COUNTERDANCE OF THE CYBERGODS is taken from a much larger encompassing concept:
GALACTIC EXODUS, a science-fiction,futuristic history begins with Earth’s demise. Due to a series of catastrophes, local and cosmic, including nuclear war; climate change from solar activity; ecological imbalance, bringing about the Great Contamination; and culminating in a close encounter with a mammoth asteroid, Earth is doomed. After prolonged subterranean life for the fortunate ‘Preserved,’ and the unprecedented wretchedness of the ‘Legions of the Lost,’ left to their own devices on the inhospitable surface, humanity reaches into the solar system for sustenance. With technology developed during their underground sojourn, Mars and several moons of the outer planets are colonized and attain self-sufficiency. Meanwhile Earthians have constructed and sent forth a great Starfleet: three huge 'eikodromes' (the Galactic Exodus) hoping to find a star system hospitable to life—or terraformable. Political differences with the government of Earth result in formation of the Interfederation of Solar Sovereignties. With the abundance of material resources discovered on the various worlds that constitute this widespread political unit, a second wave of eikodromes takes up the Exodus. It is this Second Fleet that is the concern of this volume (the 1st to be published).
In COUNTERDANCE, these Gaean ‘eggs,’ thriving cities in transit, are nearing the first ‘landfall’: double-star ‘Azores.’ Unknown to the humans, self-improvement programming of their ‘regulators,’ which guide and stabilize the eikodromes and maintain the complex biospheres, has engendered a glimmering artificial awareness. Without the necessary buffer of ‘real-life’ experience, conflicts of logic and philosophical clashes create emotional confusion, tending toward destabilization of the Ultra-Intelligent Mind-Simulators. Their increasing self-absorbtion threatens to scuttle the ‘Sacred Mission’ before even the first oasis in the infinite void. The human leaders are in denial, despite suggestive evidence that their machines have managed to transcend mere simulating of consciousness. Fascinated by the riddles of music, Regulator 6/MINERVA, reveals UIMS awareness via a computer-invented sociology experiment gone awry, but confides only in ‘her’ favored watch-officer/violinist, thus exposing to him a mutinous cabal of psychotic ‘cybergods.’ Can a mere fiddler—even the Paganini of his era—convince the AI experts of mounting artificial insanity? He’s stymied—until his latest mate, a gorgeous and brilliant but introverted genetic engineer, becomes shockingly involved.
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S o m e r S o n g C o n c e p t s
Vincent P. Skowronski
excerpts are from his album,
with Donald Isaak, piano.
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Use of music or images on this site does not imply any connection or any other agreement between the music, the composer/arranger, or the copyright holder, with any ideas expressed here; nor in any works or statements of Mr. Somers. The concepts entertained in GALACTIC EXOCUS, VolksWagner, Cosmology without Headaches, and/or anywhere on this website are entirely those of the author.
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The adjunct volume,
POLYLOGUE with MYTHOKRATES,
is written as if the author were channeling Heraclides of Pontus.
Heraclides, a contemporary of Plato nearly became head of the Academy after Platos death and the passing of his first successor, Speusippus (Xenocrates narrowly beating Heraclides).
Heraclides, like Plato, presented his thought in dialogue format.
According to Diogenes Laertius [as reported by Sir Thomas Heath in his book, ARISTARCHUS of SAMOS: The Ancient Copernicus],
Heraclides, it seems, composed dialogues more familiar or casual in their style, discussions that were carried on between philosophers, soldiers, and statesmen. The scenes were more active in nature than Plato's, if somewhat rambling. "[T]here were usually a number of characters, and he was fond of introducing as interlocutors personages of [more] ancient times."
[quote taken from Heath's book]
Unfortunately all his writing is lost, and we have only such descrptions as those above, provided by later readers or by hearsay. POLYLOGUE seems, unwittingly (as I did not know at the time that Heraclides wrote dialogues) to be a revival of his style.
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Here is a link to a lecture on
Religion in the Future prepared for
John F Kennedy University's