I am a Leninist. Lenin wasn't afraid to dirty his hands. If you can get power, grab it. Do whatever is possible. This is why I support Obama. I think the battle he is fighting now over healthcare is extremely important, because it concerns the very core of the ruling ideology. The core of the campaign against Obama is freedom of choice. And the lesson, if he wins, is that freedom of choice is certainly something beautiful, but that it only works against a background of regulations, ethical presuppositions, economic conditions and so on. My position isn't that we should sit down and wait for some big revolution to come. We have to engage wherever we can. If Obama wins his battle over healthcare, if some kind of blow can be struck against the ideology of freedom of choice, it will have been a victory worth fighting for.

Another Žižek interview.

Call it the soft bigotry of low expectations or heretofore unexpected reserves of good will for the franchise—or maybe J.J. just nailed it—but I found Star Trek surprisingly good. And "good" is an amazing accomplishment given the self-contradictions inherent to the project:

1) innovate and revitalize a franchise that, let's face it, is built almost entirely on the bedrock of nostalgic repetition;
2) do so while further hamstrung by the excruciating prequel format.

But Abrams strikes a more or less successful balance, aside from a few hamhanded "R2-D2, meet C-3PO" moments and a little too much handholding and lampshade-hanging.

As is probably to be expected, the prequelization provides both the worst parts of the movie and its primary source of narrative pleasure. As a certified member of the Nitpicker's Guild I confess I was a bit annoyed to see how little effort was made to stick with the original continuity, even granting the timeline shift. Many of the gadgets had different behaviors and limitations than in the original show; no one knew Romulans were related to Vulcans until part of the way through the original series; Chekhov didn't join the ship until later; Pike wasn't the first captain of the Enterprise; etc, etc, etc. (You can fanwank most or all of these away with "The USS Kelvin Changed Everything," but that's not very satisfying. Clear lines of cause-and-effect matter, especially in time travel stories.)

That this cherished original continuity is essentially bulldozed permanently by the film is pretty unfortunate and will, I think, permanently damage the franchise in the eyes of its loyal and notoriously defensive fanbase, especially as fifty years of strict adherence to Roddenberry's particular Utopian vision has not prepared them well for our heroes to lose a planet, much less the entire timeline.

But at the same time it is quite fun to see these characters meet each other, and Abrams does an amazing job of capturing the feel of the original series (all the way from aesthetics right down to the level of contrivance and occasionally nonsensical plot points). That the actors playing McCoy and (especially) Spock are very good mimics of the original actors helps things along a lot as well.

It's also astounding how apolitical the film tries to be; I went in with the idea of writing a post about neoliberalism and Star Trek and it just didn't give me much to work with. Now, this is a neoliberal, United Nations fantasy of the future, to be sure, in which difference only exists to be flattened out—but that's really true of almost all Trek, DS9 and some other choice episodes excepted. (There's also a making explicit of the longstanding metaphorical connection between Vulcans and Jews, with a Vulcan Holocaust followed by a choice between diaspora, assimilation, and resettlement in a "new colony," but I don't know what to do with that yet.)

Star Trek (2009) is no better or worse, politically speaking, than what Star Trek's always been: a fantasy of what the world would be like if consumer capitalism had no labor or environmental costs and American military-cultural hegemony was pure, stable, and uncomplicatedly good. It remains our defining ideological fantasy, in other words, the thing that blinds us still to the sort of world we're really living in and the sort of future we're actually creating.

So it's no surprise that at this point my thoughts turn to the mediocre, to the unchosen, to the radicals and the subaltern and the dissidents. What becomes of difference in this future? We see these people only sometimes, in the background: Sisko's dad, Picard's brother. Usually they exist only to be made Star Fleet officers or good Federation citizens by the end of the episode, and we see no one like this in this movie at all. The lack of flexibility in this narrative template has grown, I think, exhausting, and it's for this reason that over the years I find myself much more drawn to presentist and mundane SF, or apocalyptic futurity, or to anti-Trek futures like Firefly, the first few seasons of BSG, or Samuel Delany's Triton.

But all the same every so often it's nice to come home again.

Just one request: no more product placement, please; there's no money in the future, much less corporations...

American Stranger has a report on Left Forum 2009 that segues into a smart discussion of the future of American ideology.

Big thanks to everyone who was able to come out to our Tim Morton / Kathy Rudy / Polygraph Roundtable last night. Preliminary results indicate a huge success...

Where to begin with this bizarre plea from Watchmen's screenwriter to see the movie again whether you liked it or not? The exuberant egotism? The naked commodification of nerd identity? The notion that huge corporate conglomerates deserve your charity and even, perhaps, your love?

Actually not a hard question. You've got to begin with this:

And yet... You'll be thinking about this film, down the road. It'll nag at you. How it was rough and beautiful. How it went where it wanted to go, and you just hung on. How it was thoughtful and hateful and bleak and hilarious. And for Jackie Earle Haley.

Trust me. You'll come back, eventually. Just like Sally.

Might as well make it count for something.

Ho-lee shit.

The "I Should Be Writing" podcast has an interview with Kim Stanley Robinson this week that's pretty good, though you have to be patient through some lengthy preliminary material. (Via Boing Boing.) It has to be said that KSR is extremely generous with his time; we're actually in the process of interviewing him ourselves for our "Ecology and Ideology" issue of Polygraph, due out sometime (we hope) early in 2010.

The Art of the Title Sequence celebrates Soylent Green's, which I've used in the classroom a few times to introduce the concept of ideology and the ways in which science fiction can comment on it. Via SF Signal.

The end of libertarianism? "The financial collapse proves that its ideology makes no sense."

I could have told you that before the financial collapse.

Survival under atomic attack: it's easier than you think! Via Cynical-C.

Sunday morning politics linkdump. Sorry for all these linkdumps, by the way—it was a busy week. Next week should see a return to a little bit more sustained commentary (including the exciting return of debate liveblogging!).

* There have been some interesting debates about poll biases lately. Ron Fournier (grumble) at the AP covers a study that argues Obama would be further ahead were it not for racial animus, by as many as six points. FiveThirtyEight throws cold water on this, as well as looking closely at the possibility of a "cellphone effect" in the polls. If Obama does 2.8% better in polls that include cellphones, that suggests a shifting map like the one below, turning Virginia light-blue and strengthening small Dem leads in Ohio and Colorado.



* A study from political scientist Alan Abramowitz argues that Obama will win, when all is said and done, with 54% of the popular vote. That he's naively comparing historical models with this year's unprecedentedly diverse tickets in both camps shows how seriously we should take this analysis.

* A new PPP poll shows North Carolina tied. Other recent polls show South Carolina within six, West Virginia within four, and MontanVoteRonPaula within two.

* There's evidence of a "Palin effect" in Florida driving undecided voters to Obama.

* The Spine tries to get a handle on Obama's early-voting advantage, beginning as early as this Friday in Virginia. The second link has some stats of interest for Dukies and Durham residents:

In addition, more early-voting centers are being located at colleges and universities, a change that significantly affects student turnout. Students at the University of North Carolina and N.C. State were able to vote on campus throughout the two weeks leading up to North Carolina's primary contest in April. At Duke University, however, students had to make their way to voting sites in the city of Durham. While turnout for Durham County was 52% in the Democratic primary, only 11% of eligible Duke students voted. This fall, however, Duke will have its own early-voting center, open for business starting Oct. 16.

* The McCain camp has successfully demanded the VP debate rules be changed to protect Sarah Palin.

*Judge orders Cheney not to destroy his VP records.

* SNL mocked McCain this week. He also preemptively mocked himself with an article in Contingencies arguing (for reals) that "Opening up the health insurance market to more vigorous nationwide competition, as we have done over the last decade in banking, would provide more choices of innovative products less burdened by the worst excesses of state-based regulation." Straight out of the Dept. of Bad Timing. Obama's already taken aim at this.

* Will Obama raise my taxes? A helpful widget.

* And American Stranger has a long post on ideology that seems to take as one starting point my post on Slavoj Žižek, Obama Supporter. Essentially Ryan takes aim at the various binds the Left finds itself in with regard to political action, and I largely agree with what he says—though I certainly hope I wasn't in mind as his example of sell-out "liberal 'pragmatism' a la The New Republic." My point, both in the earlier post and now in this one, is simply that the U.S. President has a tremendous ability to make life better or worse for real people with real lives, all over the world, many of whom (believe it or not!) do not have cushy long-term contracts with elite universities. Naderite "Oh, they're all the same!" negativity only makes sense to people who are inoculated by class and privilege from the consequences of that power.

The mere recognition that the perfect not be the enemy of the good doesn't quite throw my lot in with TNR, I don't think, and certainly not so long as we also keep in mind that the good not be the enemy of the better. Our discomfort with pragmatic compromises—and we should be discomforted by them, every time and in every case—isn't by itself a reason not to be pragmatic.

Never say Hollywood can't learn from its mistakes. The producers have figured out how to please everyone: maintain earnestness regardless of the inherent absurdity of the genre, be 'topical' by way of empty allegory, be spectacularly violent, never stop moralizing. Meet these requirements, and a great deal of variety is possible: one has free reign to be jokey or serious, bright or gloomy, undisguisedly sexist, racist, homophobic, or none of the above, 'critical,' or 'wish fulfillment.' Or all of the above. These labels are simply not the creator's responsibility. Restore the superhero's propaganda function, in short, and in so doing prove Sontag's thesis that "pure camp" is always so for the future and not the present.** The comic book-loving nerds of my generation are now faced with the dubious realization of our pubescent dreams: the nerds have taken over Hollywood, and the responsibility thus falls to the Figure of the Superhero to 'teach us' something about the "human condition."

Good news for culturemonkeys: Ryan has a great post on superhero cinema over there. (And here too.) It's more or less the definitive post on Dark Knight. But a few quick thoughts. First, I think Acephalous's attempt to rehabilitate the film from attempts to understand it solely as a "balls-out obvious apolog[y] for the authoritarian, repressive 'excesses' of global capitalism" is instructive, and definitely worth reading.

Second, Ryan writes that we are currently experiencing the"repetition-as-farce of the '50s"—but this doesn't strike me as a new phenomenon. Isn't it more the case that post-war American culture is perpetually returning to the '50s as a site of degrading, doomed unity?

This is to say that Jameson's claim that WWII is the moment of highest American nostalgia par excellence is, I think, fundamentally correct, with the revision that it's more the period from Dec. 1941 to August 29, 1949, the day the Russians exploded their first atomic bomb. The '50s are the memory of "the good '40s" combined with and juxtaposed against the reality of 8/29/49—they are the dawning but perpetually unfinished recognition of how it all will go / is going / has already gone wrong. In other words, the '50s themselves were a repetition-as-farce the first time around of the ideologically unacceptable, apocalyptic shock at the end of the previous decade—and we find ourselves going back to the '50s for answers whenever we get shocked again.

That's why, when 1973 is the year of disaster for American capitalism, Happy Days premieres in January 1974.

The 20th Century is characterized by both visionary dreams of amazing scientific advancement (the Space Race; Astrophysics; the Computer Revolution; organ transplant surgery) and nightmares of barbarism (death camp experiments; Hiroshima; Vietnam; serial killings). Clearly, our astounding technological innovation has not been accompanied by “utopian” social progress or a sweeping elevation of individual clarity. The basic underpinnings of society seem flawed: the structural myths, goals, icons, and values; as well as the information processing/analytic capabilities of its citizens. Just as their myth about the coming of a white messiah prepared the Aztecs for an easy takeover and slaughter by a handful of Spanish conquistadores, so our fundamental mythology may be preparing us for what now seems inevitable: the suicide of the planet Earth.

This short paragraph may be the most succinct enunciation of The Problem I've yet seen. It's the first paragraph of Andre Juno & V. Vale's introduction to Ballard's The Atrocity Exhibition, the first word of which (quite appropriately) is "apocalypse."

"In his mind World War III represents the final self-destruction and imbalance of an asymmetric world, the last suicidal spasm of the dextro-rotatory helix, DNA. The human organism is an atrocity exhibition at which he is an unwilling spectator..." —J.G. Ballard

Epigrams for my dissertation...

The male rejection of adulthood is now the dominant attitude in Hollywood comedy, even (or perhaps especially) in movies whose sexual frankness makes them officially unsuitable for children....

It would be hypocritical of me to dismiss the appeal of this fantasy and silly to deny that a lot of these movies manage to be both very funny and disarmingly insightful about the male psyche. But I suspect I’m not alone in growing weary of the relentless contemplation of that psyche in its infantile state, and of the endless celebration of arrested development as a social entitlement.

The attachment to the emotional world of childhood and adolescence — along with the fetishistic, fake-ironic clinging to tokens of that world — is so widespread that it almost escapes notice. Impulsive, self-centered, loyal to our pals, anxious about women, physically restless, slow-witted and geeky: that’s just what we’re like, isn’t it? John Updike once remarked that in America “a man is a failed boy,” but it increasingly seems that a man is, at last, a triumphant boy, with access to money, sex and freedom but without the sad grown-up ballast of duty and compromise.

Via MeFi.

Polygraph 22—Call for Papers
http://www.duke.edu/web/polygraph/cfp22.html

Special Issue: Ecology and Ideology

The contemporary moment abounds with speculation concerning our ecological future. Specialists in a variety of fields forecast immanent catastrophe, stemming from a combination of climate change, fossil-fuel depletion, and consumer waste. The recent bestowal of the Nobel Peace Prize on a group of scientists studying climate change indicates the degree to which "peace" has come to signify ecological balance; even the declaration by the Vatican of a new set of "7 Deadly Sins for the modern age" includes pollution in an attempt to grapple with the potential of individuals to inflict ecological damage on a global scale.

In the name of an impending crisis felt to be collectively shared, new political, cultural, and intellectual alignments are being forged, just as seismic shifts in the flow of global capital once again threaten to "redistribute" the world's resources and people. Ecological crisis has become a 24/7 media event, canvassing the planet in the imagery and rhetoric of disaster. From the halls of research and policy to activist documentary and apocalyptic fantasy, at the news desk, podium, pulpit, classroom, and computer monitor alike, all channels are united by a single underlying conviction: the present ecological catastrophe has humanity as its cause.

Precisely because the answer seems so obvious, we want to know: why now? Where are the points of antagonism in the midst of such apparent consensus, and what is at stake in their difference?

The Polygraph Editorial Collective invites papers concerning any aspect of ecology's relationship to ideology, both interrogating ecology as a location for critique of global capitalism and analyzing the ways in which ecology functions as an ideology in its own right.

Potential areas of interest include:

Political Ecology
Globalization and ecology
Marxism and ecology
"Environmental accounting" as a challenge to the free market
Ecology and capital / consumerism
Ecology as growth market

Eco-Disaster
Peak oil and climate change
Biofuels and the food crisis
Overpopulation and Neo-Malthusianism
Ecology as a rhetoric of control
Figurations of eco-disaster in popular culture

Religion and Ecology
Green apocalypticism and green evangelism
Ecology and world religion

Ecology and gender
Recent articulations of eco-feminism
Eco- & transnational feminisms
Women's work and the global chain of production
Agricultural work and reproduction

Ecologies against ecologies
"Light" vs. "dark green" environmentalism (i.e. deep ecology)
Primitivism and technofuturism
The status of international Green movements

Polygraph welcomes work from a variety of different disciplines, including critical geography, cultural anthropology, political economy, political theology, science studies, and systems theory. We also encourage the submission of a variety of formats and genres: i.e. field reports, surveys, interviews, photography, essays, etc.

SUBMISSION DEADLINE
December 31, 2008

ISSUE EDITORS
Gerry Canavan
Lisa Klarr
Ryan Vu

CONTACT
polygraph22cfp@gmail.com

Jonathan Lethem on the squandered promise of science fiction. Here's a taste:

Other obstacles to acceptance remain hidden in the culture of SF, ambushes on a road no one's taking. Along with being a literary genre or mode, SF is also an ideological site. Anyone who's visited is familiar with the home truths: that the colonization of space is desirable; that rationalism will prevail over superstition; that cyberspace has the potential to transform individual and collective consciousness. Tangling with this inheritance has resulted in work of genius - Barry Malzberg tarnishing the allure of astronautics, J. G. Ballard gleefully unraveling the presumption that technology extends from rationalism, James Tiptree Jr. (nee Alice Sheldon) replacing the body and its instincts in an all too disembodied discourse. But the pressure against heresy can be surprisingly strong, reflecting the emotional hunger for solidarity in marginalized groups. For SF can also function as a clubhouse, where members share the resentments of the excluded and a defensive fondness for stories which thrived in 12-year-old imaginations but shrivel on first contact with adult brains. In its unqualified love for its own junk stratum, SF may be as postmodern as Frederic Jameson's dreams, but it's also as sentimental about itself as an Elks lodge or a family.

A sadly necessary reminder from Feministing, Pandagon, and Shakespeare's Sister that (contrary to the exceptionally screwed-up attitude of our society) rape is not a compliment.