- Sep 22, 2013
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Characterizations of giant figures or 'titans' from old world mythology (e.g., Hydra) and new world mythology (e.g., Godzilla) reveal a timeless human fascination with the overbearing influence of scalar creatures that defy description because of their sheer size.
Imagine you're an ant witnessing the countless 'giant' humans walking on the pavement of New York. That's what it's like beholding one of these mythological 'giants.'
Thomas Hobbes wrote in his politics-treatise work Leviathan (borrowing the spiritual concept/word 'leviathan' meaning giant sea-beast or dragon signifying chaos) that man's fascination with governance intrigue and complexity compels him to constantly re-evaluate the reliability of political contracts and the vitality of revolutionary instincts (which can, in theory, give rise to 'fiery beasts of human passion').
We make films such as The Omen and The Abyss to re-present our fear of oppression created by scalar creatures (or beings) that wield authority because of their sheer size or their intellectual domination.
The writer John Gardner reinvented the old-world mythology beast-creature Grendel (from the epic Old-English poem set in Scandinavia, Beowulf) as a pensive giant dragon signifying 'sentimental rage.'
How can we use these 'giant beings' to understand our modern age preoccupation with sociological/Orwellian feelings of oppression (perhaps urbanization/industrialization angst-related)? After all, isn't the modern city something like a Behemoth or a giant Monster?
The A.I. (Artificial Intelligence) fantasy-adventure franchise Transformers (Hasbro), for example presents a giant warrior-robot named Scorponok who transforms back-and-forth between a laser-enhanced metallic scorpion-creature, a standing humanoid robot, and a giant fortress complete with chambers and compartments; Scorponok obviously symbolizes 'metaphysics machinery.'
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GOD: Humans are seduced by your charms, since they are wary of labor.
SATAN: Every sentient being appreciates the value of recreation and bliss.
GOD: You tempt them with your dangerous promises of eternal paradise.
SATAN: Humanity does not want to be trapped in an infinite cycle of labor/bureaucracy.
GOD: By offering them hopes which can become dashed, you unleash rebelliousness.
SATAN: What is the difference then between narcotics and medicine?
GOD: Well, both opium (a narcotic) and Tylenol (a medicine) relaxes the body and mind.
SATAN: So what's the difference?
GOD: Opium is trafficked in cosmopolitan cities such as Beijing (China) for pure indulgence.
SATAN: So you think the modern city should be a place only for 'prudent labor'?
GOD: I would understand the need for 'recreational nightclubs' and 'pubs' in the city!
SATAN: Yet, you fail to understand the need for 'instructional chaos' or rebelliousness.
GOD: There's a difference between rebelliousness and immaturity.
SATAN: Would you characterize fanfare for the Boston Red Sox (MLB) as 'frivolous'?
GOD: Those giant baseball stadiums in America are easily and understandably 'romanticized.'
SATAN: We should consider the intellectual value of 'folkloric giants' such as Big Bird!
====
Grendel
Scorponok
Imagine you're an ant witnessing the countless 'giant' humans walking on the pavement of New York. That's what it's like beholding one of these mythological 'giants.'
Thomas Hobbes wrote in his politics-treatise work Leviathan (borrowing the spiritual concept/word 'leviathan' meaning giant sea-beast or dragon signifying chaos) that man's fascination with governance intrigue and complexity compels him to constantly re-evaluate the reliability of political contracts and the vitality of revolutionary instincts (which can, in theory, give rise to 'fiery beasts of human passion').
We make films such as The Omen and The Abyss to re-present our fear of oppression created by scalar creatures (or beings) that wield authority because of their sheer size or their intellectual domination.
The writer John Gardner reinvented the old-world mythology beast-creature Grendel (from the epic Old-English poem set in Scandinavia, Beowulf) as a pensive giant dragon signifying 'sentimental rage.'
How can we use these 'giant beings' to understand our modern age preoccupation with sociological/Orwellian feelings of oppression (perhaps urbanization/industrialization angst-related)? After all, isn't the modern city something like a Behemoth or a giant Monster?
The A.I. (Artificial Intelligence) fantasy-adventure franchise Transformers (Hasbro), for example presents a giant warrior-robot named Scorponok who transforms back-and-forth between a laser-enhanced metallic scorpion-creature, a standing humanoid robot, and a giant fortress complete with chambers and compartments; Scorponok obviously symbolizes 'metaphysics machinery.'
====
GOD: Humans are seduced by your charms, since they are wary of labor.
SATAN: Every sentient being appreciates the value of recreation and bliss.
GOD: You tempt them with your dangerous promises of eternal paradise.
SATAN: Humanity does not want to be trapped in an infinite cycle of labor/bureaucracy.
GOD: By offering them hopes which can become dashed, you unleash rebelliousness.
SATAN: What is the difference then between narcotics and medicine?
GOD: Well, both opium (a narcotic) and Tylenol (a medicine) relaxes the body and mind.
SATAN: So what's the difference?
GOD: Opium is trafficked in cosmopolitan cities such as Beijing (China) for pure indulgence.
SATAN: So you think the modern city should be a place only for 'prudent labor'?
GOD: I would understand the need for 'recreational nightclubs' and 'pubs' in the city!
SATAN: Yet, you fail to understand the need for 'instructional chaos' or rebelliousness.
GOD: There's a difference between rebelliousness and immaturity.
SATAN: Would you characterize fanfare for the Boston Red Sox (MLB) as 'frivolous'?
GOD: Those giant baseball stadiums in America are easily and understandably 'romanticized.'
SATAN: We should consider the intellectual value of 'folkloric giants' such as Big Bird!
====
Grendel
Scorponok
