision history for this page on the wiki MediaWiki 1.32.1 https://www.clockworks2.org/wiki/index.php?title=The_Fall_of_Hyperion&diff=7859&oldid=prev Erlichrd at 04:08, 8 July 2017 2017-07-08T04:08:09Z <p></p> <table class="diff diff-contentalign-left" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">←Older revision</td> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 04:08, 8 July 2017</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Simmons, Dan]]. ''The Fall of Hyperion''. New York: Doubleday-Foundation, 1990. Sequel to ''[[Hyperion]]'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume.  </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">'''</ins>[[Simmons, Dan]]. ''The Fall of Hyperion''.<ins class="diffchange diffchange-inline">''' </ins>New York: Doubleday-Foundation, 1990. Sequel to ''[[Hyperion]]'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume<ins class="diffchange diffchange-inline">. Volume 2 of the ''Hyperion'' series (4 books as of July 2017; see also ''[[Endymion]]'' and ''[[The Rise of Endymion]]''</ins>.  </div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries.  </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries.  </div></td></tr> </table> Erlichrd https://www.clockworks2.org/wiki/index.php?title=The_Fall_of_Hyperion&diff=7739&oldid=prev Erlichrd at 22:59, 18 June 2017 2017-06-18T22:59:23Z <p></p> <table class="diff diff-contentalign-left" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">←Older revision</td> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 22:59, 18 June 2017</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Simmons, Dan]]. ''The Fall of Hyperion''. New York: Doubleday-Foundation, 1990. Sequel to ''[[Hyperion]]'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume.  </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Simmons, Dan]]. ''The Fall of Hyperion''. New York: Doubleday-Foundation, 1990. Sequel to ''[[Hyperion]]'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume.  </div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries. TEXTUAL WARNING: If using the 1990 Doubleday edition, be sure there's an errata sheet giving p. 305. (RDE, 2006){{DEFAULTSORT:Fall of Hyperion, The}}</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries.  </div></td></tr> <tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr> <tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>TEXTUAL WARNING: If using the 1990 Doubleday edition, be sure there's an errata sheet giving p. 305. (RDE, 2006){{DEFAULTSORT:Fall of Hyperion, The}}</div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Simmons, Dan]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Simmons, Dan]]</div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Fiction]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Fiction]]</div></td></tr> </table> Erlichrd https://www.clockworks2.org/wiki/index.php?title=The_Fall_of_Hyperion&diff=5345&oldid=prev Erlichrd at 00:29, 17 December 2014 2014-12-17T00:29:11Z <p></p> <table class="diff diff-contentalign-left" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">←Older revision</td> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 00:29, 17 December 2014</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Simmons, Dan]]. ''The Fall of Hyperion''. New York: Doubleday-Foundation, 1990. Sequel to ''[[Hyperion]]'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume.  </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Simmons, Dan]]. ''The Fall of Hyperion''. New York: Doubleday-Foundation, 1990. Sequel to ''[[Hyperion]]'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume.  </div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries. TEXTUAL WARNING: If using the 1990 Doubleday edition, be sure there's an errata sheet giving p. 305. (RDE, 2006)</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries. TEXTUAL WARNING: If using the 1990 Doubleday edition, be sure there's an errata sheet giving p. 305. (RDE, 2006)<ins class="diffchange diffchange-inline">{{DEFAULTSORT:Fall of Hyperion, The}}</ins></div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Simmons, Dan]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Simmons, Dan]]</div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Fiction]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Category:Fiction]]</div></td></tr> </table> Erlichrd https://www.clockworks2.org/wiki/index.php?title=The_Fall_of_Hyperion&diff=2000&oldid=prev Fitzador at 22:05, 14 April 2007 2007-04-14T22:05:06Z <p></p> <table class="diff diff-contentalign-left" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en"> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">←Older revision</td> <td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 22:05, 14 April 2007</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l1" >Line 1:</td> <td colspan="2" class="diff-lineno">Line 1:</td></tr> <tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Simmons, Dan]]. ''The Fall of Hyperion''. New York: Doubleday-Foundation, 1990. Sequel to ''Hyperion'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume.  </div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Simmons, Dan]]. ''The Fall of Hyperion''. New York: Doubleday-Foundation, 1990. Sequel to ''<ins class="diffchange diffchange-inline">[[</ins>Hyperion<ins class="diffchange diffchange-inline">]]</ins>'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume.  </div></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr> <tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries. TEXTUAL WARNING: If using the 1990 Doubleday edition, be sure there's an errata sheet giving p. 305. (RDE, 2006)</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries. TEXTUAL WARNING: If using the 1990 Doubleday edition, be sure there's an errata sheet giving p. 305. (RDE, 2006)</div></td></tr> </table> Fitzador https://www.clockworks2.org/wiki/index.php?title=The_Fall_of_Hyperion&diff=1999&oldid=prev Fitzador at 22:04, 14 April 2007 2007-04-14T22:04:33Z <p></p> <p><b>New page</b></p><div>[[Simmons, Dan]]. ''The Fall of Hyperion''. New York: Doubleday-Foundation, 1990. Sequel to ''Hyperion'', or, more exactly, the second volume of a two-volume novel, developing and resolving issues from the first volume. <br /> <br /> A treasure-trove of variations on the themes of the mechanical god—more exactly cybernetic gods and messiahs (and some serious theological speculation)—high-tech and cyberspace worlds bordering on the magical, computer take-over threats by highly advanced AIs, and relationships among the organic, arachnid, cybernetic, monstrous, human, and divine. See for the threat of a literalization of the figure of speech of humans' enslaved to our technological conveniences, humans penetrated literally and virtually (as in VR) by cybernetic devices, and for the threat and promise of competing human and machine attempts to make immediate the evolutionary theology of Teilhard de Chardin (alluded to ''passim'' and mentioned explicitly on 337; see also 484, for &quot;The new Pope, His Holiness Teilhard I&quot; [chs. 36 and 44]). For a concentration of themes, see chs. 43-44, with references to &quot;spiders in the web&quot; for AI's (450), &quot;Man god and machine god&quot; (451), &quot;god machine&quot; (479), and the possibility that &quot;Sometimes […] dreams are all that separate us&quot; humans &quot;from machines (474). See ch. 33 for a &quot;Grand Inquisitor Scene&quot; with a human and John Keats &quot;cybrid&quot; figuratively flying in the cyberspace of &quot;the megasphere&quot; and beyond—analogized with cities and ecologies of data—and meeting an AI who will reveal secrets and great mysteries. TEXTUAL WARNING: If using the 1990 Doubleday edition, be sure there's an errata sheet giving p. 305. (RDE, 2006)<br /> <br /> [[Category:Simmons, Dan]]<br /> [[Category:Fiction]]</div> Fitzador