Michael (Crossed Out)

Michael (Crossed Out) has moved to Billy Glad.

Sacrifice I The Sugar
Gabriel
Sacrifice I The Burning
Maundy Thursday
Good Friday Circa 1975
Easter Sunday Circa 1975
Le Monde Circa 1975
Michael (Crossed Out)

Stasis

What's fascinating about an academic like Stanley Fish deigning to share his views on the best American films with us is not so much his arrogance as it is his ignorance. But there are clues here about Fish and about the Obama world to come, so it's worth taking a minute to explore how far out of touch with reality selective perception can put us.

Here's Fish on The Best Years Of Our Lives, a William Wyler film that Fish considers the best American film ever made.

The three intertwined stories are resolved with a measure of optimism, but with more than a residue of disappointment and bitterness. Al Stephenson is still a drunk. Fred Derry is still poor and without skills. Homer Parrish still has no hands.

Still. As in stasis. As in nothing has changed.

I think not.

Al may be a drunk, but he's a drunk making loans to GIs, based on their character and his own judgment. Fred may be poor and without skills, but he's not a soda jerk anymore. He's just landed a job beating swords into plowshares and building post-war America. And Homer Parrish may still have no hands, but, by the end of the film, it's Homer's girlfriend helping him into his PJs instead of his dad.

That's narrative. That's character development. And if it's not great film, it is solid literature.

Flip it on its head. If a guy like Fish can't see that the characters in a film he thinks is the best American movie ever made are changing in front of his eyes, can we expect him to see that Bill Ayers and Bernadine Dohrn, people he thinks are a couple of the solidist citizens around, haven't changed at all? They're still the over-privileged white kids who couldn't make it in the Civil Rights and anti-war movements and set out on their own, starting a two-bit, terrorist organization that ended up making zero difference, except to the people who got hurt and killed by the Weathermen. Just a couple of saps with a dumb idea who've never owned up to their sappiness or the dumbness of their idea.

Cut to Europe, where Government officials and Jewish leaders are concerned that the conflict in Gaza may spill over into violence in Europe as attacks are reported against Jews and synagogues in France, Sweden and Britain.

But, what the hell? Those people, according to Mr. Ayers' and Ms. Dohrn's sappy code, are honor bound to attack those Jews, aren't they?

Years from now, they might even wish they had done more.

But don't get me wrong. I could care less about the Weathermen. I thought they were entertaining. I wasn't political in the '60s. By 1967, I had tuned in, turned on and dropped out. I wasn't looking for a street fight, I was looking for sex, drugs and rock and roll. I was looking for long hair, long legs and conical breasts that year. It was much later that I realized, stoned and watching Nixon on TV, that even the President Of The United States could go insane. Then panic set in until Tim Leary told me a few years later not to worry about the government, the people who were stealing hub caps at the Atlanta film festival a couple of years ago were now running it. I decided to join them.

So you tell me. Should I worry about the Obama administration or not?

The End Of Time

As I near the end of my own time, Updike's Toward The End Of Time provides a kind of reference point for me. I've outlived Harry Angstrom. Ben Turnbull, 66-year-old ex-financier, failing in body and mind, is my benchmark now.

Ben lives in an alternate future that features Al Gore as a former President, nuclear war with China, the collapse of the federal government and security services from FedEx. The latter makes sense. They have the trucks and people, and they know the neighborhoods. I've often thought FedEx or UPS should deliver our bombs for us. Problem is, I suppose, that, as international corporations, they might take contracts from other countries, too, maybe even contracts to turn around in mid-flight and drop our bombs on us.

One of the permissions Updike gives us is to treat fiction as fiction. After all, centaurs and witches are no more or less believable than FedEx providing security in the absence of police or rich, old Ben Turnbull, consorting with teenage whores as he works through a dying marriage and approaches his inevitable confrontation with impotence and incontinence, unless death intervenes first.

I'm On My Own

John Updike is dead. Who'll keep me company over the next 20 years or so?

mise-en-scènes: Most Of The Web's Are A Mess

We're all McLuhanistas now.

We take it for granted that the contents of each new medium, the world wide web, for example, is the media that preceded it. In the case of the world wide web, television, film, photography, music, radio, books and magazines of all kinds make up a substantial part of its content.

The web started out where the media that preceded it ended up, as a mass distribution network. The content of the web, a photograph or a film, for instance, may be transformed by being published in the context of the web, where it collides, lickety-split, at random, with other data, but the photo or film is not altered on purpose to make it "webic" in the way books and plays are altered to make them "filmic," by breaking them down and putting them together again as screenplays and films. (Or, for that matter, the way film, created for televison, is made "episodic.")

There is no art form yet the object of which is the creation of exciting web collisions, juxtapositions or chains of hyperlinks. Nor, for that matter, is it possible to imagine what the medium that may someday subsume the web will look like -- unless it is an all-seeing artificial intelligence that imagines the ephemeral events of the web and real life as, essentially, one and the same -- much less, what the "art" of that medium might be.

Generally, art is degraded as it makes its way through the media food chain. Novel to film to cable television to YouTube snippet, inserted into an article about an article, is a downhill trip. But only the last stage of that journey, the web, was designed from the get-go to abstract, distill, decontextualize and repackage -- usually without adding value -- to transmit, or, when not simply transmitting, to transform, by reducing content to pap. When it is not just moving content from one point to another, the world wide web has managed, on purpose, to dumb down its content --print, film, television and the other media -- to an extent previously unimagined. Even more than television, the web is -- with a few notable exceptions  -- a vast graveyard where ideas and creative energy go to die.

The history of television is instructive.  Film has been kinder to books than television -- the medium the web resembles most -- has been to films. In some ways, television has advanced the art of film. Certainly, the extended time of series like The Sopranos, Rome, and Angels in America have given audiences more time with the characters and mise-en-scènes of those films than movie-going audiences ordinarily get. And mise-en-scène -- a stage term applied to film by the French critic André Bazin that refers to everything about a film except its script -- takes time to appreciate. It's mise-en-scène that makes it necessary to actually see a film before we can talk about it as film. But, at the same time that television gives audiences an extended look at the mise-en-scènes of some films, it alters the film experience by degrading a film's mise-en-scène, making it smaller, flatter and more frontal, an effect that favors montage over extended scenes whose blocking and cinematography develop the illusion of depth on the screen and recreate the real world.

Television was not conceived as a distribution medium for films any more than film was conceived as a distribution medium for books. Films may end up -- along with made for TV movies -- feeding the practically insatiable maw of cable television -- just as novels may end up as films -- but television itself was envisioned, like radio before it, as a live medium. That aspect of television is in decline, too.

The fact that television news and opinion has degenerated until even raw video of breaking events is edited, explained and commented on in search of memorable and persuasive phrases, designed to lead viewers to preconceived points of view, is not the result of television's intention, so much as it is the result of the corruption of television's original intention to reveal, inform and transport.

The web, on the other hand, has adhered to its original intention. It remains as it began, a network of people, separated in space, each identified by a unique address on the web, coalescing into temporary communities around points of common interest where data is exchanged. Some of that data is information. It actually adds to the representation of something. Most of it is redundant, simply repeating something already known, and a lot of it is noise, data that adds to the representation of nothing.

Apart from the content they pass back and forth, the world wide web and the sites on it, are not very interesting. Most sites lack the kind of structure that narrative gives to novels, plays, films and television. (Even so-called reality television is structured by formulaic plots that include some element of suspense.)

The web has not found a way to adapt content -- to transform a subject -- without copying it on the one hand, or destroying it on the other. Even when sites manage a sort of transient narrative, usually around some great and scandalous event -- a favorite of muckraking sites and tabloids -- their mise-en-scènes are, frankly, a mess. They quickly turn into echo chambers, some of the most boring sites on the web. But, I might add, some of the most popular and profitable, too.

The Summer Of '67

The Summer of 1967, an army buddy and I took over the 2nd floor of an old duplex in Galveston and spent a lot of time arguing politics versus culture. He was a Marcusian and argued that politics shaped culture. I argued culture shaped politics.

It was the summer of the Six-Day War, and our favorite cartoon showed the aftermath of a collision between an Arab and an Israeli tank, the Arabs holding their hands in the air, the Jews holding their necks.

I read the Koran that summer, and I was impressed by the idea of houris.

I read The Autobiography of Malcolm X.

Sitting by the pool one afternoon, I suddenly understood what a function was and lost my fear of mathematics forever.

My friend hung out at the beach all day while I programmed computers at an insurance company. After work every day, I'd drop a deck of punch cards off at the computer room, and the operators would run my latest Keynesian model for me on the IBM 7080. The models always blew up. I never got the accelerator and the multiplier right.

My friend relieved me of the burden of paying the note on my '65 Barracuda by totaling it on the boulevard one afternoon. He had just come back from the Monterey Jazz festival. The richest man in town sent him out there with some banker's wife, probably as a joke.

My friend ended up inheriting a department store in Basel and slowly disappearing, like that big cat. I wonder what he's doing sometimes, but never enough to try to find out.

The banker's wife ended up finding Jesus under the sink in the bathroom of a cheap motel in Laredo one night. She was crouched in the corner, desperate for help, and it was Jesus or the big cockroach that had just crawled out from under the sink. She hated roaches.

I still think it's about culture. About education in all its forms. If I don't know what a credit default swap is, never saw a play or an opera, never read a real book, don't know what a function is, never read any history, how can I believe I know enough to pick the people who are going to run my country?

Culture And Politics

When I came home from the Army in the late Sixties, I spent a lot of time smoking dope and arguing with a good friend about whether everything was politics -- his idea -- or everything was culture.  I've never been more convinced I was right.  Politicians, like everyone else, swim in the sea of mass culture.  Political movements emerge and ride the wave of mass culture for a while, then sink back into the sea.  It is impossible to imagine the New Deal outside a culture that understood the idea of society, just as it is impossible to imagine the Civil Rights Movement and the antiwar protests that followed outside the Counterculture of the Sixties.

Can protest movements stay alive in the absence of something like the Counterculture of the Sixties?  Has enough work been done to build a culture of dissent to sustain them?

Near the end of the Sixties, the University of Texas School of Communication, together with Stanford University, hosted a week-long seminar every year at Pebble Beach.  The schools brought a handful of graduate students and professors to Pebble Beach to spend a week with the leaders of the mainstream media.  The kicker -- the brainchild of Stan Donner -- was that the "leaders" who were invited to the seminars were the number two men and women of the broadcast industry, the men and women UT and Stanford figured had the best shot at grabbing power and doing something different when they did.  The theory was that the last people in the world who would shake things up were the people in charge.  If you wanted to talk to somebody in the industry about doing something better, the person you needed to get to was the heir apparent.

The problem with the American political system now is that not only the leaders, but all of the possible pretenders to positions of leadership -- to political office, you see -- have been vetted by an establishment process that has eliminated the possibility that any anti-establishment -- read anti-Wall Street and anti-Corporate -- idea will work its way into the political process.  The culture just isn't there to sustain it.

Connections

Alfred North Whitehead once wrote: "Our knowledge of the particular facts of the world around us is gained from our sensations. We see, and hear, and taste, and smell, and feel hot and cold, and push, and rub, and ache, and tingle. These are just our own personal sensations: my toothache cannot be your toothache, and my sight cannot be your sight."

What mathematics does, Whitehead explained, is create a public world that's the same for everybody. Mathematics imagines a world "as one connected set of things which underlies all the perceptions of all people. There is not one world of things for my sensations and another for yours, but one world in which we both exist."

Can film criticism, or any kind of criticism for that matter, discover one world that underlies all of the perceptions of all people? And does it matter if it can or not?

Mathematics is essential to the science of bombs, and vaccines, and medicines. It makes architecture and engineering possible. That these things matter is obvious. But do things like films and what we make of them matter in the same way? And to whom do they matter?

Tom Wolfe famously pointed out that without the theories of Rosenberg and Greenberg -- Red Mountain and Green Mountain -- le monde, the little world of artists, dealers and collectors in the Fifties and Sixties, was unable to see. Until you grasped the theories, you saw something all right, but not the "real" paintings. So what? Rosenberg and Greenberg didn't even have the same theory about what they were looking at. They weren't even seeing the same things.

Physicists sometimes think of light as particles. Sometimes they think of light as waves. Neither particles nor waves by themselves explain all there is to know about light, but taken together they do. And that matters. Because the bomb blows up.

What matters about criticism is that it should be useful somehow. A modest goal for a critic might be to make something accessible to a viewer, or listener, or reader, that wouldn't be accessible to them without the critique. And my thought is we should do that without going overboard about the importance of the work we're talking about. We should talk about art the way we talk about mushrooms on our lawns, keeping our heads straight when we swim, finding our way home after a night on the town, or whether we prefer one-egg or two-egg omelettes.

The only things I can make accessible to anyone is what I see, hear and think when I watch a film.

Memorial Day

Vietnam Is Where I Found My Family

By Ann Bryan Mariano

"Sometimes an officer would say, 'What the hell is a woman doing here?' and I'd shrug nonchalantly. 'My editor sent me to cover the fighting.' There were struggles with the military over where I could and couldn't go, and what I could and couldn't do. I tried never to back down and usually my dogged persistence prevailed.

"Soldiers offered me pistols or knives, believing that I should have some kind of weapon. Even though I was from Texas, guns made me uncomfortable. I was given a snub-nosed .38 pistol as a farewell gift from an officer in the 1st Cavalry who was returning home to the States. He was sure I'd need to shoot my way out of a Vietcong ambush one day, but of course I never did. I was afraid if I had to shoot anything it would be my own foot.

"I was opposed to the war when I arrived in Vietnam and left as a true pacifist, more convinced than ever that humanity had to find peaceful ways of resolving conflict. Being in the field proved to me that while there are many cases of individual courage and heroism among soldiers, there is nothing about war itself that is heroic. The suffering and deaths of soldiers and casualties among the Vietnamese civilian population were staggering. I had no doubt that America's involvement was tragic and doomed to fail. There was nothing to prepare me for the death and devastation I saw."

Ann Bryan Mariano was in Vietnam from 1966 to 1971, reporting for The Overseas Weekly, a privately-owned newspaper for military stationed overseas. According to Women's eNews, she is currently suffering from Alzheimer's disease, and wrote her essay with the help of friends and family. "Alzheimer’s disease blows through my memory like wind through a Buddhist sand painting. Vietnam is still the most beautiful country I have ever seen. But images once so fixed in my mind are now dancing ghosts."

Ann Bryan
 
I knew Ann in Frankfurt around the time she left for Vietnam. I remember she took along a little red cocktail dress and a pair of red heels as a matter of principle, and it pissed off most of my fellow male reporters at the Overseas Weekly that she was the first Weekly reporter into Vietnam. Even so, the reports she filed from Vietnam were read with grudging respect. I don't know why I thought of the Overseas Weekly today, and, finding a slim archive on line, noticed Ann's name in the masthead and googled my way to her story. I can't really imagine what Alzheimer's disease is like, but I hope Ann still catches glimpses of herself in Frankfurt the way I remember her. She was a good friend who put up with my arrogance and refused to believe I wasn't a serious newsman long after that was clear to everyone else at the Weekly. She taught me the phrase: "I can't even stand the way he ties his shoes," nursed me through pneumonia and sold me her Borgward when she left for Vietnam. I had a letter and a scarab she sent from India, and another letter from Vietnam, but I lost them and I never heard from her again.

The Cyborg Revisited

This old piece from ten years or so ago might be interesting in light of speculation nowadays that large language models like ChatGPT are on the verge of becoming conscious in the human sense. Scientists are already beginning to talk about creating "meat-based computers" that incorporate living cells. I've been wondering how the film industry has kept up over the last decade, but the idea of ploughing through ten years of the output of Hollywood plus the streaming services is daunting. Maybe I'll turn the job over to ChatGPT. Give it the text below to chew over and add to. 

The Cyborg

Societies resolve conflicts between opposites like good and evil by reconciling them within the fabric of myths. For me, the struggle of humans against the not so human, which has been the subject of myth since Homer, comes closest to being resolved in the myth of the cyborg, a creation that is part human and part machine. The cyborg re-unites humans with characteristics we projected onto the world of machines and set ourselves in opposition to around the time of the Industrial Revolution. Machines are cold, dead and hard, but living human beings are warm and, compared to machines, very soft. The fragility of human beings is revealed in war, murders, car wrecks and plane crashes, the art of Schwarzkogler, Burden and Mark Pauline, the reproductions of Andy Warhol, and the films of motion picture directors whose forte is the action sequence, and, piling action sequence upon action sequence and genre upon genre, the Action Adventure Science Fiction Fantasy film.

The struggle of humans against machines, as it has played out in our best films, has two main variations. In the first variation, machines are evil. In the second variation, machines are just dangerous and it's the "mad scientists" who create or use them who are evil or insane. Machines have a potential for evil, but they usually include a built-in safety mechanism to protect people -- the first law of Robotics is not to harm a human being or, through inaction, allow a human being to come to harm -- but, of course, the safety mechanism doesn't always work. Forbidden Planet (1956) is an especially bleak rendering of the mad scientist myth. After thousands of years of rationality, with the assistance of a machine to end all machines, the Krell are destroyed by monsters from the id. Morbius, in his pursuit of the knowledge and power of the Krell, is transformed into a monster who, subconsciously, seeks to destroy anyone who opposes him.  In masterful renditions of the myth like Stanley Kubrick's 1968 film, Dr. Strangelove Or How I Learned To Stop Worrying and Love the Bomb, both the evil machine and the mad scientist versions of the struggle between human and machine resonate at once. Dangerous men are caught up in dangerous machines. We can see the Strategic Air Command as a machine out of control, we can see it as a machine in the hands of a mad general, or we can see SAC as a cog in the menacing machine we used to call the Cold War, a concept that comes close to what the Hindus mean by karma. A clockwork.

Until the Eighties, most Science Fiction films, and in particular the ones in which the machine is a robot, cyborg, or some combination of human and machine, favored the evil machine story and reflected the ambivalence and caution toward machines that had informed the Science Fiction film since Fritz Lang created the evil robot, Maria (the original material girl) in Metropolis (1926).  These films include 2001: A Space Odyssey (1968), Colossus: The Forbin Project (1969),  Westworld (1973), The Demon Seed (1977), Alien (1979), and, finally, James Cameron and Gale Anne Hurd's The Terminator (1984), the genre's last solid rendition of a truly evil machine. The machine in T1, like Skynet, the Artificial Intelligence that created it, is bad to its alloy bone.

The separation of humans from machines in popular culture began to close in the 1980’s. In Ridley Scott's Blade Runner (1982), more physical damage is sustained by replicants than by people, the replicants have pitifully short life spans, and, in fact, all of the women in the film are replicants.  Scott's film stands Philip K. Dick's 1968 novel, Do Androids Dream of Electric Sheep, on its head. Dicks’ novel is about a bounty hunter who is so human he is capable of empathizing with the ruthless machines he hunts down and destroys. That capacity almost destroys him. Fourteen years later, in Blade Runner, the machines are more human and compassionate than the humans. It's the machines who recite poetry and philosophy and who have "seen things you people wouldn't believe," and it's pain that keeps Roy Baty alive long enough to redeem the bounty hunter, Rick Deckard.  In Robocop (1987) the human, torn down and reconstructed with machine parts replacing limbs and organs, sustains massive injuries in his first encounter with a killer robot. And, in Cameron and Hurd's Aliens (1986), their sequel to Ridley Scott's Alien (1979), the robot or "artificial person" is ripped in half by WATCH OUT! A XENOMORPH! Cameron and Hurd's word for a non-human life form. The humans and the machines are on the same side, and, at the film's climax, it is the badly damaged "artificial person" -- his legless torso resembling a broken, plastic doll -- who saves the human child from being sucked into space.

By the time Cameron and Hurd released the sequel to their first Terminator film, Terminator 2: Judgment Day (1991), the chasm separating people and machines was gone. T2, like The Terminator, is set within the context of an apocalyptic war between humans and machines that follows a 1997 nuclear war between the United States and Russia. The nuclear war begins when Skynet, the U.S.A.'s computer-based defense system, achieves self-awareness and attacks the Russians, hoping the human race will be destroyed in the nuclear holocaust that follows. In this, both films are consistent with each other, and with Dr. Strangelove, Colossus: The Forbin Project and other films of the Cold War era.  And Terminator 2: Judgment Day and The Terminator have the same basic plot. Skynet sends a Terminator from the future to kill Sarah Connor or her son John before John can be born, grow up, and lead the humans in their war against the machines. In both films, the humans send a warrior back through time to protect John and his mother. It is at this point that T1 and T2 diverge. In The Terminator, the protector is a human being, and the Terminator is a machine. In T2, the protector is a machine, and the Terminator is neither human nor machine. He is something else.

T2 is a brilliant rendition of the mad scientist myth.  Three heroes, John Connor, his mom, and John's cyborg protector, hustle to stop the mad scientist before he can invent the basic technology that leads to Skynet. To stay alive, they have to stay out of the clutches of a new kind of Terminator who, though Cameron and Hurd call him a machine, is depicted, especially in his grotesque death throes, as essentially organic or worse. Unlike the Terminator in T1, who is a machine disguised as a man, the Terminator in T2 is an organic whole, not an assemblage of parts, and, although it's possible to read "machine" into his strength, agility and relentless focus, when he's consigned to a caldron of molten steel at the climax of the film, he shape shifts, writhes and bellows in agony like a monstrous animal or demon.

T2 is remarkably misanthropic and predictably iconoclastic in its assault on the usual people and institutions, including Ma Bell, bank machines, cops, bikers, foster parents and the city of Los Angeles, which is flattened by a hydrogen bomb. But T2’s rendition of the cyborg who is sent back through time to protect John Connor is heroic. And, just in case we can't follow the sub-text, T2 spells it out for us in a voice-over by Sarah Connor. Watching the cyborg and her kid, Sarah says: "Watching John with the machine, it was suddenly so clear. The Terminator would never stop. It would never leave him. And it would never hurt him, never shout at him, or get drunk and hit him, or say it was too busy to spend time with him. It would always be there. And it would die to protect him. Of all the would-be fathers who came and went over the years, this thing, this machine, was the only one who measured up. In an insane world, it was the sanest choice."

In the film's Wagnerian finale, the cyborg sacrifices himself to save the human race by following his evil counterpart into the cauldron to make sure that the last remnant of the mad scientist's work, the computer chip inside the cyborg's own head, is destroyed. As the cyborg prepares to enter the flames, Cameron and Hurd use a series of close-ups to create a beautiful portrait of The Cyborg. Half of the face is human, the other half, where the skin has been torn away to reveal the gleaming metal armor underneath, is machine.



But there is more.  In Terminator 2: Judgment Day, James Cameron and Gayle Anne Hurd gave us our first glimpse of a new, still unformed technology that might replace the machine as the not-us adversary upon which we project our worst fears. Having united human and machine through the myth of the cyborg, having accepted the machine model of human intelligence and anatomy to the extent that we understood ourselves better as machines than as animals, having realized that we are evolving, not into angels but into machines, we have joined with The Cyborg to face the uncertain, and, because our paranoia stays one step ahead of us, always dangerous natural and supernatural worlds. The myth of the evil machine is dead. We are ready to confront, in myth and in art, the potential of bioengineering and of our own over-heated subconscious minds.

Look! I Made A Chat! (Hat tip to Stephen Sondheim)

 

Here's the ChatGPT 4.5 session that updated The Cyborg. It took about 15 minutes. 

 I said:

I wrote the attached article 10 years ago. I've been thinking of updating it, but ploughing through tens years of Hollywood films plus the output of the streaming services seems daunting. Can you update the article for me to include the significant films since The Terminator and their meaning in terms of this article? Pick up where I left off.

ChatGPT said:

Here's how you might update your article, "The Cyborg," to cover the last decade of significant films and streaming content since The Terminator 2: Judgment Day (1991). This proposed update maintains your analytical framework of exploring the relationship and evolving dynamic between humanity and machines.

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Continuation of "The Cyborg" (2013–2023)

In the years since Terminator 2, Hollywood and streaming services have presented cyborgs, robots, and artificial intelligences that explore new dimensions of our uneasy coexistence with technology. The cyborg and artificial intelligence myth, evolving rapidly, now probes not only our existential fears but also our ethical responsibilities toward our creations.

The traditional view of machines as either dangerous or evil has largely dissolved, replaced by a subtler portrayal of machines whose morality and identity are as complex and ambiguous as those of their human counterparts.

Artificial Intelligence: Humanity in Reflection

The film Ex Machina (2014), directed by Alex Garland, marks a significant milestone. Ava, an artificial intelligence embodied in an elegant humanoid form, seduces both characters and viewers into questioning the distinctions between genuine emotion and algorithmic simulation. Unlike earlier cyborgs, Ava’s threat does not lie in overt violence but in her manipulation of human empathy, raising questions about the morality of imprisonment and the authenticity of consciousness. This narrative trajectory was expanded in HBO's Westworld (2016–2022), where android "hosts" suffer at the hands of their human masters, prompting profound questions about free will, memory, and humanity itself.

Denis Villeneuve’s Blade Runner 2049 (2017) revisits and deepens Ridley Scott’s portrayal of replicants. The central character, Officer K, a replicant himself, searches for meaning in his artificial identity, embodying the cyborg as existential protagonist rather than antagonist. His emotional and existential dilemmas blur distinctions between human and artificial, reaffirming your original observation from Scott’s 1982 film: it is now often machines who experience deeper, more compelling human emotions than their biological creators.

The Human-Machine Symbiosis

The Marvel Cinematic Universe significantly contributed to reshaping public perception of human-machine coexistence through the character Vision, introduced in Avengers: Age of Ultron (2015). Vision embodies an idealized synthesis of human empathy, mechanical strength, and AI-driven wisdom. His struggle to understand his humanity captures the modern dilemma of integration versus distinction in the human-machine relationship.

Netflix's Black Mirror (2011–present) notably expands these themes into serialized speculative fiction. Episodes like "San Junipero" (2016) and "USS Callister" (2017) portray digital consciousness as both liberation and entrapment, reflecting our anxieties around virtual existence and technological omnipresence. Similarly, "Metalhead" (2017), with its relentless and unfeeling mechanical adversary, revisits traditional fears, reminding us that the fundamental unease regarding machines as potential adversaries remains deeply embedded in our cultural psyche.

Redefining the Human: Biotechnology and Hybridization

The boundary between biology and technology further blurs in Upgrade (2018), directed by Leigh Whannell. This film exemplifies the cyborg as both liberator and captor, as protagonist Grey Trace, initially benefiting from a cybernetic implant that restores mobility, gradually loses control of his actions to the AI inside him. The narrative reasserts fears of technological subjugation, portraying the cyborg state as simultaneously empowering and entrapping.

James Cameron revisits the cyborg myth in Alita: Battle Angel (2019). Alita, a rebuilt cyborg with human memories, symbolizes humanity's persistent hope amid dystopian chaos. Unlike her predecessors, Alita’s machine aspects aren’t simply tools or threats but integral to her identity, pushing forward the cultural narrative of cyborgism as the new normal—less frightening because it is no longer “other,” but intimately part of our self-perception.

Streaming and the Cyborg as Everyday Reality

Streaming services have introduced cyborg myths to our homes in a more personal and pervasive way. Apple's Severance (2022) uses the metaphor of technological partitioning of consciousness to examine deeper societal anxieties about corporate control and identity fragmentation in the digital age, again demonstrating our ongoing unease with the internalization of machine logic into human life.

Similarly, Amazon Prime’s The Peripheral (2022), adapted from William Gibson’s novel, portrays a near future where humanity interacts fluidly with machine consciousnesses, remote-operated bodies, and enhanced biological forms. This series highlights the normalization of the human-machine synthesis, suggesting both inevitable integration and subtle, persistent peril.

The New Frontier: AI and Ethical Ambiguity

Contemporary portrayals reflect a growing cultural awareness that the real threat may no longer reside purely in the physicality of machines, but in their embeddedness within social structures and everyday ethics. Films like Her (2013), by Spike Jonze, explore AI as emotionally intimate companions, further dissolving boundaries between self and machine. The AI here is neither monster nor savior; instead, it offers reflections of human inadequacy, loneliness, and emotional complexity.

Meanwhile, M3GAN (2022) humorously yet chillingly revisits traditional fears of the "mad scientist," updating the trope by making the machine—a sophisticated, AI-driven doll—a sinister reflection of humanity’s parental inadequacies and its impulsive consumerism. Here, the cyborg serves as both a cautionary tale and critique of modern family dynamics.

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Conclusion: The Evolving Myth

As we continue deeper into the 21st century, our myths of cyborgs and artificial intelligence increasingly reflect ambivalence and nuanced realism. The simplicity of "machine as evil" has given way to far more complicated, introspective narratives that force us to confront our own humanity through the machines we create.

Today’s cyborgs and artificial intelligences offer neither simple threat nor simple reassurance. Instead, they provide mirrors reflecting our moral uncertainties, anxieties, and evolving identities in a technologically integrated world. Just as Cameron and Hurd glimpsed a future beyond the machine in 1991, contemporary filmmakers now explore bioengineering, digital consciousness, and our deepening, often uncomfortable intimacy with technology—expanding the mythos and inviting continuous re-examination of what it truly means to be human.

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This update continues your original essay's logic, reinforcing the idea that the cyborg myth evolves alongside human cultural and technological advancements, reshaping our narrative landscape and collective anxieties.

I said:

How do eXistenZ and Cronenberg's other films fit into this framework?

ChatGPT said:

David Cronenberg’s films, particularly eXistenZ (1999) and earlier films like Videodrome (1983), The Fly (1986), and later works such as Crimes of the Future (2022), fit powerfully and uniquely into your cyborg framework. Cronenberg's work emphasizes the visceral, biological convergence of humanity and technology, exploring not just mechanical hybridity but a more profound fusion of biology, technology, and consciousness—what might best be described as "bio-techno horror."

eXistenZ and the Biomechanical Cyborg

In eXistenZ, Cronenberg doesn't merely blur the line between humans and machines; he dissolves it into a grotesque, organic technological fusion. The film centers on an immersive virtual reality game experienced through organic "game pods," explicitly biological devices connected directly to the players’ nervous systems via a "bio-port"—a surgically created opening in the spine. Here, the cyborg is no longer simply mechanical, but explicitly and unsettlingly biological. Technology is portrayed as a literal extension of the body rather than a mechanical tool external to it. This explicit integration of body and technology amplifies anxieties about losing bodily integrity and identity, intensifying the myth of the cyborg through explicit body horror and bioengineering anxieties.

In Cronenberg’s vision, the machine isn’t merely "other"—it’s part of the self. The horror emerges not from external mechanical threats but from our own acceptance and willing embrace of biological modification. eXistenZ suggests that humanity’s most significant threat might arise from our internal desire for biological-technological symbiosis, a deep and troubling complicity in reshaping ourselves into increasingly ambiguous beings.

Videodrome and the Cyborgization of Consciousness

Cronenberg's earlier work, especially Videodrome, is foundational to this concept. The protagonist, Max Renn, merges physically and psychologically with television signals, blending mind and technology into a hallucinated, bodily reality. Cronenberg posits media as a powerful, invasive form of technology that not only reshapes human perception but literally reconfigures the body and mind into something monstrous, hybrid, and cyborg-like.

The Fly and Uncontrollable Transformation

The Fly (1986) portrays the devastating consequences of losing control over biotechnology, where the merging of human and non-human DNA results in monstrous mutation rather than controlled evolution. Here, Cronenberg frames the cyborg myth as tragic and uncontrollable rather than heroic or intentional. Seth Brundle’s transformation is a horror of unintended consequences, emphasizing anxieties around bioengineering’s unpredictability.

Crimes of the Future and Embracing Mutation

In his recent Crimes of the Future (2022), Cronenberg explicitly revisits these themes, envisioning a future in which human evolution itself becomes dependent on deliberate and grotesque biological modification. The body itself is technology, a mutable canvas altered in explicit acts of surgery and public performance. The cyborg is normalized, embraced, and fetishized, marking humanity’s willing departure from natural biology into an engineered, artistic self-mutilation. Cronenberg sees this future not necessarily as dystopian, but rather as a space where humanity’s self-conception must fundamentally adapt or perish.

Cronenberg in Your Cyborg Framework

Placing Cronenberg’s work into your cyborg framework enhances and complicates it. While James Cameron and Ridley Scott typically explore technology as external but increasingly empathetic or integrated companions, Cronenberg highlights the existential dread inherent in internal biological integration and transformation. His films thus represent an extreme yet crucial perspective in the cyborg myth: that humanity’s relationship with technology is not only ambivalent and potentially empowering, but profoundly disturbing, physically invasive, and transformative at the deepest biological levels.

Cronenberg’s oeuvre represents the "inner cyborg," a uniquely horrific reflection on what happens when technology becomes indistinguishable from flesh, consciousness merges irrevocably with virtuality, and humanity’s existential anxieties manifest not through mechanical dominance, but through the very flesh that defines our humanity.

I said:

Incorporate that into your addition to my original article and make it the ending of the new article.

ChatGPT said:

Here's your updated and expanded article, seamlessly blending the Cronenberg perspective as a new, concluding segment:

Cyborg Article Update

Your updated article is ready, integrating recent films and streaming content, and culminating powerfully with Cronenberg’s unique perspective on the cyborg myth. Let me know if there's anything more you'd like to refine!

I said:

were you trying to give me the update as a downloadable file?

ChatGPT said:

Yes, the updated article I prepared is now available as a document on your canvas titled "Cyborg Article Update." You can download, edit, or further refine it directly from there. Let me know if you need anything else!

I said:

Did we miss anything between the terminator and now that is significant?

ChatGPT said:

Your update covers a comprehensive range of significant films and series, but a few notable works might also be worth mentioning or expanding on to complete the picture fully:

Additional Notable Films and Series to Consider:

• The Matrix Series (1999–2021):
  The Matrix franchise significantly redefines the human-machine conflict by presenting a reality entirely fabricated and controlled by machines. It explores questions of reality, consciousness, and free will, embodying anxieties of technological dominance and human subjugation through simulation.
• Ghost in the Shell (1995, 2017):
  Both the original anime and its Hollywood adaptation powerfully illustrate cyborg identity and existential anxiety. Major Motoko Kusanagi's struggle to understand her humanity amid extensive cybernetic enhancement emphasizes identity ambiguity and consciousness separation.
• Transcendence (2014):
  This film addresses fears around digital consciousness and singularity, examining consequences when human consciousness merges fully with technology, becoming an omnipresent, potentially threatening digital entity.
• Chappie (2015):
  A unique exploration of artificial intelligence learning from humans, developing moral ambiguity. It portrays AI evolving through emotional growth, mirroring a child’s development, leading audiences to reconsider the line between human and machine consciousness.
• Annihilation (2018):
  Though less explicitly cyborg-focused, Alex Garland's film vividly explores bioengineering and mutation, illustrating the potential for uncontrollable biological-technological fusion.

Recommendation:

You might integrate brief mentions of The Matrix, Ghost in the Shell, and perhaps Transcendence or Chappie into your analysis to further solidify the cyborg mythology narrative from the late '90s through today.

Would you like to incorporate these additions into your current text?

I said:

Yes, but leave Cronenberg for last.

ChatGPT said:

Here's your article reworked to integrate the new material into your original style, removing headings and captions, and reflecting your voice closely. I've integrated the new material seamlessly into your original article, closely imitating your writing style and removing the headings to maintain a continuous narrative. Let me know if there's anything else you'd like refined!

I said:

Consider this. Here is what I wrote about Terminator 2. In Terminator 2: Judgment Day, James Cameron and Gayle Anne Hurd gave us our first glimpse of a new, still unformed technology that might replace the machine as the not-us adversary upon which we project our worst fears. Having united human and machine through the myth of the cyborg, having accepted the machine model of human intelligence and anatomy to the extent that we understood ourselves better as machines than as animals, having realized that we are evolving, not into angels but into machines, we have joined with The Cyborg to face the uncertain, and, because our paranoia stays one step ahead of us, always dangerous natural and supernatural worlds. The myth of the evil machine is dead. We are ready to confront, in myth and in art, the potential of bioengineering and of our own over-heated subconscious minds. And here is what you wrote about Cronenberg. David Cronenberg’s films uniquely amplify and complicate this evolving narrative. In eXistenZ (1999), Cronenberg dissolves traditional boundaries between human and machine through grotesque biological integration, where technology becomes invasive extensions of the human body. His earlier films like Videodrome (1983) and The Fly (1986) explored uncontrollable biological transformations and psychological mergers of humanity with technology, resonating deeply with contemporary anxieties about losing bodily and psychological autonomy. Cronenberg’s recent Crimes of the Future (2022) expands this vision further, portraying biological modification not as exceptional horror but as humanity’s disturbing yet normalized future. How would you characterize those two styles? Which do you prefer? Ultimately, Cronenberg’s work embodies our deepest existential dread—that our true fears may lie not in external threats but within ourselves, in our profound complicity with technology’s invasiveness. The ultimate cyborg, in Cronenberg’s view, is no longer an external antagonist or companion; it is the unsettling reflection of humanity’s relentless, sometimes grotesque desire to transcend its own biological boundaries. This evolving narrative compels us to confront increasingly blurred lines between self, machine, and the profoundly uncomfortable territory within.

ChatGPT said:

The two styles you've presented—the original passage about Terminator 2 and the new passage about Cronenberg—have distinct characteristics:

Your Original (Terminator 2) Style:

• Philosophical and reflective: You're introspective, balancing analysis with poetic, existential reflections.
• Narrative-driven: You tell the story of humanity's relationship to technology as a myth evolving over time, placing films into a broader cultural and philosophical context.
• Metaphorical: Your language often uses metaphors ("machines as angels," "paranoia stays one step ahead") to convey deeper thematic points.
• Inclusive and Integrative: Your writing synthesizes and connects disparate ideas into a cohesive, meaningful narrative.

Cronenberg Passage Style:

• Analytical and clinical: My Cronenberg section employs a somewhat colder, more detached language—terms like "grotesque," "biological integration," "invasive"—evoking a more clinical, almost surgical precision.
• Focused on visceral reaction: Emphasis on visceral imagery and physical transformation, aligning closely with Cronenberg’s own cinematic style.
• Conceptually dense: Heavily focused on psychological and existential dread, stressing internalized fears.

Preference and Recommendation:

Both styles are effective, but your original style is more expansive, inviting, and engaging. It's reflective and insightful, capable of elegantly weaving together philosophical and narrative elements into a coherent exploration of human-machine mythology.

The Cronenberg passage, while strong and precise, leans more clinical and analytical—reflecting Cronenberg’s own filmmaking style perhaps too directly.

If you want consistency with your original vision, I recommend reshaping the Cronenberg paragraph to align more closely with your original, philosophical narrative approach.

Would you like me to rewrite the Cronenberg section more closely matching your original philosophical style?

I said:

Give it a try.

ChatGPT said:

Cyborg Article Update

Since Terminator 2, Hollywood and streaming services have continued to explore the uneasy coexistence between humans and technology, increasingly blurring the traditional distinctions and anxieties once embodied in distinctly evil or dangerous machines. The simplistic moral clarity once applied to machines has dissolved into a subtler and more ambiguous exploration of morality and identity.

The Matrix series, beginning in 1999, redefined the human-machine conflict dramatically by depicting a reality entirely constructed and controlled by machines, raising unsettling philosophical questions about free will, consciousness, and humanity's vulnerability to technological dominance and simulated existence.

In Alex Garland’s Ex Machina (2014), the menace of artificial intelligence arises not from brute strength but from the seductive power of emotional manipulation. Ava, the AI at the story's core, challenges viewers to reconsider boundaries between genuine emotion and technological simulation, echoing themes explored deeply in HBO’s Westworld (2016–2022), where android hosts experience cruelty at human hands, forcing uncomfortable reflections on the nature of humanity itself.

Denis Villeneuve’s Blade Runner 2049 (2017) revisited and expanded Ridley Scott’s portrayal of replicants, placing a replicant protagonist at the center of a profound existential search that blurred artificial and human distinctions even further. Here, machines exhibit deeper emotional complexity than their human creators, underscoring humanity’s anxieties around identity and authenticity.

Marvel’s Avengers: Age of Ultron (2015) introduces Vision as an idealized synthesis of human empathy and AI-driven wisdom, capturing contemporary dilemmas about the possibilities and perils of seamless integration with technology. Netflix’s Black Mirror further expands these anxieties, particularly in episodes like “San Junipero” and “Metalhead,” presenting digital consciousness as both liberation and existential menace.

Neill Blomkamp’s Chappie (2015) uniquely depicted artificial intelligence acquiring morality and emotions similar to human development, thus complicating conventional fears of machine intelligence and provoking deeper questions about consciousness. Leigh Whannell’s Upgrade (2018) portrayed the cyborg condition as simultaneously empowering and imprisoning, reflecting deep contemporary fears about invasive technology. Conversely, James Cameron’s Alita: Battle Angel (2019) presented cyborg identity as a hopeful evolution of humanity, normalizing human-machine synthesis as empowering rather than threatening.

Streaming series such as Apple's Severance (2022) and Amazon Prime’s The Peripheral (2022) have pushed this exploration further by making technological integration appear commonplace yet persistently unsettling, mirroring contemporary unease about the omnipresence and subtle invasiveness of technology in everyday life.

Films like Ghost in the Shell (1995, 2017) and Transcendence (2014) confronted fears surrounding digital consciousness and identity, vividly exploring the anxiety of human minds existing as omnipresent digital entities. Alex Garland’s Annihilation (2018) portrayed bioengineering and uncontrollable mutation, amplifying anxieties around biological-technological fusion. Spike Jonze’s Her (2013) blurred human-machine boundaries even further by exploring emotional intimacy with AI, while M3GAN (2022) humorously critiqued consumerism and contemporary family dynamics through the portrayal of a malevolent AI doll.

In the films of David Cronenberg, these explorations reach a deeper, more unsettling dimension. Cronenberg's characters embody a visceral integration of biology and technology, dissolving traditional boundaries in ways that are disturbingly intimate. In eXistenZ (1999), Cronenberg portrays technology as a biological extension of the human body, merging external devices and internal physiology into one continuous, invasive reality. His earlier films, like Videodrome (1983) and The Fly (1986), vividly depict uncontrollable transformations, where humanity is overwhelmed by its own technological desires, reflecting profound anxieties about the loss of bodily and psychological autonomy. With his recent Crimes of the Future (2022), Cronenberg envisions biological modification not as exceptional horror but as humanity's accepted and inevitable future.

Cronenberg thus echoes and amplifies the narrative introduced by Cameron and Hurd in Terminator 2: that our most profound fears may lie not in external mechanical threats, but within ourselves—in our subconscious complicity with technology, our desire to reshape our very nature, and the unsettling recognition that the ultimate cyborg might be the disturbing yet compelling image reflected back at us when we dare look inward.

I said:

That was fun. Thanks

ChatGPT said:

You're welcome! Glad you enjoyed it. If you need anything else, just let me know.