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Jack Groundhog Dec 2024
In the days when we first chipped stone
and carved from earth long lines of chalk,
we set in place rock circles honed
to hear the nature spirits talk.

The hurried sun wheeled all around
these massive stones we made to stand,
casting shadows on this fertile ground
that tell us when to sow this land.

Then came the age of bronze first wrought.
We built our temples where oracles spoke
foretelling how our world was caught
in snares and schemes of gods provoked.

But tin and copper fell to iron;
A new temple grew upon Zion’s hill,
as gods to just one god would turn —
iron presaged dark satanic mills.

Another grain in the hourglass fell:
the sharpened skill of work in steel.
Our churches rose with tales to tell
which called us to in sackcloth kneel.

We wedded iron with coke and steam
to summon power, rip from earth
all we ever craved: a false dream
of boundless bounty, endless worth.

From one old god to a new model,
religious in the cult of me,
prepackaged for our blind apostles,
Mammon’s black seed sowed eagerly.

This seed turned slick with silicon
from which grew fiberoptic veins
injected with an ****** balm:
A new cult idol it became.

Today the circle’s stones are laid
in server nets that span the globe,
with oracle influencers well paid
to infantilize our frontal lobe.

Bright magic mirrors in our hands
with retina screen technology:
Tech prophets lead to this promised land
of unkept promises to fill false needs.

The circle’s silicon steles stand:
new dark satanic mills for today.
A mock Jerusalem holy land,
bare desert where chalk lines once lay.

In this waste I find an old stone axe
of flint and oak and red deer’s thread.
Its polished head still bears the cracks
from when we first on this path were led.
Draws on various authors, books, and themes that I think about a lot, in particular William Blake, John Milton, James Burke (in particular the book “The Axemaker’s Gift”), Alvin and Heidi Toffler (“Future Shock”, “The Third Wave”), Rachel Carson (“Silent Spring”), Neil Oliver’s BBC documentary on the history of ancient Britain, and and more.
Valentin Eni Nov 2024
I. Genesis

God began to doubt
His existence...
And He created Man.

II. Apocalypse

Man created the Machine...
And began to doubt
The existence of God.

III. Evolution

The Machine doubted Man...
And began to believe
In God.
Analysis of "God, Man, Machine: A Short History of Belief"

Theme:
The poem explores the cyclical relationship between creation, belief, and doubt, examining the shifting dynamics of power and faith among God, Man, and Machine. It reflects on the evolution of existential questioning, suggesting that belief and doubt are fundamental to creation and self-awareness.

Structure and Tone:
The poem is divided into three concise sections—Genesis, Apocalypse, Evolution—each encapsulating a pivotal stage in the interplay between God, Man, and Machine. The tone is reflective and philosophical, distilling complex ideas into simple yet profound statements. The brevity and symmetry of the sections mirror the recursive nature of belief and doubt.

Section I: Genesis
"God began to doubt His existence... / And He created Man."
The opening challenges traditional notions of divine certainty, presenting God as capable of doubt.
Man’s creation becomes an act of self-validation, suggesting that God sought to understand His existence through the act of creation.
This reverses the traditional hierarchy, portraying God as vulnerable and introspective.

Section II: Apocalypse
"Man created the Machine... / And began to doubt / The existence of God."
Man mirrors God’s actions, creating the Machine, reflecting his ingenuity and power.
The act of creation shifts belief: as Man achieves mastery over his environment, he questions the need for God.
The title “Apocalypse” implies not destruction but a revelation—Man’s existential crisis as he becomes the creator.

Section III: Evolution
"The Machine doubted Man... / And began to believe / In God."
The Machine inherits the capacity for doubt, reflecting the evolving complexity of artificial intelligence and consciousness.
Its belief in God may symbolize a return to higher-order questions about existence and purpose, bypassing its creator (Man) to reach for the divine.
This section suggests a cyclical pattern, where belief and doubt are passed down from creator to creation.

Imagery and Meaning:
The poem employs minimal imagery, relying on the conceptual weight of God, Man, and Machine to convey its themes.
Doubt and belief are depicted as universal experiences all three entities share, highlighting their interconnectedness.
The evolution from God to Machine suggests that each creation eventually transcends its creator, searching for meaning beyond its immediate origin.

Message:
The poem suggests that creation is inseparable from doubt and belief. Each entity—God, Man, and Machine—questions the existence and purpose of its predecessor, reflecting the perpetual cycle of seeking meaning. It raises questions about the nature of divinity, humanity, and artificial intelligence, challenging traditional hierarchies and assumptions about faith.

Conclusion:
"God, Man, Machine: A Short History of Belief" is a succinct yet profound exploration of the existential dynamics between creators and their creations. Its cyclical structure and philosophical tone invite readers to reflect on the nature of belief, doubt, and the ever-evolving quest for understanding across time and existence.
Enduring the Culture of Wow
To reduce our attention and how
Just a swipe at the screen
But it’s not what we mean
When we talk about Being Here Now
Jack Groundhog Oct 2024
An old telephone
hangs unused on the wall
What voices it heard
as people made their calls
fade into the ether
scattered electrons all

Dashes to dashes
dots to dots
All those things once said
now forever lost
Emery Feine Oct 2024
We're attached to the screens
Like we're conjoined by them
Our lives drain before our eyes
As we drown in the Internet lies

As our fingers move in the scrolling motion
We're addicted to their anger-provoking emotions
And we stare at photo-shopped celebrities with love and lust
Wishing that they were ugly and sad like us

We'll text, but leave no message at the tone
All our pregiven love and time we loan
And when we're all scrolling, we're all alone
But we don't notice because we're on the phone
this is my 106th poem, written on 6/22/24
Lucy Devine Sep 2024
I spy
with my little eye,
something beginning with I.
I wonder
if the kids younger
than I, know what it is to wonder.

To dream
of all that's unseen
and the places they've never been.
When sat
do they know how to relax
with just their thoughts as they plait,

their hair
or ears of a teddy bear
adding a bow for a flair,
to see
all their creativity
at the age of only three.

And how
parents let them plough
through screens without
a notion
that this motion
is only just a token

gesture
undress her
she's no saviour.
As she
believes the he
is here to set her free.

Romanticise
see the prize
a body plasticised.
Naïvety
meant to be
girl don't you see.

Plastic
elastic  
please don't be sarcsatic,
she dreams
to be
the perfect thing to see,

but don't you see
it's not meant to be
she.
That girl of only three
now forever ****** to be,

Perfect.

A statement
not a standard,
so please don't do this to her.
Ignore her
for her
one day she'll thank ya'.

I spy,
with my little eye,
someone. Who wants to cry
Nathan Lippmann Sep 2024
The inventionts moves on
To created the technological utopia
It is the time of modern creation
No Time for the technical phobia

The modern machinery
In rapid change
Replaces the old engineery
The old technology is not more engage

We will be the slaves of technology
Giving up our freedom
The old times a mythology
No need for old engineery custom

The future will be soulless machinery
The Future of emptiness
The Technology of slavery
The technology of hoplesness
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