Some time ago, I wrote myself into a corner in a chapter from Pantheon, in which a character was forced to solve a conundrum: he had to stay at a location, safeguard a highly sensitive museum, but prevent interlopers from coming inside, while not showing himself to them, or destroy them, or the critical objects of desire. The more I thought about this, the less confident I was at solving this Gordian knot. After all, if the aforementioned options prevented all possible solutions, then somewhere there was an assumption that made the conclusion false.
It seems domestic politics always end in hostile impasses and international politics are charged with menacing acts of terror and revenge. These sociopolitical phenomena are symptoms of a fundamental rage, and revenge is the project of rage. If we cannot understand and address our rage, our age is doomed. It is odd that we haven’t really analyzed the emotion of rage to the extent that we’ve paid heed to others like love, sympathy, anguish or guilt. I find this odd, because rage is the most obvious driving force in psychopolitical realm – be it at the personal or national or international level. Perhaps we ignore the vengeful aspect of the political life because it is by definition anti-rational and anti-egalitarian. Whenever we are angry about something, we will not care for equal treatment or reasoning towards mutual understanding. Therefore, rage undermines any attempt at a normative political theory. Continue reading Are You Mad as Hell Yet?
It all began with mirrors – the birth of self-consciousness as well as the realization that we have been cut off from the great Earth mother, and therefore the source of life. In Ovid’s Metamorphoses, Narcissus died from the shock of recognizing his own identity. He was a young Greek of extraordinary beauty, but crippled by self-love. He rejected the love of others, and most famously that of the cursed nymph Echo. Gazing at an image on the surface of a pond, Narcissus became entranced with it. But once he realized that the image was his own reflection, and therefore couldn’t consummate his love, he fell into despair and drowned himself.
“You take the blue pill, the story ends. You wake up in your bed and believe whatever you want to believe. You take the red pill, you stay in Wonderland, and I show you how deep the rabbit hole goes.” – Morpheus
The Red Pill in the Matrix liberates the human mind from the Matrix and grasp the true reality. In philosophy, the red pill is the principle of insufficient reality. In the book, Joyful Cruelty, Clement Rosset addressed the cruelty of reality and the standard evasive strategies philosophers have used to avoid it. Every attempt to minimize the cruelty of truth, or the harshness of the real, has the inescapable consequence of discrediting the most brilliant efforts and the most noble causes. Continue reading The Principle of Insufficient Reality
In this day and age, science fiction, not to mention its more popularized version, scifi, has lost its prestige. Before we get into its current dilapidated state, first we need a cursory analysis of its emergence, to properly assess its origins. Continue reading The Decline of Science Fiction
It seems that our time is the most cynical and intensely pessimistic era ever in recorded history. Continue reading Nihilism in the Iliad and Pantheon
Miami Vice. BladeRunner. Raiders of the Lost Ark. The Goonies. Top Gun. We are all children of the eighties, due to an overpowering sense of nostalgia.
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 Mr.Robot, Fight Club, American Psycho
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 Pantheon and Postcolonialism
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 The Post-Human in Pantheon