“Fire of Troy” by Kerstiaen de Keuninck (Coninck), 17th cent. [Public domain], via Wikimedia Commons
NOTE: This post was originally published in January 2007 in a different form. Based on various circumstances — including the publication just yesterday of a post titled “Collective Brainwashing & Modern Concentration Camps” over at Daily Grail, which calls out the below-transcribed portion of My Dinner with Andre — now seems like a good time to re-present this in a slightly revised and enhanced form.
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One of the most nightmarish things about a dark age is the degradation it entails for life’s overall tone, not least in the dehumanization that occurs when a people’s intellectual, emotional, moral, spiritual, political, social, and cultural life in general is reduced to a ghastly level of brutishness and ignorance. As is now plainly evident all around us in the industrialized world of present-day info-technocracy, this coarsening of life can occur even in circumstances of relative material prosperity. It doesn’t always have to be a dark age like the one that gripped Europe in the aftermath of Rome’s fall, when starvation and plague were rampant and most people barely scraped by at a miserable subsistence level. A dark age can unfold and exist right in the middle of outward conditions that may appear enlightened to those who don’t look too closely or deeply.
Sometimes it’s oddly comforting to dwell on the words of people who have seen today’s dark age of dehumanization unfolding. When it feels like the world is full of robots instead of people, or when it begins to feel like we really are living on the planet of the apes (as Robert Anton Wilson liked to put it), it can be a powerfully affirming experience to be reminded that other people have observed the same thing.
With this in mind, here are three of my own favorite articulations of these things, which, based on my own experience, I recommend you ingest, digest, memorize, and keep mentally handy for reciting to yourself on a rainy day. There are no solutions offered here. There’s just the satisfaction of being confronted by grim realities and looking them full in the face. Read the rest of this entry
Yes, of course, this is a topic that I have broached many times before. But this recent — and fantastically brilliant — video from The Onion brought it roaring back to the forefront of my thoughts. (Hat tip to J. F. Martel for alerting me to it.)
And of course that reminded me of — and may well have been partly inspired by — this, which remains one of the quintessential moments in my religious education and one of the most astonishing moments of divine truth ever to erupt into cinema:
Then there’s the essay by Barbara Ehrenreich about this very thing that I just stumbled across today at The Baffler. Like so many other people, I was surprised and fascinated last year by the revelations about Ms. Ehrenreich’s spontaneous mystical experiences and the accompanying shift in her general worldview and philosophical thinking. Now I find that she is actually deeply read in the science fiction and horror literature devoted to speculating about the horror of a monstrous God or gods, as evidenced by an essay in which she takes Ridley Scott’s Prometheus as a springboard to talk about the works of Philip Pullman, H. P. Lovecraft, Olaf Stapledon, Arthur C. Clarke, and Philip K. Dick, along with the ideas of the New Atheists and various prominent works of sociology and religious history. Says Ms. Ehrenreich,
[What Prometheus presents] is not atheism. It is a strand of religious dissidence that usually flies well under the radar of both philosophers and cultural critics. . . . Barred from more respectable realms of speculation, the idea of an un-good God has been pretty much left to propagate in the fertile wetlands of science fiction. One of the early sci-fi classics of the twentieth century, H. P. Lovecraft’s 1931 At the Mountains of Madness, offers a plotline that eerily prefigures Prometheus. . . . The idea of an un-good God, whether indifferent or actively sadistic, flies in the face of at least two thousand years of pro-God PR, much of it irrational and coming from professed “people of faith.”
. . . If God is an alternative life-form or member of an alien species, then we have no reason to believe that It is (or They are), in any humanly recognizable sense of the word, “good.” Human conceptions of morality almost all derive from the intensely social nature of the human species: our young require years of caretaking, and we have, over the course of evolution, depended on each other’s cooperation for mutual defense. Thus we have lived, for most of our existence as a species, in highly interdependent bands that have had good reasons to emphasize the values of loyalty and heroism, even altruism and compassion. But these virtues, if not unique to us, are far from universal in the animal world (or, of course, the human one). Why should a Being whose purview supposedly includes the entire universe share the tribal values of a particular group of terrestrial primates?
. . . [Philip K.] Dick may have been optimistic in suggesting that what the deity hungers for is “interspecies symbiosis.” Symbiosis is not the only possible long-term relationship between different species. Parasitism, as hideously displayed in Ridley Scott’s Alien series, must also be considered, along with its quicker-acting version, predation. In fact, if anything undermines the notion of a benevolent deity, it has to be the ubiquity of predation in the human and non-human animal worlds. Who would a “good” God favor—the antelope or the lion with hungry cubs waiting in its den, the hunter or the fawn? For Charles Darwin, the deal-breaker was the Ichneumon wasp, which stings its prey in order to paralyze them so that they may be eaten alive by the wasp’s larvae. “I cannot persuade myself,” wrote Darwin, “that a beneficent and omnipotent God would have designedly created the Ichneumonidae with the express intention of their feeding within the living bodies of Caterpillars, or that a cat should play with mice.” Or, as we may ask more generally: What is kindness or love in a biological world shaped by interspecies predation? “Morality is of the highest importance,” Albert Einstein once said, “but for us, not for God.”
. . . [C]ontra so many of the critics, we have learned an important lesson from the magnificent muddle of Prometheus: if you see something that looks like a god — say, something descending from the sky in a flaming chariot, accompanied by celestial choir sounds and trailing great clouds of star dust — do not assume that it is either a friend or a savior. Keep a wary eye on the intruder. By all means, do not fall down on your knees.
MORE: “The Missionary Position” by Barbara Ehrenreich
With my personal religious/spiritual status as a kind of nondual Protestant Christian influenced by equal amounts of Zen, Vedanta, Jungian psychology, Fortean trickster ontology, Robert Anton Wilsonian reality tunnel skepticism, and a few additional factors, all of them infused with and underlaid by intimations of deepest gloom emanating from the likes of Poe, Lovecraft, and Ligotti, I can honestly say that my immediate and heartfelt response to Ehrenreich’s words can be summed up in a single word: amen.
If this isn’t impressive, then I don’t know what is. I never thought (or allowed myself to hope) that someone would end up pursuing a long-form project to make a feature film incorporating / adapting / celebrating Lovecraft’s Dreamland tales. Simply amazing.
Read more about it here.
Watch the crowdfunding campaign video here.
THE DREAMLANDS is a dark fantasy film based on H.P. Lovecraft’s Dream Cycle, destined to become one of the most ambitious and lavish independent films ever made.
. . . Roland, a troubled young orphan, is led by a mysterious old man into another world. This is a world that has been created over thousands of years by Earth’s greatest dreamers while they slept. In this world the old man reigns as king and hopes to train and guide Roland to be his successor.Unfortunately Roland cannot overcome the dark shadows that weigh upon him and he is forced to decide whether he will use his abilities to keep building the Dreamlands or to destroy what others have already created.
Screenplay is written by Huan Vu and based on H.P. Lovecraft’s short stories “Celephaïs”, “The White Ship”, “The Strange High House in the Mist” and “The Dream-Quest of Unknown Kadath” among others. It will build upon the world created by H.P. Lovecraft but also remain faithful to his core concepts of fantastic escapism and cosmic horror. THE DREAMLANDS is a film you are never likely to see produced by the established film industry.
Tangentially (or not), I have been deeply and enduringly inspired by these particular stories among HPL’s corpus. Here is my own two-minute musical meditation on them, titled simply “The Dreamlands” and composed amidst the same multi-year burst of inspiration that resulted in the creation of my Daemonyx album:
My online friend Rafael Melo has just published a new interview with me at his blog Cloudy Sky. Topics include my reasons for writing about horror and religion and such, my creative process, the centrality of depression and dread in my life as a writer, my favorite music and movies, the deep meaning of angels and demons, the current state of higher education, and more.
Here’s an excerpt where I get personal about my childhood anti-education in the realm of horror cinema:
RAFAEL: What are your main influences for writing about the horror genre?
MATT: My major horror influences include Lovecraft, Ligotti, Ted Klein, and a host of other writers in the weird fiction tradition and the wider tradition of supernatural horror in general. When I was young I read a lot of Poe’s and Bradbury’s horror stories, and this proved significant. So did a horror record that a friend played for me at his house one late summer afternoon. It featured some spooky sound effects plus a few readings of classic horror stories, including a deliriously unhinged performance of Poe’s “The Telltale Heart.” I can still hear the narrator’s voice as he goes for broke in an over-the-top reading of the final line: “Here! Here! It is the beating of his hideous heart!” That flat-out marked me, man.
Although I don’t usually name him in this regard, I suppose I ought to mention Stephen King, too, since I imbibed a large number of his books in my youth , along with the movies adapted from them, and this was influential. My parents didn’t let me watch scary stuff when I was young, so when the movie versions of Carrie and The Shining and the television miniseries of Salem’s Lot came out in the 1970s, I saw the ads but didn’t get to see the movies themselves, and my mind generated all kinds of vague expectations of the colossally frightening things that must be in them. The same thing happened with non-Stephen King movies, too, including Hell Night, Silent Scream, and several more. Whenever I accidentally caught the television advertisements, I was so frightened that I couldn’t stop seeing them in my mind’s eye for hours afterward. Quite seriously, these commercials filled me with a sense of terror and dread. But at the same time, I found them hypnotically fascinating.
I’ve realized in recent years that my parents did me a wonderful creative favor, albeit inadvertently, by forbidding me to watch such things, because this worked in tandem with a native bent in my personality to inculcate a deep and tantalizing sense of some elusive horror that’s loose in the world, and that can never really be seen or known directly, but that would absolutely fry you if you saw it face to face.
. . . When Lovecraft invokes the idea of unspeakable horrors and sanity-blasting cosmic gods and monsters, and when he says the fundamental supernatural horrific response is basically coeval with the ancient category of consciousness that we call “religious experience,” I hear him developing an eccentric version of negative/apophatic theology and helping to clarify the very thing that drives me personally.
FULL INTERVIEW: Matt Cardin — Life and Mind of a Teeming Brain
FYI, Rafael also runs the antinatalist blog The Last Page and has long been an active presence in the online community devoted to discussing antinatalism, including in the works of Thomas Ligotti. If you can read Portuguese, you can look up and read his book of antinatalist philosophy, A Última Filosofia: An Essay about Antinatalism.
Charles Fort wrote, “I cannot say that truth is stranger than fiction, because I have never had acquaintance with either. . . . There is the hyphenated state of truth-fiction.”
Robert Anton Wilson wrote, “The main thing I learned in my experiments is that reality is always plural and mutable. . . . Alan Watts may have said it best of all: ‘The universe is a giant Rorschach ink-blot.'”
And then there’s this, which significantly departs from Fort’s and RAW’s basic point about what the latter called “guerilla ontology,” but which, I think, may overlap with it enough to induce a valuable state of philosophical schizophrenia:
In the post-war Cold-War era, Godzilla could be a symbol of the threat of nuclear holocaust, which was a constantly simmering terror, never quite on-hand but never far away. Now, Godzilla can represent the fear and disgust we feel with ourselves over the disintegration of the Earth — this sense that at any time, a super monster could rise up from inside our planet.
Among its blockbuster counterparts, Godzilla takes the wanton, almost fetishistic destruction of superhero movies — Zack Snyder’s last Superman, which ruined New York for no particular reason, resulting in a real-life equivalent of nearly 1.5 million casualties and $2 trillion in damage — and creates a real-life parallel. Director Gareth Edwards used the word “god” to refer to Godzilla — strangely enough, the name is just an Anglicization of “Gojira” — and it makes sense: Gods are only extensions of humanity, serving to help us understand the parts of the world that we cannot otherwise. Where our superheroes are normally meant as fables, pop lessons in anthropology and sociology, a creature like Godzilla allows us to confront how humans deal with the non-human. In the same way that David Cronenberg literally fused the human and the technological in his films during the ’80s and ’90s — an era when we were beginning to understand what it meant to become cyborgs — Godzilla splices the natural and the engineered in 2014, when we are beginning to understand that there’s no turning back from what we did to the Earth.
Beyond its content, though, Godzilla’s form also embodies the weird place that Hollywood is in. Godzilla isn’t a sequel, and it isn’t a remake, but it also isn’t an original idea, which, in this climate, is the kind of nine-digit production budget you can only muster if you’re Christopher Nolan or the Wachowskis, someone with previous commercial-blockbuster success. Instead, it’s an attempt to resurrect a great and fallen franchise, which makes it feel original.
Image by BagoGames via Flickr under Creative Commons 2.0 Generic (CC BY 2.0)
EDITOR’S NOTE: Many of you are probably (surely) aware that H. R. Giger died last week. The obituary in The New York Times — which is just one entry in the outpouring of recognitions and appreciations that have flooded the media — opens with a concise and excellent summation of Giger’s master themes and cultural significance:
A thread running through Mr. Giger’s work was the uneasy meshing of machines and biology, in a highly idiosyncratic blend of science fiction and surrealism. From books to movies to record albums to magazine illustrations to a back-scratcher inspired by ‘Alien,’ his designs challenged norms. He kept a notepad next to his bed so he could sketch the terrors that rocked his uneasy sleep — nightmarish forms that could as easily have lumbered from prehistory as arrived from Mars.
The same piece also contains a worthy quote from none other than Timothy Leary, who knew the man personally: “Giger’s work disturbs us, spooks us, because of its enormous evolutionary time span. It shows us, all too clearly, where we come from and where we are going.”
Someone else who knew the man personally is Teeming Brain columnist Jason V. Brock. Here, Jason offers a tribute and farewell in which he describes the time he met Giger and shares his reflections on the artist’s legacy and importance.
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H. R. Giger and Jason V Brock
In 2006 my wife Sunni and I met the late visionary artist H. R. Giger at his home in Zürich, Switzerland.*
We were there to interview him for our forthcoming documentary Image, Reflection, Shadow: Artists of the Fantastic, and he, along with his lovely wife Carmen, entertained us for several hours. His house was a fascinating place, as one would imagine, and he was in a fine mood, laughing and discussing his artwork, as well as inquiring about a mutual friend, filmmaker Dan O’Bannon (writer of Alien, director of Return of the Living Dead and The Resurrected), who was still alive at the time. There was more to that fantastic encounter, including a fine meal, bottles of wine, the telling of amusing anecdotes, etc., but much of it is of a private nature; it is something that Sunni and I will always cherish and hold dear in our hearts. What I can share, however, is that Giger was very pleased that I had brought along a recent picture I had taken of Dan. He kept looking at the image in astonishment and muttering, “Mein Gott. ” I could sense that he was traveling back in time and reliving those moments so many years ago on the closed set of what would become the classic horror/sci-fi film Alien. Read the rest of this entry