MetaKnigel If the Rule is Broken–Break It.

26Jan/120

The Kangaroo Panopticon

Posted by Knigel

Buddha is Watching

Written by Knigel Holmes
 

Why do I like Park Chan-wook’s Korean film, Oldboy, you ask? Why, the reason I like Oldboy is because I long to punish my enemies. Not only do I want to tit their tat, but also to utterly annihilate their entire existence while ruining everything they love. If they love nothing? Then I want to give them love only to violate it while blossoming. My enemies should not only suffer physically, but should also endure every possible psychological torture procurable. I want my adversaries to be at the peak of their hopes before kicking down their sandcastles. Before you indignantly judge me, you must remember that when I say “I”, you know that it means “we”: for beneath all of our politeness, beneath all of our reservations, linger spiteful, vindictive thoughts. Speak for myself? No, I will speak for all of us.

Elucidating this idea, Russell Roberts, the director of Vancouver, Canada’s Shakespearian Bard on the Beach play, Titus Andronicus, defends the choice of using gratuitous fake blood instead of “arty-farty” red ribbons:

“We’re very inhuman, we human beings. I mean, look what’s happening in Afghanistan, in Baghdad, in Somalia. It has happened since day one. This is no more violent or horrible than what’s going on around the globe right now. Titus has been catalogued as a problem play, but I think that the problem—if there’s a problem—is that we don’t like to have that mirror put up to us.”

26Jan/120

Please, I Want to Go to Prison

Posted by Knigel

Corner Window

Written by Knigel Holmes

 

Why do I like Park Chan-wook’s Korean film, Oldboy, you ask? Why, I like the film because I secretly want to be locked up for 15 years. In fact, I have dreamt of my incarceration since I was a kid. My romanticisation of a reclusive lifestyle began during one camping trip while reading Old Norse mythology. From the tales, there were a few that stuck with me such as those of the Norse God, Odin, who hung himself upside-down from a tree until he died. Why would he do that? He did it because he had learned everything except the knowledge of the afterlife, and his curiosity led him to explore the world that he could only reach through death. So I sat in my tent in solitude reading with no distractions of how Odin finally bartered his way out of Hades by plucking out his eye. Seemed like a good deal to me: an eye for immense, if not total, wisdom. Later, back at home, being so enthralled with the story, I came close to gouging out my own eye with a piece of broken glass. In the end, with the thin splinter against my eye, I thought better of the oedipism. To this day, I wonder how close I was. The fascination may be why I have a thing for cute girls wearing eye-patches.

Many years later, and with both eyes unpunctured, I spent most of my time in Cuba reading. I should pause to say this now: I am not an avid reader. Unlike the admirable voracious readers I have met, reading doesn’t come easily to me. Each page, for me, is onerous. Commas and semicolons, to me, are more like periods. I have an attention span that barely makes it until the end of the.

26Jan/120

We are God, and God is Dead: The Deaths and Resurrections of the comedic genius, Kim Jong-il

Posted by Knigel

From the Minds of Babes

Written by Knigel Holmes
؟ ؟ ؟
God’s Ministry of Comedy

The Juche-bag Kim Jong has died. We saw it coming: he’s been Il for a long time.

And so it goes.

Although we +1, ✓Like, and resend these mostly annoying, crude jokes while participating in the cheap giggles, we cannot think of dystopia without also thinking of the Democratic People's Republic of Korea. We sit at our computers connected from all around the world laughing at people who still don’t have the voice to defend themselves. We taunt their country, their leaders, their idols, and their Gods. Do we laugh because we are malicious? Yes, sometimes. There is, however, something deeper than mere vindictiveness. We know the North Korean situation is bad—unimaginably, unbearably beyond bad. Surely, it is not malignity, but rather sympathy that keeps us laughing for the very fact that their situation is so horrible. What do many of us do? We laugh because of the desperate, juxtaposed extremes. The situation is so dark, and we are so helpless to do anything meaningful, that all we can do is laugh. Laughter: our last link to sanity.

26Nov/110

Willa Cather — Paul’s Case: A Study in Temperament

Posted by Knigel

Paul's Case: A Study in Temperament by Willa Cather
Original URL

IT was Paul's afternoon to appear before the faculty of the Pittsburg High School to account for his various misdemeanors. He had been suspended a week ago, and his father had called at the principal's office and confessed his perplexity about his son. Paul entered the faculty room, suave and smiling. His clothes were a trifle outgrown, and the tan velvet on the collar of his open overcoat was frayed and worn; but, for all that, there was something of the dandy about him, and he wore an opal pin in his neatly knotted black four-in-hand, and a red carnation in his buttonhole. This latter adornment the faculty somehow felt was not properly significant of the contrite spirit befitting a boy under the ban of suspension.

Paul was tall for his age and very thin, with high, cramped shoulders and a narrow chest. His eyes were remarkable for a certain hysterical brilliancy, and he continually used them in a conscious, theatrical sort of way, peculiarly offensive in a boy. The pupils were abnormally large, as though he were addicted to belladonna, but there was a glassy glitter about them which that drug does not produce.

26Nov/110

Ursula K LeGuin — The Ones Who Walk Away From Omelas

Posted by Knigel

The Ones Who Walk Away From Omelas by Ursula K LeGuin

With a clamor of bells that set the swallows soaring, the Festival of
Summer came to the city Omelas, bright-towered by the sea. The ringing
of the boats in harbor sparkled with flags. In the streets between
houses with red roofs and painted walls, between old moss-grown
gardens and under avenues of trees, past great parks and public
buildings, processions

moved. Some were decorous: old people in long stiff robes of mauve and
gray, grave master workmen, quiet, merry women carrying their babies
and chatting as they walked. In other streets the music beat faster, a
shimmering of gong and tambourine, and the people went dancing, the
procession was a dance. Children dodged in and out, their high calls
rising like the swallows' crossing flights over the music and the
singing. All the processions wound towards the north side of the city,
where on the great water-meadow called the Green Fields boys and
girls, naked in the bright air, with mud-stained feet and ankles and
long, lithe arms,exercised their restive horses before the race. The
horses wore no gear at all but a halter without bit. Their manes were
braided with streamers of silver, gold, and green. They flared their
nostrils and pranced and boasted to one another; they were vastly
excited, the horse being the only animal who has adopted our
ceremonies as his own. Far off to the north and west the mountains
stood up half encircling Omelas on her bay. The air of morning was so
clear that the snow still crowning the Eighteen Peaks burned
withwhite-gold fire across the miles of sunlit air, under the dark
blue of the sky. There was just enough wind to make the banners that
marked the racecourse snap and flutter now and then. In the silence of
the broad green meadows one could hear the music winding throughout the
city streets, farther and nearer and ever approaching, a cheerful
faint sweetness of the air from time to time trembled and gathered
together and broke out into the great joyous clanging of the bells.

9Nov/110

Political Correctness and the English Language

Posted by Knigel

See, Hear, Speak. Blind, Deaf, Dumb.

Written by Knigel Holmes

In Politics and the English Language, Orwell criticises modern language for hiding true intentions behind unclear writing. “The great enemy of clear language is insincerity,” writes Orwell. “When there is a gap between one's real and one's declared aims, one turns as it were instinctively to long words and exhausted idioms, like a cuttlefish spurting out ink”. Orwell argues that euphemisms manipulate language and allow those controlling the meaning to distort reality. Following his argument, contemporary disputes of political correctness reveal modern power struggles. If, as Orwell argues, the enemy of clear language is insincerity, then political correctness is also an enemy of clear language. Political correctness and euphemisms, moreover, prematurely euthanize critical thought.

“'Who controls the past,” writes George Orwell in his novel Nineteen Eighty-Four, ”controls the future: who controls the present controls the past”. While critics abuse the term “Orwellian” by comparing Orwell’s dystopia to modern government, there has yet to be a government able to maintain such control on the populous. No single authority controls the thoughts of contemporary society; however, various institutions and organisations vie to shape language into what will best support their agendas. A Logocracy rules global culture through the power of language. Words define what is legal, what is clinical, and what is acceptable. A switch in meaning changes a benevolent act into a crime. Instead of a central authority, a coalition of individuals, media, businesses, and governments rule public thought through language. Each member of society receives and sends information shaping language and meaning; however, there is no balance of power in this coalition.