What is deconstruction, why does it appeal to me and how does it apply to contemporary mainstream media?
What is deconstruction, why does it appeal to me and how does it apply to contemporary mainstream media?
Catherine Turner writes in her overview of Jacques Derrida “Deconstruction by its very nature defies institutionalization in an authoritative definition.” (Turner 2016)
Her sentiment explains much of what I find appealing about the concept as a critical thinker, inquirer and pedagogist.
The School of Life summarises the concept as: “Essentially, deconstruction means dismantling our excessive loyalty to any idea and learning to see the aspects of the truth that might lie buried in its opposite.” (The School Of Life 2016)
I was always inclined toward philosophy and critical analysis\critique of society, culture and the systemic framework upon which it is constructed. This was galvanized at a very young age following my exposure to the narrative exploration of many of these themes in the form of the Watchoski Brother’s film The Matrix and the world and franchise which stemmed from the original film. (Watchowski 1999)
[EXTERNAL LINK: Morpheous answers the question “…what is The Matrix?” https://www.youtube.com/watch?v=cqxwtEdxOCw]
In beginning his response to the question ‘What is The Matrix?’ Morpheous states “…The Matrix is a system, Neo. That system is our enemy…” (Watchoski 1999) and for me, the sentiment stuck. Even as a child I was not in the business of playing super hero or re-enacting the Woo-Ping choreographic fight sequences. Intellectually, I understood the Matrix to be a euphemism reflecting everything I knew was inherently wrong with the world and the systems by which meanings are composed and governed.
James Webb describes “Existential depression (as) a depression that arises when an individual confronts certain basic issues of existence.” (Webb 2013) His article “Existential Depression in Gifted Children” Webb goes on to state
“…Gifted children are able to consider the possibilities of how things might be, they tend to be idealists. However, they are simultaneously able to see that the world is falling short of how it might be. Because they are intense, gifted children feel keenly the disappointment and frustration which occurs when ideals are not reached. Similarly, these youngsters quickly spot the inconsistencies, arbitrariness and absurdities in society and in the behaviours of those around them.”
This concept was profoundly resonant and helped me personally reconcile my world view, particularly when beginning post-graduate studies. Suburban society has a tendency to lay the blame and balance for cognitive dissonance upon the gifted individual whereas philosophy, sociology and academic discourse are unapologetic about first acknowledging systems beyond their initial façade but also dissecting and dismantling concepts, beliefs, structures, culture and even the nature of meaning itself.
Another way of describing this phenomenon in very general terms is the application of the aforementioned principles of deconstruction.”
[EXTERNAL LINK: Rick and Morty Season 3, Episode 1. Rick changes “…a one to a zero…” https://www.youtube.com/watch?v=noQsHiTJAXo]
In the first episode of Rick and Mort, the eponymous ‘Rick’ nonchalantly brings an entire galactic empire to ruin by simply “…changing a one to a zero…” (Rolinson 2017) The two accompanying characters suggest he might act more obviously by utilising weapons of mass destruction in acts of violence and destruction. Writer, producer and creator Justin Rolinson instead highlights the arbitrary, futile and absurd nature of an economy dependent on what ultimately amounts of corporate delusion — the Emperor’s New Clothes.
We all unquestioningly subscribe to the notion that a “dollar” has meaning and subsequently, it does and our entire society and culture is built around an imaginary premise. Jacques Derrida’s concept of Deconstruction posits a query: What would happen if we all “woke up” and instead elected to “free our minds?”
When applied to my fields of creative practice, this concept has further interesting applications by which new life and interest can be breathed into stale and frustrating narrative and convention. Genre fiction by its very nature is defined by a set of rules and a regimented structure and framework. (Price 2002) Structural and stylistic features and tropes inherent in each genre have been played out to death since time immemorial. Websites like TVTropes (tvtropes.org) are archives which celebrate and examine such conventions, highlighting the domino effect created by the balance of forging a product that is both novel, yet familiar to a consuming demographic. (Patterson 1999)
Recently there has been something of a renaissance of post-modern, deconstructionist reinterpretations of these tropes. Deconstruction involves the subversion of elements of these expected patterns often with interesting results.
In a 2015 article written for The Guardian Alison Flood writes: “…Game of Thrones author’s A Song of Ice and Fire books have challenged genre perceptions while exposing him to an unprecedented level of fame…” (Flood. 2015)
The almost universal ubiquitousness of Game of Thrones success indicates to me that despite the systemically institutionalized mechanisms of oppression designed to pacify and suffocate the still, quiet voices of dissent and revolution, there is still something within the individual that is aware of what Morpheous describes in The Matrix:
“…You know something. What you know you can’t explain — but you feel it. You’ve felt it your entire life. There’s something wrong with the world. You don’t know what it is, but it’s there. Like a splinter in your mind. Driving you mad…” Morpheous, (The Matrix 1999)
I am now old enough to recognize that the trappings and responsibilities of everyday life render philosophic and critical examination and inquiry something of a luxury for the layman however it is encouraging to me to study individuals such as Derrida and learn more about his life, his concepts, his writing and his work.
It reframes academic and philosophic research and discourse as the mechanism by which there might be slow, steady forces implemented to exact change the changes upon the world that I would most like to see in order that we all might leave a better world for our children.
It is immensely encouraging to have a small part to play in the conversation.
REFERENCES:
A. Flood. (2015) ‘George RR Martin revolutionised how people think about fantasy’ retrieved from https://www.theguardian.com/tv-and-radio/2015/apr/10/george-rr-martin-revolutionised-how-people-think-about-fantasy
C. Tuner. (2016). Jacques Derrida: Deconstruction. Retrieved from http://criticallegalthinking.com/2016/05/27/jacques-derrida-deconstruction/
Harmon, D. (Producer), & Rolinson, J (Director). (2017). Season 3, Episode 1: The Rickshank Redemption [Motion picture.]. USA: Cartoon Network.
J. Price. (2002). Hot Text: Web Writing That Works. USA. New Riders.
M. Patterson. (1999) Adorno’s Aesthetics of Music. Cambridge University Press.
Silver, L. (Producer), & Wachowski A & L (Director). (1999). The Matrix [Motion picture.]. USA: Warner Bros. Pictures.
The School Of Life. (2016) PHILOSOPHY: Jacques Derrida. Retrieved from https://www.youtube.com/watch?v=H0tnHr2dqT
TVTropes. (2017) Retrieved from https://tvtropes.org
Webb, J. T., Meckstroth, E. A. and Tolan, S. S. (1982). Guiding the Gifted Child: A Practical Source for Parents and Teachers. Scottsdale, AZ: Gifted Psychology Press, Inc. (formerly Ohio Psychology Press).
Webb. J (2013) Existential Depression In Gifted Children. Supporting Emotional Needs of the Gifted (SENG). Retrieved from https://theunboundedspirit.com/existential-depression-in-gifted-children/