Download A Sense of Apocalypse: Technology, Textuality, Identity by Marcin Mazurek PDF

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By Marcin Mazurek

Attaining into the depths of the collective subconscious, a feeling of Apocalypse explores and re-interprets one of many West’s primordial fears, specifically that of the apocalyptic closure of either cultural praxis and person event. but, not like well known connotations of the time period, apocalypse is considered the following when it comes to a transitional narrative finding the topic on the intersection of technological determinism, pop-cultural mind's eye, postmodern urbanism and electronic textuality. these types of shape the elements of a brand new post-apocalyptic panorama, which not just produces a brand new id trained via dissolving post-Enlightenment paradigms, but additionally evokes tricks at numerous existential chances caused via late-capitalist applied sciences and their cultural effects.

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Extra info for A Sense of Apocalypse: Technology, Textuality, Identity (Literary and Cultural Theory)

Example text

This is how Stephenson narrates this opaque resurrection of one’s depthless body in the Metaverse: He is not seeing real people of course. This is all a part of the moving illustration drawn by his computer according to specifications coming down the fiber-optic cable. The people are pieces of software called avatars. 33 The eight years separating the publication of Neuromancer (1984) and of Snow Crash (1992) reveal a certain evolution in the modes of approaching the body, which took place in cyberpunk SF, and which clearly coincides with postmodern primacy of the represented and the simulated over the tactile and the referential.

K. 13. 14. All citations of St. Mark are as quoted in the film. The Violence of Revelation 47 The notion of “birth pains” does not operate solely on the metaphorical level. Not only is the prophecy of “mighty buildings […] shattered, splintered and split” vividly illustrated by intensive images of dryness, desolation and human misery (“their bellies bloat”) but, as it turns out, the robot is a part of an army-government initiative called the Emergency Population Control Bill. The “birth pains” are then approached literally, in terms of arrested human reproduction.

Contemporary representations of apocalypse abound in similar visions. The end of the world, regardless of whether it happens through explosion, flood, radiation or war, simultaneously narrates decomposition of the human body in a similar way. For all the differences between eschatological and secular representations, the violent treatment of human corporeality seems to provide a powerful common ground, an intimate yet fearful perspective from which the great finale is contemplated. David Cronenberg’s films provide particularly vivid examples of secular apocalypse overtly underlined by bodily anxiety.

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