Author Archives: Peter

Nietzsche, The Fear of Death, and Life Affirmation

As much as I respect Friedrich Nietzsche, the interpretation of his works on the inevitability of suffering and the affirmation thereof are, more often than not, fundamentally flawed and present a view of the world and of humanity’s attitudes toward death that is not only ahistorical, but antithetical to Nietzsche’s concept of life affirmation.

Now before I begin, we need to understand two view points. The first being Nietzsche’s (and contemporary’s) idea that suffering is inevitable and trying to change that fact is merely a denial of life, and the second being historical views towards suffering and death.

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Robocop: Capitalism and the Militarization of the Homeland

Part I: “The Near Future”
 
In 1987, the film “Robocop” was released as a “near-future-dystopian-drama” with little grounding in reality and the politics of the day. The themes however, are pervasive and highly applicable when studying the late stages of capitalism and corporatism as well as a militarized police force at home. [Sorry for the fucked up formatting – word->blogspot->wordpress= ;-;]

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US Security Discourse: Physical and Ontological Implications

 

Part 1: Genealogy of War

            The past 200 years has seen a dramatic shift in the United States, the United States’ supposed “role in the world”, and, contrary to the video game series Fallout’s motto[1], even the very nature of war itself. Over 200 years ago, a group of wealthy white aristocrats decided that they had had enough of England’s “oppression” over them and they decided to revolt and form a new nation built around the pillars of liberty, equality (for some), and for lack of a better word, isolationism. In his farewell address, George Washington is quoted as having said “[i]t is our true policy to steer clear of permanent alliance with any portion of the foreign world” (Fromkin). However, this “true policy” was not to last as demonstrated by World War I wherein the US’ role shifted from stoic observer to what some neoconservatives like to call the “benevolent hegemon” (Dolman). In addition and parallel to this shift in the US’ role in the world, there was a change in the very nature of war itself. Before the 19thcentury, wars were conceived “as battles between sovereigns”, but all that changed with the advent of so called “strategic bombing” commonly credited to the Italian theorist Giulio Douhet (Collier and Lakoff 4). According to Douhet, war was “no longer [a thing] fought between armies but between whole peoples. All the resources of a country…would focus on the war effort” or, as it is commonly called, “total war” (C&L 5). Thus the rise of total war saw with it the rise of a new kind of geopolitical strategy, that of threat calculation in regards to so called “critical infrastructure”.  In addition, total war’s rise created a whole new beast, the unpredictable threat. This new kind of threat, one that “did not fit within the strategic framework” of the time, necessitated a new kind of response, that is to say, a new kind of outlook on threats in general (C&L 3). Everything was perceived as a potential target, from the obvious military bases to the less obvious roads and water towers (the “critical infrastructure”).  Everything was under attack and everyone was a potential combatant and thus the reign of the constant threat began.

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Intellectual “Property” and Plagiarism

The following is a paper I wrote for an AP Language course that I feel, at least at this moment, summarizes my views on citations and plagiarism in general. *Note: there will be an afterword explaining my use of citations in other blog posts*    **sorry about the formatting…**

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Sovereign Dictator on a Boat: Carl Schmitt and the Dark Knight

The so called “Crown Jurist” and legal philosopher of Nazi Germany, Carl Schmitt, once said, “Sovereign is he who decides on the exception”[1]. Not only is this true in the realm of real world politics, but also in the world of Christopher Nolan’s The Dark Knight and this essay will reveal the Schmittian nature of a particularly interesting scene in the film wherein we see the rise of a so called “Sovereign Dictator” on boat.

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