Monday, September 25, 2006

Epic and Vicarious Life

Societies need symbols upon which to project their definitional self-images. These symbols provide for a simplified corporate identity experienced vicariously. These symbols begin the transition to myth as they are imbued with the values, hopes and aspirations of those claiming them. The original real nature of the thing becomes canvas upon which the mystical and metaphysical are painted. (i.e. A flag) When the physical reality of the thing is forgotten, then it has completed its transition to symbol. However, this transition can leave the thing changed not just in nature, but also in essence. Things can be re-invented, and their original nature can be lost. (i.e. Che Guevara shirts.)

Often, these symbols can be people. The symbol cannot work without the capacity for identification, without a pathway for vicarious identification. Herein lies the complexity of a human symbol. Humans exist in reality, not in myth. We breathe in and out real oxygen and carbon dioxide, not glowing strands of ether. A human must be re-invented to in becoming the bearer of myth. In their beatification or vilification, they lose some of the complexity that comes from being a being of actuality and potentiality (Aquinas) inside of reality. In increasing magnitude, the symbol loses depth. (reference wave physics -> Doppler filter) Initially this may involves little change of intent (Sandino->Sandinistas) but over time can diverge tremendously from the original intent (Susan B. Anthony -> second wave feminism.) This is especially true when the reinvention is intentionally driven by those who seek to control the power structures built upon the social capital of the symbol.

Vertical Symbology is the pathway of traditional myth. It reaches back into history, or forward into fantasy to find vessels. These are the ubermenschen, the Luke Skywalkers, the Beowulfs, the George Washingtons, also the supervillians, the Grendels, Palpatines and the Hitlers. This pathway is in some way simpler, as it does not have to manage the dual life of a breathing myth; its vessels exist solely in the malleable past, or the infinitely rewritable imagination of the myth-maker. This pathway grants a society temporal continuity to its vicarious self-image: its epics of history either affirm or show progress toward the self of now, its epics of fantasy grant longevity to the society's dreams (or nightmares... Apocalyptic fantasies exist alongside Utopian fantasies, and many exist in between, in the catastrophe or the eucatastrophe.)

Lateral Symbology is the pathway of contemporary myth. It reaches across the now and finds its vessels in the prominent figures of its time: the kings, the celebrities, the controversial revolutionaries. These are the politicians, the musicians and the sports heroes. They are the stars of the imagined Soap Operas and the real soap operas. These may lack the clarity of the vertical myths, but a society can watch with bated breath as their lateral epics unfold. (For this reason, the lesser angels of our nature often inhabit these contemporary myths: the pettiness of our celebrity journals, and the eagerness with which we consume them, speak to this.) The difficulty with lateral symbols is that they still breathe. The symbol and the flesh must coexist. And this leads to a dual life for the lateral symbol. On one hand, they are known by a small group as a real person, on the other hand, they are know to the world as a mythical figure. This realization leads to ritual (or marketing) being used to manage (or package) the mythical nature. Lateral myths allow dynamic myth, myths still resolving their dynamic tension in conflict. For this reason, many who are contemporary heroes to some are contemporary villains to others (sports players, politicians.)

These pathways of symbology are society's means of creating a simplified meta-narrative of its identity. Hence, the symbols (and pathways as derivatives of symbols: derivative = flow over time) are only effective insofar as they as linked to that society. This is hardly a problem with a small society, where identification with the symbols is simple. For the Saxon villager, with most of the world shrouded by myth and encircled by monsters, it is not difficult to imagine Beowulf having lived in a neighboring village. For the tribesman who grew up in close proximity with the chieftain, it is not difficult for him to identify with the chieftain. Herein lies a problem for contemporary American society. Imagine symbology as a canopy of a tent hanging over the society. If the area the tent covers stays small, the canopy of the tent stays within reach. The symbols are easy to identify with. However, as the size of the society grows, the tent needs to cover a larger area. The growth of mass media provides more material for this canopy of symbology. However, even though the tent has enough material, the larger the tent you have, the higher the top of the tent becomes, and the farther is becomes from those under it. With the combination of growth and mass media, the society feels farther and farther from its symbols. If the symbols are no longer tied to the society, they no longer serve their purpose, and can be blown away with a gust of wind. Returning to our analogy, the society must find ways to fasten the canopy securely to the ground. Linkages must be created whereby the society can identify with the symbols again.

These robust pathways allow the society to maintain its symbology even as the gap between the represented and the representation increases. Such a robust linkage must provide the whole of society a means of identification to its mythical and historical symbols. To bridge the gap between society and symbology, this linkage must demonstrate the capacity of the society, specifically the everyman, to become symbology. This is achieved either by demonstrating a transition between everyman and symbology, or a coexistence between everyman and symbology. Through demonstrating this capacity for transition or coexistence, the robust linkage reinforces the idea that the symbols are of the society. This reinforcement is required when these symbols seem distant.

For the vertical pathway, there is no ability to transition or coexist as a historical symbol. Therefore, in order to reinforce the vertical pathway, we look forward to fantasy. Here we find the everyman-hero or 'superhero.' Many of these undergo some transition from a normal person to superhero. (Batman, Spiderman, Fantastic Four) These superheroes coexist as people and symbols by living double lives, often expressing the same problems in their 'normal' lives as in their 'superhero' lives. (Spiderman, Superman, X-Men (sort of).) This transition or coexistence anchors the symbols to the society. [This coexistence may be expressed in different ways, such as Hercules in Greek myth being human but also a son of Zeus.] [This coexistence may be the ultimate synthesis of symbol and flesh, the corporeal and ethereal. Interesting xian Corrolary.] Both transition and coexistence reinforce the vertical pathway, but coexistence is the stronger.

The horizontal pathway is reinforced also through both, but transition is the stronger. In order to tie the breathing symbols to the people, the people must believe that they can become breathing symbols themselves, and the breathing symbols are still people. The coexistence is attested to by the paparazzi, exploring the humanity (flaws) of the stars. Here is also The Osbournes, where Ozzy lives a real life as well (not the idyllic world of Lifestyles of the Rich and Famous, but a celebration of petty daily conflict) When the real life seems lost, the power of the symbol suffers. (Baseball strike, and disenfranchisement of fans.) The transition is the stronger path. Herein is the NBA Draft, where normal people join the ranks of superstars. Herein are the bootstrap stories, where the narod achieves symbolism by the sweat of their brow. And finally, here is the reality show. American Idol, where one comes off the street and becomes a musical superstar. Survivor, or the multitude of 'Real World' shows, where normal people get more than their 15 mins. of fame. By displaying the humanity of the symbols, and the capacity to gain symbology, the lateral symbols' connections to the society are reinforced.

As with all things, any design choice has consequences. The good consequence of the strengthened linkages is an increased carrying capacity for the society, where the society can accommodate a larger population without coming apart. The downside is that these strengthened linkages introduce more capacity for abuse. Tension that is created as a function of discrepancies between the beliefs of the society and the beliefs of its elites can be used as a corrective mechanism to realign the two groups. Although this tension can break catastrophically (Fr. Rev.) it can also serve as a more positive impetus toward change. In buying off or shaping these pathways, the elites can maintain their position while constructing a facade of alignment between the elite culture and the larger culture. Ultimately, these linkages are designed as a relief valve for societal tension caused by friction between the human symbology of the elites and the reality of the collective whole. Herein lies both the capacity for good or abuse. Corollary: Deconstrutivism dismantles myth by taking apart the reality upon which the symbology is based. More precisely, it seeks to deny that the symbol has any bearing on reality, (and hence questioning reality.) This typically works with human symbols, as our real forms are so fallen and flawed. In viewing the reality of the individual, that individual becomes in a way de-beatified or de-vilified, and hence can no longer be the bearer of symbology.

Corollary: When this happens upon the one True Myth, it doesn't work. Science circa 1900 tried to do that and screwed up. They thought that in explaining the origin of the pages upon which the Story of Everything is written, they would disprove the intentionality of the story, in the same way postmodernism dismantles myths. They failed, as the stage upon which the drama is to be constructed was so exquisitely complex and perfect. This does not undo the idea of the Playwright and the Drama, but enhances it, for if the stage is so exquisite how much more breathtaking must be the drama.

Corollary: Man is the fusion of matter and symbol, flesh and spirit. We screwed up. Christ is fusion in synergy. Deconstrutivism works cause we are not a perfect fusion. Ultimately, He is the ultimate breathing epic, as He exists in reality in all the complexity that the flesh brings, but with none of the disappointment inherent in flesh. He then is perfect to bear His own divine nature, which is equally perfect. This is not to say there are two natures, but rather that one being existed completely as (true) myth and as flesh at once. The two expressions of the same nature required each other, and built off of each other; the perfect Image Bearer, and the perfect Imago Dei. We, even in the redeemed state, are but reflectors of this. However, because of this, there is some perfection to be reclaimed. In reclaiming the original perfection, we move beyond Deconstructivism. Deconstructivism points out that no one in this world is worthy to bear the myths society builds upon on them. Reconstructivism recognizes this, but looks to the shadow of the myth to find the truth of the myth bearer in the light of their original (intended) perfection.

No comments: