Difference between revisions of "Player Piano"
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'''Vonnegut, Kurt, Jr. ''Player Piano''''' (vt ''Utopia 14''). New York: Scribner's, 1952. New York: Dell, 1974. [[Category: Fiction]] | '''Vonnegut, Kurt, Jr. ''Player Piano''''' (vt ''Utopia 14''). New York: Scribner's, 1952. New York: Dell, 1974. [[Category: Fiction]] | ||
− | The near-future world of ''PP'' is run by machines and a technocratic elite, most especially, industrial jobs are done by automated machines. Discussed in ''[[Clockwork Worlds, ed. Erlich & Dunn|Clockwork Worlds]]'' in the essays by [[Pilgrim's Progress: Is Kurt Vonnegut, Jr., Winning His War with Machines?|T. Hoffman]] and [[The Theme of Mechanization in Player Piano|L. Broer]] (q.v. under Literary Criticism). | + | The near-future world of ''PP'' is run by machines and a technocratic elite, most especially, industrial jobs are done by automated machines. Discussed in ''[[Clockwork Worlds, ed. Erlich & Dunn|Clockwork Worlds]]'' in the essays by [[Pilgrim's Progress: Is Kurt Vonnegut, Jr., Winning His War with Machines?|T. Hoffman]] and [[The Theme of Mechanization in Player Piano|L. Broer]] (q.v. under Literary Criticism).[http://www.clockworks2.org/wiki/index.php?title=Clockwork_Worlds,_ed._Erlich_%26_Dunn] See for a relatively early work expressing fear of what would be realized in the use of robots and robotics later in the 20th century and into the 21st, expressed by Kurt Vonnegut, who would go on to become a major US author, and one who suggested "the canary in the coal mine theory of the arts," with artists warning of impending dangers.[https://en.wikiquote.org/wiki/Kurt_Vonnegut#Various_interviews] |
Revision as of 19:32, 24 December 2021
Vonnegut, Kurt, Jr. Player Piano (vt Utopia 14). New York: Scribner's, 1952. New York: Dell, 1974.
The near-future world of PP is run by machines and a technocratic elite, most especially, industrial jobs are done by automated machines. Discussed in Clockwork Worlds in the essays by T. Hoffman and L. Broer (q.v. under Literary Criticism).[1] See for a relatively early work expressing fear of what would be realized in the use of robots and robotics later in the 20th century and into the 21st, expressed by Kurt Vonnegut, who would go on to become a major US author, and one who suggested "the canary in the coal mine theory of the arts," with artists warning of impending dangers.[2]