Shakespeare’s Global Weirding: Macbeth’s Posting of “Anthropos,” Cinematization, and the Era of Extinction

Tom Cohen


"In global weirding, “nature” or the “natural” has become, not “unearthly,” but all too earthly. The occluded term at the peripheries names an unseeable and untrackable backloop that feeds off its acceleration in advance to the cognitive reactions or defenses that reconstitute the public memes and hermeneutic rituals of a post-fact society running on circular postings, as if spellbound in a cinematic circuit, unable
to project futures other than tomorrows that resemble its imaginary. From a certain point of view, Shakespeare did not provide the vocabulary of modernity and personae, except as a revocation. Weird, exhumed from extinction as a word, circulated as a staining mesh and anagrammatic monster, bearing extinction as the weird sisters bear the gift of Macbeth’s ascent and revoked future at once, would, demurely and like an eviscerating emoji, virtually haunt the Globe. One might say that that which is irreversible has become irreversible, is fated, destined, and what amounts to being inscribed in the arc of “Anthropos” (if he exists or existed as such). Depending on the moment of cognizance, one cannot remove from the apparatus Macbeth’s bumbling and self-referential drive to decrypt or read the aprophetic words themselves as agency and factor in assuming the modus operandi of an algorithmic backloop."

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