Rising and Underlying Tension III

Different areas, similar patterns.

But this pattern of tension seems limited to humanity. Of course, the animal world experiences tension, but this is almost inevitably released through some form of instant aggression. There are no past grudges or future fears for these animals, their concern is the now and survival in the moment. So why is it that humanity must alone experience these forms of political and personal tension?

The answer to that question is intrinsically connected to the question "Why did society develop in the first place?". Both questions are just as complex and unclear. But we can be clear that this incessant living in the past and future is a social issue. From advertisements to the very language we use, we constantly regret past mistakes and 'look forward' to future strife. We cannot escape this any more than we can escape the fact that humans are social beings.

Like other animals, we are instinctively inclined to vent our aggression and tension when it arises. Social laws inhibit this and punish those that cannot control their tension. Instead, 'acceptable' methods of release like wars or passive aggression are allowed in the social system. Society may have developed naturally, but it fails to master the natural tendencies of humanity. In short, we are animal creatures that have adopted social patterns.

For this reason, explosions of tension in personal and political life are not likely, they are inevitable.

-The English Student

Aeon Flux: Thanatophobia

From the masters of pets, to the masters of countries, we all engage in projection. Aeon and Trevor are no exception.

Manipulation comes natural for Trevor who instinctively uses Sible and Onan as external representations of his conflict with Aeon. She too engages in this practice and believes the pain inflicted on either of the Bregnan dissenters to be a blow against herself.

While not to the same degree, puppeteers do engage in this method of projection. The technique of externalising personal issues has even been used by psychologists and councillors, especially in cases regarding children.

While this puppetry as a profession is mostly harmless, problems can occur from an over indulgence of this practice. Externalising emotions may make them easier to understand, but an outside force is harder to deal with and resolve than an internal one. There is a danger in placing traits on a puppet, as it allows us to avoid delving into the origins of these issues.

Sible remarks that Aeon and Trevor are "toying with our lives" and the control they exert creates puppets of these lovers. But, as with all puppetry, in the end it becomes clear who is toying with who.

-The English Student