Seeing the xenomorph, Giger’s alien in the context of machinic modernism

What is it about?

This article contextualizes H. R. Giger’s influential alien designs and the extended Alien mythos, represented by the popular films, with what has been called machinic modernism. That twentieth-century aesthetic is examined here in fine artworks and related literature by artists with distinct relations to so-called desired dehumanization, including Wyndham Lewis, Jacob Epstein and Michael Ayrton. The research outlines the ways in which particular social forces cohere to influence common aesthetic decisions evidenced in the art practices discussed. The analysis indicates that an anti-humanist position is incubated in the alien designs and in the extended mythos, and how this is politicized in relation to ideas of heroism, leadership and social organization as proto-fascistic. The designation ‘proto-fascist’ in this article is not intended to defame the creatives involved in the creation of the Alien mythos, or the audiences that have enjoyed and engaged with it – of which the author is a part – rather, it is used to describe a common world-view, and a type of fantasy operational in many nationalistic narratives and aesthetics, and widely consumed by the public. It is an aim of the research, in exploring the problematic but compelling aspects of the Alien mythos, that what is later described as fealty to primitive and atavistic patterns in popular culture can be resisted in the name of a reflexive and complex subjectivity.

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Photo by Diego Marín on Unsplash

Photo by Diego Marín on Unsplash

Why is it important?

By analyzing the Alien mythos and H.R. Giger’s iconic designs, the article bridges popular culture and critical theory. It sheds light on how deeply ingrained socio-political ideologies—such as anti-humanism and proto-fascism—are embedded within beloved media franchises, offering insights into how art and entertainment reflect and reinforce societal values and anxieties. The research investigates "desired dehumanization" and anti-humanist themes in the Alien franchise. These themes challenge humanist ideals, providing a lens to explore how media represents alienation, machine-human relations, and societal power structures. This aligns with broader intellectual trends in posthumanism and machinic modernism, which are increasingly relevant in the age of AI and technological dominance. The article connects the Alien mythos with early 20th-century art movements and artists like Wyndham Lewis and Jacob Epstein. This multidisciplinary approach enriches the understanding of how aesthetics evolve under specific historical and social conditions, and how art can carry underlying political messages, even unintentionally. The identification of "proto-fascist" elements in the Alien mythos encourages readers and scholars to critically engage with how media may inadvertently perpetuate atavistic, hierarchical, or nationalistic ideologies. This is crucial for fostering media literacy and promoting more reflexive, inclusive cultural narratives. The research aims to resist simplistic or regressive cultural patterns by advocating for complex and reflexive subjectivity. This has broader implications for how audiences engage with media, encouraging them to question and deconstruct the values and assumptions embedded in popular narratives. The themes of heroism, leadership, and social organization in the context of anti-humanism and proto-fascism resonate strongly in contemporary society, where debates about authoritarianism, nationalism, and technology’s role in dehumanization are prevalent. By highlighting the socio-political undercurrents of art and media, the research could inform creators, prompting them to consciously navigate the ideological implications of their work and avoid perpetuating harmful or reductive narratives.

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