Showing posts with label Science Fiction. Show all posts
Showing posts with label Science Fiction. Show all posts

Thursday, August 20, 2020

CONTEXTUALIZING QANON: THE NEW AMERICAN MILLENARIANISM

 

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QAnon’s cryptic predictions and counter-intuitive analysis of reality read like something from a Philip K. Dick novel. In the late author’s 1974 semi-autobiographical work, Valis, the protagonist experiences a series of visions which he along with his friends interpret to reveal hidden realities of alien intelligence, political scandal, and gnostic wisdom. In fact, Dick was inspired by his own revelatory experiences—which occurred after a visit to the dentist’s office—and which contained imagery and motifs from early Christian sectarian groups that claimed to possess a secret hermeneutical key to the true nature of the cosmos.[1]

For the acolytes of QAnon, an equally “gnostic” vision of reality has been unveiled by the obscure utterances of their original online oracle. Although much debated by modern scholars,[2] the basic premise of the “gnostic” worldview, of which there were many versions in antiquity, asserts that experiential reality is not what it appears. The world we perceive is, in fact, a prison constructed by demonic powers as a means to enslave the eternal essence of the soul. Only a small spiritual elite are blessed with special revealed knowledge—gnosis—that unmasks this monumental cosmic deception.

This sort of revisionist reading of reality is very much the basis of the QAnon gospel being carried by its missionaries through the furthest reaches of the digital world. It would appear that a not-insignificant number of people—predominately Trump supporters and conservative Christians—believe (among other things) that the “real” cause of the crisis of 2020 is a subterranean religious war being waged by US soldiers against legions of Illuminati demons who torture and abuse children for the purpose of producing a highly addictive drug called adrenochrome used by liberal and Hollywood elites, such as the Clintons and Tom Hanks. The current version of QAnon builds upon the Pizzagate conspiracy theory of 2016, which alleged that senior US Democrats operated a child sex trafficking ring out of a Washington DC pizzeria, although it has now morphed into a far more expansive and eschatological narrative.[3]

One YouTube video, posted by QAnon evangelist “Blessed To Teach” constitutes a kind of Credo or Confession of Faith, punctuated as it is by a series of “I believe” statements. What does “Blessed To Teach” believe? He believes that “a cabal of secret societies has controlled the world for over 200 years” and that a deep state/shadow government is working to destroy America. However, almighty God is now intervening in history, although this is being obscured by a world media that repeats the cabal’s talking points. By the way, all religions other than Christianity are false, since salvation comes “by faith alone.” Even though George Soros is funding socialists to destroy the great nation, God has raised up an army of “Red Pill Christian Patriots” to defeat the Deep State. Beware! Infidels, for military tribunals will be established once victory is achieved under “an anointed” Donald J. Trump. Yes, you read that right! An “anointed” Donald Trump. Such a statement explicitly cast Trump as a Messiah and Christ-figure.

President Donald Trump, for his part, is also cast as a kind of radical Christian caliph, deputized by the “One TRUE Living God” to wage war against the liberal infidels covertly destroying a once great and holy nation. In the case of Trump, things are also not what they seem. The President’s tweets, far from being the shambolic ramblings of an idiotic man-child, are in fact the encoded words of a Christian oracle, the meaning of which only true believers can divine. Numerous online message boards contain the QAnonners detailed exegesis and commentary on the President’s every fragmented utterance.  

The Gospel of QAnon is a curious amalgam of sex scandal, anti-government protest, survivalist mentality, science fiction, biblical religion, and military ethos. In fact, the so-called “Q” gains his authority by claiming to be a senior military officer, although the apocalyptic narrative that has evolved out of his encoded “Q-Drops” are about what you’d expect from an Evangelically funded Predator film. The “White Hat” forces are alleged to have access to advanced technologies such as “Magnetic Levitating Trains (MAGLEVS) and time travel. In combination, all of these ingredients make for a uniquely American brand of heresy and represents the “cult” of Trump in its most extreme form.

Academics, however, are not supposed to use words like “heresy” and “cult.” QAnon would more aptly be characterized as a new religious movement or millenarian sect.[4] In fact, the eschatological dimensions of QAnon are not to be underestimated. Its adherents believe themselves to be on the cusp of a pivot point in cosmic history—a “Great Awakening”—when the powerful forces of White, Christian purity (the “Red Pill Christian Patriots”) will save the great “shining city on a hill” from the dark, demonic masses that threaten to overwhelm it, also known as “the Satanics” or the “Ancient Evil Nephilim Bloodlines of Cain.” After all, are there not riots in the streets? Are people not dying in droves? Are there not earthquakes, fires, and famines? Indeed, “wars and rumours of wars”[5] is what is alleged, while the realities of climate change, mass migration, and political upheaval are all fit into a complex theological framework.

Early Christians also speculated about an overturning of their contemporary cosmo-political order using imagery of fantastic beasts, demons, and holy war. Just look at the Apocalypse of John, the final book of the New Testament. Biblical scholars have long understood that this work, like many texts written in the same genre, is more a critique of the author’s contemporary political context than a prediction of some future End of Days. It is an encoded, first-century CE critique of Roman imperial power. Nonetheless, John’s apocalypse (also popularly known as Revelations) has often been interpreted as a scriptural key to how the world will end. Early Christian readers of the work thought that the End Times were eminent, and ever since Christian groups have periodically arisen to proclaim that the Hour is at hand. Usually, these millenarian sects appear in times of crisis, and times of crisis these certainly are. In fact, the Apocalypse of John was not widely accepted into the emerging New Testament canon until well into the 4th century CE. Many early Christian leaders thought the text encouraged worrisome eschatological impulses that the institutional church found difficult to control. QAnon, for its part, is not so much a “church” (in a sociological sense) but a loosely connected network of online commentators. Even though it was birthed in a matrix of Evangelical fundamentalism[6] and Republican extremism (a phenomenon one might well describe as “American Liberty Religion”) QAnonners are under no recognizable institutional framework. Even though they themselves might assert that their so-called “White Hats” represent a finely tuned crusader force carrying out complex operations in an underground hellscape.

In a sense, the QAnon vision represents an act of imaginary insurrection, except for the fact that it has inspired real acts of violence.[7] For most believers, presumably, it is a discursive universe in which panicked conservative Christians can live out their most violent fantasies of overthrowing a tyrannical government, unmasking the Deep State, restoring white supremacy, “saving the children,” and “owning the Libs,” all while doing God’s holy work. 

It is no surprise that so much of the QAnon narrative relies upon rumors of sexual abuse and misconduct. This rhetorical strategy also has a long history. In the 2nd century BCE, Roman Republican authorities sought to suppress the celebration of the bacchanalia festival due to reports that the revelers practiced incest, ritual murder, and cannibalism. What conservative Romans were likely more worried about was the fact that the participants transgressed traditional social hierarchies around class, status, and gender. Slaves ordered around their masters, while women behaved like men. Such subversion simply would not do. So, the whole proceedings were caste in the rhetorical trappings of a proto-satanic cult. Similarly, early Christians themselves faced the same sorts of accusations as their Roman neighbors caught wind of their eucharistic language of body and blood. Such horrific tropes have been routinely applied countless times in moments of historical crisis and change as a means to undermine the Other and maintain the status quo.

Another aspect of QAnon that is worthy of considering has to do with the nature of mythmaking itself. Many ancient myth stories have what is known as an “aetiological” agenda. That is, they are intended to explain aspects of the world that the storytellers and their hearers find otherwise inexplainable. One well known example is the story of Demeter and Persephone. According to Graeco-Roman tradition, when Persephone, the daughter of Demeter (the “Earth Mother”) was lured away to the Underworld by Hades, the earth became infertile as her mother mourned. Eventually, an arrangement is worked out whereby Persephone can split her time between the upper and lower worlds, thereby allowing the crops to grow. This story has often been interpreted as a pre-scientific attempt to explain the cycle of the seasons.

There is a decidedly aetiological dimension to much of the QAnon conspiracy. Promoters such as “Gene Decode” create YouTube videos filled with images of vast military installations and pieces of infrastructure, correlated with natural disasters and climatic events. All this information is then fit into the explanatory model of the “Under Earth War.” As such, QAnonners, who appear otherwise ill-equipped to makes sense of the world around them, rely on an aetiological interpretation based on a hybrid set of conspiratorial constructs.  

All of this reminds me of another ancient aetiology, as a somewhat similar apocalyptic narrative is attested during Late Antiquity. Drawing on legends that widely circulated about Alexander of Great, it was believed that the Macedonian king had imprisoned the demonic, biblical tribes of Gog and Magog behind the “Gates of the North.” These gates, it was thought, would be opened at the end of time as part of a great eschatological battle. Some historians have wondered if this idea of the “Gates of the North” was based on an imaginative aetiological explanation for the remains of Sassanian fortification structures, such as those still present at Derbent, whose purpose people at the time could no longer explain. 

QAnon’s sudden resurgence may seem surprising, but, given the likelihood that the crisis of 2020 seems set to intensify especially as the US election nears and the pandemic spirals out of control. Just what role the acolytes of Q will play remains to be seen. Few religious sects transition to stabilized religions. Most burn themselves out. Unfortunately, the nearly inevitable immolation that occurs consumes more than just the believers themselves. 


[1] https://www.newyorker.com/magazine/2007/08/20/blows-against-the-empire

[2]M. Williams, Rethinking "Gnosticism" An Argument for Dismantling a Dubious Category (Princeton UP, 1999); K. King, What is Gnosticism? (Harvard UP, 2003) are just two of the major re-assessments of the “gnostic” rubric. Others, such as A. De Conick continue to take a more expansive approach, see The gnostic new age : how a countercultural spirituality revolutionized religion from antiquity to today (Columbia UP, 2016).

[3] https://www.salon.com/2020/08/16/what-is-qanon-a-not-so-brief-introduction-to-the-conspiracy-theory-thats-eating-america

[4] https://theconversation.com/the-church-of-qanon-will-conspiracy-theories-form-the-basis-of-a-new-religious-movement-137859

[5] A reference to Matthew 24, no doubt meaningful to QAnon interpreters: “Jesus answered them, “Beware that no one leads you astray. For many will come in my name, saying, ‘I am the Messiah!’ and they will lead many astray. And you will hear of wars and rumors of wars; see that you are not alarmed; for this must take place, but the end is not yet. For nation will rise against nation, and kingdom against kingdom, and there will be famines and earthquakes in various places: all this is but the beginning of the birth pangs.”

[6] https://www.alternet.org/2020/05/libertarian-journalist-explains-the-links-between-qanon-and-fundamentalist-christianity/

[7] https://www.nytimes.com/2017/06/22/us/pizzagate-attack-sentence.html

Saturday, March 21, 2020

ET IN ARCADIA EGO: LATIN ALLUSIONS IN WESTWORLD AND PICARD


As someone who teaches Latin, I am often surprised by the ways in which popular culture sometimes generates interest in this long-dead classical language. A few years ago, I noticed a trend of students who were registering for Introduction to Latin courses after reading the Harry Potter books or playing Total War: Rome. The interest of these students wasn't purely academic, but rather, the language connected them more deeply with something they already loved. 

These days you practically need to be a Latinist to make sense of what’s happening in the world. Not so long ago, quid pro quo was on the lips of nearly every journalist and politician involved in the Trump Ukraine scandal. As was explained at the time, this phrase means “something for something,” and is used in the context of the exchange of goods or favors. 

Now, a few months later, the daily news cycle is dominated by references to the “crowned poison” (coronavirus) COVID-19 wreaking havoc throughout the world as governments struggle to contain a global pandemic (itself a technical term from Greek, meaning “all-district”). 

It would seem, then, that Latin is enjoying a kind of micro-renaissance in the current moment. Even popular culture is hopping on the linguistic bandwagon. In just the last couple of weeks, two much anticipated science fiction TV series have employed Latin phrases in key episode titles. 

Season 3 of HBO’s Westworld recently began streaming, with Episode 1 being titled, “Parce domine.” This little bit of liturgical Latin is taken from a medieval chant based on Joel 2:17. 

Parce, Domine, parce populo tuo:
ne in aeternum irascaris nobis.

Spare, Lord, spare your people:
Be not angry with us forever



Presumably, this phrase is meant to foreshadow the violence soon to be unleashed by surviving artificial “hosts” on humanity. However, who turns out to be “Lord” and who will be “spared” remains to be seen. 

Similarly, the penultimate (“next to last”) episode of Star Trek: Picard Season 1 was called “Et in Arcadia ego.” This phrase, meaning “I, too, in Arcadia…” is the title of a 17th century pastoral painting by French baroque painter Nicolas Poussin. The painted scene, which depicts classical shepherds gathered around a tomb, is often interpreted to mean that even in the idealized, pastoral landscape of Arcadia (a kind of classical utopia), death too is present.  


The phrase is also the title of 1965 poem by W. H. Auden:

Who, now, seeing Her so
Happily married,
Housewife, helpmate to Man,

Can imagine the screeching
Virago, the Amazon,
Earth Mother was?

Her jungle growths
Are abated,
Her exorbitant monsters abashed,

Her soil mumbled,
Where crops, aligned precisely,
Will soon be orient:

Levant or couchant,
Well-daunted thoroughbreds
Graze on mead and pasture,

A church clock subdivides the day,
Up the lane at sundown
Geese podge home.

As for Him:
What has happened to the Brute
Epics and nightmares tell of?

No bishops pursue
Their archdeacons with axes,
In the crumbling lair

Of a robber baron
Sightseers picnic
Who carry no daggers.

I well might think myself
A humanist,
Could I manage not to see

How the autobahn
Thwarts the landscape
In godless Roman arrogance,

The farmer’s children
Tiptoe past the shed
Where the gelding knife is kept.

The poem describes a primordial wildness subjugated and subdued by technological intervention, while at the same time ominously invoking the violent potential of that same intervention’s tools. Incidentally, a “gelding knife” is used in castration. 

Aside from their individual artistic merits, both Westworld and Picard are currently dealing in different ways with anxieties around artificial intelligence. In both cases, dreams of techno-utopia threaten to collapse into dystopian nightmares as the savage realities of the slavery, exploitation, and violence upon which these future Arcadiae are built begin to be laid bare. As such, they are again exploring the well-worn sci-fi question—what happens when the creature turns on its creator? A question previously explored in 2001: A Space Odyssey, Blade Runner, etc., and one that, as it happens, is as old as the Bible itself.


The same theme was also explored in the 2014 film Ex machina, the title of which is based on the Latin phrase Deus ex machina, usually referring to a contrived plot device. The deliberate excision of Deus from the title emphasizes through omission the terrifying (quasi-divine) creative power of technology and invites philosophical and even theological reflection.  


In all these cases, the use of Latin serves as an effective form of exegetical shorthand, which points the viewer to other works of art or literature which offer an important reservoir of humanistic reflections on the unprecedented pace of technological change. They speak to the valuable contribution that past artistic, literary, and intellectual traditions can and must make to understanding and giving meaning not only to our present, but to our many possible futures.