Trying to exhaust himself, Vaughan devised an endless almanac of terrifying wounds and insane collisions: The lungs of elderly men punctured by door-handles; the chests of young women impaled on steering-columns; the cheek of handsome youths torn on the chromium latches of quarter-lights. To Vaughan, these wounds formed the key to a new sexuality, born from a perverse technology. The images of these wounds hung in the gallery of his mind, like exhibits in the museum of a slaughterhouse.
Interpretation
This quote explores the connection between technology and human experience, highlighting the dark side of innovation.
In this passage, J. G. Ballard presents a chilling vision of how technology can shape human sexuality and experience through pain and injury. Vaughan's obsession with the violent and traumatic aspects of technology raises questions about the relationship between modernity and the human condition, suggesting that our advancements may carry unsettling implications that are often overlooked. This perspective invites readers to consider the hidden costs of technological progress and its potential to distort our understanding of intimacy and desire.
In practice
In a discussion on the impact of technology on relationships during a seminar.
Science is the ultimate pornography, analytic activity whose main aim is to isolate objects or events from their contexts in time and space. This obsession with the specific activity of quantified functions is what science shares with pornography.
The American Dream has run out of gas. The car has stopped. It no longer supplies the world with its images, its dreams, its fantasies. No more. It's over. It supplies the world with its nightmares now: the Kennedy assassination, Watergate, Vietnam.
Au revoir, jewelled alligators and white hotels, hallucinatory forests, farewell.
Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.
Most English writers are not interested in change but in the social novel. That demands a static backdrop. I'm intensely interested in change - probably as a matter of self-preservation. What the hell is going to happen next?
Deserts possess a particular magic, since they have exhausted their own futures, and are thus free of time. Anything erected there, a city, a pyramid, a motel, stands outside time. It's no coincidence that religious leaders emerge from the desert. Modern shopping malls have much the same function. A future Rimbaud, Van Gogh or Adolf Hitler will emerge from their timeless wastes.
It is the Germans who are responsible for the fact that I became a fabricator of arms. If not for them, I would have constructed agricultural machines. (...) If someone asks me how I can sleep at night knowing that my arms have killed millions of people, I respond that I have no problem sleeping, my conscience is clean. I constructed arms to defend my country.
But this was the only way of life that humans knew for their first 6m years on the planet. In giving it up over the past few thousand years, we have lost our vulnerability to disease and cold and wild animals, but we have also lost good ways to bring up children, look after old people, stave off diabetes and heart disease and understand the real dangers of everyday life.
Half the world hates What half the world does every day Half the world waits While half gets on with it anyway
Your honesty is not to be based either on religion or policy. Both your religion and policy must be based on it. Your honesty must be based, as the sun is, in vacant heaven; poised, as the lights in the firmament, which have rule over the day and over the night.
I suppose it is submerged realities that give to dreams their curious air of hyper-reality. But perhaps there is something else as well, something nebulous, gauze-like, through which everything one sees in a dream seems, paradoxically, much clearer. A pond becomes a lake, a breeze becomes a storm, a handful of dust is a desert, a grain of sulphur in the blood is a volcanic inferno. What manner of theater is it, in which we are at once playwright, actor, stage manager, scene painter and audience?
We knew the world would not be the same. A few people laughed, a few people cried, most people were silent. I remembered the line from the Hindu scripture, the Bhagavad-Gita; Vishnu is trying to persuade the Prince that he should do his duty and, to impress him, takes on his multi-armed form and says, "Now I am become Death, the destroyer of worlds." I suppose we all thought that, one way or another.
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