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Mr. Robot by Ururuty

Mr. Robot by Ururuty

At the most basic level, the TV show was a deathmatch between two dominant cult films of the end of the 90s: the narrator from Fight Club and Patrick Bateman from American Psycho over the stakes of capitalism. Mr. Robot is Sam Esmail’s attempt at re-purposing and repairing of these two opposing representations in order to succeed where they both failed. Therefore Mr. Robot transcends tribute and arrives at re-invention. Continue reading

Is Daenerys the Villain of Game of Thrones?

game_of_thrones___daenerys_targaryen_by_daninaimare-d5plslqIt has been a while since I posted on Game of Thrones, or more accurately, A Song of Ice and Fire. As we start winding down on Martin’s epic, a small but fast growing sector of the fanbase is giving credibility to this notion: Daenerys, the Mother of Dragons (and a bunch of other honorifics) is the true villain of the story. We already have the obvious candidate in the Night King, but recent episodes, as of Episode 6, has Daenerys taking a heel turn in her declaration of conquest. She’s made these claims before, but always with a qualifier – to free the slaves of Slaver’s Bay, to restore her House of Targaryen, etc. Now it’s just strictly conquest for the sake of conquest. Continue reading

Pantheon and Postcolonialism

Iz'rael and Jalamdhara

Iz’rael and Jalamdhara

A reading of Frantz Fanon’s Wretched of the Earth inspired a possible story for my ongoing graphic novel, Pantheon, particularly a world full of a sentient species that were ruled by “divinities,” better understood as demigods from our ancient mythologies. Continue reading

The Post-Human in Pantheon

david-mach-die-harder-web

Die Harder, by David Mach

One of the main reasons of conceiving my graphic novel epic Pantheon is to explore the post-human aspect of science fiction, and I felt this was the most interesting direction to take the stories of mythology towards. For me, science fiction works best when it expresses the future according to our hopes and fears, but mythology works in a different fashion – it comes from some type of a collective unconscious of the human experience. That said, a combination of both elements should be quite rich and dynamic. Continue reading

Cynicism in the 90s and today

In Saul Bellow’s novel, Seize the Day, the protagonist Tommy Wilhelm remarked that “cynicism was bread and meat to everyone. And irony too. Maybe it couldn’t be helped.” Irony became entrenched in the fifties, where the American economy flourished under the shadow of a potential nuclear war. Once the Cold War and the economic boom ended, the national self-definition was subverted until irony became the cultural currency. While irony served a valuable purpose in the works of great American writers like Barth, Coover, Burroughs, Nabokov and Pynchon, the commercial culture of the US filtered that into the national aesthetic as postmodern irony, resulting in David Letterman, The Simpsons, and rap, among other things. Continue reading

Battle of the Giants of Cynical Reason

In this matchup, we have two still breathing Giants of European intelligentsia, who agree that ideology must be the critique of cynicism. However, but of course, like every other philosopher in the history of thought, they disagree on everything else. Continue reading

Explaining Donald Trump

What's So Scary About Donald Trump?

There’s nothing funnier than watching the punditocracy twist themselves into pretzels in trying to explain why Donald Trump hasn’t already imploded by now like they all thought.
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Genealogy of Cynicism

American Cynicism, acrylic on canvas 24 x 36

“American Cynicism”, acrylic on canvas, 24″ x 36″

 

This blog will illustrate a nonlinear trajectory of the “cynic” from antiquity to the present that relies on the historiographer Mark Phillips‘ conception of “reframing,” a master metaphor for historical change that demonstrated cultural transmission as a technique of using and making. Continue reading

Tracing Cynical Reason in 20th Century America

In this blog I trace cynical reason of 20th century American history as a phenomenon in two aspects: in the sphere of economics and in the sphere of cultural arts. Instead of complaining about the so-called poverty of contemporary politics or whining about the decline of contemporary morality, I insist on cynical reason as a dominant sentiment of the post-Fordist capitalist existence. In this respect, cynical reason extends further than the emotional or psychological response to the contemporary existence, and closer to a sociological analysis. Continue reading

The Great Philosophical Divide in Science Fiction

TomorrowLand Concept art

Life without utopia is suffocating, for the multitude at least: threatened otherwise with petrifaction, the world must have a new madness. — Cioran, History and Utopia

There’s a fault line running in science fiction that predates it: the Great Optimism -Pessimism divide. The most obvious trope of each is the role of utopia/dystopia in the science fiction work, but that is slightly more complicated than it appears.

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