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.therewould either be some fraction of the truth s numinous beauty.or only a powerspectrum (Pynchon, 1966: p.125).However, Oedipa s fear that Inverarity and theTrystero might be one and the same, and that the separate worlds are bound forcollision, leads her to the conclusion that the rigid binarism of computer logic, itseither/or language of one or zero, cannot assist her in the construction of anadequate map of the circuits of power which animate her worlds.In a space like SanNarciso, which Oedipa comes to feel  had no boundaries (Pynchon, 1966: p.123),the location of power cannot so easily be decided upon: it is less a matter ofdeterminate truth or falsehood than it is of a  spectrum , an indeterminatedissemination that defies exact or certain representation.Interestingly, the engineers of the Eclipse Group find themselves in a situationdisturbingly similar to Oedipa s as Kidder s narrative comes to hinge on a majorissue of power and control.The question arises of where, precisely, ultimateresponsibility for the shape and nature of the Eagle project lies: the engineers beginto wonder, in short, who exactly controls this world of theirs.Two positions areoffered.One engineer insists that  The company didn t ask for this machine, we gaveit to them.We created this design.We got it from within ourselves.However,another contends that  Their [the company s] idea was piped into our minds! (Soul:p.271).The polarisation of the argument reflects the binarism of the engineersprofessional world view or  code , which Kidder describes as follows:  Among itstenets is the general idea that the engineers right environment is a highly structuredone, in which only right and wrong answers exist.It s a binary world; the computermight be its paradigm, and many engineers seem to aspire to be binary people withinit (Soul: p.146).Yet Kidder promptly observes that  there were many reasons todoubt the reality of this binary world (Soul: p.147).And we might suggest thatsome of the engineers confusion as to the precise locus of power within their world 54 CAPITAL, CLASS AND TECHNOLOGY IN CONTEMPORARY AMERICAN CULTUREstems from this misplaced trust in the explanatory value of the computer asmetaphor.Far from inhabiting the highly structured environment represented bythe computer, Kidder feels that the Eclipse Group  lived in a land of mists andmirrors.Moreover, the unmappability of their world is related to the nature of theparticular language game that constitutes it.Kidder attempts to codify the rulesaccording to which this world operates, but finds that certainty on this issue is noteasily arrived at:I think those were the rules that they were playing by, and when I recited themto some of the team s managers, they seemed to think so, too.But Alsing saidthere was probably another rule that stated,  One never explicitly plays by theserules.And West remarked that there was no telling which rules might be real,because only de Castro made the rules that counted, and de Castro was oncequoted as saying,  Well, I guess the only good strategy is one that no one elseunderstands. (Soul: p.113)The suspicion that de Castro might have orchestrated from afar the entire project,including even West s own conviction that Eagle s creators were working on theirown, comes to possess the group, confirming West s observation about the paranoid nature of the corporation and the project group (Soul: pp.270, 267).Weare reminded here of Oedipa Maas s mounting paranoia as she feels she is the victimof an elaborate plot constructed by Inverarity to deprive her of her sanity.AndOedipa s sense of powerless disorientation is reproduced in several members of theEclipse Group when they venture briefly out of the confines of their basement intowhat Kidder calls  that distant country, the upstairs of Westborough.He relateshow  when they got upstairs, they were lost.They had to ask directions from  somestranger in a suit as Alsing put it (Soul: p.283) [ Pobierz całość w formacie PDF ]