My reply to Jason Colavito

I tried to post my response to Jason, who wrote a lengthy reply to my "Prometheus: The Sublime Chaogony of Xenoarchaeology", but I couldn't get it to load on his website, so I figured I had no choice but to put it here instead.

OK I'm back to post my response. Even if you disagree with me, I hope this will at least give a clearer idea of where I'm coming from. Apologies if this sounds a little brusque at times, but I had a few interruptions:

You suggest that Beal, and by extension, myself, have somehow relocated Lovecraft's aliens in the "spirit realm". Frankly, I'm baffled by this interpretation. I can see no evidence for this in Beal's work or in my post. Beal even goes so far as to write that "Lovecraft's own use of mythology, however, could not be further from...nostalgic religious longing" (p191). Regardless, you insist on taking issue with Beal's claim that Lovecraft's aliens are "reminiscent" of theological language about the "paradoxical immanence and transcendence of God", arguing instead that Lovecraft's intentions were to "mirror" for the sake of parody. I disagree as I think this is attaching too much weight to what Beal means by "reminiscent." Beal's purpose is not to use Lovecraft to shore up a Biblical exegesis in accord with strict doctrine. Speaking more in terms of an analogy or an elective affinity in this instance, it seems clear to me instead that all he means to evoke by his description is a sense of how the entities in question are "intimately near and yet wholly other". There's no conflation of God and aliens. There is nothing here that presupposes a shared spirit realm, with the emphasis falling instead on the paradoxically, to use Lovecraft's term, "undimensioned". Beal notes how Lovecraft DOES NOT have a theology (as per the "theologian without a theology" quote), so it can be taken as read that Lovecraft's aliens are, in Beal's eyes-- to quote your Nietzschean expression (which I seem to recall Lovecraft applied to the Great Old Ones)-- "beyond good and evil". This point is reinforced with reference to Derleth's  attempt to turn the Mythos into "cathedral windows", which Beal dutifully notes has been criticised by Lovecraftians for its simplistic portrayal of a struggle between good and evil (p187). It is noteworthy that Beal makes no attempt whatsoever to defend Derleth from these charges.

I don't know if other more specific theological terms, such as panentheism for example, could be compared and contrasted with what Lovecraft may have meant by "undimensioned", especially once "spirit" is not even really at issue in Beal's analogy. This is probably also the reason why Beal doesn't develop his theory as an apophatic theology and cataphasis by arguing, say, that Lovecraft favored various rhetorical devices, such as occultatio, because the Mythos somehow "covertly" expressed a negative theology. Thus I decided instead to base my evaluation of Beal's work solely on what he explicitly set out to achieve. For me it follows that, while your comments about "The Dunwich Horror" are perhaps of some general interest to Lovecraftians, I can't see how they're really applicable to Beal at all, not least because he does not even refer to Christ in his Lovecraft chapter (and the same is true of the book as a whole, with the exception of one page). He's clearly more interested in the Hebrew Bible (there's also no mention of the Jewish messianism in the book). It's a moot point then whether Lovecraft's "parody" of Christ lends much "weight" to his fiction at Beal's expense, in the manner which you suggest.

It's surely no accident either that Beal decided to call his book "Religion and Its Monsters", as opposed to say, "Biblical Monsters". I'm sorry, but I have to disagree with your point that Beal is claiming that Lovecraft's aliens are "essentially biblical". You suggest that Beal,  "overestimates the biblical echoes in the Cthulhu Mythos at the expense of the pagan religions that were more explicitly the monsters’ model. (Not to mention that the Bible’s monsters were themselves reworking of earlier Mesopotamian and Levantine myths, perhaps including Tiamat.)". The fact of the matter though is that Beal contextualizes his discussion by devoting the entire first chapter of his book to the gods of "the ancient Near East", including the Tiamat  you mention, writing, "Behind and around the religious traditions of the Hebrew Bible...is a rich and varied world of gods, monsters and monster gods". He then develops this line of argument by using as his example the stories about Baal and Anat in Ugaritic narrative that are closely related to the Hebrew Bible (p19). Beal even takes care to include the Hebrew terms, so one can draw the obvious inference that there was a considerable convergence and differentiation of the Israelite religion vis-à-vis its Caanite heritage. True to form, in his Lovecraft chapter, Beal warms to this "reworking" theme, describing how Lovecraft stitched together [a mythology]...from mutually incompatible religious discourses and ritual practices...jamming together theological and mythological categories" and then "from Sumerian to Egyptian to Puritan to Vodou" (p191).  I honestly can't see any inconsistency or "overestimation" here or elsewhere of the biblical influence on Beal's part.

You produce some compelling evidence that complicates how we should read the role that anthropology has played in colonialism (we both understand archaeology as falling under the umbrella term of "anthropology"). But I think that when we examine the discipline's "balance sheet", something can still be said for my argument. I have to concur with Maximilian Forte:

"You’re right, it would be good to hear from other evil colonizers beside myself, the reason for that being that there would be an almost countless number of diverse cases and many different versions of the argument, and disputes. One generalization I would be confident in making is that in the overwhelming majority of cases, these different people did not seek out any foreign anthropologist to “share” their worldviews, that many of them are capable of doing so on their own, and that a few would rather keep their cultural knowledge to themselves.
In other words, I don’t think we are indispensable where sharing worldviews is concerned, nor do I think we are wanted, and very little thanks is owing to us."

http://zeroanthropology.net/2007/10/15/anthropology-and-colonialism-more-from-diane-lewis-1973/

Moving along, another sticking point for you is that I appear to have mistakenly emphasized the role of "primitive faiths" in Lovecraft's fiction. You are interested to know how modern peoples relate to "primitive religion", "is it to their texts, their rituals, their myths, or their actions?" It's a fair question, and I'll attempt to to answer it in terms of rituals (which here necessarily connote actions). Firstly, I should note that one of the underlying fears expressed in Lovecraft's work is that humanity is in constant danger of reverting to a state of "primitive half-ape savagery in their daily life and ritual observances". This is a quote from The Horror of Red Hook, but it is representative enough for Joshi in his study "H.P. Lovecraft: The Decline of the West," to feature in the context of a discussion of the "curious mixture of an advanced technology and a reversion to primitivism" that pervades Lovecraft's work. Lovecraft was pretty explicit about this point: "We must recognise the essential underlying savagery in the animal called man...We must realise that man's nature will remain the same so long as he remains man; that civilisation is but a slight coverlet beneath which the dominant beast sleeps lightly and ever ready to awake." This is a fascinating statement because it demonstrates Lovecraft's belief in the essentially primordial unchanging nature of humanity as something continually reinscribed in ritualistic forms.

  Notwithstanding the progress of the West, for Lovecraft the danger is that the actions of humans will in effect merely rework the "ritual observances" of "primitive half-ape savagery", be it through science or any other modern means. Social darwinist that he was, Lovecraft believed that, as you point out, "racially suspect groups" were particularly susceptible to knowledge of the Cthulthu cult, although not exclusively so. The use of advanced mathematics etc, however, need not imply that the rituals are no longer primitive in any sense, but rather that they paradoxically typify a form of "future primitivism". To illustrate what I mean, I point to the intriguing example of the Chaos magicians who borrow so much from Lovecraft. They have seized on this seemingly paradoxical term to evoke the shamanism more often characterized in terms of "primitive" ritual observances:

"As we find with Lovecraft's fictional cults and grimoires, chaos magicians refuse the hierarchical, symbolic and monotheist biases of traditional esotericism. Like most Chaos magicians, the British occultist Peter Carroll gravitates towards the Black, not because he desires a simple Satanic inversion of Christianity but because he seeks the amoral and shamanic core of magical experience—a core that Lovecraft conjures up with his orgies of drums, guttural chants, and screeching horns. At the same time, Chaos mages like Carroll also plumb the weird science of quantum physics, complexity theory and electronic Prometheanism. Some darkside magicians become consumed by the atavistic forces they unleash or addicted to the dark costume of the Satanic anti-hero. But the most sophisticated adopt a balanced mode of gnostic existentialism that calls all constructs into question while refusing the cold comforts of skeptical reason or suicidal nihilism, a pragmatic and empirical shamanism that resonates as much with Lovecraft's hard-headed materialism as with his horrors."

http://www.techgnosis.com/chunkshow-single.php?chunk=chunkfrom-2005-12-13-1057-0.txt

I won't respond to what you've written about At the Mountains of Madness because I can't readily fit it into my blog post or Beal's work which touches more on the ritualistic aspects etc. And besides, I've probably written too much already as it is. I'll close by saying that I was intrigued by your critique of the alleged shortcomings in how Beal portrays Lovecraft's aliens as "chaos monsters". I'm not fully on board though with how you argue that the Bible describes "chaos" only in an absolute sense, especially when Beal talks about how chaos is sometimes portrayed in the Bible as a form of creation, and therefore a new form of order. Beal even relates his discussion (p15) to the prospective heat death of the universe. Lovecraft,"the Copernicus of horror", seemed to think it was merciful that some things remain unknown, so I can only assume he wouldn't have shared Beal's cautious optimism!

Speaking of creation, I don't want to depart on a sour note by giving the impression that I am not a fan of Lovecraft, or the works he's obviously inspired, such as Alien and Prometheus. I love each and every one of them. Yes, I find his racism very disturbing, but I think the philosopher Ben Noys gave all Lovecraftians a great way of understanding how Lovecraft's writings are still paradoxically irreducible to such shortcomings, even though we should remind ourselves of them, as I attempted to do in my post:

 'In the formation of “reactionary novelties” (Badiou) Lovecraft can be aligned with those forms of “High Modernism,” such as T. S. Eliot’s, that constituted themselves, in Peter Nicholls words, as “an attack on modernity” (251). The difficulty, in terms of Badiou’s evental tracings, is how Lovecraft’s “novelty” is something artistically “new” while at the same time “politically” reactionary (and reactionary against other artistic innovations); it suggests the intersection or imbrication of events: in this case art, science, politics.

His reaction against these currents of the new produces a “reactionary novelty,” but actually also a true novelty of disruption that exceeds its primary evental site – Gothic fiction; this may be why that it only outside of the Gothic that we find Lovecraft’s true disciples: William Burroughs, J. G. Ballard, and Michel Houellebecq, artists like H. R. Giger and John Coulthart, and muscians like The Fall and Patti Smith. The Lovecraft event therefore problematises Badiou’s formulation of the artistic event by being a reactionary event that produces something new'.

Prometheus: the Sublime Chaogony of Xenoarchaeology?

Well, I suppose I might be expected to pass comment on the new trailer for Prometheus (which I watched a couple of days ago but have been slow to respond to). It's noteworthy how much it appears to be foregrounding xenoarchaeological themes through the discovery of pictographs and so forth.

This in turn raises a big question for me: as a science fiction film, does this mean it will break with the discourses of primitivism that have been traditionally applied to ancient religious cultures? Whereas the "official" imperial discourse has attempted to define modernity as a western project in contrast to its alleged primitive "Other", the "poetic primitivism" associated with, for example, the College  de Sociologie, drew on anthropological studies of non-western myths and "primitive" religious practices, to invoke a kind of contretemps (i.e. counter-time) to contrast with Occidental instrumental rationality.

Notwithstanding these superficial differences, the fact remains that each of these discourses were a byproduct of colonialism: remember anthropologists could only write their ethnographies by arriving on the scene after the territories in question had been conquered. I can start to move this discussion a little closer to Prometheus then by referring to the work of H.P. Lovecraft. As is well known by all hardcore Alien fans, screenwriter Dan O'Bannon explicitly drew on Lovecraftian themes. I would argue then that Lovecraft's fiction is "weird" by virtue of its  melding of these twinned discourses of primitivism into what can be described as a kind of "monstrous sublime". My hunch is confirmed by any number of studies of Lovecraft that go to considerable pains to detail his aesthetic in Kantian terms of "transcendental monstrosity". But such authors for the most part fail to provide a genealogy that can critically contextualise either Lovecraft's or their own reading strategy.  This lack of reflexivity makes them complicit with the object in question, which although irreducible to, is by the same token inseparable from, the historical emergence of the sublime as a category of aesthetic judgement that developed as an alternative to beauty in European descriptions of Indian religious iconography from the middle of the eighteenth century onward. I have been drawing on Timothy K Beal's Religion and its Monsters here, which is itself heavily indebted to Partha Mitter's study entitled Much maligned monsters: a history of European reactions to Indian art.


As Beal ruefully notes, by way of Edward J Ingebretson's Maps of Heaven, Maps of Hell: Religious Terror as Memory from the Puritans to Stephen King, the irony regarding Lovecraft is that the religion denied so forcefully by his materialism returns with equal force in his fiction, in effect making Lovecraft a "theologian without a theology". His alien races are recognisably "chaos monsters" in biblical terminology--and reminiscent of the paradoxical immanence and transcendence of God--or as Lovecraft put it, "Not in the spaces we know, but between them. They walk serene and primal, undimensioned and to us unseen..." However, I hasten to add, Beal is careful to qualify this point with reference to a wide range of religious traditions, so that the reader can understand how chaogony is not exclusively characteristic of  Christianity.

Suffice to say, there is also plenty of material in Beal that could be used to challenge the author who is known as the world's leading authority on Lovecraft, namely, S.T. Joshi. I usually find reading Joshi  a frustrating experience as he is quick to make assertions about Lovecraft's materialism as somehow "disproving" Christianity. Another sticking point for me is that I've never read anything by Joshi on colonialism and non-western chaogony. If indeed he has never engaged with this topic, I suspect it would have to do with the fact that Joshi is so obsessed by writing/editing books on authors who proudly proclaimed their atheism. Mr Joshi himself is of Indian descent, but it would of course be unreasonable (and even bordering on racism) to suggest that this would necessarily make him receptive to Partha Mitter's work. Thus my only point here is that it would be interesting to have those two sitting on the same conference panel and hearing whether they would have any points of agreement about the origins and effects of the discourse of primitivism--especially in relation to Lovecraft's work. I imagine a heated discussion would quickly follow.

To sum up, if I was writing a detailed critical study of xenoarchaeology, you can take it as read that I would be using Beal et al to determine the extent to which the genre does or does not recapitulate the tropes of primitivism. Regarding Prometheus more specifically, of particular interest for me will be seeing if and how the film's "sense of wonder"--which is a defining characteristic of the sci fi genre--bears comparison with the Kantian sublime, in the context of its story of encounters with previously unknown races and possibly also their icons (i.e., art with a religious function). I obviously can't say too much though about Prometheus and primitivism on the basis of a trailer. But there's already plenty of other fascinating material out there, especially representations of "hyperspace as hell". Think the invisible entities that attack the ships in Larry Niven's Ringworld series, Event Horizon (which Warhammer fans describe as "a prequel"), and so forth. In an earlier post on Prometheus I cryptically  alluded to my ideal meld of horror and science fiction, and if you acquaint yourself with what I've mentioned here, you'll soon see where I'm coming from.

After all that, for those who still haven't seen this viral video, here is the new trailer for the film in question.

"We are the gods now" Weyland's 2023 Ted Talk

Speaking in terms that David Noble would have understood and been aghast at, here we have a clearer indication of the meaning of the chosen title of the film, Prometheus (Frankenstein 2.0 seems equally applicable though). It will be very interesting to trace any continuities across the series, especially in light of the explicitly religious themes in Alien 3 and Alien Resurrection. As Kile M Ortogo describes the religious impulses behind the series in  "I'm a Stranger Here Myself": Forced Individuation in Alien Resurrection:

"On one level, Alien Resurrection supports Haraway's position that cyborgs (and hybrids) offer an optimistic yet unstable possibility to relinquish the separation between dialectical dualities. On the other hand, the film warns of the consequences of such unnatural and profane forms of individuation. The religious significance of the film lies in its subverting of a secularized spiritual endeavour (i.e., humanistic individuation) that once itself subverted formal, organized religions--an ironic reversal. Hybridity is shown as a dangerous and uncertain, albeit effective, alternative to human individuation. When jacked into a computer port hidden within a Bible, Call echoes Nietzsche, "Father is dead," [65] further signifying the end of traditional religion and possibly sacred spiritual practices. While it is not the first choice, this individuation may become the only option in confronting the future's spiritual degradation" (emphasis mine).

These themes are also examined at length in the edited collection, Alien Woman: Ripley as Cinematic Icon. Vincent Ward's screenplay for Alien 3 of course made the connection more explicit by using a monastery as its setting, which although later replaced by a prison planet, remained readily apparent. Indeed, Ripley's altruistic suicide at the end of the film clearly suggests a Christ-like pose. This image is still used to market the film:

Because Prometheus is a prequel though, we can expect that it will be at some remove from the themes of the later films in the series, particularly in terms of how identity is portrayed. In the later films it emerged that the other was not to be rejected, but was rather to be accepted as a part of the self.

And so once again, here's to our future of gods and monsters...

Prometheus (official high-definition trailer)

I was online last night and saw how fans were counting down in "real time" till the official release of the first trailer. As you can see from the poster, as per the first film, a "big dumb object" (to use Peter Nicholl's term) features prominently. While  it's pleasing to see some evidence of continuity, there may also be a real danger of moving quickly from the sublime to the ridiculous: have a close look at the trailer below, and be sure to freeze it at around 44 seconds in. If you look to the right, very closely, you'll see a humanoid figure who resembles the enormous head in the poster. I really hope then that the Space Jockeys don't prove to be a race that resembles the silly Cenobites from the Hellraiser films (or that other similarly nattily attired villain in Dark City).

To be fair though, I don't have much to go on yet, so I should probably wait till next August before passing judgement. I'm going to be taking in some new material, not specifically related to this film, over the course of the next few days; hopefully it might inspire me to drop in here again to post something about the kind of horror I'd like to eventually see in a science fiction film.