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Shaping Identification in William Gibson's Neuromancer The quantity “one” is not something. Math does not have any definitive reality. Numbers certainly are a social construct, something of symbols made to express the abstractions by which properly developed societies describe aspects of actuality. It comes after that, as humanity seeks to comprehend more of what it really is to exist, bigger quantities are needed. Soon, we are in need of machines to comprehend the numbers. Society plants a base on it, efficiency, and a mechanical precision that's startling. What's desirable in something is normally distilled to a formulaic essence and packaged neatly. Humans, as well, are boiled right down to science. Glossy shots, crimson lipstick, concrete biceps, and an ever-decreasing waistline established the standard. Folks are reduced to bit more compared to the sum of their parts, a couple of matchstick hip and legs, a rippled midsection, the proper shoes and correct make-up. It makes the dissimilation of the developments mercilessly easy: In response to the Atkins Diet plan, thousands of Americans hit carbohydrates from their diet plans. A cellular phone that calls someone is archaic at best simply; people need infinite texting and a built-in camera (without roaming charges) to ensure that they are able to e-mail pictures of their new car with their friends in California, NY, or Antarctica. Jessica Simpson blunders canned tuna for thousands and chicken of audiences laugh at her together. Still, “one” isn't a thing. These societal constructs chip aside at the humanity of the individuals who live amidst them. In William Gibson’s Neuromancer, a motley cast of characters face this cold steel reality, that their humanity has been systematically stripped, and that even attempts to make the most...