Exit Woodward and Bernstein, enter Jack Bauer. We’re in fantasy land now: all the president’s men can put Humpty Dumpty back together again. We’ll stop those bullets. We’ll put Jack’s skull back together. We’ll restore our timeline. We’ll recriminate. If only in fiction.
The great derangement in this society is precisely the manner in which a culture falls apart. And this is why there is no easy fix. It’s like we’re approaching a socioeconomic event horizon. In physics, the event horizon is the zone where time and space and reality are warped beyond all recognition as one enters into a black hole. We’re in the middle of this process sociologically, approaching the singularity of capitalism, entering the final acceleration where the fabric of this social reality will become more and more insane, reality turned upside-down, where the earth really does seem flat and fascist, in-real-life social reality molded by Facebook algorithms. Where we see all the paranoid tropes and fears and desires whiz by faster and faster so that we can never keep up with the 500 television shows we can’t seem to turn off vying for our ever shorter attentions, where our deranged reality becomes spaghetti-fied and ripped apart at the seams.
We no longer even have a vision of the future. Things that are futuristic too belong to the past – like Blade Runner, Tron, Robocop, the music of Vangelis, Wendy Carlos and Kraftwerk. Futurism is an activity of the past, and tragically spells out our inability to imagine our own future from a culture disjointed from cultural time.
The Geist, the specter, of Tyler Durden, fueled by the restless spirit of the office park dystopia, is a force personifying much of the malcontents in this age of anger. It’s interesting to place Fight Club not as fiction, but as prophetic documentary evidence of a time and place, a metaphor of the historical present, a world trapped between McWorld and Jihad, between globalism and it’s blowback.
Here I endeavor to explore the kachina cult, and how the influence of the West impacted Hopi Pueblo society. It begins as a simple story of a self-contained culture and its traditions, but soon winds through turns of critical theory and art history, arriving at unexpected places. I effort to explore ways and forms in which cultures have continued transformation in postmodern technoculture by using the Mickey Mouse kachina as a paradigm for cultural syncretism. It is a story which advances through narratives at first familiar, then stranger, and familiar again, arriving at an original move, and final speculation on the future of cultural theory.
One of the curious fables in the Book of Genesis involves the episode involving the Curse of Ham. The story goes that the patriarch Noah had been planting, and one day drank too much wine, […]
There is a running joke in the Road Runner cartoons when Wile E. Coyote, the archetypal ravenous fool, runs off the cliff in pursuit of his prey. Each time, he is at first unaware that he has run out of road and keeps running on air, and doesn’t really fall until he realizes what happened. The mute troublemaker holds a sign: “yikes!” We’re there, folks. Sometimes this mid air moment occurs in slow motion, could take years even. But, you know, gravity. Even Icarus fell.