Internet

You've Got Zombies: Devoured by E-mail in the Technological Apocalypse

Yancey Orr
Still from The Walking Dead, Season 6

If the persistence of zombies reflects cultural fears, what's really devouring us now?


The Walking Dead

Airtime: Sundays, 9pm
Cast: Andrew Lincoln, Chandler Riggs, Norman Reedus, Melissa McBride
Network: AMC
Amazon

AMC’s The Walking Dead resumed its sixth season on Sunday, 14 February. For those unfamiliar with the show, it chronicles a group of survivors in a zombie-infested world. Adapted from Robert Kirkman's graphic novel of the same name, the series debuted in 2010 and last season, it was the third most watched show in the US (just behind The Big Bang Theory and Sunday Night Football). HBO’s Game of Thrones, with half the audience, is the only other cable series in the top-50 programs by viewership.

Given its popularity, the question arises: Why is a show about zombies so popular?

Some of The Walking Dead’s success is independent of its zombie premise. Its writing, storytelling, acting, and production value combine to create a compelling drama. Zombies are unequaled in their ability to create a context of continual anxiety. From this anxiety, friendship, antagonism, morality, and group dynamics gain heightened significance. Does such a fantasy awaken that primordial part of our psyche still attached to small group cooperation? During the 190,000 years of the Stone Age, our greatest asset for survival in a hostile world was the highly cooperative bands that also comprise the most resilient social units in The Walking Dead.

Or maybe, the show’s grip on us rests on our fears of an apocalyptic future without states, laws, technology, or humanity. I don’t think, however, that it’s really about the past or the future. The Walking Dead is of this world at this time, and it speaks to us precisely because a land in which the undead ceaselessly hound the living actually captures a defining experience of contemporary life: e-mail.

The term "zombie" has its origins in West African religions; however, the fear of the dead consuming the living is found across many cultures. The earliest work of written literature, The Epic of Gilgamesh, contains a passage in which a god threatens to release the dead from the underworld to feast on the living. Other than their diet, this initial record offers little specifics about these undead.

Details in later incarnations of zombies reflected the cultures that imagined them. In agricultural societies, zombies served as a supernatural elaboration of rabies, in which nature engulfed human beings through the betrayal of trusted domestic animals. For Africans in the colonial Caribbean, the emphasis on the supernatural mechanisms by which bodies came under the control of voodoo sorcery reflected the trauma of slave labor.

Closer to our own era, George Romero used zombies to examine society’s racism, consumerism, and inequity in a sequence of films over four decades. Robert Rodriguez's Planet Terror employed the undead to illustrate the social cannibalism of the military-industrial complex. Following the trend of inverting genres within the arts, in Warm Bodies and Zombieland, puppy love returns an undead adolescent to life and remedies teenage anomie. The most recent iteration on the big screen was World War Z, which focused on an epidemiological investigation of zombies voicing contemporary fears of global pandemics.

Given such a rich cultural and historical context, what do our zombies say about us? How does The Walking Dead resonate enough with our experience to transform an individual’s imagination into relatable public art? In the series, zombies aren’t just malevolent things within the broader world, they effectively are the world. Forests, swamps, houses, churches, patios, garages, bars, and cars are infested, and thus transformed into an environment that’s hostile, dangerous, contagious, and, most of all, perennially waiting to eat you. Unlike other zombie apocalypses, there’s no initial wave of infestation to be defeated, as in Night of the Living Dead, or outlived, like 28 Days Later. The pre-apocalyptic environment that we’ve so successfully transformed into benign resources becomes one that sees us as food.

How can e-mail make this relatable? What part of it turns each moment of subjective experience into a landscape of potential threats haunted by the undead intent on devouring you?

E-mails are non-living beings that exist as objects only to consume the living. And, like in The Walking Dead, their presence haunts nearly everything. But how could something as harmless as digital letters create such a relatable nightmare? E-mail is a type of writing -- itself is a form of disembodied communication -- but the potency of its technology changed the way letters are used and thus experienced. E-mail's capacity for volume has turned disembodied communication into something sinister. Traditional mail comes in three basic types: junk mail, bills, and personal correspondences. The first two are dealt with by either ignoring or paying them, and thus require little of our cognitive lives.

When standard mail demands our thoughts, it’s most often in the humanizing form of correspondence. Personal letters are now thought of as an almost purely affective medium, but they also constituted the 18th century’s "Republic of Letters" (Respublica literaria) linking intellectuals throughout Europe and North America into a community. Our young century’s contribution to this tradition is Twitter.

Looking back at the sentiment attached to e-mails in the ‘90s illustrates to us just how unromantic they now are. The conjectural eroticism in You’ve Got Mail that titillated Tom Hanks and Meg Ryan was sadly not a harbinger of what the actual digital world would become. Listen to how Ryan’s character romantically described what became the boulder of our Sisyphean existence: "I turn on my computer. I go online. And my breath catches in my chest until I hear three little words 'you’ve got mail'."

Such a sentiment could not seem farther from the contemporary experience of this medium. If we have a Pavlovian response to emails, it’s holding our breath in anticipation of the day’s digital onslaught whose clarion should be "…brainsbraainnsss…". Any heightened expectancy of romance through the digital medium now combines the hollow physicality of digital photographs with the parsimonious a-poetics of text messaging.

If e-mails are not simply digital letters, are they as hostile and threatening as zombies? E-mails, far more so than regular mail, are requests of something from you that, unlike standard mail, cannot be summarily dismissed. Whether they are for your knowledge, actions, or decisions, they require your attention and time. There are exceptions: GIFs and videos too large for text messaging end up on e-mail. Group e-mails among friends can provide content for entertainment and half-hearted birthday wishes and congratulations.

Of the vast majority of e-mails that request things of you, some, at least, can be discarded by looking at the sender, but most have to be read or opened, and because of the ease with which they are made and sent means they are often comprised of the pettiest of demands. The significance of this is hidden by how it’s now assumed that e-mails are a platform for obligation and responsibility, but rarely growth, learning, pleasure, or other pursuits. Ironically, the Nigerian scam of the internet's early years, in which a distant person contacts you because your trustworthiness remedies their fabricated situation was the prototype for what e-mail actually turned into, the only difference being that the fraud has been removed from the extortion. These requests take so many bites out of you; they, with the recent advancement in technology, transform space and time into mediums waiting to devour you.

Is the hostility of e-mail amplified enough to create its own reality? Teachers, lawyers, engineers, project managers, and other "knowledge workers"” begin their days with dozens of e-mails waiting for them, and go to bed knowing more will follow. The idiom by which many express workloads is now the quantity of emails. Last year, 660 times as many emails (66 trillion) were sent than human beings that have ever existed (100 billion). The majority were unnecessary and even unread, yet the average worker spends around 30 percent of his or her time reading and writing them; for those in the knowledge economy, it's likely far greater. I know that I spend more time processing email than I do writing lectures and teaching students.

But do these changes simply intensify and depersonalize work while leaving life alone? With smartphones and data plans, e-mails now reach us beyond the physical limits of the office and the temporal constraints of the workday. We get e-mails at home, in bed, in the car, at lunch, at the gym, etc. As is the case with zombies, the extreme environments associated with high-speed watersports and airplane travel are among the few places we are generally safe from their reach. Although only 30 percent of work time is spent on e-mails, how much recreational or family time is flavored by the worries over them?

So e-mails are a medium dominated by continuous demands of our thoughts and they reach us almost everywhere; then again, we've been in constant interactions of obligation to others throughout our existence. However, e-mails don't simply intensify existing obligations; they transform reality into a surreal horror by their very preternaturalness. About 5000 years ago, the written word appeared, approximately 35,000 years after spoken language emerged. Before the 19th century's phonograph and radio, verbal communication was more or less instantaneously brought into and out of existence with a breath. Until recently in our species’ history, requests couldn’t live in anything but our memories.

With e-mail, demands are disembodied and atemporal. Your coworkers or clients don’t simply just ask you something, to which you respond in situ; the request lingers outside of the physics of living nature. The request becomes something that wants something from you, but that’s not alive. It’s timeless desire without personhood: a zombie. This means that you experience the environment more and more as though it only exists in pursuit of you. This world, with its 66 trillion e-mails, creates an un-living ecology, yet one that still desires… making it also undead. The cosmos is one that increasingly waits (or walks) to eat and infect the last living parts of subjective experience.

That being said, imaginary worlds aren't just metaphors for our own. They also project fantasies that we’re unable to fulfill. In almost all permutations of the genre, zombies can be stopped by damaging their brains. Because e-mails cannot be killed so easily, this is the part of zombie mythology that’s a projected fantasy. We wish that we could just delete or ignore them, but they hover over our psyche.

Tragically, the way we kill e-mails is by answering them. Other than by taking part in their world and becoming infected ourselves, they remain waiting. As a vector, we send our own e-mails and thus continue the web of contagion. This is where the zombie myth extends beyond just expressing subjective experience, and into a communally held fear. Fear that we’re becoming something less than human in which our humanity, located in our capacity for generative solitude, our sympathetic interactions with others, and our relationship with our living surroundings, is degraded by the instrumentalism, bareness, and ubiquity of e-mail.

Our world is increasingly haunted by the undead. Can we do anything about it? Enclosed in the protection of a hollow tree trunk as a pack of zombies passes, two teenagers in The Walking Dead prepare for a first kiss. Life can certainly become more exhilarating when surrounded by threats to it. But something has changed. Death, when it's life's abomination and not its end, is no longer its complement. The girl unsuccessfully tries to calm her skittish lover’s concern over the pack of undead. She whispers an epiphany of the defeated "it’s their world, we're just living in it". The Walking Dead’s popularity suggests such whispers don’t calm us either.

Yancey Orr is an anthropologist and a faculty member at the University of Queensland in Brisbane, Australia. His writes on contemporary human ecology, phenomenology, and technology.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less
Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

Next Page
Related Articles Around the Web
Film

Subverting the Romcom: Mercedes Grower on Creating 'Brakes'

Noel Fielding (Daniel) and Mercedes Grower (Layla) (courtesy Bulldog Film Distribution)

Brakes plunges straight into the brutal and absurd endings of the relationships of nine couples before travelling back in time to discover the moments of those first sparks of love.

The improvised dark comedy Brakes (2017), a self-described "anti-romcom", is the debut feature of comedienne and writer, director and actress Mercedes Grower. Awarded production completion funding from the BFI Film Fund, Grower now finds herself looking to the future as she develops her second feature film, alongside working with Laura Michalchyshyn from Sundance TV and Wren Arthur from Olive productions on her sitcom, Sailor.

Keep reading... Show less

People aren't cheering Supergirl on here. They're not thanking her for her heroism, or even stopping to take a selfie.

It's rare for any hero who isn't Superman to gain the kind of credibility that grants them the implicitly, unflinching trust of the public. In fact, even Superman struggles to maintain that credibility and he's Superman. If the ultimate paragon of heroes struggles with maintaining the trust of the public, then what hope does any hero have?

Keep reading... Show less

The Paraguay-born, Brooklyn-based indie pop artist MAJO wraps brand new holiday music for us to enjoy in a bow.

It's that time of year yet again, and with Christmastime comes Christmas tunes. Amongst the countless new covers of holiday classics that will be flooding streaming apps throughout the season from some of our favorite artists, it's always especially heartening to see some original writing flowing in. Such is the gift that Paraguay-born, Brooklyn-based indie pop songwriter MAJO is bringing us this year.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image