PARADOJA Y CONTRAPARADOJA EBOOK

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From its spiritual existence to secular arm. Chamayou, 55 Through its imagined battles with Satanic evil, the police story positions police as both the omnipotent lawgiver and adjunct of a decidedly western Christian understanding of God. Cohle: Exact same thing they do now. Just out in the open. Itd be a fucking freak show of murder and debauchery and you know it. TD, Following Schmitts political theology, we can surmise that Hart sees himself and his kind fashioning a thin blue line, which like belief in God, holds back the swell- ing tide of murder and debauchery.

In True Detective and the everyday, this murder- ous tide is distilled down to its terrifying core, the serial killer, a figure that projects societies blackest desires and enacts its most righteous vengeance simultaneously Seltzer, ; Tithecott, Introduced in the first scenes, yet not revealed until the final episode, Cohle and Harts adversary stalks the otherworldly Louisiana bayous hiding, in Pizzolattos words, like a creature out in the tall grass that you cant see BTS, What this demonstrates then, is that in order for the police story to deliver on its powerful ideological message, it is not necessary to bring the killer to justice, the police power must simply invoke the 12 Theoretical Criminology 00 0 imagination of an enemy.

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Hart and Cohles foe and the criminal more generally then, powerfully demonstrate how the politics of enmity are not a matter of simple binary opposition. Indeed as Slavoj iek suggests, because the enemy is by defi- nition, alwaysup to a point, at leastinvisible, he looks like one of us a crucial task for the police political power is to make the monster knownto give it a name.

This is perhaps why Pizzolatto says that he always meant for True Detective to take the form of a manhunt [] than any kind of a whodunit BTS, As Chamayou 2 similarly sug- gests, this understanding of the police power breaks with conventional understandings of linear and face-to-face oppositions and instead is accomplished by means of slow detec- tion work where hunter-analysts piece together a cartography of social networks, in order to trace the enemy to its hideout.

Yet, as it does in True Detective, the slow work of detection always leaves some questions unanswered, just as it creates or uncovers alto- gether new questions. What were the killers motivations? Did he have help?

Are there more like him?

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That policingreal and imaginedalways manages to create more questions than it answers and identify more suspects than it apprehends, is at once one of its most deeply held secrets and repugnant horrors.

For policing to endure, it must have a monster to oppose Neocleous, Despite persistent allusions to the weird and eerie, in the end, True Detective failed to deliver the supernatural. Through this particular enemy, True Detective lazily draws upon and reaffirms a clichd and deceptively conservative narrative built upon the supposed biological inferiority of the rural poor and the overstated, but tidy causality of interfamily sexual abuse and violence found elsewhere in films like Deliverance Creadick, and enshrined in the socio- biology family studies of early US eugenics Rafter, In one scene for instance, Marty, having committed yet another offense against his wife and family, self-loathingly asks Cohle, Do you wonder ever if youre a bad man?

I dont wonder, Marty. The world needs bad men. We keep the other bad men from the door TD, , emphasis added. Contradicting his pessimistic, nihilistic facade, Cohle endorses the rogues notion of breaking the law to uphold the law, advancing a fundamentally Hobbesian view of social order.

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With Cohle beating information out of suspects and Hart donning black sap gloves to merci- lessly beat two boys caught in congress with his underage daughtersay nothing of their cold-blooded execution of two drug-dealing child molestersrepresentations of the brutal lawlessness of police appear throughout the series.

In fact, one analysis went so far as to record 57 individual crimes committed by Cohle alone and to estimate a cumulative sentence of years under the Louisiana criminal code Cimino, In another scene, where Cohle rousts Lucy, a truck-stop sex worker, he even more plainly admits the monstrosity of the police power and the bad of his own character: Lucy: I thought you were gonna bust me.

Cohle: I told you, Im not interested. Lucy: Yeah, I know. Youre kinda strange, like you might be dangerous. Im police. I can do terrible things to people with impunity.

Yet the horror of police is not simply a matter of denial, as plainly depicted in myriad culture texts, police are the monsters preferred over others, the Leviathan over Behemoth, the bad men who guard the door.

This is the solici- tation of the trap, the active production of subjectivity, whereby liberal subjects renatu- ralize the gap in the symbolic order with the reaffirmation of the inevitable necessity of the superior violence of police Hall and Winlow, In the end, as Laycock notes, True Detective was not the Nietzschean fantasy of men who hunt monsters becoming monsters themselves but instead, another itera- tion of the intoxicating, yet dangerous mythology of the police storythe macho non- sense of Cohle and Hart, their violence and crimes, all justified by a Manichean ontology which positions the police as the thin blue line between goodness and evil Nussbaum, The unthinkable world If we stopped here, True Detective would still be a useful but not necessarily unique jour- ney into the noxious ideology of the police story.

Yet, it is Cohles philosophical pessimism and the paradox of a nihilist policeman, which provide one final and particularly powerful avenue for critique.

The obvious task here is how to square the disjuncture between Cohles philosophical positions and his chosen profession. Why would a nihilist endeavor to solve crimes, avenge the wronged, punish the violator?

Early on, when Hart and Cohle are get- ting to know each other, we are given a direct answer to these questions: Hart: Can I ask you something? Youre a Christian, yeah?

But in philosophical terms Im whats called a pessimist I think human consciousness is a tragic misstep in evolution. We became too self-aware. Nature created an aspect of nature separate from itself, we are creatures that should not exist by natural law We are things that labor under the illusion of having a self, this accretion of sensory experience and feelings, programmed with total assurance that we are each somebody, when in fact everybodys nobody I think the honorable thing for our species to do is to deny our programming.

Stop reproducing, walk hand in hand into extinctionone last midnight, brothers and sisters opting out of a raw deal.

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TD, Here Cohle admits that even he, a man who sees humankind as a tragic misstep in evolution, openly decries the futility of existence and advocates planned extinction, cannot deny his programming and the inescapable solicitation of the symbolic order Hall, a. Despite all his blustering nihilism, Cohle himself labors under the illu- sion of having a self, is programmed with total assurance that he is in fact some- bodya subject of liberal capitalist social order. As a representative of that order, Cohle cannot escape the Cartesian world-for-us and its Manichean ontology of police.

The oldest. Hart: Whats that? Cohle: Light versus dark. Cohle: Yeah, youre right about that. Youre looking at it wrong, the sky thing. Hart: Hows that? Cohle: Well, once there was only dark. You ask me, the lights winning. TD, In her critique of the series, Erin K Stapleton suggests that Cohle has sof- tened his horror for the uselessness of life and the spirituality of his near-death experi- ence has reawakened a latent nostalgia for the monotheistic dialectic between good and evil.

Yet, as we have seen, this is hardly nostalgia and Cohles is no conversion. Rather, he simply reaffirms the position of the police within the oldest story, the story of light versus dark, good versus evil, a story that he and Marty, as always already sub- jects and servants of liberal capitalist order, were doomed to play out.

Just as Hart and Cohle are programmed in service of a particular type of order, so too are liberal subjects who fetishistically disavow the inherent violence of police and actively solicit the trap of a coherent symbolic order Hall and Winlow, and the place of police within the ontologies of world and earth Thacker, In regards to the former, as those who enforce the wage, protect private property Neocleous, and fabricate the color line Brucato, , the police are vital to the creation and continuation of the late-capitalist world, one that is always imagined as being for some of us.

That police are inseparable from the ontology of liberal capitalist order is all the more apparent in attempts to imagine the objective earth. As Thacker b: 5 is clear to point out, while we might be able to imagine the objective thing in itself, the paradox is that the moment we think it and attempt to act on it, it ceases to be the world-in-itself Linnemann 15 and becomes the world for us. Again, this paradox is neatly illustrated by the place of the police within the dystopian imaginary.

While texts like The Road McCarthy, portend the lawlessness of a world absent the state and its police, others such as Children of Men conversely warn of a world beset by far too many, or perhaps the wrong kind of police i. Even more subtly, films that employ an asteroid strike or earthquake to invoke the apocalyptic, powerfully illustrate the horror of policings impotence through the singular warning that there are some, in fact many things, for which they are simply of no use.

In the zombie film World War Z for instance, when in the midst of panic and looting, the films protagonist Brad Pitt kills two men who were attacking his wife and immediately submits to a responding police agent, he quickly learns that the agent is also looting and offers no protection.

The representation of policings human fallibility and impotence again illustrates the many ways that polic- ing is tied to the collapse or continuation of the symbolic order. Together, the abject concrete universal found here is that the police are often not there when you need them, around when you do not and ultimately of no use either way Hall and Winlow, Capitalism, as Fisher 8 reminds, seamlessly occupies the horizons of the think- able. The challenge for those who hope for a world free of the violence of capital and police is how to escape this ontological trap Hall, c.

The Lovecraftian weird, which has been touted by Thacker , a, b and others, for its ability to help contemplate the unthinkable, offers a clue. Despite its odious racism, Lovecrafts oeuvre offers a heuristic to those working within the varied fields of critical animal studies, posthumanism, new materialism, speculative realism and object-oriented ontology Sederholm and Weinstock, 4.

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Most promi- nently, the philosopher Graham Harman advances a weird realism and object-ori- ented ontology intent on challenging the correlation between thinking and being and the assumption that if things exist, they do so only for us Bogost, 4, emphasis in original. As hinted by Pizzolatto in True Detective, Harman sees the Lovecraftian weird, inhabited by indescribable monsters and otherworldly forces that defy human com- prehension, as productive of the gaps between objects and their unknowable qualities.

This sort of speculative realism, does not mean that we are able to state correct proposi- tions about the real world and instead concedes that noumenal reality is too real to be translated without remainder into any sentence, perception, practical action, or anything else Harman, For Harman then, the promise of this sort of speculative thought lies in its ability to undermine anthropocentric, human exceptionalism and offer a starting point for a more munificent engagement with the world that each of us inhabits Sederholm and Weinstock, 6.

Steve Hall and Simon Winlow insist that crimino- logical theory may benefit from such a speculative position, which could dispassionately and without optimism apprehend the present and its consequences as contingent realities in the cold world, and reflect on our role in their causation, and speculate freely on how things might have turned out differently and might turn out differently, should we choose to change our way of doing things.

Hall and Winlow, Elsewhere, Winlow following iek, calls for an enlightened catastrophism, which abandons the myth of reform, incremental progress and easy solutions, for the clarity of a grim realism better equipped to imagine the dystopian future, or perhaps reckon the dystopian present Winlow, If the contemporary police story helps reaffirm the Hobbesian view that the police are always redeemable, perhaps then, what is offered by the horror of police is the pessimistic view that the police are in fact irredeemable.

Here in the cold light of day Hall and Winlow, we better apprehend how and why liberal subjectsbeset by an objectless anxiety and fear of the monstrouscling to and actively solicit the solipsistic Cartesian ontology of the world- for-us and its intractable violence and inequality Hall, c.

Because the gap between appearance and essence is irreducible, as iek argues, the best way forward is to formulate the antagonisms necessary to better under- stand a certain social order. The antagonisms offered by the police story powerfully illustrate the fantasies that reproduce the dystopian present.

The challenge then, as I see it, is to think outside the subject in order to imagine the unthinkable, a world-without- police. Funding This research received no specific grant from any funding agency in the public, commercial or not-for-profit sectors. Notes 1. I use the term police stories loosely to include the broad array of textsfilm, television, literature, commentary, communicating who and what police are, as well as their position within the social order.

The symbolic order provides a predictable set of rules, which allow subjects to navigate eve- ryday life. Following Adrian Johnston , Hall and Winlow assert that the sym- bolic order cannot be reduced to an Althusserian ideological state apparatus, or Gramscian hegemony and instead, must be understood as a habituated practice of subjects everyday sense making, accomplished in order to escape objectless anxiety and the horror of the real.

In the Dust of This Planet Vol. And with the rise of neoliberalism more generally. Egon Bittner 7 used the imagery of the dragon within the dragon slayer. Harrelsons character also warns how the monster has gone digital in relation to identity theft: You should be smart enough to know that the monster has gone digital. Be careful what you instagoogletweetface. Indeed, as James Naremore 14 has argued, genre has less to do with a group of arte- facts than with a discourse.

In the disjuncture between these two mutually exclusive poles lies ambiguous and uncertain territory, what Tzvetan Todorov called the fantastic. With an overarching philosophico-theological Haycraft, thrust and a conclusion that left many questions unanswered, True Detective can be considered a metaphysical detective story Merivale and Sweeney, Perhaps reflecting the ceaseless desire to locate the real within fantastic, Vice Magazine produced a short documentary The Real True Detective?

While police accusations of Satanism proved unfounded, the specter of ritual abuse continues to loom over the tiny town Laycock, Yet, as such an interesting contradiction for Cohle who, as a nihilist and atheist, decries the superstition of Satanism and quips, You know me.

I dont see the connection between two dead cats and a murdered woman, but Im from Texas. That capitalist consumer culture even defines the boundaries of the dystopian only reaffirms this suggestion. The dystopian present which is of course characterized by police in the USA who kill unarmed people, most of which are poor and people of color, at a rate not rivaled by other like nations.Email: travis.

Test de Matrices progresivas de Raven Objetivo General: Medir inteligencia, capacidad intelectual, habilidad mental general. TD, In her critique of the series, Erin K Stapleton suggests that Cohle has sof- tened his horror for the uselessness of life and the spirituality of his near-death experi- ence has reawakened a latent nostalgia for the monotheistic dialectic between good and evil.

A Noldus face reader and can. And with the rise of neoliberalism more generally.

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TD, Here Cohle admits that even he, a man who sees humankind as a tragic misstep in evolution, openly decries the futility of existence and advocates planned extinction, cannot deny his programming and the inescapable solicitation of the symbolic order Hall, a.

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