Search Results (5)

According to recent appraisals, despite its pathological aspects, melancholy can be a psychological impetus for spiritual creativity and utopianism. Drawing on those appraisals, this article examines some religious implications of mourning and melancholy in novels of Yoon Dae-nyeong and Kim Hoon in the context of Korean society in the 1990s and the early 2000s. Firstly, Yoon Dae-nyeong’s early works depict an intense sense of loss arising from the compressed pace of Korean modernity, and, throughout religious imagery, they express an aspiration for spiritual renewal. However, in Yoon’s works, spiritual aspiration soon gives way to a sense of resignation. Next, this article explores melancholy in Kim Hoon’s novels. Although Kim’s first two novels share with Yoon’s works an intense sense of loss, the melancholic traits in their characters are sublimated thanks to the characters’ openness to others and patient utopianism. They thus avoid the spiritual trap induced by melancholy’s self-destructive aspect. Kim’s utopianism is expressed again in his more recent works, such as Black Mountain and Harbin, which illustrate the Korean people’s present aspiration toward a spiritual utopia. Full article

The Great Reset (GR) has been presented by the World Economic Forum (WEF) in response to the COVID-19 pandemic in 2022 as a model through which a “stakeholder economy” would achieve “resilient, equitable, and sustainable” social, economic, and ecological reform. The GR agenda includes environmentally sustainable use and more equitable distribution of resources. This article raises the question of whether the Great Reset program should be interpreted as a “realistic utopia” and what its reform potential is. To this end, the GR program is tested against the current state of science and philosophy. The idea of a utopia is analyzed in the light of recent philosophical and scientific approaches, such as critical realism in philosophy, social systems theory in sociology, and complexity theory in science. A comparative conceptual analysis is carried out by introducing the idea of a realistic utopia in Rawls’ theory of justice as fairness. In the final discussion, some doubts are raised about the logical coherence, rigor of scientific theorizing, policy prescriptions, and predictive potential of the Great Reset. It is concluded that utopian projects of radical reform are not realistic due to the supposed long-term repercussions of exogenous shocks or “black swan” events such as the COVID-19 pandemic. Rather, they must offer explanations of the deep structural elements and evolutionary patterns that underlie society and the economy, drawing from these explanations the policy implications, predictions, and prescriptions that can support change. Full article

This study aimed to examine the use of light and color in digital paintings and their effect on audiences’ perceptions of environmental issues. Five digital paintings depicting environmental issues have been designed. Digital painting techniques created black-and-white, monochrome, and color images. Each image used utopian and dystopian visualization concepts to communicate hope and despair. In the experiment, 225 volunteers representing students in colleges were separated into three independent groups: the first group was offered black-and-white images, the second group was offered monochromatic images, and the third group was offered color images. After viewing each image, participants were asked to complete questionnaires about their emotions and cognitions regarding environmental issues, including identifying hope and despair and the artist’s perspective at the end. The analysis showed no differences in emotions and cognitions among participants. However, monochromatic images were the most emotionally expressive. The results indicated that the surrounding atmosphere of the images created despair, whereas objects inspired hope. Artists should emphasize the composition of the atmosphere and the objects in the image to convey the concepts of utopia and dystopia to raise awareness of environmental issues. Full article

The future is not what it used to be. A new strain of futurism has taken over the stage of global science-fiction: one whose understanding of the future cannot be distinguished from its understanding of the present. Gone are the days when extraterrestrials in shiny, extravagant outfits mastered fascinating technologies that flirted with magic. Characters in Charlie Brooker’s Black Mirror (2015–2020) dress like us, and the dystopian technology they put up with is, for the most part, a technology that has existed for years. Armando Iannucci’s imagining of a space cruise for rich people in Avenue 5 (2020) overlaps with Elon Musk’s actual plans of sending wealthy tourists to the moon, while Albert Robida’s visionary téléphonoscope (1879) amounts to a sad reminder of our everyday Zoom call. Is not the current COVID-19 crisis the blueprint to the ultimate post-apocalyptic script? Spanish filmmaker Juan Antonio Bayona noted in a recent interview that Steve Soderbergh’s Contagion (2011), originally labeled as a sci-fi movie by IMDB, is now a drama according to the same internet portal. Science is not fiction anymore, which means at least two different things: that science has lost the power to convey the kind of awe that may be later turned into fiction, and that fiction seems to be unable to inspire a narrative of scientific or—broadly speaking—human progress. How can we retrieve the emancipatory value of progress in good old futuristic sci-fi when the future coincides with the present? What should cultural production look like to help us imagine an alternative to financial capitalism in the face of the impossibility of utopia? The answer, I will claim, resides in Franco Berardi’s concept of “futurability”. This paper explores the limits of this concept by reading side by side Javier Olivares’ and Pablo Olivares’ The Ministry of Time (2015) and Oriol Paulo’s Mirage (2018). Full article

In response to this special issue’s question of whether mainstream science fiction has become stuck in presentism and apocalypticism, this article examines how utopia is expressed and salvaged in the work of Rivers Solomon. Using three of Solomon’s novels and the theoretical lenses of black utopia studies and salvage-Marxism, I suggest that scholars and activists should approach this question from a different perspective. While Solomon’s novels may seem dystopian from the perspective of liberalism or whiteness, they can also clearly be placed within the long, if marginalized, history of leftist and black utopian thought. Likewise, where the ‘traditional’ utopia (a concept I interrogate) is often imagined as grounded in hope and futurity, black utopia and salvage-Marxism reject these concepts as counterproductive to the actual work of social justice and utopia-building. Despite their presentism and apocalypticism, then, I argue Solomon’s novels are very much utopian: they simply locate their utopian desire in radical kinship and salvage, rather than universalism or futurity. Full article