But now you are laden with the judgment due the wicked; judgment and justice have taken hold of you. Be careful that no one entices you by riches; do not let a large bribe turn you aside.”
– Siri! Please tell me another story. Grandfather has gone somewhere…
On 28 September 2023, the day of its premiere, “The Harvester” was the number one feature film in fourteen countries around the world. Before dismissing the universal significance of Tadeusz Dołęga-Mostowicz’s writing, it is instructive to examine the historical context.
In this relentless pursuit of progress, we are the slowest to alter the narratives that are repeated ad nauseam. This is what unites us, this is what gives us hope. Is it the unbearable monotony of repetition, of memory, that unites us? Indeed, that is precisely what unites us, and it is often acute. It is not a simple history, it is not a simple choice, it is not a simple path.
History, memory, and identity are not about repetition; they are not about telling the same thing over and over again. This is a challenging concept to grasp in the context of modern media, where election broadcasts are often presented in blocks between commercials. When a story is repeated, it is not necessarily a reflection of a genuine narrative but rather a form of efficient marketing, a strategy employed by large businesses that own the rights to broadcast content and forms. It is plausible to suggest that our identity, our sacred privacy, and our uniqueness are subject to similar forces. The question of faith remains a sensitive issue in Europe.
The term Alien Staff may be unfamiliar to some. It was once a sleek, functional object based on Interrogative Design, yet relatively unknown. It had no “reach”. Similarly, the term Netflix may also be new to some.
The contemporary era presents a challenging context in which discerning whether progress is being made or regression is occurring is a complex undertaking. One might inquire whether any progress is being made. Or do we assume that we are progressing because the content appears to move smoothly in front of our eyes, and we are content with that assumption?
In the context of such uncertainty, the distinction between right and left becomes a secondary concern.
Hieronymus Bosch, The Wayfarer, c. 1500, Museum Boijmans Van Beuningen, Rotterdam;
Antoni Brodowski, Oedipus (here without Antigone), 1828, National Museum, Warsaw.
