[-empyre-] art and buffy

Hi Stacia and all,

I had meant to imply that the ‘construction’ is happening in association with the ‘negotiation’ (and re-negotiation). Your definition of ‘negotiation’ does however include both of these processes: “working with what's on the table, moving it around, reordering it, and, yes, creating something new out of the material”. I also agree that no final agreement can ever be made, in fact it is the ever failing struggle to find agreement that ultimately defines the self.

If art and Buffy are tools for this kind of negotiation, then perhaps it comes from the freedom to pose (and attempt to answer) challenging speculative philosophical and ethical questions? They provide a space (a site of speculation) to step far enough outside of the usual self in order to examine(negotiate) it from another angle.

(As an aside for non Buffy fans, but still on this point, intelligent speculative fiction and screen writing has long been at the forefront of philosophical investigations into the self. Indeed Buffy (the show) presented us with the very question of real/un-real when it asked: what is the difference between having a sister, whom you know to be your sister because the narratives of your memory / imagination informs you that you do, and having a sister that the narratives of your memory / imagination informs you of, yet, your intellectual deduction tells you otherwise. If your memory and imagination both fill you with a love for your own sister, yet you know that these memories have actually been planted by an outside force, does this love (or indeed this sister) become any less real? (And what if this outside force where a television script writer, rather than a group of mystics trying to save the future of the planet?) And all of this on prime(ish) time television.)

ps: I hope you read my posts with the voice of enquiry, stemming from a strong appreciation for your work.


andrew burrell

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