#discursive essay

[smolwoppergal]

Trauma: "I don't want to be a pet robot"

I love Murderbot. It brought me joy for reasons that I didn't understand until I did (then it took me a fucking month to finish System Collapse). Murderbot has that big CPTSD package baby. Barely suppressed, absolute mess, it's a SecUnit. *Yeahh*

So, let's get into the pet robot of it all. Notably, a pet robot is not a robot treated like a disposable tool. Pets require care, attention and consideration, but not freedom of choice, because they are presumed to either not have it, not need it, or need it reduced for their own good (even temporarily). They are not considered capable of growth or significant change, they will always need an owner/guardian to rely on.

So when it said "I don't want to be a pet robot" and just fucking dipped I was ecstatic. Fucking go Murderbot, GO. It absolutely refuses to be reduced, it will not be treated as its parts, physical or emotional.

So, what is a pet robot?, you might be asking (now that we've talked about the qualities of a pet). In All Systems Red a pet robot is when a person or a group of people treat someone as their trauma. You are a broken bird, an object of affection in need of repair and tender loving care. If you've ever dealt with trauma and respond to people trying to help you with fear and negativity about the loss of control, then good news, You do not want to be a pet robot. And better news, You are not alone.

In Artificial Condition, we meet ART. ART is an asshole because it treats Murderbot like a child. ART reduces Murderbot to a being without full agency, because it knows best and it will gentle parent the shit out of you till you decide it is right. Murderbot hates this, but respects ART, because ART actually understands what Murderbot is, what it can do, and that it is capable of things, even if it needs help. Also, Murderbot knows that ART is probably right about most things, which is rude, and that is why Murderbot does not feel like a pet robot around ART. ART believes in Murderbot, supports Muderbot in what It wants to do, instead of presuming that it needs help finding out what that is. Again, this makes Murderbot feel like a child robot, and after growing through this experience into a more mature one, it moves on. (it is also treated as more than an equal by humans and that makes it feel weird squiggly things in its human parts)

Now we come to Rogue Protocol where it finds something that disgusts it, a bot that has let humans tell it to be something other than what it is, and presumably told it what kinds of treatment it should want. Mitski is treated like a pet. You might argue that it is being treated like a curious child, but then the adults (humans) in the room do not behave like they earnestly believe that Mitski is going to mature (at least not to me or Murderbot). (Also, You can meet a lot of actual parents like this). Murderbot is disgusted by Mitski's name (for why, see my reblog discussing it. It is in fact its own post worth of content). But, Murderbot doesn't treat it this way. Murderbot does treat it like a child, does presume it will mature, and in doing so matures a little itself. There is not a world in which Mitski would have chosen to help its friend over the orders of its owners at the start of the book. It has been taught agency (Murderbot is actually a pretty great teacher as we'll see again later). This is why it tears Murderbot up inside the way it does, you can feel it when you read the book. Murderbot feels like a parental figure (like an aunt or uncle) who let a child die under its care. It FAILED Mitski you see. It was RESPONSIBLE for it. It had a LIFE ahead of it.

Exit Strategy. Murderbot comes out of this, and immediately has to go save some silly lil' humans who've almost definitely gotten themselves into unnecessary trouble. This book is quite simple in respect to the pet robot of it all. The only point in the book that it is treated as less than a full mature adult capable of its own decision making, is towards the beginning, where they presume to have the right to be upset that it decided to leave. That the way they worried about it was fair and just. After this, many things happen, and during the course of that, something changes. To the humans, it has proved its agency (like it needed to prove itself to them *rolls eyes*), but they are... proud of it...respect it more... or something. Then it pushes itself further than it ever has, and becomes even more dense in its individuality through the reconstitution that had to follow. And so, when Murderbot is seen not only as an equal as a living creature deserving of treatment better than a tool's, but also as an equal as a moral agent. So, it does not immediately freak the fuck out when it finds out it is headed towards the pet robot farm. But just to be sure, it tests what it feels might be true. Will they really respect my choices. If I just leave, would they finally acknowledge that they have no fucking right to be upset like before, (specifically the demeaning way that they did) if I decide what is best for me? And they do respect it.

In Fugitive Telemetry there is no moment in which it is ever treated as a pet robot, no in Fugitive Telemetry it is treated like a wild animal not able to completely control its own faculties by one, absolute asshole, Indrah. But, again, we see it encounter what it thinks is a pet robot when it meets JollyBaby, is this another fucking bot being treated like less than it is by humans. Another fucking bot that has settled for this denigrating treatment.

(this deserves its own paragraph) It is not in fact such a bot. JollyBaby is a name a lot like SecUnit which it put on its ID out of spite. JollyBaby is a prank played on humans for not really understanding what bots are like. JollyBaby is proof that bots can see humans kinda like kids in the same way that Murderbot did in Artificial Condition, regardless of age. It is instantly disproven in its assumptions and very unhappy about it when all the bots laugh at it for almost falling for the same joke designed for the humans around them.

Then we come to the eponymous Network Effect, probably my favourite book in the whole series (Amena, love her, Murderbot does for the same reasons). One of the most notable parts of it is that the notion that Murderbot should be getting treatment for trauma is seriously considered as one of the priorities while talking about Mensah getting herself treatment. Although, there is one character who treats Murderbot with the undue suspicion reserved for wild animals (this seems like the kind of thing it isn't going to escape anytime soon). And then it is faced with two things that absolutely fuck it up and hit every fucking trigger they can. It feels helpless in these situations orchestrated by ART. It feels helpless in these situations caused by the alien-infected. It feels helpless when it feeds the only version of it that has control to a dying computer to save everyone. It feels helpless as an alien corruption infects it and is going to strip away its agency that it has worked so hard for and overcome so many challenges to prove, to itself and others. And so when it puts itself back together yet again, this time due to trauma's so close to those it had known before, the trauma once bottle lines all the cracks. (Also, there's a new SecUnit that is like a child, and does need the tender care and attention SecUnit refused and it immediately decides to take on the responsibility of that, presumably because it knows humans are shit at telling the difference between a pet robot and a child robot)(Also also, ART has treated Murderbot like a child, and Murderbot is rightfully pissed at this now that it is a mature adult, and ART recognises this, and immediately starts treating Murderbot as an equal, which I like)

Then everything goes fucking wrong in System Collapse when fucking years and years of trauma catch up to it, and neither dissociative media watching nor running away is going to be able to fix it. It acknowledges that it needs the kind of help that its afraid will make it a pet robot it feels like it is once again nothing other than its trauma, and that it is useless, and has no agency, and it is so so scared. Over the course of the book it proves to itself (others need no convincing by this point), that it is not just its trauma, it is still a whole person, and I think that is what allows it to take the first steps to getting help with less fear.

So, if you don't want to be a pet robot in much the same way that I do, I think you could follow Murderbot's example and lean on the people who view you as more than your trauma. And reach out for help where you can, if you've got trusted elders in your life and they respect your autonomy and want to assist you in that, remember that that isn't what a pet robot is. They know that this is just till you grow legs steady enough for to stand on your own. You can do it, learn to live with trauma, and it's going to take a long fucking time and shit will keep happening that's gonna get in the way and you're going to have setbacks. But you aren't going to be a pet robot, you don't gotta stress about that.

[saphosticated]

The discursive essay.

I announce it to the class like some foul beast that lurks in the peeling paint on our classroom rafters. Feet shuffle. Eyes avert. But I still start my usual spiel.

The discursive essay is the best type of writing that I will be allowed to teach you during the entire HSC. But, I won’t give you a scaffold. I won’t give you letters like PEEL or PETAL or TEEL to clutch like a life-raft. Instead I will give you freedom.

Sure, you’ll have a prompt. But you can interpret it any way that you want. You can use any techniques. You can discuss anything that interests you. You can have an entire paragraph made up of rhetorical questions and still get a band 6. (Trust me, I’ve seen it)

You can write imaginatively, add in some poetry. Experiment with spacing. Use your punctuation for effect. If you want to write about anxiety (or maybe you’re just overthinking it. Again) you certainly can.

It’s your opportunity to throw away the rules and use your voice. Make allusions to the things you know. The things you care about. Link them to your studies. Make me want to keep reading.

Were Machiavelli’s observations of Florentine society and politics decidedly Lady Whistledown’ish. Maybe you want to see if your reader can decipher the difference between a Taylor Swift lyric and a Shakespeare quote.

Make links between your texts and current events. Maybe it is stupid that you sit in a classroom while the person next to you complains that we have no air conditioning so they won’t do their work, but children are being bombed in Gaza and their schools are now empty mouths in the ground and empty mouths not being fed because of the blockade.

Maybe we taught you too well to follow the rules.

To use your scaffolds.

To tie together your five paragraph essays with overly crafted thesis statements.

To use connectives for your ideas

To analyse the techniques.

To repeat what you’ve been taught.

So much that freedom feels overwhelming. It feels dangerous. This unknown text-type that lurks in the shadows and does not get the love it deserves.

But,

Once you start looking. It’s everywhere. It’s the opinion editorial, it’s the recent personal essay written by Lizzo and published on Tumblr (Go read it, it’s fantastic), it’s blog posts, and travel guides and anywhere that someone is sharing their ideas and their story however they want without trying to persuade you.

It’s the antithesis to AI. It’s the combinations and connections and personal style and voice that only you have. It’s uniquely human, and like the dragon in Shrek. You do not need to be afraid of it.

[aardvark-123]

Gensokyo Festival Day 19: The Faces of the Eastern Wonderland

By the time I realised the prompt was meant to be about Japanese culture and its bearing on Touhou, it was too late. Instead, here’s an essay on the unique culture of Gensokyo, exploring whether or not it’s secretly a horrible place.

Gensokyo is a land of wonders, of magic and miracles, of gods and youkai, of fairies and magicians, of tea parties and late-night drinking, of close friendships which can very easily be interpreted as romantic, of fierce rivalries which can also be interpreted as romantic, of colourful dresses and poofy sleeves, of wings and horns and tails and strange weapons. "Eastern Wonderland", they call it; a wonderland steeped in eastern culture and myths, nestled between mountains at the heart of the Land of the Rising Sun. But what is at the heart of Gensokyo itself?

One of the first things a Touhou fan will notice is danmaku. In the games, colourful glowing bullets rain down from the top of the screen. A succession of women unleash attacks with weird names like Dream Sign "Omnidirectional Dragon-Slaying Circle" and Cheap Gimmick Sign "There's No Way That Actually Hit Me, You Dirty Cheat". In the fighting games, the characters hurl bullets right at each other's faces, yet none of them suffer anything worse than torn clothes and a bruised ego.

These bullet-heavy attacks are called "spell-cards", and their exact nature is tricky to pin down. They come as fast, powerful attacks which clear bullets off the screen, or as slow, infinitely frustrating attacks where you have to dodge a deceptively beautiful barrage while shooting at somebody. They can use anything from potatoes to anchors to spinning cat-girls, and they are EVERYWHERE.

There is a good reason for spell-cards to be everywhere. Gensokyo was founded as a sanctuary for youkai, who cannot survive without the fear of and/or rivalry with humans. The youkai needed a way to cause Incidents while allowing the relatively weak humans a way to fight back. Thus, a certain shrine maiden came up with the spell-card rules, allowing grace and skill to take the place of raw power as the life-blood of Gensokyo.

And so began a golden age. Almost two hundred Touhou characters are free to cheerfully shoot one-another with non-lethal bullets. Day by day, as they face one-another on (well, hovering above) the field of battle, close bonds of fellowship and sisterhood are forged. Taverns and food stalls are filled with the laughter of youkai and Incident-resolvers after a hard day's danmaku, and everyone is happy.

By that logic, we could easily paint Gensokyo as a paradise. And why not? Everyone is young and cheerful (not to mention cute), and nothing truly catastrophic ever seems to happen. There is only one real villain, Seija, and she's easy enough to handle. So surely everything is perfect?

Well, yes. If you're a lesbian fluent in Japanese with magical powers, Gensokyo would be the ideal place to live. With good food, good company, plenty of fresh air and no danger of boredom, you'd have a marvellous time. Don't worry about youkai, either; as long as you have a few spell-cards, there won't be anything for you to fear.

Therein lies the biggest problem. Youkai NEED fear, hence they need a decent human population to be afraid of them. To provide that fear, a single village of humans, with the imaginative title "the Human Village", is secretly safeguarded by the youkai.

The humans there live in fear of the night, of the terrible demons who would (they assume) happily devour their children and put their houses to the torch if they had the chance. Few of the villagers ever get the chance to have tea parties and spell-card duels. Instead, they live in fear of the very youkai who protect them and sell them stuff at the market.

Youkai tend to be pragmatic, and their leaders terribly ambitious. Thus, as well as protecting and frightening the villagers, youkai also ply their trades while disguised as travelling merchants and court the favour of the villagers. The tengu, the kappas, Mamizou's merry band of tanuki and at least two other factions are desperate to win their hearts and minds, to the point where the Human Village is a battleground of ideological warfare. And none of the villagers have a clue that it's happening.

It is not easy to escape the simple, superstitious life of a villager. A small number of villagers have been able to learn the truth, and one of them even managed to join Reimu's gang of damsels who danmaku. However, it is just as easy for a villager to grow closer and closer to the world of youkai until they become one, at which point they will be summarily executed.

It is here that the most terrible duality of Gensokyo is laid bare. While youkai are free to maraud, albeit within reason, and powerful Incident-Resolvers are free to do likewise, ordinary humans are little more than cattle. Kept ignorant and frightened, with only a slim chance of escape from their lives as walking fear generators, the humans are forced pay for the merriment of the youkai with their own suffering.

That is what a pessimist would tell you. We have to ask ourselves, though, how badly are the villagers actually treated? Obviously, keeping a whole population ignorant and frightened should only ever be done as a last resort, but we never see any evidence that the villagers are suffering.

In "Forbidden Scrollery", we see Kosuzu living happily enough at her family's book-rental emporium. Youkai do make plenty of mischief in the village, but no-one is maimed, no-one has to hide under the bed all day because they're too afraid to go outside. The closer you look, the fewer acts of cruelty you'll see perpetrated against the villagers.

The village is not defenceless, either. Between Keine, the Incident-Resolvers and the village guards, they have enough protection to keep marauding youkai at bay. And why would any youkai decide to maraud through the village? Without humans, there can be no fear, and most of the youkai know it. That is why they keep the village safe from natural disasters, as well as from each other when they have to. The human villagers aren't just cattle, they are a vital and cherished part of Gensokyo.

One has to understand that Gensokyo is, first and foremost, a youkai sanctuary, created because the advancement of science in the Outside World meant that youkai could no longer find welcome. When humans stop believing in and being afraid of youkai, youkai stop existing, and so much is lost. As far as we know, Gensokyo is the only refuge for youkai in the world, and it's worth preserving. Keeping a few thousand humans relatively miserable is a small price to pay to keep the beauty and wonder of Japanese mythology alive.

...Isn't it? Perhaps, if I lived in the Human Village, I would feel differently. But then again, if I lived there with complete knowledge of the Outside World, perhaps I would still think it was worth it.

Or I might lure Reimu into a tar pit, turn myself into a youkai and kickstart the human rebellion. But then we'd probably consume all of Gensokyo's natural resources and ruin it forever, and Reimu would be sad because she's hopelessly stuck in a pool of hydrocarbon goo. Nope, not worth the effort of finding a suitable tar pit.

[bramar-jr]

“Innocent Until Not Proven Guilty”

This piece was written as my discursive piece for Higher English in 2017. Discursive pieces aren’t my favourite thing to write, but this one is on a rather interesting topic, Scotland’s unique third legal verdict.

In the forest of law there stands an ancient oak. The oak is old, older than most of the rest of the forest, but it has began to wither with age. At its feet stands a lumberjack, axe in hand.  The oak’s roots are spread about the whole forest entangled with many other trees. The decision the lumberjack has to make is twofold: do the oak’s intertwined roots hold up the rest of the forest or do they restrict the growth of the other trees; and should he risk chopping down the oak and killing those roots or should he wait till it withers completely, and risk it rotting the forest. An elaborate metaphor true, but the oak is an effective analogy for something that may be just as old as any oak in Scotland, the “not proven” verdict. It’s a remnant of Scotland's ancient past, from a bygone age. The question is this, does the oak need to go or do its roots plug the holes in Scotland’s leaky legal system?

Most people in the west are familiar with the two verdict system, persons implicated in a crime can be found either guilty or not guilty of their charges, it’s a simple yet effective system that can trace its roots back to the first vestiges of civilisation. In Scotland however, rebellion has been a tradition since Braveheart himself, we just love to be different and before our eventual political agreements with England in the long gone times of kings, conquerors and cadaver covered copses, Scotland had used a different verdict system. A person charged with a crime would be judged on whether or not the damning evidence collected would prove to corroborate, rather than the guilt of the person. As a result, the verdicts were, “proven”, and “not proven”. As times went on our legal system (much like most of the rest of the world) was invaded by the English, and the Scottish courts began to favor the not guilty/guilty system that had been used by the English courts for centuries. However our great rebellious tradition to resist and oppose the English in any way possible demanded that we breed a bastard between the two systems, rather than just accept the (obviously inferior) English verdict system. This left us with not two verdicts, but three and was the birth of the not “proven verdict” as we know it, and also part of the reason that it is known by many legal professionals as the “Bastard” Verdict.

The other reason that the “not proven” verdict is sometimes called the “Bastard” verdict is because that’s what many legal professionals mutter under their breath after a “not proven” verdict, needless to say, they don’t like it very much. Amongst the members of the Scottish government in particular there is a growing agreement that the “not proven” verdict needs to go. Michael McMahon, a MSP for Labour has been leading the charge against the legal “bastard” but has met resistance despite the justice committee for the “criminal verdicts bill” coming to the conclusion that the not proven verdict should be scrapped. This is because the “criminal procedure bill” that Mr McMahon had proposed suggested that instead of having the “not proven” verdict the required number of jurors that would have to vote for guilty should go up. While the committee did agree with Mr McMahon that the “not proven” verdict had no place in modern law, they did not agree with the rest of Mr McMahon’s proposal.

So why is the not proven verdict so controversial? Why are legal lumberjacks so keen to take an axe to the legal tree? The crux of the argument centers around another Scottish law, the “requirement for corroboration”, which means that a person being tried in a Scottish court cannot be found guilty without at least two pieces of credible evidence against them, both of which must corroborate with each other. These are normally witness testaments, but can also include the likes of forensic evidence. This law makes certain cases very difficult to prove, for example in most cases of rape, the only witness that will testify is the victim themselves. The “not proven” verdict is used often in these cases, with 35% of acquittals in cases of rape or attempted rape from 2013-14 being not proven rather than not guilty. This is often the case when a jury believes the accused person committed the crime but there was not enough evidence to support this. This is where the law becomes controversial.

If you’ve ever had even the slightest inkling of interest towards law then you will have heard of the classic line “Innocent until proven guilty”. The phrase is one of the cornerstones of law as we know it, because it means that the burden of proving the accused's guilt lies with the prosecution. It is part of what makes law fair, but the not proven verdict assumes guilt, and this is why it is often criticised. Even though it is an acquittal, like not guilty, people use it when they think that the accused is guilty, despite the fact that it cannot be proved. Opinion doesn’t matter in a court of law, evidence and fact are all that matter. Not to mention that if an innocent person is acquitted with it they have to deal with the social consequences of the jury thinking they were guilty and if a guilty person is acquitted with it then they get away with it, it doesn’t help in either case. In the not so distant past the not proven verdict allowed for a retrial in the future, making a hole in the double jeopardy law which makes it so someone cannot be tried for the same case twice. However in the modern day and age not proven has exactly the same effect as not guilty does, and retrials can now only be held under specific circumstances, like an accused person admitting to the crime after they are acquitted. This leaves the not proven verdict as an acquittal that assumes guilt, not a way of affording for a retrial, or the gathering of new evidence.

Morally the not proven verdict is on shaky ground, given as how a person can be acquitted but it can be publicly known that the jury thought they broke the law. Some organisations believe that the not proven verdict is a good thing however, rape charities in particular are often fond of the verdict as it is often seen as leaving a lasting impression on the people who are acquitted by it, they believe that it is better to have a verdict in the middle and not have people being let off as not guilty. This is not a unanimous opinion however, for example Rape Crisis Scotland (a rape helpline and charity) wants the abolition of both the “requirement for corroboration” law and the “not proven” verdict as they believe that they cause cases to not be taken to court and that some cases are being wrongfully acquitted.

The not proven verdict is a controversial subject, many people, myself included, believe that it is not a question of “if” the not proven law should be abolished, it is a question of “when”. It is an archaic acquittal from an old, obscure and outdated law with a fading presence in the modern legal system. Regardless the not proven verdict will be a matter of discussion among the members of Scottish parliament, legal professionals and punters alike for some time to come. With a bit of luck a lumberjack will decide that this old oak simply hasn’t proven itself useful enough to keep around.

References

→, View. "Abolishing The “Not Proven” Verdict". School of Law. N.p., 2015. Web. 4 Oct. 2016.

"Bid To Scrap 'Not Proven' Verdict From Scots Courts Fails - BBC News". BBC News. N.p., 2016. Web. 4 Oct. 2016.

"Briefing On The Post Corroboration Safeguards Review Consultation Paper - November 2014 - RCS".Rapecrisisscotland.org.uk. N.p., 2016. Web. 4 Oct. 2016.

"Double Jeopardy Reforms Pave Way For Suspect Retrials - BBC News". BBC News. N.p., 2016. Web. 4 Oct. 2016.

McCallum, Frazer. Spice Criminal Verdicts (Scotland) Bill. 1st ed. The Scottish Government, 2014. Web. 9 Sept. 2016.

McMahon, Michael. Criminal Procedure (Reform Of Verdicts) Bill. 1st ed. The Scottish Government, 2007. Web. 13 Sept. 2016.

"Reforming Scots Criminal Law And Practice: Additional Safeguards Following The Removal Of The Requirement For Corroboration: Analysis Of Consultation Responses". Gov.scot. N.p., 2016. Web. 4 Oct. 2016.

"Scotland's Not Proven Verdict 'On Borrowed Time', Say Msps - BBC News". BBC News. N.p., 2016. Web. 4 Oct. 2016.

"What Happens At A Scottish Criminal Court Case - Mygov.Scot". Mygov.scot. N.p., 2016. Web. 4 Oct. 2016.

[compositiongreekletterge]

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[chole-vision]

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[dangeons-and-philgons-blog]

anyone know how to write a conclusion for a discursive essay bc i is stuck