Nuclear Scale: Or ‘only a Godzilla can save us’
The massiveness of the nuclear is ‘lightened’ only by a catastrophe. The Earth is geophilosophically and geopolitically frustrating because it’s an ongoing nuclear disaster (a great heat engine as James Hutton understood it) but one that is metastable while proving itself the ground of all production whether noetic or material. Whether the collecting of ferrite for magnetic strips on subway cards or providing the iron source of painting, the Earth is a geo-chemical and geo-physical graveyard of potency.
Part of this frustration is due to the fact that the fact of this complicity or continuity is difficult to represent given its absurd spatio-temporal stretch. This is a fairly wide spread notion these days in part functioning as a conceptual sidekick to the anthropocene. One can look at the Smithsonian project above or the various works of Kate Paterson. Paterson has recently coupled with numerous authors (including most recently Margaret Atwood) in planting a forest for a library to be produced in 100 years. Prior to this Paterson had attempted to represent deep time through her fossil necklace in which each bead represented a different epoch.
Previously I was critiqued for utilizing pop culture references to discuss the geophilosophical. A defense I had not considered at the time was not only that science fiction does a particularly interesting job of representing the geological, but simply that film is especially adept at representing informational microcosms of deep time and the strangeness of life emerging from the Earth. For instance, it’s not surprising we are seeing a resurgence of monster films – these creatures index their own history (as coming out of mid-twentieth century nuclear traumas) which in turn make them ideal for embodying climatological disaster. The question remains however as to whether it is better to represent the disasters of the anthropocene in a series of cuts of its production by us.
A chemical explosion, to a flying particle, to a chain reaction, to a devastation. A scalar madness is etched in the brain and repeated by the creatures awakened. This is the indecision between continuity and complicity, in how much we take blame for ‘awakening’ the monsters but often seem forced to utilize the same technology, or other disastrous technologies, to combat them. Complicity is investigated by being scaled up and down. The scalar madness is folded outwards: we construct monsters to fight monsters. Nuclear solution twice over – reliable tech and nuking the breach in Del Toro’s Pacific Rim.
The recent rebirth of Godzilla takes this logic to a certain absurdity.
In the film nuclear testing awakened, tried to destroy, and then is utilized once more to try to destroy Godzilla and other creatures. It is quite telling that the devastation of Godzilla and his opponents (massive unidentified terrestrial organisms or MUTOs) receive more attention of the camera than the battles between the creatures. More directly, the film references the connection between climate disaster and nuclear disaster through a nuclear meltdown in Japan as well as a visit to Yucca Mountain. Deep waste repositories such as Yucca mountain (which I’ve written about here) are the real-world and slowed down version of Godzilla and his fellow MUTOs. The sites bear the remnants of nuclear devastation whether or not that devastation occurred in its’ intended’ fashion ie whether or not weapons were used. Deep repositories are the ‘slow violence’ version of nuclear disaster propelled speculatively (and monstrously) into the future.
One serious limitation (of which there are many) is that the imaginary scaling up of the nuclear (which might be better represented as a intensification or contraction of deep time into a disastrous space) is that these disasters-as-monsters necessarily go tromping through cities and other populated spaces. Nuclear waste, and many other environmental disasters, of course happen in more isolated locations. This isolation is of course not only geophysical/geographical but also geopolitical. There is an interesting asymmetry between the geopolitical forgetting of environmental disaster in the global south in relation to the geophysical entombment of the nuclear in the north.
The strangest aspect of Godzilla is the sense that Godzilla represents god-as-nature, as a monstrous force which is capable of putting things ‘back into balance.’ What exactly the relation between devastation and balance is, how the contracted time scale into the space of disaster can be subsequently unfolded seems to be the interesting question.
Filed under: Deleuze, fantasy, film, history, Iain Hamilton Grant, literature, nature, ontology, politics, Schelling | 2 Comments
Tags: Akira, anthropocene, geophilosophy, geopolitics, Godzilla, kate paterson, nuclear disaster, nuclear waste, Pacific Rim, slow violence