The Mad Aardvark

Critical commentary on culture…

Yeah, that lightsaber…

Posted by madaardvark on November 29, 2014

crossguard

I’ve mentioned this before. I can’t remember which episode it was, but in a commentary track from the Twilight Zone (original series) DVD set, Rod Serling comments about suspension of disbelief. He suggests (and I’m paraphrasing here) that the best way to get an audience to believe in the fantastic is to make sure the people that make up the world behave in ways you would expect them to, given the situation they’re in. Otherwise, the false reality built into a fantasy work starts to break down, the audience starts to question not just the character behavior, but eventually the whole premise of the movie.

The question is not “Is it possible to make a lightsaber like that?” Clearly, it isn’t. That’s the fantasy. We have accepted belief in a few things: lightsabers work, blaster pistols, flying in space, hyperspace, mystical energies that bind the universe together…

When people in these movies do things that seem “off”, we pause for just a moment and say, “Wow, that dialogue seemed forced” or “Why would somebody DO something like that?” or “That event would only happen in a movie like this because the writer is desperately trying to advance the plot”. So when I say “That lightsaber is really stupid because NOBODY would build one like that,” the response “Deal with it, bro. It’s all make-believe” just doesn’t get to the core of my problem.

believe

See, I WANT TO BELIEVE. For a couple of hours at a time, I want to believe in aliens, magic, galactic civilizations, and laser swords. But when I see something that nobody in their right mind would do, even in a world that allows those things to exist, my whole belief structure falls apart.

I don’t even care about special effects! The original SW trilogy DID have its problems. But the story, with some real and sincere character development, carried the film. Not the bad special effects. Not the GOOD special effects. Not the acting from masters of their craft or bad actors who never quite learn. I want to believe by seeing how people WOULD react to these things IF these things were real. And when they don’t, I lose faith. I can’t accept it. My suspension of disbelief fails, and I find myself disappointed.

So, no, a weird lightsaber crossguard makes no sense at all, and it damages my belief that the rest of it could actually exist. It’s also just a trend in our need to make everything more bad-ass-er, which just accomplishes nothing. Trying too hard to make things “epic” only makes things look ridiculous.

Related Links:

I designed a better lightsaber than J. J. Abrams while I was in line for coffee this morning

Here, Star Wars, I fixed your “Force Awakens” lightsaber crossguard for you

Let’s talk about the new Star Wars lightsaber

Posted in movies, television | Tagged: , , , | Leave a Comment »

Women and Nerds

Posted by madaardvark on November 17, 2014

Shirt StormIf you hadn’t heard, the Rosetta rocket launched a probe that landed on a comet. Nice work, rocket scientists! Anyway, during an interview about it, one of the lead scientists was wearing a bowling shirt adorned with comic book chicks, all cleavage and butts. A feminist blogger pointed out that it was unfortunate that the guy didn’t think anything of wearing that shirt because that kind of clueless attitude about women drives women away from the scientific fields. The internet exploded with opinionated garbage on both sides. They started calling it “Shirt Storm” (instead of shit storm. Clever internet people.) The poor clueless nerd-with-metal-tattoos apologized during another interview about the probe (no questions were asked about the shirt – he just volunteered the info), and was visibly shaken up while doing so. People were all over this guy calling him all kinds of names, and his defenders were all over THOSE people, calling them all kinds of names…

Anyway, the shi(r)t storm seems to have died down, now, especially since the probe died down, too (it’s solar-powered and pointed away from the sun – D’OH!). But nobody once said that this poor nerd has little social skills, along with being totally clueless about his own inherent sexism. The original blogger, though, was clearly pointing out that sexism is becoming more about being totally clueless about these things, not about being aggressively ignorant or hateful, and the internet uproar very clearly showed that.

So, even if the guys was NOT a socially inept nerd guy, he’s still a product of the system. The shirt was actually made by a woman (so the claim goes), and it looks like both the scientist and his tailor are part of the rockabilly culture, which is also totally sexist. (Don’t get me wrong, I personally really enjoy it, but the Cramps have more than one song about beating women, one of them presented as a new dance step – “Do the Crusher!”).

Women, too, are totally confusing me and themselves in this debate, as some of them claim that a woman should be in control of her own sexuality and may dress however she sees fit, but when the media presents a woman like that, they get upset, claiming that the media shouldn’t dictate such things to us. Musicians (or whatever they are) like Niki Minaj use that excuse to showcase themselves half-naked in music videos (“I’m showing how strong women can be by controlling my own sexuality.”) So far, nobody seems to buy that bullshit except her fans. Personally, I think that whole concept is just superficial, whether it shows women being strong and in control or not. Either way, they’re just relying on their outward appearance as the vessel of their so-called self-empowerment. That’s probably why everyone, men, women and nerds, are so confused.

Posted in science, sexism | Tagged: , , | Leave a Comment »

Star Wars Rebels

Posted by madaardvark on October 20, 2014

Rebels

The cartoon Star Wars Rebels started on Disney a few weeks ago, and I managed to catch the first episode. There are problems, of course, but I can’t say it’s necessarily worse than, say, the Ewoks cartoon, other than the fact that Ewoks didn’t necessarily fit into continuity (and even as a kid, I didn’t expect it to).

Star Wars Rebels, like the Clone Wars before it, uses that crappy computer animation so popular nowadays, though I have to admit that stuff is getting more sophisticated as the technology gets cheaper. I mean, it’s become pretty clear to me that cartoons are made on a budget, and computer animation is the cheapest way to make something with a consistent, fluid style.  Unfortunately, that makes it feel much less warm and inviting than hand-drawn stuff, and in that regard, the Boba Fett cartoon from the Christmas Special remains the best animated Star Wars I’ve ever seen.

Anyway, the story and setup are much better than I thought t hey would be, and there seems to be some nod to the things that have come before, which Lucasfilm tried to erase with its list of what is and isn’t canonical. Disney is re-writing that list, apparently, probably because it’s cheaper and easier for Disney to maintain a status quo by doing so. The good news is what they’re including, and I think the new cartoon is establishing some of that.

For one thing, one of the main characters on the show is modeled after the original Chewbacca design. The Star Wars Roleplaying Game from the 80s, published by West End Games (affectionately known as D6 Star Wars), called that race the Lasat. I don’t know if that was kept part of the cannon in the Lucasfilm re-writing, but that race did first appear in D6 material, back when they had wider license to write things based on leftover images from the films back in the day, long before the Lucasfilm cash-cow locked down all of those images and ideas and had to approve of things before they saw print.

Another nice thing: although one of the main villains uses a double-bladed lightsaber and has a conspicuously adjective name (very stupid ideas, from where I’m sitting), the advertisements I’ve seen clearly label him as an “Inquisitor”, which was the title given to dark side force-users under Empire command in those D6 books. Again, I don’t know how much of that ever stayed in the public memory long after West End stopped printing those things, but I know Lucasfilm stopped considering those things part of the universe when they drew lines in the sand between CANNON and EXPANDED UNIVERSE and OTHER THINGS.

Most importantly, though, the tone and setup for the show is very reminiscent of the “classic” D6 RPG campaign setup. There are about 5 characters on a light freighter that more or less act independently from the Rebellion while clearly acting in line with the Rebellion’s philosophy. Character templates include: Brash Pilot, Lasat (generic alien race template, circa 1st edition), Cranky Astromech (heavily modified by the crew), Failed Jedi (on the run from Imperials), and Kid (who is Force Sensitive and will be getting trained by aforementioned Failed Jedi). In-game schticks also included: a speederbike chase, K.O.ing a stormtrooper and taking his gear to sneak around (thankfully, they’re stormtroopers and not clones or even some halfway stormclonetrooper), daring rescue aboard an Imperial Star Destroyer, and the obligatory TIE fighter chase.

Computer animation and double-bladed lightsabers aside, the experience wasn’t unenjoyable. It made me want to play Star Wars D6 again, or at least give it an honest try. I stopped for a long, long while when I realized that I couldn’t put the game into a context that didn’t include the prequels, and that damaged the spirit of the campaign and, indeed, the setting as a whole.

I’ll write more critiques of the show as it progresses, though I don’t get to watch much since I don’t have expanded cable. I mostly get a chance to watch these things when I’m sitting around with my daughter, turning her into a television junkie like myself, but that’s a post for another time.

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Ponies: They Could Be Worse

Posted by madaardvark on October 15, 2014

“MLP in Spongebob” by bronielover106 (deviantART)

In light of recent life changes, I’m having a much more positive outlook on the world. I have found myself still seeing those things that need improvement, and I still don’t care for them, but I’m spending more time focusing on what I enjoy rather than what I don’t.

A lot of what I dislike comes from seeing inevitable change, and I’ve had to learn to accept that. Other things that go through such changes, though, are hurtling towards an inevitable disintegration. I’ve had to accept that, too. As we age, we have to be cognizant that there are experiences we have had that define not just ourselves, but entire generations. These things can’t be shared ever again.

The death knell for Saturday morning cartoons has been rung, and despite a few education shows for toddlers, there really isn’t a long line-up of brainless cartoon junk food to watch on Saturday mornings anymore. Is that for the best? Or is it just different now? It stands as no surprise to me. I myself raised my daughter without that weekly institution. She had entire television stations dedicated to cartoons, and now streaming for whatever kind of show she wants to watch. We spend whole weekends with Spongebob Squarepants playing almost non-stop. (Weekends tend to be the time when Nickelodeon marathons the hell out of Spngebob.)

Once upon a time, I couldn’t stand Spongebob, not for the sexual innuendos, but for the philosophy of the show. Now, though? I’m getting more complacent with it. I have to admit, it’s a rare show that still relies on hand-drawn animation that manages to draw characters as three-dimensional objects, rather than flat computer-aided images that most cartoons use nowadays. The world and characters are consistent, too, both in their behavior and the function of their world. As weird and chaotic as the show might be, it functions with a regular, consistent representation of how its own reality works, and that’s something you can only appreciate from watching this show at great length. Forced to, if you will. At great risk of mental health. Because your daughter wants to.

I’m starting to appreciate My Little Pony, too. It’s a horribly drawn show, and the dialogue is mind-numbingly stupid, but the message it sends is consistent and very rarely hypocritical, unlike, say Monster High, which TELLS children that they should embrace their differences, but SHOWS them a world where all the girls fit the EXACT SAME body type. And that’s really why I have loosened my stringent cartoon beliefs to let my daughter watch those Ponies: a very positive message for girls. They’re strong and independent, and their world consists of something unrelated to impressing boys or even needing them around. Boys are there, in the background, doing their own thing, and the girls pretty much run the world. It’s a nice place for an otherwise sexist world. If only the animation wasn’t so, so awful!

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My Recent Realizations

Posted by madaardvark on March 31, 2011

I went out of my way to pick up a new CD, something that I haven’t done in a long time.  But Screeching Weasel has a new album out after 11 years or so, and I thought I would give it a shot.  Unfortunately, I didn’t like it.  But while I was at the record store, I did pick up a used copy of an old NOFX album that I hadn’t heard in years, and I liked that very much.

I haven’t bought new music in months, probably almost a year.  I can’t even remember what that new album was that I picked up last time.  I came to realize that I don’t buy new music like I used to, and I don’t evolve with the music that still comes out.  Part of the reason is that the music scene I enjoyed was dead (see this entry at yourscenesucks.com), but it’s also because I don’t have the money to spend on music anymore.

Once upon a time, I would work, or perhaps not, and somehow have money in my pocket that was not already accounted for in bills and living expenses.  I would have almost nothing to spend my money on, so I would throw it into my music collection.  I was on top of things, enjoying what music I could find, always aware of what band’s album was coming out next week or what show was playing that weekend.  Somewhere along the line, I lost touch with that.

Eventually, I found a conflict between what value I was putting on music and how much money I had.  I could justify buying music less and less, as I saw the music I liked being less and less worthy of my money.  I also had other responsibilities: rent, bills, food, and other people relying on me and those things.

It hit me recently that as we age, eventually our tastes in music stagnate.  We enjoy music from our slice of youth and don’t like new things as much.  A lot of that comes from what we enjoyed during the time we were searching for our identities, but I discovered this: aging means taking our money and using it to live comfortably, rather than sparsely with more entertainment.  If I hear about an album (like this Screeching Weasel album), it’s already been out for a few weeks, and I MAY get around to buying it a few weeks from now.  Usually, I think  to myself, “Well, I need to pick that up.  But this week I have to buy a new faucet for the sink, so I’ll just wait until next week and hope I don’t have a house expense then.”

But there’s always a house expense!  Eventually, I pick up the album and feel a little guilty about it because it wasn’t in my budget.  When I’m not impressed with the album, partially because the band changed the way it sounds during my absence from active participation in the music scene, I am less inclined to buy an album the next time I see one.  Thus, my taste in music stagnates a little more, and I become more and more of an old man.

I still have to pick up the new Dead Milkmen album, despite the fact that it will be terrible.  Luckily, that’s what makes the band so endearing in the first place, and the money won’t feel like a waste.

Related Websites

The Official Dead Milkmen Website

Rodney Anonymous Tells You How To Live

The Screeching Weasel Website

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The Dying Art of Ghost Hunting

Posted by madaardvark on August 28, 2010

First, let me express my condolences to the family and friends of Christopher Kaiser, who died early Friday morning.  He was struck by a train in Statesville, North Carolina while he and others were walking along the tracks on a 300-foot bridge.  Reportedly, he showed incredible strength of character by sacrificing himself while throwing his girlfriend clear of the oncoming train.  She fell from the bridge and is now in serious condition, but she survived thanks to his efforts.

The group was investigating the rumors of a ghost train that is reported to race across the bridge on the anniversary of a massive crash that occurred in 1891.  They say that the sounds of a train, a crash, and more can be heard, and sometimes one can see the train itself.

“Professional” paranormal investigation teams point to the dangers of their profession and urge people to go through proper channels when investigating hauntings.  They also encourage safety, caution and preparation.

However, the explosion of ghost hunting is starting to fade away, at least in “professional” circles.  Of what constitutes professionalism I am not sure, but it seems that anyone who can assemble friends, promote themselves as an organization, and contact the proper authorities before entering purportedly haunted locations can call themselves a professional.  With these simple qualifications in mind, it is no wonder that the ghost hunting community is starting to splinter.  Television shows like Ghost Hunters and Most Haunted have been criticized by “real” ghost hunters as sensationalism and fiction, and I think it’s safe to say that we are hearing about those big programs less and less.  This may have something to do with fading interest by typical television watchers and active boycotts by “professional” ghost hunters.

That doesn’t mean the phenomenon of ghosts is going away.  The focus now has been on individuals rather than objective teams.  Two programs in particular, Celebrity Ghost Stories and My Ghost Story focus on an individual relating personal experiences, with no investigation, counter-examples, or even base interview as a balance.  Nor does the show need those things.  The idea is of a person telling a story that is a combination of what they heard and what they may have experienced (sometimes the storyteller isn’t even sure).

These stories are a great example of folk tales as tools of enculturation.  Many stories are similar, supposedly because the nature of ghosts is consistent.  Variations, of course, add to the mystique and suspense because,since ghosts can not be completely defined, the true nature of these things can not be determined.  The ghost tale is about confronting the unknown and coming to terms with it – especially the experience of death and what may happen afterward.

This experience is a personal one, which may be why ghost hunting as an institution is deteriorating.  This is also a result of postmodern religious thinking.  Either way, when a group begins claiming specialized knowledge that other groups within the same field do not have, that inevitably leads to in-fighting and unhealthy criticism.  Everyone disassociates themselves from everyone else, hostilely derides one another, and splinters off into their own factions.  The ones on top of the heap (namely the TAPS organization on the Ghost Hunters show) are both prime targets for criticism and often the most likely to criticize.

It’s a strange situation.  Scientific investigation relies on peer review processes.  Articles written for scientific journals receive such peer reviews both before and after publication.  There tends to be consent among scientists because of this reason, but new ideas are treated with the most critical observation, comment, and review.  Ideally, this would happen to paranormal investigations as well, and it seems to be occurring ever-so quickly.  Unfortunately, there is no consensus to even basic principles of that “discipline.”  Combine that with the aforementioned personal nature of the event being studied, and you have a flux of interest and communication.  Everyone claims authority, willing to afford it to none.

Such is what happens with a folktale developed for transmitting beliefs in personal validation.  How can a group or institution possibly sustain itself when what is perceived as a too rigid and impersonal draconic organization (science) is brought into question?   If the belief is to sustain itself, it has to relinquish some form of organizational authority and become one of personal validation and unorganized learned beliefs.  Even when ideas and ideals are shared and encouraged, the path to such knowledge has to be one of individual discovery.

That is one of the ironic manifestations of postmodernism.  How do we reconcile a group belief in individuality and unique experiences that must be reached through those experiences?  When the Truth that everyone shares is that there IS no Truth, or that Truth is subjective, how can we be sure of that?  It becomes a paradox unless one arbitrarily decides what that Truth is.  Some will allow for it to be whatever we decide it is, while others insist on their version of it.  Then Truth becomes synonymous with God.  (Is there Truth? How do we know what Truth is? Everyone has their own path to discover Truth.  Your Truth is not my Truth.  etc.)

And that’s where ghost hunting stagnates, at least as a manifestation of a belief system.  As a science, well, ghost hunting certainly leaves something to be desired, but that’s another post for another time…

Related Sites:

Ghost Hunters TV Show – Fake?

Don’t Watch Ghost Hunters Tonight!

Amateur “Ghost Hunter” Killed in Toronto

‘Ghost Train’ Hunter Killed in North Carolina

Posted in america, pseudo-science, science, television | Tagged: , , , | 8 Comments »

No special effects… except, you know, for those special effects…

Posted by madaardvark on August 26, 2010

I just read an article on Yahoo! Movies about “The Last Exorcism” and the special effects they used, or lack thereof.

I think we’re getting jaded.  Or stupider.

Do people not realize that special effects do not have to involve CGI or explosions?  Here is an excerpt from the article:

This week’s horror movie release “The Last Exorcism” has been garnering much attention with a shot just as impressive as anything from a big-budget blockbuster. The trailer ends with the image of a young woman in a nightgown and boots bent over backwards at an impossible angle. It’s so memorable and unsettling that the studio used it for the movie’s poster. What makes it impressive, though, is that it does not use any special effects. No CGI, no puppets. That shot is actress Ashley Bell bending like that for real.

Now, that sounds pretty amazing.  I was impressed.  Then they say this later in the article:

She joked, “[Director Daniel Stamm] nailed my boots down, pushed me over and yelled, ‘Action!'”

Okay, right there.  When is nailing someone’s feet to the floor (special actions) to produce a specific effect NOT a special effect?  It doesn’t take away from the girl’s dedication to the role or her flexibility, but don’t lie to us about a lack of special effects.

Here’s another quote from the same article:

Producer Eli Roth (“Hostel”) says the goal of the film was to make everything happening on screen look as real as possible, and Bell made that happen: “What you see is one-hundred percent Ashley Bell — we did not use any makeup, CGI, or special effects in her scenes.”

When do actors NOT wear makeup during filming?  No CGI? Okay.  No special effects? Aside from nailing her feet to the floor or some other camera tricks that don’t qualify as ‘special’ for some reason, fine.  But no makeup?  There’s ALWAYS makeup.

And here is one more:

Patrick Fabian, who plays the exorcist, Reverend Cotton Marcus, confirmed that Bell’s performance was just as chilling to watch on the set as it is in the movie. He said, “Ashley would be turning her neck or slithering on the floor and a voice would come out and it just creeped us out. There was no acting involved in there.”

No acting? So you mean she was REALLY POSSESSED?!  Holy SHIT, I have to see this movie…

People, curb your hyperbole.  You’re not making any sense any more.

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Art and Video Games

Posted by madaardvark on July 26, 2010

It wasn’t long ago that Roger Ebert made the assertion that video games could never be categorized as art.  The statement had such a backlash that Ebert had to retract his initial claim and restate it thusly: “[N]o video gamer now living will survive long enough to experience the medium as an art form.”  This, too, has come under fire, and Ebert modified his claim again: “[G]ames could not be high art.”  That is an assertion I can agree with.  However, the idea of what is “high” or “fine” art has a lot of stigmata attached to it: it is elitist, exclusive, pretentious, presumptuous, and conformist.  So say the people who do not study art.

Video games are like drugs.  They produce an inaccurate view of reality.  The more one immerses themselves into the world of video games, the less able to interact with the world around them the players become.  See my post “Theory of Mind in Literature” to understand how this works and why this is a problem.

Keep in mind that I have a rather low opinion of contemporary “art” when I make these claims.  I have seen more value in simpler expressions of things I would consider to be “common” art than in what gallery owners hold up as worthy to show.  The main problem with this is the difference between personal expression and artistic expression, and knowing that there is a difference between the two.  Also, the definition of art tends to be open for interpretation, as Ebert’s discussion on the subject points out.

Few people who study art, though – and I mean the people who study art and art history, not the people who only study the processes by which to produce artistic works – more often than not share similar perspectives.  (Another aside – study need not occur only in a classroom.  Go visit a gallery, read some books on your own, and try to understand something rather than viscerally react to it.)  Generally speaking, Kellee Santiago, who made a grand presentation arguing against Roger Ebert, is close to the mark when she says, “Art is a way of communicating ideas to an audience in a way that the audience finds engaging.”  Close.  This may include many things that are absolutely not art: advertisements, text books, mnemonic rhymes, and others.  Some people might find a bus schedule to be engaging.  As you can see, this definition is a bit broad and could use some narrowing down. I would add that the communication MUST be done through the artistic medium as opposed to some other, for the sake of communicating the idea as accurately as possible.

Here is an example.  To simply ask, “What kind of god would create evil and suffering in the world?” only states a question.  Should the person asked try to answer it?  Is it only asked rhetorically?  Or is the point only to illustrate the fear and confusion behind the question itself?  However, something entirely different occurs when we read Blake:

Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?

In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare sieze the fire?

And what shoulder, & what art.
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?

What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears,
And watered heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?

Suddenly, the question becomes much more complex and intriguing.  Why is God not mentioned explicitly in that poem?  Why is it so childish in its form and rhyme?  There is power there, gravity and seriousness in those words that are lacking from a simple verbal communication.

For video games to become high art, they would need to do more than simply elicit emotions.  Any Maxwell House commercial can do that.  Also, they would have to do more than simply be crafted and constructed into a pretty package, whether we’re talking about visuals or story.  They need to explore the medium itself and express ideas that could only come by means of the medium.

They would also need to relate a world view that the audience can or will experience in real life, not just in the mind of the creator or within the context of a fantasy world.  Most contemporary art, especially cinema, fails on this standard.  For something like a video game, that explores the realm of fantasy fiction regularly (or even, perhaps, exclusively), that task is even more difficult.  Rod Serling once pointed out that the audience will only believe the unbelievable if human nature stays constant and rational within the context of the story.  (If you have the Twilight Zone DVD set, it’s during the audio commentary to the episode “Walking Distance,” I believe.)

On a side note, I wish more film makers understood that concept.  Visual effects have become so easy to create that things are starting to get out of hand.  There has also been a push towards emotion over logic (Spock be damned), so much so that characterization is based only on emotional responses to things rather than through a character’s rational mind that consists of emotions, logic, and the capacity to regulate the two.  For example, when Batman stopped being wholly, completely in control of his emotional state and started to just emotionally react to everything around him, we lost him as a cultural icon.  But I digress…

Video games elicit emotions without rationality.  They promote “messages” without the internal ability to scrutinize them.  They exhibit craft without the capacity to use the medium itself as a necessary method of communication.  Simple entertainment is not high or fine art; it is just simple escapism.  Escapism does nothing except allow temporary relief from the mundane world and prevents engagement with it.  For these reasons, video games may be considered “art,” but will never be considered…

Fine Art.

Related pages:

Video Games Can Never Be Art

Game Designer Kellee Santiago Responds to Roger Ebert

Posted in Art & Literature, video games | Tagged: , , | Leave a Comment »

Science poetry

Posted by madaardvark on July 14, 2010

The human soul is a singularity

existing in theory, but as yet undiscovered,

emitting virtual particles, undetectable,

that can only be observed indirectly

by the effect they have on nearby systems:

the heart, the mind, the world.

We observe the effects,

hypothesize and experiment,

and we call this experiment Art.

Posted in Art & Literature, poetry, science | Tagged: , | Leave a Comment »

Daily Distractions – PoMo Poetry

Posted by madaardvark on June 28, 2010

[insert postmodern picture here]

The most fun I have by myself

is reading terrible poetry that

people post on their blogs.  It’s fun

and easy to find.  I am usually

horrified at the postmodern

implications of the phenomenon.

It’s easy to slap together a poorly

planned poem and post it on a blog.

While I was letting the WordPress

Readomatic find random new blog

entries for me, based either on tags

or categories that show up on my

own blog, I see a new poem posted

nearly every five minutes.  Maybe

it’s a Monday phenomenon.  Maybe

people have an urge on a Monday

lunch break to reduce their stress

and find an outlet for their frustrations

by posting a poem about something

unrelated to their boss acting like

an asshole, rather than tell their boss

that he is, in fact, an asshole.  They

would probably help themselves much

more by blogging or even writing a

poem about their shitty boss instead

of the most popular postmodern poetry

themes: their individuality, their love life,

or their secret Christianity.  (For some

reason, everybody wants to write about

Jesus, but nobody wants to admit it.)

Posted in Art & Literature, blog, poetry | Tagged: , | 4 Comments »