Category Archives: Art Reviews and Articles

[Work: Beowulf, (Author Unknown), c. 700-1000]
Ending Unending Feuds:

The Portent of Beowulf‘s Historicization of Violent Conflict

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Introduction:

Beowulf first page - history, violence, feuds, cyclesIt has long been a clichéd truism that history is written by the victors; this assertion is often paired with the acknowledgment that a history written by those who lost major conflicts or were subjugated would be starkly different. The ubiquity of such sentiments clearly declares the paramount nature of considering perspective in approaching any historical account, whether that work is presented as non-fiction or fiction.

In the Old English verse work Beowulf, the question of perspective can be considered within the literary context of looking at speaker, syntax, and diction. One is meant, in light of the aforementioned modern sentiment, to look both at what that speaker aims to communicate about the events and individuals as well as at how and why the communication is thus structured.

That speaker, in historicizing the Geatish-Swedish Wars, actively obfuscates chronology, emphasizing the cyclical, muddy, and endless nature of feuding conflict so as to present the impotence of war, the tragedy of revenge, and the dependence of the two on a preoccupation with the past.

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[Work: Beowulf, (Author Unknown), c. 700-1000]
Ending Unending Feuds:

The Portent of Beowulf‘s Historicization of Violent Conflict

 was last modified: March 26th, 2020 by Daniel Podgorski

[Topics: Empiricism, Pragmatism, Rationalism]
Epistemological Compromise:

On the Unintuitive (yet Vital) Compatibility of Rationalism and Empiricism

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Introduction:

David Hume Sketch by M.R.P. - infallible foreknowledge - free will - determinism

Caricature Sketch by M.R.P.

This will be another post about two apparent philosophical opposites. And just like my considerations of moral realism and anti-realism; consequentialism and deontology; and free will and determinism, I will be arguing that there is to some degree a worthwhile common ground on which philosophers can safely tread. As you’ve probably noticed, the apparent opposition for this article is that between two topics in epistemology (the study of knowledge), which both confront the question of knowledge’s basis and origin: rationalism and empiricism.

Roughly speaking, rationalists hold that some or all of our knowledge is known independent of and prior to sense experience, whereas empiricists hold that some or all of our knowledge comes solely from sense experience. For a far-reaching and specific introduction to these topics in epistemology, see this encyclopedia entry; for my (hopefully somewhat pithier) thoughts on these topics, read on.

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[Topics: Empiricism, Pragmatism, Rationalism]
Epistemological Compromise:

On the Unintuitive (yet Vital) Compatibility of Rationalism and Empiricism

 was last modified: December 5th, 2022 by Daniel Podgorski

[Film: Close Encounters of the Third Kind, Steven Spielberg, 1977]
Spielberg Before the Sentiment:

Discord and Discovery in Steven Spielberg’s Close Encounters of the Third Kind

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Introduction:

Steven Spielberg - Close Encounters of the Third Kind - epistemology, knowledgeIn the study of film, the group ready to identify Steven Spielberg as an immensely influential, clever, and popular director, but not a particularly artistic filmmaker, is no minority. The reasons for this are not all that difficult to figure out, after you are familiar with a large number of his films.

Spielberg’s dramas are often overwhelmingly saccharine; his action films often sacrifice tension to safety and predictability; his historical films play loose with the facts and the tone, often in the interest of either the aforementioned sentimentality or else American nationalism; and many of his films across all genres rely on reductive, trite moralizing. A prime example of many of these issues is fan-favorite Saving Private Ryan, which represents at times a relentless, graphic, unsentimental portrait of armed conflict, but which is interspersed with and ends with a clarification that the film loves a good soldier, loves America, and loves any war America should happen to fight.

Praising and Criticizing Spielberg:

With all that stated and recognized, however, I do not count myself among those who dismiss Spielberg as a creator of blockbusters, and nothing more. Even if I would agree that many of his films (even many of his most popular films) do not stand up well under scrutiny, I think that some of his films do pass beyond the (unjustly maligned) category of entertainment, and into the hallowed category of art.
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[Film: Close Encounters of the Third Kind, Steven Spielberg, 1977]
Spielberg Before the Sentiment:

Discord and Discovery in Steven Spielberg’s Close Encounters of the Third Kind

 was last modified: October 10th, 2022 by Daniel Podgorski

[Game: Super Crate Box, Vlambeer, 2010]
Simple Arcade Innovation:

The Elegant, Ingenious Gameplay of Vlambeer’s Super Crate Box

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Introduction:

In the first post of this series, I praised Tribute Games’ much-maligned Wizorb for being a high-quality recent example of a cheap, challenging, arcade-style game. This week I would like to recommend a game which you may not have heard of. It is also in the arcade style, but it is much more challenging and much more cheap. How can it be much more cheap than the $3 title Wizorb, you ask? In fact, this game is completely free. Not free-to-play or freemium, just plain old free. It goes by the name of Super Crate Box, and it is available on Steam right now in exchange for no money.

Super Crate Box is an arcade action game that pits your pixelated player-character against hordes of marching foes, but with one amazing gameplay twist, explained below. The game was developed by Vlambeer, a Dutch team which has risen to prominence in recent years with games like LUFTRAUSERS and Nuclear Throne. And like those later titles, Super Crate Box is a tremendous time-sink, a great challenge, and a lot of fun: now, on to discussing that interesting gameplay quirk.

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[Game: Super Crate Box, Vlambeer, 2010]
Simple Arcade Innovation:

The Elegant, Ingenious Gameplay of Vlambeer’s Super Crate Box

 was last modified: August 26th, 2020 by Daniel Podgorski

[Work: Catch-22, Joseph Heller, 1961]
Rocks and Hard Places Galore:

The Bureaucratic Appropriation of War in Joseph Heller’s Catch-22

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Introduction:

Joseph Heller Sketch by M.R.P. - Catch-22 - bureaucracy, absurdity, morality

Caricature Sketch by M.R.P.

What do you get when you mix the surreal, atmospheric absurdism of Kafka’s best known works with the darkly comedic anti-war satire of Kurt Vonnegut’s Slaughterhouse-Five? I would say that you get something very close to a book published about 40 years after Kafka’s death, and about 10 years before the publication of Vonnegut’s novel: Catch-22 by Joseph Heller.

I would make it no secret that Catch-22 is one of my personal favorite novels. It is a novel that represents a masterclass in the modernist and postmodernist technique of melding high culture and low culture, as well as tragedy and comedy. This article explores the dominant philosophy and masterful presentation of Heller’s most successful novel.

The nature of this article is such that it requires spoiling basic plot details of Catch-22, so you should only continue reading after this paragraph if you either do not mind spoilers or have already read the book.

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[Work: Catch-22, Joseph Heller, 1961]
Rocks and Hard Places Galore:

The Bureaucratic Appropriation of War in Joseph Heller’s Catch-22

 was last modified: October 10th, 2022 by Daniel Podgorski