2012
28 June 2012
Fiat accompli Twittering about the
Woodpecker Grid
Cabbage Satellite
yes of course you do well to ferret along the grid where the woodpeckers are running, but there are big black bumbles too and gold that my chow pup barks. He will eat them, the chow will eat the bumbles where the peckers are pecking. They peck on the knot in your Rushin brain, the Russians, the woodpeckers, the dudders, the physicists, the little godlings hatched in the grid admit the tree is dying. Too much sunny aluminum are we today? What do you see in the mirror grid, what do you see in the grid, the least that devoured the bright little flower that likewise devours itSelf, who can help it, nobody cares for its name. They would not believe the Russians settled the United States, the Nazis won the war, the scalar dynamics were wrong or be relieved if the Russians entering a woodpecker nest in a dead conifer at 2100 m off-the-grid and using ... a menagerie of woodpeckers and pocket gophers attack the poles. ... here in the rack map of concrete slabs
Picturesque-esque visualary: http://pruned.blogspot.com/2009/06/returning-to-metisreford.html
23 June 2012
Narcissus Redeemed
Of course there is a contest to see who first invented these changes, stuff from the sky, up from the earth, out the labs. It wasn’t out of the dirt according to Dante, who gets first place for coining the transhuman run. As he says, Paradiso, I.
Nel suo aspetto tal dentro mi fei, 68 qual si fé Glauco nel gustar de l'erba 69 che 'l fé consorto in mar de li altri dèi. 70 Trasumanar significar per verba 71 non si poria; però l'essemplo basti 72 a cui esperienza grazia serba.
No wonder Blake finds Dante a pagan, for in his invention of the transhuman, going beyond the man, he resorts to Glaucus: “fisherman-turned-god whose story contains several parallels with Dante's journey. Glaucus found a piece of land along the shore that was completely untouched by human civilization, a place of pristine beauty. He observed that the fish he caught became animated as soon as they touched the grass and that they then escaped en masse back into the water. Understandably amazed, Glaucus chewed several blades of the grass; seized with an irresistible longing for the sea, he bid the earth farewell and dove into the water, where he was received by the sea gods and "deemed worthy to join their company." Glaucus was then purified of his mortal elements and cleansed of sin (after reciting a charm nine times and immersing himself in one hundred rivers), thus becoming immortal himself.” From danteworlds notes.
Sound familiar, an early parable of smoking grass? A man with the soul of a fish or a fish of a man found the grass is a sacrament to cure his mortality and as such enabled him to become a god. But the terrestrial paradise, the wilderness untouched, the union with the sea, are all too transparent mediums compared with Blake’s naked vision of reality.
Turned from his narcissism to true self-love, arête, shall one say, Dante becomes a redeemed Narcissus,” transhumanized. Narcissus Redeemed. The problem with all this is that Blake would say Narcissus cannot be redeemed, Narcissus must die, not so different from the man who wants to be god but turns into a dog. Blake’s inscriptions over the Hell gate that “Nature is his [Dante’s] Inspirer & not the Holy Ghost” make us suppose Yeats would be the best Transhuman of Dante, Blake and Yeats. Yeats said once out of nature he would not take his form from from any natural thing, but such a form as Grecian goldsmiths make. We allow the goldsmiths as a symbol of transhuman scientists immortalizing themselves with nano particles and the genes of a frog. So you can either be of Narcissus, Naturae or the Holy Ghost, not that the dogs on the early show know what that means.
Or perhaps Blake said, “the Goddess Nature Memory is his Inspirer not Imagination or the Holy Ghost." Getting to be the first transhuman Dante had to compete with the Brahmic Tertium Organum, ‘Dante's phrase capable of trans-humanizing a man into a god,” Ouspensky (318), taken from Frank Bucke, not such waters to wade in without a two-pronged stick.19 May 2012
Ubermensch Art
They made a gene to love the Latin meme to move the headless transplant man to someone’s empty neck. Kiebsiella planticola! the body was a farm of cabbage, livers, tomato hearts, brussel sprout eyes, these honeydew nanonatomies, nanopolies with porcelain teeth and diamond bones.We witness new type art, the arti-scientist-research that build the dome in a cat, a cow in a monkey, a spider in a goat, a flounder in tomato. Sheep and goats were growing breasts in jars at the Whitney Museum exhibitions of art. A rabbit with the head of jellyfish glows in the dark and lizards grafted on earlobes, of docents turned tongues into eyes and all this went on as we croaked. It made elves jealous. Turnspeak, the new Turnstile assembly lines of this art turned out to see what they did to their pets!
Suction cups in fingertips, injectable polymers with a 1200 IQ, battery packs in mice, robo circuit cockroaches could hear and see like a dog, but Uber outdid with the headless frog. Starchitect biologists and social planners made a headless to mine its body parts immortal to the length of a telemere. Who says domes have to be gigantic?
These were
microscope beyond injectable virus cloning vectors to engineer the cell. As above so below, it was like bird flu to kill the
past, which was oddly not dead, just waiting to be revived in some lab, plantosaurus maximus pentithicatus.
A Nano in a polymer in a vision once I saw. It was an Uber Alter made, and its Extremeophile played pathogens by the score.
Testing, testing, one two three, please move to the rear of the aircraft dome. Super dome, super fly, super bug, super man, they went down to Camp Funston and what did they there,holes drilled in skulls, a potato from Mars but not aware of both minds. Again however, some of them did not have heads.
It’s the old half remarkable question, what is it that we are part of and what is that we are, a flying hat searching for heads? Neuschwaben terrestrial ufos, ufc, uhp, hup! Kammler, Hans yep, two pronged cattle, raeleans vs shinerians: starchyld! Like a slot pays off big. Huge silver dollars roll across the floor like in the days of Noah at daystar rise. Then Biological contact with Sagan!
Sagan sagan on the wall who’s the best transhumanist of all. They began to eat each other. Oberfmacher Serbottendorff, speared! Myth became history, history fact, fact myth. QED folds War crime acts of research embryos: Calling Dr. Graefenberg: ;e’l/ {;ease cplese come to the waiting room.
Driven to distinction was extinction it was hungry death hungerhauser to make room for Dwight BabyNauer. Can you imagine if any of this is true that
*Consenus of Kubla (A.B. England, “Kubla Khan Again,” 1973) says it is a poem about creative process, making a poem, that the dome is the poem. Arbitrary assignations of meaning make it an allegory of the unconscious which contradicts the phrase, “lifeless ocean.” So the contrast between the fountain and the caves that bursts into life is the pleasure-dome.
England uses C’s letters to buttress the preoccupation with caves and dens but misses the point of Coleridge’s actions in climbing Mt. Strand, outward, not inward, opposite the torture of reflection between philosophy and poetry. The tumult between river falling into the cavern creates the ancestral voices, the waters sound like wars, so more allegory, nuts and bolts of sounds, male meanings only in play.
England refers to C. that "In Shakespeare's poems the creative power and the intellectual energy wrestle as in a war embrace. Each in its excess of strength seems to threaten the extinction of the other. At length in the D R A M A they were reconciled."
But the "two rapid streams" which fight against each other " w i t h i n narrow and rocky banks" could as easy refer to the birth canal and the life force of the spirit to be born, bardo states, or plant life cotyledons emerging from earth. Biology, psychology can’t make up their mind. So he thinks the war between two kinds of mental activity. “Kubla is a creative artist himself—he has built the pleasure dome… a building which involves a miraculous union of opposite forces.” “Thus, when either the spontaneous energy or the analytical intellect seeks to dominate its opposite it engages in a battle with it, and the result is "tumult." Certainly, " w a r " would not be an inappropriate word “
Given this why can’t we have C. a porphot, a precog of post human science? Thanks very much. A
24 June 2012
Weaponizing the atmosphere from above, culling the herd below matches functional genetics, mutating the genome. Redesigning humans and their world, entropy, extropy, heaven, hell sounds like literature. The new science asks, as if it suddenly discovered the question, what does it mean to be human, but underneath the pretty flower lies a dead bird. So instead of the poets the scientists and philosophers clothe themselves with challenges to our concept of humankind “beyond culture.” They think the brain, intelligence is beyond culture, took Einstein’s brain and hoped, still do, to replicate it, but first oppose intelligence with animal instincts, saying that the animal will be left behind. Old hat. There were always transformations, metamorphoses so called, the essence of Plato and classical myth through the renaissance made “like to their minds most monstrous” when the human was turned to a pig, whether by Circe or Una. Science today talks of “ceasing to be human” just the opposite of Nebuchadnezzar who was turned to a beast for seven years. It is not to a beast but to a god and by the time transcendence from the human is explained those remaining in the audience make appointments to have it done. It is done to them, not by them. The pretense is that human nature is different now than yesterday because the container is remade. Science and philosophy of the new head severed from its culture and its past remade by people who imagine everything out of their own lack. A love purer and stronger than anyone has ever felt, but they are divorced. Pleasures, bliss, greater too than experienced, for which they have a drug. Nietzsche who would transcend the animal and the human, “a roper over the abyss” to become superman, but was insane.
To talk this way is reprehensible but not as bad as the power writers who make a thousand glib assumptions a book, never connecting or questioning with understanding. So the argument that the paradigm of shortage is outdated since there is so much surplus food, the problem being instead to consume it all, that there is so much more food in the green rev gmo world that it can be given away to the third world, except this would destroy indigenous agriculture. This is not a paradigm of shortage at risk, but of a deception, a false plenty, it is poison food, not food at all, and it is not corrupt regimes and transport the cause, but the hyperdrive seed stock and chemical soil. The same goes for the zero sum logic of comparing chimps apes and men, saying apes don’t have the brains, as if life were a competition, which it clearly is not because it does not make the man better to dominate the ape. Life is a cooperation. Wisdom greater than intelligence, intelligence greater than wisdom, redesigned viruses, genes, atmospheres under the guise of saving life while they put it to death in their minds most monstrous.
June 19, 2012 Weaponizing the Atmosphere as a Mandarin Bargain
Obvious conclusions derived from the visible are but a fraction of the affair, like an iceberg. If we deduce a thing is there it hides with its appearance the rest of the bigger thing we seek, but don’t seek because we don’t think it there. This is to say chemtrails, which anybody can see--mask, not reveal—an ambition greater than can be imagined, in essence, making earth into a planetary weapon.
Weaponizing the atmosphere, what some called dry seining back in the day, arming electromagnetic particles to whatever possible end is well beyond its planning. What is knowable about this is the spirit of arrogance that attributes to itself the belief this can be pulled off, which also arrogates to itself the right to do it, prescribing for all concerned, every living being, its so called wisdom in prosecuting the greatest good for the greatest number, much like the geoengineer who allows the Mandarin bargain, would you not want to trade 100 lives in Plano for thousands in New Orleans, that is, in the event that he could switch their destinies by the seeding and spraying to either negate or materialize those same clouds that anyway they are spraying to magnetize the atmosphere. This by the way is scientific divination of the weather, approved by the media personalities in a way they would not approve more “primitive” kinds. The New Orleans example after the fact inclines the debate to vote yes, do it, but all reckonings after the fact do, divination before the effect is of an unknown, and who can doubt that it were better left untouched?
Whether it be atmospheres, plants or animals, new technologies that oppose each other release crossed energies of even greater scale(r) energy against which it is impossible to shield. Indeed that is the principle of dissociation in manipulated personalities made famous by MK Ultra, that such disassociation, fragmentation into multiples produces and releases unprecedented energy used by controllers for their purposes.
A brief Google image search of Stratospheric Aerosol chemtrails contemplates the results. Before long you may conclude the existence of wereweather. So if it seems contradictory that Operation Cloverleaf uses commercial airlines to spray 100 million tons of aluminum (+ barium, ++) each year into the atmosphere as a defense against exotic weapons, but the new reflective atmosphere turns acidic soils alkaline beneath, requiring engineering GMO seeds such as Monsanto's trait technologies, 246 million acres (2007) of genetically modified corn and rice to withstand the chemical onslaught, and the spraying provokes catastrophic release of methane gas of the Arctic shelf, skyrocketing levels of asthma, autism, ADD and Alzheimer’s, and the nano particles easily pass the blood brain barrier, it is all done for your benefit citizen, that and for the benefit of ionospheric heaters making “one, big global space control grid.” Welcome to Skynet.
Any effort to think these contradictions through looks like the crossings of the sky grids after spraying. If any premise emerges it is that contradiction, crossing, releases energy.
Aluminum particulates in the atmosphere make the energy weapons work better: “They spray barium powders and let it photo-ionize from the ultraviolet light of the sun. The barium makes the aluminum-plasma more particulate dense.” Chemtrails of aluminum particles, heated by electromagnetics, produce vertical and horizontal columns of gas plasma, orbs used as transmitters and receivers, columnar focal lenses, horizontal drift plasma antennas. Project Cloverleaf: Chemtrails and their Purpose. Anybody would expect that accounts of commercial airline spraying like An Airline Manager's Statement ... 5-22-00 must be everywhere. This with other first person accounts are here. Modifications also extend to plate tectonics, ocean fertilization, cloud seeding, Co2 sequestration and military weaponry, not that the list is complete. Consciousness Beyond Chemtrails August 2012
The attitude of *starchitects helps explain these and every form of genetic modification. But this is not just about science. Behind these agendas, which chemtrails are to less visible weaponization, stands a series of attitudes of the immortalists who anticipate their singularity, but also behind the immortalists stand issues even more improbable than weaponization of the atmosphere. These can only be thought of as a religion, a Genetically Modified religion if you like, but one that motivates biologists to make a headless frog to mine its body parts and think it not just right, or ethical, that all opposition to it bigotry. This religion reaches into time the way chemtrails reach into space and can only be tracked well through the literatures that have recounted these ideas, thought myth by academics, ironically since science takes the myth as fact even while denying the fact basis in literature as myth.
June 25 2012
Weaponizing the atmosphere at least gets rid of mosquitoes. Call it dry seining, arming electromagnetic particles. What is knowable is the spirit of arrogance that attributes to itself the belief it can be pulled off, and arrogates to itself the right to do it. Prescribing for every living being is wisdom. Prosecuting the greatest good for the greatest number is ethics, but that is a dilemma. The geoengineer epitomizes the Mandarin problem deduced from Adam Smith’s The Theory of Moral Sentiments: how much do ethical decisions depend on distance in space and time?
Mandarin
In modern terms the Mandarin is just another human removed in space and time who considers a reduced price for a motherboard, cheap cotton and shoes made by maquiadores of Ciudad Juarez are good swaps. Taken to the next level global trades of the geoengineer barter 100 lives in Plano for thousands in New Orleans, that is in the event destinies can switch by seeding and spraying. It does not at first seem that to negate or materialize clouds, spray scientific divination of the weather is about Chinese suffering.
There are many species of Mandarin. One designs that a visitor from another planet approaches the leaders of the earth with the bargain that if they surrender one member of the race to be tortured forever they will be given technology to bring perfect health and life to every human. It is only circumstantial that this resembles President Eisenhower’s putative Greada Treaty of 1954, even if it does explain where all the overnight technology of the genome and expressions of Moore’s Law came from. We do not fear flying saucers when we have tortoises.
The Mandarin simplifies when one is totally sacrificed for many. This extraterrestrial analogy was in place long before Opiomes, even if it sounds made for the occasion. The solution seems a forced choice for sure, resembling Sartre’s dilemma as to whether a French son should stay home and care for his aging mother or join the French Resistance. His answer was that there is no justification for either, both are equal, but that the choice is forever and the choice made for one is the choice for everyone (Existentialism and Human Emotion).
As such, if earth tortures one it tortures all. The anguish of Abraham’s sacrifice of Isaac or any other is that the choice comes alone as an act of will. To call it irrational bends too far. It is absurd as all aloneness however, and opposed to those who say the choice is made publically after discourse and politics, a tasteless suggestion considering that protocols and secret controls exercised upon all such bodies forbid choice, and especially considering Revelations 13 where the merchants of the earth grow fabulously rich from the ensuing commerce. So if it is said that the balances of deceit are in his hand this discourse prevents choice and anguish with plenty of politic and rhetoric. In seeking to determine the original choice existential psychoanalysis lays bare this corruption of the will.
In the deception and profit motives of art, history, politics and science the transhuman Mandarin presents the problem thus: all people will be given health and immortality in exchange for their extinction. If there is no one to decide for us, says Sartre, “there is at least one being in whom existence precedes essence, a being who exists before he can be defined by any concept, and this being is man, or, as Heidegger says, human reality.” Transhumanists who continually bring human identity into question seek to substitute it with another, but it is just this, the anguish of choice:
“Man, with no support and no aid, is condemned every moment to invent man.”
“I ought to know that if I do not choose, I am still choosing.”
“The most terrible situations of war, the worst tortures do not create a non-human state of things; there is no non-human situation. It is only through fear, flight and recourse to magical types of conduct that I shall decide on the non-human, but this decision is human, and I shall carry the entire responsibility for it.” (Sartre)
What happens in the case where the invention is of man, but of the not man, of death not life, Camus must answer in his myth of Sisyphus, but the choice of life is equal to species continuation. Have there been efforts to prevent extinction in buffalo but none to be made for man himself? Does it seem synchronistic that while hunters extinguished 100 million buffalo on the American plains form critics at that same time made extinct the Law of Moses and the prophets?
In what he calls the complicity of all consumers Hayot says, “would you accept the death of a slave or two in return for cane sugar and cheap cotton? 14 Would you, today, admit that the miner occasionally maimed in an industrial accident is the unfortunate compensation for reduced prices on computer motherboards? Most Westerners alive in the past two centuries have answered yes to questions like those, if only by the passive fact of living in an economic system devoted to the production of surplus value.”
Nike sweat shops?
Hayot adds that “it matters that the Mandarin is Chinese, because his being Chinese means that his being Chinese doesn’t matter. The function of Chineseness is thus, paradoxically, to force the transformation of the instance into a universal that retains the instance in fossil form. It appears by disappearing; it disappears by appearing.”
We rewrite this as: it matters that his being human means that his being human doesn’t matter. The function of humanness is thus, paradoxically, to force the instance into the universal. The difference between the Chinese person and the truly universal generic man is that the universal man doesn’t matter when another, not the European, the Transhuman comes on scene to reduce the human back to a particular and not a universal.
Now the Man is the human removed in space and time and considered by the future transhuman to be a reduced price for a motherboard, cheap cotton and shoes made by maquiadores of Ciudad Juarez.
The New Orleans example after the fact inclines the audience to vote to do it, save more lives. The results of divination before the effect are unknown. Reckonings after the fact justify themselves, but who can doubt the value of saving thousands while millions die? Do you think that was typed backwards, that thousands and millions were reversed? Not so, this is the science ethic. Under cover of saving the world millions are to be eliminated while thousands are saved, the DNA of every organism is to be rewritten. In the bargain of supernatural powers in exchange for the soul the mandarin meets Faust.
7 July 2012
The confusion of tongues at Babel was a confusion of thought. It still exists under the confusion of the doomsayer grid of rumor mongers up and down their evolutionary chain. Bearden thinks the Russians have Scalar tech but doesn’t know about the flying saucer run abouts, thinks they come from Outer Space. Jim Keith thinks they are from earth, some potter’s studio turns them out. In the OT the prophets were to be stoned when they miscalculated. Bearden is worse then the charismatics in this. By his accounts CA went into the sea years ago, add to that all the repetition of sentences and runoff thoughts, all catastrophes were to happened two years after publication of his oblivion, the electric grid was to go out, and here we are still waiting. What are we waiting for? Like men who wait for their master we discern the face of the sky. How is we do not discern the time? Babel again. What is the time? There are as many plots as phone books. After the beans of Orion, Andromeda, every galaxy, thought control, weather control, the only one they do not expect to come is the Desire of All Nations. That’s what Babel did to the scientific mind, for we could tolerate confusion in poets, even call it enlightenment. Science is out to be salvation all right, just the way Mr. Obama will, except like the lady of Akron, we might not survive the outing. Nobody would read this as a sign of course, to suggest it is is wrong. The signs are being manipulated, but there they are in the heavens too. But no, turn on the tube.
Viewed from the outside it’s only by way of Bearden’s notion of the Scalar weapons used by the Yakusa against the US in the budo custom that Japanese manga and mecha take understanding. Viewed from the inside the customs of manga fans are entirely self absorbed, Honeigman
Evangelion
I was looking up the direc sea model of the vacuum as an infinite sea of particles with negative energy, properties of vacuum and found it used in Jampanese anime mange fiction, cartoon, Neon Genesis Evangelion , Visual Novel Chaos;Head, by by Ryu Mitsuse and but for Bearden would not have realized it is yakusa scalar weaponary encoded philosophically in Manga.
Attack of Angels, “Nerve HQ, a biomechanical weapon named Evangelion, a monster piloted by 14 year old Shinji…keystone for the resurrection of the world” Neon Genesis Evangelelion I, Yoshiyuki Sadamoto (Gainax) tr, /Fred Burke 1998.
“- Were there any title proposals other than "Evangelion"?"One of the names proposed by Anno was "Alcion (Arushion)". But a robot story title that doesn't have a voiced consonant sound in it just isn't catching. So I pushed "Evangelion", which had been rejected once, as sounding stronger. We had talked a lot in the beginning about wanting a title like "Space Runaway Ideon (Legendary Giant God Ideon)", so I think I did push that. And to tell the truth, the story composition is also similar. For example, Nerv can be considered the same as the Solo Ship fighting a lonely battle against both humankind and the Buff Clan, and then there are the incomprehensible robots that can only communicate with children and tend to geo berserk, etc. It might not be an exaggeration to say that if you add "Ideon" and "Devilman" together and divide by two, you get "Evangelion". (laugh)And the interview goes on and on for pages...But that is the relevant part. So there you have it: A boy for the main character- The character designs and personalities- The title "Evangelion", which from an etymological viewpoint was quite possibly the cue for the use of Judeo-Christian symbolism including the entire structure of Adam, Lilith and the Angels- Dead mothers (souls) in robots piloted by mental/psychical links with their children via the A10 nerve- Strained/parched parent-child relationships- Pushing for a TV series instead of an OVA"
The manga based on the series, written and illustrated by series character designer Yoshiyuki Sadamoto, has been serialized in Shonen Ace since 1995. The serialized and volumized editions are both published by Kadokawa Shoten. The manga exists as a separate entity from the anime, and features a number of distinct differences (examples: Shinji\'s eyes are brown instead of blue; Shinji and Rei\'s relationship is strengthened more; not all of the Angels that were in the anime appear in the manga). Drawing from the original story outline, the completed anime series, as well as his own artistic freedom, Sadamoto has portrayed an account of the story that has both distinct convergence and divergence with the anime version. The series is still in production, and Sadamoto has stated that he is planning to end the series in the 12th or 13th volume.
Hideaki Anno (庵野秀明 Anno Hideaki) is the director of Neon Genesis Evangelion, The End of Evangelion, and Rebuild of Evangelion. Anno is the creator of the Evangelion story, and wrote or co-wrote the script for every episode of the TV series (except for Episode 04). He was one of the founding members of Gainax anime studio. Anno eventually left animation to work on several live action films, only to return to animation in 2006 with the formation of Studio Khara to produce the Rebuild of Evangelion films.
Anno:” "The year: 2015. A world where, fifteen years before, over half the human population perished. A world that has been miraculously revived: its economy, the production, circulation, consumption of material goods, so that even the shelves of convenience stores are filled. A world where the people have gotten used to the resurrection-yet still feel the end of the world is destined to come. A world where the number of children, the future leaders of the world, is few. A world where Japan saw the original Tokyo destroyed, discarded and forgotten, and built a new capital in Nagano Prefecture. They constructed a new capital, Tokyo-2, then left it to be a decoy-then constructed another new capital, Tokyo-3, and tried to make it safe from attack. A world where some completely unknown enemy called the "Angels" comes to ravage the cities.
“The End of Evangelion (新世紀エヴァンゲリオン劇場版 Air/まごころを、君に?, "Shin Seiki Evangerion Gekijō-ban: Air/Magokoro o, Kimi ni") is a 1997 Japanese animated film written and directed by Hideaki Anno along with Kazuya Tsurumaki; it ended the anime releases in the Neon Genesis Evangelion franchise until the Rebuild of Evangelion tetralogy remakes were announced in 2006.
As in the original anime series, the first four volumes of the manga deal with the Angel invasions, but from a much different angle. Moreover, several more mundane sub-plot tropes common to Japanese manga occur at the same time at the invasions, such as: here
The film is divided into two approximately 45-minute episodes, each given an secondary or English title by Gainax, just as with the original series episodes: Episode 25': Air (secondary title: "Love is Destructive") and Episode 26': My Purest Heart for You (まごころを、君に?, "Magokoro o, kimi ni", secondary/English title: "ONE MORE FINAL: I need you."). They can be regarded as either an alternate ending to the popular animated series Neon Genesis Evangelion or a more detailed, "real world" account of the series' original ending in episodes 25 and 26, which takes place almost completely in the minds of the main characters (the style being largely shaped by time and budget restraints).[1] Gainax originally proposed to title it Evangelion: Rebirth 2.[2] here
Episode one the angels are back
Angels Summary: In the year 2000, an expedition team led by Dr. Katsuragi, Misato's father, discovered their God of Gods, Adam. When they attempted to capture Adam by regressing him back to his embryo form, he fought back and enacted the 2nd Impact, which melted the ice cap, whipped out half of earth's population, and flooded the shorelines of the continents. Misato was the only member of the team to survive, and was saved by her father with the last of his strength, who put her in an escape pod before Adam melted the cap. Adam's embryo was found in the red waters years later by SEELE, and delivered to NERV by Kaji Ryoji.
Search Attack of the Angels
Evangelions a thing created by man in mans' own image
Under the aegis of the UN the Evangelions are monster machines concocted to fight the angels of judgement assuming that thie scens turns on its head and side the biblical which it twists.
In the Unit epidssode wabout the Submaine Red Clover Mission the psych is asked, she has said unconscious transfrerrenace occurs with the wives and that’s how the mssion name surfaced: can we use thought control as a weapon? Not yet
“paramilitary organization NERV to fight monstrous beings called Angels, primarily using giant humanoids known as Evangelions piloted by select teenagers.
Events in the series refer to Judeo-Christian symbols from the Book of Genesis and Biblical apocrypha among others.[9] Later episodes deconstruct the themes and motifs of the mecha genre[10] and shift focus to psychoanalysis of the main characters, who display various emotional problems and mental illnesses;[11][12] the nature of existence and reality are questioned in a way that lets Evangelion be characterized as "postmodern fantasy".[13] Hideaki Anno, the director of the anime series, suffered from clinical depression prior to creating the series, and the psychological aspects of the show are based on the director's own experiences with overcoming this illness.[14] The anime is an early example of the genre/concept "sekai-kei",[15][16] anime/manga/light novels which mirror their protagonists' lives with the end of the world.” The anime here
“However, the deeply pessimistic nature of the series as well as the rarely seen huge array of problems in all the characters has drawn curiosity on why there is no real happiness in the setting's world
“the climax would deal with the defeat of the final 12 Angels and not with the operation of the Human Instrumentality Project. As well, Kaworu Nagisa's initial design was a schoolboy who could switch to an "Angel form", accompanied by a pet cat.[
“Psychoanalysis"
For more details on this topic, see Psychoanalysis.
Evangelion has long been taken as a deeply personal expression of Hideaki Anno's personal struggles.[34] From the start, Evangelion invokes many psychological themes. Phrases used in episodes, their titles, and the names of the background music frequently derive from Sigmund Freud's works,[35] in addition to perhaps some Lacanian influences in general.[36] Examples include "Thanatos", "Oral stage", "Separation Anxiety", and "Mother Is the First Other" (the mother as the first object of a child's love is the basis of the Oedipus complex). The scenery and buildings in Tokyo-3 often seem laden with psychological import, even in the first episode.[37]
The connection between the Evas and their pilots, as well as the ultimate goal of the Human Instrumentality Project, bear a strong resemblance to Freud's theories on internal conflict and interpersonal communication.[38]
The hedgehog's dilemma is a concept described by philosopher Arthur Schopenhauer and later adopted by Freud. It is the subtitle of episode 4 and is mentioned in that episode by Misato Katsuragi as descriptive of her relationship with Shinji.[39]
“—probing psychological questions."[40] The questions elicit unexpected answers, particularly the ones dealing with Shinji's motivation for piloting the Eva—he feels worthless and afraid of others (especially his father) if he is not piloting the Eva.[41] Asuka and Rei are also depicted in deep introspection and consideration of their psyches. Asuka comes to the realization that her entire being is caught up in being a competent Eva pilot and that without it, she has no personal identity: "I'm the junk… I'm worthless. Nobody needs a pilot who can't control her own Eva."[42] Rei, who throughout the series has displayed minimal emotion, reveals that she does have one impulse; it is Thanatos, an inclination to death: "I am Happy. Because I want to die, I want to despair, I want to return to nothing."[42] In episode 25 Shinji and Asuka both show that they in fact suffered similar pasts and found different ways of dealing with it.
These death wishes very much part of Mishima and Budo culture. How much a part honorable death in writers, swords…
“Religion
The destruction of some Angels caused explosions which were cross-shaped: an example of Christian icons being used in Evangelion.
The most prominent symbolism takes its inspiration from Judeo-Christian sources and frequently uses iconography and themes from Judaism, Christianity, Gnosticism,[44] and Kabbalism, in the series's examination of religious ideas and themes.[45]
Assistant director Kazuya Tsurumaki said that they originally used Christian symbolism only to give the project a unique edge against other giant robot shows, and that it had no particular meaning,[46] and that it was not meant to be controversial (like it was[47]). Anno has said that Eva is susceptible to multiple interpretations.[48] Hiroki Sato, head of Gainax's PR department, has made similar statements,[49] as has Toshio Okada.[50]
References, with multiple equally plausible interpretations which exist, include:
- The Christian cross is often shown, frequently represented by energy beams shooting up skyward.[51]
- The Angels are a reference to the angels of God from the Old Testament (in Japanese, the word used is the same one used for apostle (or messenger), as in the New Testament). They are named after angels from Biblical angelology, including Sachiel, Shamshel, and Arael.[51] The first Angel is named Adam, just as the biblical Adam is the first man created by God.[52] The second Angel is named Lilith, a reference to the Jewish folklore in which Lilith is the first wife of Adam.[52] Lilith is shown crucified and impaled with a spear named the "Lance of Longinus", the same lance used to pierce the side of Jesus during his crucifixion,[52] according to the Gospel of Nicodemus. Eve or Eva comes from Adam's rib; similarly, most of the Evas come from the Angel first identified as Adam.[53]
- The Magi supercomputers are named Melchior, Balthasar and Caspar after the names traditionally given for the Magi who were mentioned in the Gospel of Matthew as having visited Jesus in Bethlehem.[54] (often called "the three wise men", though the number of visitors is not recorded in the Gospel)
- The Tree of Sephiroth (Tree of Life) is mentioned, as well as shown in the opening title sequence and on the ceiling of Gendo's office,[55] with Hebrew inscriptions on it (the terms written there are mostly Kabbalic). It also appears in The End of Evangelion during Seele's version of Instrumentality.
- The Marduk Institute is a front organization for Nerv, tasked with finding the teenagers suitable for piloting Evangelion units. Marduk was the name of the chief Babylonian deity and patron god of the city of Babylon.[51]
“Philosophy
Existential themes of individuality, consciousness, freedom, choice, and responsibility are heavily relied upon throughout the entire series, particularly through the philosophies of Jean-Paul Sartre and Søren Kierkegaard. Episode 16's title, "The Sickness Unto Death, And…" (死に至る病、そして Shi ni itaru yamai, soshite?) is a reference to Kierkegaard's book, The Sickness Unto Death. The Human Instrumentality Project may be inspired by the philosophy developed by Georg Wilhelm Friedrich Hegel.[56] The title of Episode 4, "The Hedgehog's Dilemma", is a reference to the Hedgehog's dilemma, Arthur Schopenhauer's analogy about the challenges of human intimacy.
“Many of the characters share their names with Japanese warships from World War II (such as the Sōryū, Akagi, and Katsuragi; though the ship names and character names are written with different kanji, they share the same pronunciations.) Other characters' names refer to other works of fiction, such as the two characters named after the protagonists of Ryu Murakami's Ai to Genso no Fascism ("Fascism in Love and Fantasy"; the two main characters are named Aida Kensuke and Suzuhara Toji; Anno later directed a Murakami adaptation, Love & Pop).
Other fiction allusions Philip K. Dick's The Divine Invasion, and "The Prisoner, Thunderbirds, Ultra Seven, UFO, The Andromeda Strain, even The Hitcher."[
“Human Instrumentality Project"
Neon Genesis Evangelion and particularly the Human Instrumentality Project show a strong influence from Arthur C. Clarke's novel Childhood's End, an influence Anno acknowledged.[65] Similarities between the works, such as the larger themes and the declining birth rate after the Second Impact, were gleaned from this work.[citation needed]
Evangelion shows influences from the science fiction author Dr. Paul Linebarger,[65] better known by his pseudonym, Cordwainer Smith. Linebarger's science fiction novels revolve around his own concept of the Instrumentality of Mankind, an all-powerful central government of humanity.[66] Like Seele, the Instrumentality of Mankind see themselves "to be shapers of the true destiny of mankind."[67] Although Anno insisted that Hokan (補完?, complementation, completion) be translated as "Instrumentality" in English, perhaps as a way to pay homage to Linebarger, the two authors' conceptions of "instrumentality" are extremely different.
Probabilities of improbabilities 100%. Put it this way when tracking the opposite of reality, call it appearance, expect to find not the opposite but the unknown, wildly fantastic. That's no reason to deny the track in front of the eyes even if nobody else would say it is there, not that they look, hardly that. So take the Direc sea, model of the vacuum as an infinite sea of particles with negative energy as the starting point, something really interesting and track from there.
July 8, 2012 Burroughs and Stockhausen,
Jeremiah lived in Babylon among the greatest evils of all time celebrated as good. We do too and no better examples occur that Burroughs and Stockhausen, our prophets of bad weather, nano tech and scalar weapons, as if these were the scales of the crocodile but they are not. Both Burroughs and Stockhausen together prefigure the evil of the manga of Japanese pop. Burroughs was a trust fund baby, and while each baby is innocent, they quirkly become more. That’s why some think Burroughs was not persecuted for shooting his wife in the head in Mexico, as an exemption of state, star gate and craft since these same think he was a part or full time assassin for groups unnamed.
They say it is the CIA but that is just a handy monster. Burroughs skill at weapons must have increased if measured by the number of guns he owned, a gun in every room, near to hand. But his imagination was armed worse, even if he was “a sweet guy” who wouldn’t hump Kurt Colbain. Like all mass murdering serial killers with a friendly face and heart-fire demeanor, the ravenings of Naked Lunch absorb, full of language as it is, of the transliterations of Baal and Mammon, Saturn and Baal Peor. Burroughs swallowed these whole, a metaphor he would have liked, the death in life so much sought b the desperate from Coleridge, Baudelaire, Huysmans, Rimbaud and idolized therefore by those who entrain them, even if they know it not, what Mr. Obama calls the mass murderers of his watch.
The worshipers of evil do not do as much as their gods, or their controls in murder. Lanza, Holmes, Loughner…are more of a chorus, not actors, but woe to those who do not oppose them. If it be said that these were actors at least in the play, and the current academics are the chorus, still a cut above the audience, consumers utterly passive who parrot remnants of the death in life in their inward minds are thoroughly entrained.
Stockhausen, you’d think he just made odd noises, stray bits of sonar, radio, static and be done, how could that offend? But they all have two selves, the public celebrant who receives the accolades, well burnished like an idol by the lips of those who kiss, and the degraded one hidden in the reclused hearts. What if we find Stockhausen’s sounds are the accompaniment of Burroughs words? And that is not to say that they do not speak the truth about themselves or the audience, but they do not defame the woeshipers with their guns. Maybe the best use of these two is that together they give in western tones the science of the Manga.
ENGEL-PROZESSIONEN and LICHT-BILDER
It all sounds so wonderful, imaginative and at the same time
as Burroughs was godfather of beat: “ From an interview with the composer at http://www.u.arizona.edu/~jkandell/music/stock/ks_inter.html:
It sounds like gunfire if we remember that gunfire sounds like popcorn:
"I Composed Kreuzspiel, or Crossplay [1951], and I knew when I wrote it
that it would sound like nothing else in the world. People were quite upset
when they heard it for the first time at the national summer courses for
contemporary music in Darmstadt,
where I conducted the piece; it was violently interrupted by the public. And
since then I have composed works from one to the next, always waiting until
I've found something that I had never imagined before, or that sounded like
anything existing."
Stockhausen can be found on the cover of the Beatles' Sgt. Pepper Hearts Club Band, and the cover of the first EP of Sonic Youth, "TV Shit", contains a reference to GESANG DER JÜNGLINGE. John Lennon appears to have used HYMNEN as a model for his "Revolution 9". Since the end of the Sixties Miles Davis, the famous jazz/rock-jazz trumpetist, was influenced by Stockhausen's music. In some circles Stockhausen is called "The Father of Techno", an honorary title which he reluctantly responds to, saying that use of new technical means is one thing and musical innovation another. Björk is a huge Stockhausen fan and has made a very good interview with him to be found on the Stockhausen web page (http://www.stockhausen.org/bjork.html).
We would call him the father of Bilbao, except Bilbao is a Triumvirate, a Triumphant Gehry, Stockhausen, Burroughs. I wish he’d not reminded about the Sgt Pepper cover, itself a who’s who of the cyclotronic entrained. Bad as the music is the philosophy of the portraits on the cover pales with the prophets of death.
“Stockhausen was also a writer, even as Ginsburg was a composer.
irius is the key work that leads to his magnum opus LICHT (LIGHT), a cycle of seven operatic/theatre works, some lasting up to 5 hours, each representing a 'day' of the week which Stockhausen expects to complete in the first years of the 21st century.” Malcolm Ball
Sirius is of course a code word for something under culture, some like the Indestructibles of Ancient Egypt: “Licht is a summation of musical and religious thought that draws inspiration from many sources including cosmology and in particular, elements drawn from 'The Urantia Book' ,a cosmogony of the Urantia Brotherhood of Chicago USA. In it, the persona of Archangel Michael is described as the "visage of Christ" and "Creator Son", ruler of our local universe, and in Stockhausen's plot represents the progressive forces of development; Lucifer is the antagonist, and Eve works towards a renewal of the 'genetic quality' of humanity through the re-creation of an essentially 'musical' human race, whereas it was political theories and racial domination that preoccupied Wagner's compositional life. As Licht progresses, it becomes evident that it is Stockhausen's wish to bring cosmic music to humans and visa versa.” Ball
KS In 1977 I was commissioned to compose a work for the National Theatre of Tokyo, and I composed 'The Course of the Years' (Der Jahreslauf)' for gagaku orchestra and gagaku dances, and during the work on this, one day the vision came to me that this 'Course of the Years' could become one scene in a large work and I made sketches while in a temple in Kyoto of Licht. At that time I had called 'The Course of the Years' Hikari which in Japanese means 'Fast Light'.
The sketches that I made are still valid because I composed what I call now a 'super-formula' , a musical nucleus in which three formulas are vertically connected. The 'super-formula' in its original form lasts one minute and has all the chromatic tempi between 60 and 120, 12 steps of metronomic tempi which are important, and then it has 3 times 12 pitches. If one analyses all three formulas vertically, the three formulas have three very different characters. One I call the Michael formula which is a descending melody and has mainly descending and ascending fourths. Second is the Eve formula which ascends with a break in the middle and then descends and is predominantly major thirds . The third formula is called the Lucifer formula; it starts with an ascending major seventh very aggressively , descending, ascending and descending again with several tritones (dissonant intervals).
There is no Adam
KS Monday from Light deals with all the different states of water and when we performed it at La Scala Milan the stage designer and the technicians of the opera house tried to realise what was written in the score but it was very hard for them because it starts with the ocean at the beach where an enormous figure of Eve like a monument, sits in the sand and is washed and cleaned by women (female choir) after the winter and they prepare it for a spring festival. Later Eve gives birth to children and they are washed. Three sailors come with a boat and Lucifer comes out of the ocean as a Lucipolyp.
KS: Tuesday-Very strange transparent beings from the beyond appear, singing, and the musicians are so amazed that they don't dare go any further.
Wednesday from Light - The first scene is called World-Parliament. Delegates from all over the world come together for a World Parliament, they sit at tables and sing and the president is a singer himself and they all sing comments on the subject of what Love is. So they make different statements and the president responds by singing comments.
The second scene is even more difficult and nobody knows at the moment how to do it. For example 12 musicians are flying in from afar and they hover above a city, so first an oboe hovers in over a vast acoustical and optical church and then it transforms into a scene above airports, then the second musician arrives (a cello) and so on and so forth until finally there is a scene above an African jungle where you hear also all these sounds of the animals associated with these musicians, but on a different panoramic level, so you hear the sounds at different positions and the musicians play in contacts with these scenes and disappear to the back where they are flying around in a half circle.
The third scene is even more complicated. It is the Helicopter String Quartet where the four musicians of a string quartet are presented then driven to an airport or even walk to a helicopter landing place near to the opera house such as the one in Bonn with a lane around the opera house where four helicopters are waiting and the musicians board the helicopters with their instruments. They fly into the air and the music is transmitted by four times three microphones and four cameras providing a video link to the auditorium where multiple video screens are set up so the public can watch and hear the four musicians playing perfectly synchronously in four helicopters. This is possible through click track and inter-com technology. We presented this scene in Amsterdam two years ago and for the first time people were confronted with the fact that music doesn't always need to be performed in one room, but that these musicians were flying off in different directions above the city of Amsterdam, and you could see through the windows of the helicopters, the city below. All of a sudden the public realises that the musicians play perfectly synchronously a very polyphonic and demanding music. It is a wonderful feeling to envisage music in the future which can happen in completely different places synchronously for example in space -ships where performers could be playing with other performers in other space -ships! So this is the first time in history where musicians have been flown for a performance in order to perform synchronously for a public who are watching and listening in an auditorium.
The religion of pop should not be wondered at, it is space and Urantia in place of earth and Yahshua.
The next scene which I am composing now is probably the most demanding musically. It is called Michaelion a sacred futuristic meeting place of delegates from different galaxies where first a camel communicates via a short wave receiver, short wave events, to delegates who are dressed in different ways and sing in different styles and in different dialects not of this planet and they present themselves from where they come from (e.g. Alpha Centauri etc., many star names are used). Finally the camel transforms in a humorous way by fighting with its assistant, a trombone player. The two pretend to have a bull fight and finally the bull sits on the Torero and all laugh. Then the women open the zips of this camel and out comes a zen monk who is put on a stool and he begins to imitate with his voice, short wave programmes that he receives from all over the universe from noises to Morse code to languages of all kinds and also sounds that we don't know where they come from . The choir singers learn from him and imitate what he does, in solos, duos, trios and different groupings, when finally six go around the public and sing the final message.
So, he 'trains' his pupils to bring the news to the world, the news that he tries to translate to them. He is called the 'operator', [like a Scientologist] so that is his new function after having been a camel. caneli
His Divine Weeks, all a substitute of space and beings for earth and the human.
Friday from Light which was premiered last year, definitely needs a new auditorium. Friday is so limited in an opera house, though there were a lot of objects flying in the air at the Liepzig opera ,but everybody new that it was impossible to realise this part of Licht around the public with the twelve very different objects like rockets flying, a woman in the moon, a giant syringe moving towards a woman, a huge pencil sharpener about 4 metres high as a woman and a man who is a pencil pushing himself into the pencil sharpener; an enormous male raven flying around a woman nest - how can we do all this in the 'box' of an opera house? I can imagine an auditorium but it should be built specifically for Friday from Licht. (Friday from Light is driven entirely by time-code on the tape which includes lighting cues and cues for the soloists, dancers and mimes etc. together with a 12 channel speaker distribution for the electronic music)
Saturday from Light is so special that in Milan, Ronconi, an excellent director and Gai Aulenti who did the stage design and costumes, had to go into the sports palace which usually seats 36,000 people for sports events, but the auditorium was in a way good for this part of Licht as the public were sitting in the centre on cushions which were arranged to look like the beard of Lucifer and around the public the first scene took place half left, the second scene took place at the right where two giant mandalas about 9 metres in diameter were, and the black cat (flautist) is moving around the numbers on the mandalas which are 1 - 12 & 13 - 24 . It is very necessary to use these visual elements in order to make the music become clear. The third scene (Lucifer's Dance) was again very difficult to realise. It is a huge human face 25 metres high and divided into five floors (levels) above each other with 82 musicians. The musicians sit at various points of the face: for example left eye, right eye, left eye brow, left cheek,
right cheek, nostrils. All these parts of the giant face begin to move musically as well as visually. The musicians had to learn the choreography and movements with their instruments. Just to build that in the sports hall needed such an effort that a special hall should be built just for Saturday from Light.
Sunday from Light is not yet composed but I see an enormous planetarium system with a sun in the centre and the planets of our solar system. The planets are inhabited, with traffic between the planets, a traffic of musicians, singers, dancers and performers. So this would need an enormous auditorium like an exhibition hall. There is a new one in Leipzig now which has a glass roof in a semi circle shape . It's beautiful to see the sky through this glass roof which is at least 200 yards from left to right and 400 or 500 yards from front to back. There one could perform, and we intended to perform Wednesday from Light because the space is big enough to make objects move. Sunday needs at least such a hall if not larger. So I think the whole demand on music theatre for the future is totally different from what the traditional opera houses (even those built since the war) can provide. Licht is a very experimental undertaking.
…I have to say that Pop music nowadays is not very inventive . I have several pop magazines from Germany, England, America and Scandanavia who are very interested in my work, but when I see these bands and how they look with their chains and black dress, they all look the same. I imagined that they would all look incomparably different, but their grim look is the same all over the world now, it's so uniform and I don't like uniformity. Then the public become uniformed so to speak, by these public images or models. Art is based on invention and incomparable originality and newness.
MB Thinking about this brings to mind Harry Partch and corporeality. Not just making music but making ritual.
[Originality and newness here imbibe of of Egypt and Babylon and urantia. Partspace opera of the fall and rise of man, part twisted on its side the biblical account]
KS. The movement of sound and the speed of sound in space is very important .In 1954 Gesang der Jünglinge which is a 5 track composition already has diagonal movements in a hall from speaker group to speaker group and also what I call rotations - clockwise or counter-clockwise.In Kontakte this increased enormously. I found a new technique to make movements possible. Sirius was a fantastic step forward with a completely new device allowing sounds to move sometimes up to a maximum of 20 revolutions per second, so you cannot hear the revolutions anymore because they are too fast but the sound is in your body and you don't realise any longer that there are speakers involved, but the sound is everywhere and when you move yourself in space, you change the sound because you move the ears and through that you have different timbres all the time due to movements of your head.
The next step was electronic music for Friday from Light which is for 12 channels, not octophonic but in a true sense dodecaphonic which means you have 12 points in space, 12 directions. In front these move up to the highest point above the stage like a pyramid, from rear left to front ,going up and coming down to rear right, and between these 12 channels, all sorts of sound movements have been composed. This is quite fantastic but one cannot hear it if one is not in such a hall equipped.
[dodecahedron, because it is viz, the tree of life aurally translated] Frater Achad
In Octophony I have created timbres with small melodic loops which are produced electronically in a computer and then sped up with enormous speeds, let's say you have a melodic figure (already rhythmatised) which lasts 2 seconds, and then I speed it up to such a degree that there is a regular pitch, a sustained pitch of let's say a 1000 periods per second, so I would have to speed it up 2000 times to hear a timbre, and the timbre is the result of that particular micro composition. This is my aim, like in nature, to compose timbres like in atomic physics. I started this already in 1952/3 with the concept that in the end we can compose new timbres, very characteristic timbres and their variations by composing micro waves, the micro structure of vibrations. This is naturally a totally new aspect of composition and music. The layman and indeed traditional musician has no idea about this, also my composer colleagues have no idea, maybe two or three at IRCAM have practical experience with this method but that's all. This is something that will develop in the next century. You see, the devices are not here, the conservatories still think the violin or flute is the end of musical vocabulary, but we know now this is not so. Compared to atomic physics and new discoveries in astronomy, musical progression is enormously slow in developing.
Each day from Licht has associated colours, symbols, plants and animals etc.
Monday - Eve day - opal & silver - light green - the day of birth,
Tuesday - Day of dispute - war - red - conflict,
Wednesday - Conference/collaboration day - bright yellow,
Thursday - Michael day - light blue - purple - the day of life and learning,
Friday - Eves temptation by Lucifer - orange,
Saturday - Lucifer day - Black - Day of Death and resurrection,
Sunday - mystical union of Eve and Michael - gold.
Whether we feel that this music actually puts us in touch with the cosmos or not, this new way of perceiving opera, or more accurately, creative art-full expression, must surely move the spirit of any receptive musical mind.
KS. Whenever we hear sound we are changed, we are no longer the same, and this is even more the case when we hear organised sound - music.
New - means change the method - new methods change the experience - new experiences change man.
From For a great
biographical essay (followed by an interesting interview), go to:
http://www.stockhausen.org/licht_by_malcolm_ball.html
Sotckhausen.org, Stockhausen’s texts
http://www.stockhausen.org/stockhausen_texts.html
search:
stockhausen scalar yakusa manga: of the four manga lays bare the obvious, the loss of mother, sense of unworthiness
Eve, Michael and Lucifer, not a word for the Father, the Son and the Holy Ghost or Adam.
Logics of tensor strain in
co-Tangent bundles over a general Manifold
for Musculpt by VirFut Q-Pro http://anthrosites.com/m-value/T5M.html
Pensinger did dolphin work:
Dance biofeedback research and Musculpt are necessary preliminaries to a new initiative in human-dolphin communications. Humans must learn to enter identity states apropos of the dolphin pod if humans are to learn to speak Dolphin and no longer insist that dolphins learn to speak Human. These identity states can be simulated and progressively assimilated by small human groups undergoing stress-oriented movement training with access to wireless transmission of biofeedback signals as well as use of Musculpt-equipped flotation tanks
John Lilly began inquiries into metaprogramming during the Korean War era with studies of indoctrination in deprivation environments. This was part of the huge Philadelphia Project on forced indoctrination. He then moved with gathering subversive potential to isolation tanks in gravity-free saltwater, and thence to whales and dolphins and dolphin-human communications.
Musculpt: Reflections 40 Years Later Derek Dillon falls through ice http://www.oocities.org/moonhoabinh/ithapapers/music.html
U.S. and Soviet high altitude nuclear explosions between 1958 and 1962
The novel consists of three storylines nested inside one another. The largest loop depicts the inner growth of the American protagonist, Derek Dillon, an intelligence officer working in Saigon during the Spring of 1968. Moon of Hoh Binh
µTm Scenarios, T5(M)
Dmitri Tymoczko's orbifold ChordGeometries and generalized chord-space maps are very interesting and just the sort of thing Musculptors should try as Musculpt-as-mathematical-notion evolves as a natural language
Milton Babbitt, of course, the Juilliard guru of the topological transform
To study any of this at Columbia-Princeton or with Babbitt at Juilliard would have required as prerequisites mastery of an enormous range of the totally irrelevant
One wonders why it took so long to progress to orbifold chord geometries from the 1958 Phillips Pavilion of the Brussels World Fair (the main piece, Metastaseis, a study in both spatialized relativistic Minkowski time-elasticity [on the metric] and aural-percept elasticity in combat due to stress-induced changes in time-rate perception, i.e., during firefights, described in Formalized Music was originally derived as a composition for [primarily] strings [if not superstrings] from a set of m-valued functions over Schrödinger's quantum wave equation, the static-hyperbolic, geometric-wavicle, Barbour-“Platonia”, paraboloid form of the piece being physically constructed as the Phillips Pavilion in which Varese's Poeme Electronique premiered) -- particularly given the fact that stratified, multi-sheet, orbital manifolds have been around (at least in Japan, compliments of topologist Ichiro Satake, Japan being no surprise given the role multiple sheets of kami dust coupled by temporal operations -- musically speaking, Toru Takemitsu's orbital “November Steps” over the Noh dan mosaic-manifold -- played in traditional animistic Shinto cosmology and in laying the conceptual foundations for the whole of Japanese aesthetics) since before the Brussels World Fair, but after composition of Metastaseis.
11 July 2012
James lovelock
Twins, Mengeles: The Kaznacheyev experiments- Dr. Vlail Kaznacheyev is Director of the Institute for Clinical and Experimental Medicine in Novosibirsk.
For 20 years he has been directing highly unusual experiments with twin cell
cultures. These experiments are vital to understanding disease and healing on a
more fundamental basis than is presently utilized by orthodox medical science.
The Kaznacheyev experiments (several thousand) in the Soviet Union proved conclusively that any cellular disease or death pattern can be transmitted electromagnetically, and induced in target cells absorbing the radiation.
This is going to ruin the quartz jewelry industry
Bearden has stated that the longitudinal EM waves can have a healing effect because they always come in pairs called "phase conjugate pairs" and one of the pair is time-reversed. This enables engineering of the waves to "pump" the cells of the body (with waves from the time domain) and actually time-reverse the cells back to a previous healthy condition
Ritmedic recovery blanket. Frequently used in combination with Ritmscenar treatments. Enhances the effects of the treatment through a relaxing effect on the nervous system.
Designed as a result of many years of research and development work in the field of bio-resonance therapy, the TMB is based on the principles of bio-energetics and knowledge of the body's internal mechanisms of self-regulation. The healing action of TMB is based on electrostatic film PET (healing compound TMB-01). The TMB Blanket is made of polyurethane interwoven with various metals to form a film. This screens the body from all external electromagnetic and electrostatic fields. It also reflects the body's own electromagnetic radiation in the infrared and extremely high frequency ranges. This effect helps the body to rebalance its own electrical charge and energy and thus heal itself. The Reflected infrared radiation gives a very relaxing and soothing warm feeling, which over time can re-energise the body and relieve pain. The TMB blanket can be used to prevent premature ageing. Maximum effects are achieved when the patient is wrapped completely and sleeps. The TMB blanket is used in combination with Scenar treatment for the best treatment effect. Russian researches proved the effectiveness of such combination. TMB can be used before or after the Scenar treatment.The weight and size make the blanket an easy to use take anywhere treatment. The highly therapeutic effect and wide range of indications for treatment has brought the blanket great popularity in Russia and as word spreads in the west too. Its growing appeal in the west lies in its convenience and use as a home treatment, which means patients or indeed anyone can have ongoing daily means patients or indeed anyone can have ongoing daily treatments between visits to their doctor or therapist.
the
master cellular control system responds to "coming events that cast their shadows
before". In short, it responds to the upper level of the "shadow
state" of a disease, still in the virtual state! (Hey, virtual
particles are real, virtual photons are real, virtual
ST curvatures are real - just very fleeting, only for another to
immediately arise). The exchange of virtual particles is known to generate all
forces in physics anyway!...
"So the cellular control system responds to "shadow state" disease patterns. Enter a QP weapon application. Place a quantum potential weapon "area" on the United States, so that the entire populace is in it. The slowly introduce and bring up in the shadow state, the necrotizing fasciitis disease engine.
At some point, the cellular control systems will react, and order the immune system into action.
http://www.bibliotecapleyades.net/scalar_tech/esp_scalarwar03.htm
12 July 2012
My own power credentials are summed that by a fluke of circumstance at one time I held the keys to five UT buildings, Experimental Science, Pharmacy, Drug Garden, Parlin/Calhoun and another I forget that was torn down. Experimental Science was later disinhabited because it failed a pressure test in the gas lines. I was on that job five years, where I met Bill Lee, but Bill for some reason insisted that the Head, Dr. Lester J. Reed invite me to his Christmas parties held each year for postdocs and scientists. Dr. Reed said to him, it's just for postdocs, meaning we don't invite dishwashers to these things, but Bill prevailed, so I went to two of them, one time taking the world's largest pot of aloe so big it would hardly fit in the car. I traded observations about poetry around the punch bowl with a Hungarian quantum chemist, quoting some Shakespearean sonnets. That may have '77 and '78. To pay the rest of the bills I had a half time sinecure at the Pharmacy Garden for three years, then took up Instructor of English in '80. One day Dr. Reed, fixed in time in my memory, came down the hall in the labs downcast. He told me his son had killed himself. Maybe I took the aloe to his home then. My response was what it would be now, but earlier I had taught the son of MK Hage in English and his parents had discovered him dead (of an overdose?) in his room in their home. Unfortunately Bill and
I had a falling out with the postdocs insistence over hundreds of one ounce bottles of radioactive xylene recycled to save money, a small amount to be sure of money. So it was arranged to open a window in a lab where I would dump the bottles down the sink and then wash them. Bill did not want to do this, but did. In a short time I began to have nose bleeds at night and felt compelled to file a workman's comp case against the labs, which since it went through personnel and not scientists, resulted in liver bilirubin test etc. Bill was upset about my action, especially since I had helped him decorate a new dojo for the Aikido club. I kept working at Experimental Science another two years or so, and gave up or had removed the keys to the other buildings as well.
14 July 2012
I don’t know what the bill is for all the gas, all the helium to pump up the Apocalypse, much the same maybe as the bill for all the gas to pump up the dream while they spray each night to complete the negative optical transfer to the rest of the world, the demise gets out the mask. I don’t know what the bill is for all the gas, all the helium to pump up the Apocalypse, much the same maybe as the bill for all the gas to pump up the dream of superiority. So while they spray each night to complete the negative optical transfer to the rest of the world, Japan contemplates the demise and gets out the mask. When the American wakes to realize the Hiroshima bomb was named Little Boy, and all Japan has been little boyed so its pop art reflects revenge on the airplane that dropped its humikiation, one can ask, what would you have done in Japan as a nation of warriors?
Bearden says Japan is a criminal enterprise, just like Biden says Afghanistan. Nations regard others as criminal, their heroes terrorists, so they have to increase the helium to sustain the bubble. Each night I see trucks down the alleys spraying to decease the Schumann Resonance to put people back to sleep. You wonder why this is necessary if the helium works. Just another propogram from fail safe. Misinformation has the weather change, blaming local coal to crank up fracking, but everyone knows deep down that the weather is cracking man made, Yakusa coming down in hurricanes and tornadoes, Yakusa and the old KGB drying up the leaves, driving the blue stem jet stream. It will be some sight, Dr. Strangelove driving the storm, like Roman horses with fog breath and HAARP cloud. Electrosmog gives more to the ytransmitters, disinformation moved like hi and lo pressures. Yakusa caused the NO flood but lost the ball on downs from the American earthquake disaster at Yakushima. We score this submarine lost on nuke plants, suitcase scalar earthquake and tsunami kits. In the second half blows up Yellowstone.
15 July 2012
First causes, what made Japan join Germany in the Axis of WW II. Had it not done so…the American military and intellectuals justified the bomb then and still do today. It is another case wher they don’t know what they are doing. The fallout from the flash and shock are beyond horror in the surviving society. The west thinks Japan cute but don’t think it is cute because it was bombed little boyedImages of the Little Boy, blinding white light, orange conflagration, pitch black rubble, rain of body parts
Were the costs of shock and awe known they might still be done, and that is that. But why did Japan ally with the Germans? Sure you can hear the gas. And the Chinese museums of Japan’s atrocities. But consider that this is the result of the white out, the orange sun, the total dark and the rain of body parts and that that is different from the holocaust mainly because of the shock and awe, for the Nazis delivered their murder hands on, more or less medieval for the time anyway, but Hiroshima was instantly devastated from above. That this spawned Godzilla and all the monsters and giants of pop, as Murakami shows, is just another way of showing. Compare it with the ptsd and shock of IUDs among the Afgan upon the American, the disorientation, the devastation, the shocking of the brain against bone and sound and lined light, and then think of it coming sudden and immersion complete, shock waves more than felt, producing the inane patter and chatter that followed it in America, justifying…but atrocities make more. Superflat means just that, flattened out of existence, existence being three dimensions, and superflattened peoples are the most dangerous to themselves and others, not that they are worse, but action / reaction, as in the shamed German nation of WWI, produces worse. From Godzilla the superflat to aliens, from the grotesque to normal hiding the grotesque. Preparation for the super modern, superman who never dies aborned for millenia.
16 July 2012
Pink bunny from spacehttp://www.dailymail.co.uk/news/article-1077767/Pictured-The-giant-pink-rabbit-seen-space.html, after girl dressed as pink bunny at end of Diacon IV
17 July 2012
Confusion confirmation of the universal monster
20 July 2012 Nexrad
Written during the flood: that is what they meant doecomocracy felt, fallen out of equalityity, conrrectability, sameness, monogennity, blandness
Tokyo destroyed again and again by these bombs, a “persistent vision of the future in ruins” “Akira is still alive in our minds!”
Kaneda tells the U>N> soldiers delivering relief…”mutural misunderstanding between the rescued rescuer, cunningly the current chaos blogs. It also pomps a difficult question about the occupation after the Pacific War: out of a sense of justice, the U>S. brought freedom and eemocracy to the occupied; yet, was this rally a gift?” (48) which is really saying it was destruction #4.
So where does the symbolic chain of evidence in anime manga exploding art lead. Start from the beginning stylized pics of Snoopy Dog and Pretty Flower as images of La Bomba. Bomb, Bomb, Bomba, mushroom clouds ornamented with eyes and a nose, necks and arms, cute huh? Kawaii, but acht! before bombs tot turned to washing mashings, cats, bunnies and bunnies flew around to save from Bomb. Bomba transformed preventing bomba. Transformations hun-exploding subatomic subcultures. Then bombs became space ships and aliens.
Animation is a form of animism, anime pretending that a car is a girl or Disney studios, inhabiting the machine with a personality, preparation for what future event AI event. Animism says the tree has a spirit is a spirit a kind of person. Anime says that of a train.
Those little figures flying around are Little bomblets, prepubescent, with smooth faces and sweet eyes like clouds. Litt Bloy, Little Girl! The Name of the Hiroshima bomb. The artist Okamote, says “art si explosion!” The sun is a bomb, rays of light of its aura are nuclesar arms, Godzilla is a bomb, mushrooms that implode the inner world are a bomb. Godzilla Hiroshima Ultraman super hpowers, super man like a snowball rolling, getting bigger, Diacon IV Bunny Girl surfing on a sword, girl bunny bomb releasing pink clouds of radioactivity reviving the black scarred word in green otaku. Destruction # 3 or 4? Over and over so many stylized bombs everywhere you should look in your underwear for la Bomba! So after the bomba blew everyting up in noise, the atom fragments fell to earth in toys. Fallout! Anime toys, girl boy toys, cousin frog, all became mascots for the big companies, pharmacuticals, industrials and turned into Doraemon. Pokemon baby, baby sitting robots and Nobita. Hello Kitty! Hellow Killy, 100 thousand kittle products but kitty has no mouth just eyes and a nose because neither does La Bomb. Who will speak for kitty?
Settle not therefore before what youwill answer when you are betrayed for I will givy you a mouth
Paris Hilton wears Kitty, Come to think a bubble is La Bomb. La Bubble Bubba Bugel Bagel, S&L, IT, montage mortgage loan bubba. Akira (1988) of New Tokyo 2019 a new bubble military experiment, made to take psychic powers radiated with EMP drug EMT, the bomb keeps exploding, Tokyo destroyed again, first upon a new box of bubble. Openit, nuke, nuke,nuke all the dollies, explode Akira explodes into demoscracy. Dolls are voting now.
12 Aug 2012
Bizarrely sat in front of Paul van Hofwagen before he announced to the congregation the new program to background check fingerprint volunteers to safe guard children. This in the context that they cannot find a new pastor, none being available.
23 Aug 2012
Yesterday Aey and I set brick on stand box, with Portland Cement! Very sore. Last night, 1:40 hear noise went to porch storm came white light thunder storm transfix went out to move tortoise board put there so Big Guy won’t get head caught again, in rain so house won’t flood, came in, dried off, searched for children taught not to answer, found Booklet 4, transposed Angel and Pismith to ms Letters. Exhausted today.
Goya
1 September
There are a series of arches not in dreams but memory that dominate, the colored one of my brother, nose bleeding in the honeysuckle arbor, bees flying, yellow and white fragrant tubed flowers and tendrils lifting as he stands, but is moving, coming toward me at age 4, blood flowing from his nose, victim of the bully Chester?
But this is outranked by another arch, a whitewashed tunnel at the county home in Uniontown, pa where he for some reason worked and I visited. Was I twelve, I felt six. The whitewashed tunnel is long and extends at its end to a padded door that swings massively open on its hinges, heavily metal where those most difficult of inmates were kept, but in the tunnel outside ranged, sat, stumbled, moaned the mass of others. The path was slightly elevated so that the whole could be hosed after their visitations, for they make messes where they go, but the tunnel didn’t smell, for all the disinfectant. I was going down this tunnel, felt the size of a six ear old, depravity slobbering on both sides. Why? It was a visit. Seared the memory.
Those who dread it think the worst would be to live sane among the mad. Transposed to 18th century asylums is not much different from early 1950 “homes” after lithium when the paroles were released. The release of the deranged may be a metaphor of society itself was progressively deranged thereafter. Madness seizes the sane? We call it the Aquarian age. Of madhouse scenes and prisons, not much different since both had common cells ruled by the inmates, we have now society, highly regulated, policed, to keep us safe, but whether that is from police or ourselves is not settled. Indeed evidence mounts that experiments continue that provoke madness in order to study the brain and to promote robotic control sources for use unnamed causes. Universities, hospitals, foundations, corporations all run by functionaries, careerists of the norm. Goya’s mature madhouse, after the early ones of 1794, following his onset of deafness, are celebrated as the first depiction of fellatio (Hughes 141), which indeed provokes the notion that every madness has since been release upon society and called a class right. Porn, Namba, every sexual practice, mutation…so it goes. When weekly instances of gunfire in malls and campuses occur the bosses are at a loss to explain how the madness has been released.
The Hospicio Cabañas was built as an orphanage in the early 19th century. Its deconsecrated church was decorated with a famous series of murals by Orozco in the 1930s. Galleries surrounding the huge courtyards are often given over to temporary exhibitions.The complex is a UNESCO World Heritage site.
5 September 2012
What makes Goya great beyond the masses of color, light and
dark and the dynamism of the figures is his confrontation of evil, called by
its various names, viewing these from the Old
Testament, the only way it makes sense. That makes it necessary to say how,
what. The witch of Endor, the lusts
of Midian, worship of Mammon, meaning Saturn, the giants, book of Enoch,
tortures and angels. You get the drift. It will be a while in the making.
Hughes knows none of this. The phantasmagoria, the delirium of sickness, old
age, alienation. Goya is 72, lives in that farmhouse four years, then heads to France.
If you know nothing of the supernatural contexts, the Roman emperor worship, the war between the states of dark and
light, the architectural testimonies, say the Capitol Mall, the streets, the
oldest conflict between the serpent and seed of the woman, the Bohemian Grove, you’re just aghast at these. He doesn’t paint
Balaam but Judith. Hughes reaches for de Sade to explain the darkness, but it
is darker than that. What makes Goya great beyond the masses of color, light
and dark and the dynamism of figure is his confrontation of evil.
Black Paintings in Single
Format Wikipedia
The last paintings on plaster of his house transferred to canvas are too much for youth to take. They are of his last and if they signify madness that is too early a presumption. Lesser travesties, forms destroyed, a lower order not carried to completion so as not to celebrate death, after much pondering see in them depth, even if they are of giant forms. http://animalwilderness.blogspot.com/…So to transfer the thought to Goya, who did these in his seventies, the age when you know what comes, I got Hughes out, knowing. Those frescoes bloomed, whitened, darkened, cracked and spalled, as though the war with Neptune and all fight had in that moment been lost, except for the patron’s restoration (41). I was reading in the early pages of Hughes when the eye misread that phrase, war on Neptune, completely as though it were written to see. Later I went back and could not even find the spot where this mistake occurred. Yes it led to Troy and even more Caligula, nothing more suitable to contemplate with Goya’s Saturn and his Caprichos edition of plates, an edition burned by Ruskin and one seen in the Imaginary Prisons of Giambattista Piranesi. What is meant by Old Testament is a conflict of forces of which human war is a lower order.
When the words are rods and cones maybe listen. Hear the words, but the mind, the mental fantasy is disassociation provoked by the unremembered, the unthought, the unbelieved, what you hear in the ear, shout from the housetops. The last paintings on plaster of his house transferred to canvas are too much for youth to take. They are of his last and if they signify madness that is too early a presumption. I have wrestled travesties destroyed, not carried to completion so as not to celebrate death, but after much pondering see in them depth, even if they are of giant forms. http://animalwilderness.blogspot.com/2011/10/blog-post.html So to transfer the thought to Goya, who did these in his seventies, the age when you know what comes, I got Hughes out, knowing those frescoes bloomed, whitened, darkened, cracked and spalled, as though the war with Neptune and all fight had in that moment been lost, except for the patron’s restoration (41).
Is not the war with Neptune the war of the Colosi (286)? War on Neptune is however nebulous. The atmosphere swims. one cannot see feet. I was reading in the early pages of Hughes when the eye misread that phrase, war on Neptune, completely as though it were written to see. Later I went back and could not even find the spot where this mistake occurred. Yes it led to Troy and even more Caligula, nothing more suitable to contemplate with Goya's Saturn and his Caprichos edition of plates, an edition burned by Ruskin and one seen in the Imaginary Prisons of Giambattista Piranesi. Is not the war with Neptune the war of the Colosi (286)? War on Neptune is however nebulous. The atmosphere swims. one cannot see feet. Hands are ideas coming and going, to translate paint into words, but to no known purpose, as if one were to hear that it should all be banned as inappropriate nonsense, a message any writer wants to hear because it validates the kick to provoke piety from the unrighteous, to no high purpose, yet if piety is provoked that is not say without sensibility, which is of a high order even if they cannot hear. Scientists cannot see that torturing a rabbit for the good of mankind is the same as making Jesus a king by force (Jn 6.15). There is both an inappropriate analogy and a comparison.
This leads to the inherent disproportion of Goya’s hand in his portraits that makes the later figures so striking in their darkness, not just Saturn but the Pilgrimage of San Isidro which Hughes likens to a cobra slithering into the face of the paint, its eye a foreground guitarist, conte jondo, (18), an assault on all hearing, silence, ocher, umber, black in the background, not the insipid green trees, white clouds, blue sky formula of the Assault of Thieves and the portraits, even the repeated ritual positions of death, face down with scrabbling hands (124). These pastel unblemished faces like the Family of the Duke of Osuna are merely insipid, but the disproportion of the long faces and noses (54, 119) prepares for the assault, the distortion war of Neptune in Gehry’s buildings that Goya wages throughout his greatness where idea is a misconceit housing its opposite. Now that sounds like earth except earth has moral absolutes, except where Neptune has rammed down, nearly everywhere. War does not contain peace the way a villain smile contains goodness. Transparent it becomes either deceit or itself. Do not listen to the words.
Not old enough to fathom Goya’s Saturn nor his witches in Caprichos, his prisons, wars, none are, they shut the mouths of insight. What happened to Goya happened to Borges. Each had a transforming sickness (127) that produced their depth. Must this happen to them all? Shut up. Goya was struck at about 46 with deafness than took the form of delirium for several months. It changed the way he saw the world. Borges ran up a stair about age 38 and ran into a class door. The cuts became infected and he suffered at least a month with severe infection and fever, a mort. His mother read Out of the Silent Planet to him, which had just been published, 1939. The next thing he wrote was Pierre Menard and it was off to the spaces. They looked in the face of madness, sickness, evil, depravity, war. Not recommended. No one looks unless forced. I have a son who is a natural transforming artist in his youth, before the face shall we say, who is concerned he is not transformed. None of us know it till after, long after. He daily touches the depraved, the wretched, misshapen, devastated, but doesn’t yet know in his mind what his heart compassed. It must be so of us all. We need not pray to be touched.
The continual images in Goya of doubt, night, owls, dark shapes, cannibalism, pederasty, witchery, simony, truly a demonic Dante, are all in some sort the dementias of reason which cannot understand because it wants to deny what is going on right by its nose, so invents all those theories of philosophy to explain to itself what it cannot bear to see, the depravity of the world alleviated only by the compassion of those who serve with sponges and rags and bowls of water, none worse than los desastres de la guerra, those licensed depravities committed by “our heroes,” who we hide in graves.
I don’t want to turn this apparatus on Hughes in his infantude who came to the US in 1970 from the Aussie fields, “riven” he says with certitude. He only wrote Goya after a near fatal auto accident 30 years later, where he hung between his own months and was tortured by Goya and his school with rejection, then, he wrote. That we understand. He says of ourselves that even now no voice has compassed the depravity of Little Boy, the bomb (7), or Auschwitz, but he is not Itaku. He wants the modern, irreverent attitude, skeptic against the official, the radical to deliver this insight, but turn from your wicked ways? See into the matrix, the blinding all around meaning into our own blind deaf ways? No spark of impiety against our own unrighteousness, the 50 million dead babies all good democrats want to build their homes upon. No, this doesn’t go on. There is no more. Oh no. Not never Caprichos, Black Paintings.
To get more analytical there is a triangulation in Goya, Pilgrimage of St Isidro c. 1821, what Hughes calls a cobra striking in the face of the paint, there the isosceles of St. Isidro’s Meadow is perfected in the serpentine, the sinuous motion of all progress, not the black and white oppositions of Euclid, more the gradual turns of river of Chuang Tzu. Of the compositional structures reduced to geometrical formula, “he loves the diagonal and constantly uses it as the basis of his groups and figures” (206). That and the dark masses of black, ocher, umber bulked up against bodies and walls, both in the great paintings and Caprichos via aquatint, an assault against silence from the deaf (18) painter, or against words that cannot fathom? In Equestrian Portrait of General Palafox, 1814, “the white part of the horse’s body forms a rough arc, tied together (as it were) at the top by the crimson loop and knot of Palafox’s sash…this major arc is echoes by a minor one above: the white fur trim of Palafox’s hat.” 278. Bottom line, Goya is a primitive, his portraits with few exceptions are caricature. He can’t help it Goya the primitive always, sometimes escaped, but back home his Water Carrier, Knife Grinder, The Forge are of the same time as The Colossus (1810), “low-class, low-origin, lowbrow” 285, just the kind of people we like, of the earth, without pretense. The Giant above and beyond in stature is of this origin which explains its appeal.
II. The primitive is so much greater than the mannered, Pollack carrying around in his trunk the dead body of woman he killed in an alcoholic frenzy with his car. You do not want to be an artist. Get a job. Hughes cites Terence of the cosuffering of Dickens, Tolstoy, “I think nothing human alien to me.” 26 It is like so many of Goya’s paintings scraped off walls, mounted, repainted, the Aula Dei, 50f, the Saturn…all parts of the not whole, like the Inquisition, prison scenes Hughes has to cite Foxes Martyrs from, 57, nice water boarding, like the semi erect penis of Saturn the restorer Martin Cubells reshaped to public taste (17) while Saturn is following the rites of Presidents in their secret Bohemian grottoes, oh reshape that one too. It’s not the penis but the man who offends, these symbols abound, that’s why Blake was burned in his brazier to hide the equally offending black member of Milton. Not one word here about Dick Cheney, Clinton, Bush, Obama. Misshapen.
The difference between the pornographers of England say and Goya is he is believable in suffering as Blake’s torments, but not Gillray, Rowlandson, 128, or the writers celebrated by Thomas Mish who I shared a table with in the Folger. Truth they are more the torturers than the tortured, yet who is unscathed? Rather who is aware. Of the architectural functions of Goya’s church frescoes or his tauromachies, 130f, pass over to the effects of trauma, not Kubler-Ross’s five stages, hollow lies, she became a medium, but of what, of silence, the mouth open in scream, paint dripping like blood or glaze melting down sides. Hughes says “any trauma makes you think of worse trauma: it sets the mind worrying and fantasizing about what else might be in store…what Goya had been through in his sudden illness was not a fantasy, but it was a mystery” 137.
You hear Hughes speaking from experience. Purify my heart, make it as gold, my soul does magnify my Savior. But if Hughes has been to the bed he has not been to barn where they keep the mad ‘gabbling opaquely like one of Swift’s Yahoos, 139, no lessons there from the Zaragoza Madhouse, 1812, (140) the Interior of a Prison, Manicomio o Casa de locos. Neither comprehends what means one quarter of Caprichos concerning witches, feeble talk of satire, infant mortality, disease, poor nutrition, “only one son Javier survived beyond childhood”, 153. Child snatchers, kidnappers, Elizabeth Smart. Goya can’t explain it either. The ad in Diario de Mardrid 1799 about foibles and follies of ignorance, satire 181 has no more understanding than I of my neighbor.
After Hawthorne nothing can be understood, unless you posit all the government, ecclesiastical, social leadership are witches, hidden though, not bald like she with the gold pentagram on her door, never actually seen, moved finally by her father and mother in their 60′s, she of Wiccan clergy with a car sticker, who sat finally on the grass and watched them load. This today passes as normal. The neighbors then came and cut her lawn. The roof was falling in. The previous owner was a religion prof who died in the middle of talking. Outside the gates in Revelations 18 and beyond, where such habitat is landscape, the communal trash barrels are filled. Each pickup the can people and rag people patrol to find what they can from the barrels, but when the witch dismounted, and the portents cleaned, there were three rag pickers dead unconscious around the barrel from the smell. There were black flies at 6 AM.
Yes I used another that day, one with clean trash. You probably think this symbolic but it fact, as much fact as that a set of the 80 prints went for one ounce of gold, and 27 of 300 sets sold over four years. As said, John Ruskin burned his. Who can blame him: 52, Lo que puede un sastre, a giant, arms frighteningly raised in clerical cloth, women kneeling before, 79, Nadie nos ha visto friars gorging “unleashed cannibal orality” 195. “The old men of the Church actually eat their flock.” Desolation donkey satire 37-42, must be a parable of higher education, donkeys riding students, 42, Tu que no puedes, “the donkeys are the rich, whose burden the poor carry” so say the Obama team. How many trips to Denver has he made in this lifetime anyway? Goya thought clergy were brujos, now it is politicos, dark seminarians. I guess you don’t read those sites. Linda maestra, 68. Pederasts, rapists, demons.
7 Sept 2012
Goya was buried in Bordeaux
at the cemetery of the Chartreuse in 1828. He was reburied in Madrid in 1901, then in 1929 re-reburied
under the floor of Santa Maria de la Florida, missing his skull, since found
enshrined near Einstein’s. Not. The point is resurrection, the raising of the
dead man in The Miracle of St. Anthony of Padua,
1798, 211, I mean in the landscape itself. These colors the white, blues,
browns are not the colors of death, so when I see them in the Black Paintings,
the Fight with Cudgels, Procession of the Holy Office, Cabezas de paisaje, for
example, they attract health, life, (and are all colors duplicated
ceramically!) suggesting more than just images of death transpire, which with
the overpainting of The Dog looking up at the overpainted woman in a
dress, and possibly a man’s head, reaching up an arm in Peregrinacion (only
seen in magnification), the subtext can be more than overpainting, which Goya
did a lot of. Resurrection, reburying is a kind of overpainting, like in a way
his repetition of poses (275).
There is more underpainting in Pilgrimage of San Isidro, in “an open view
of a river reflcting a three-span bridge… Saturn eating his son, there are
traces of a dancing figure with one foot raised…funeral overtones at the
beginning [of Leocadia Weiss as a widow leaning on a tomb] was simply a a woman
leaning on a mantelpiece.” 375f.
As court painter to three Spanish kings Goya brings the Bourbon empire into relief, like celebrating presidents and hobnobbing with celebrities, strictly a pop art endeavor, producing little of the passion we seek. Maybe the “murders, kidnappings, rapes, intrigues, adulteries, deceptions, cannibalism” 216 denoting lawlessness are escapes from having to do tapestries. Goya was lucky to live in such lawlessness and that it also appealed to his macabre instincts, but that IS the essence of pop, like it or not. So the fall of the Bourbons is like a bandit poem, Bandit Stripping a Woman, Bandits Attack III, Cannibals Beholding, 220f, good TV but way more real in its prurience. Hughes offers Marat Sade, but knows nothing of the comprachicos. It is not possible for the top of society to comprehend the bottom, unless of course it is the bottom, a la Cathy O’Brien. As Hughes says, “nobody had painted such scenes before” 223, not that it did anybody any good, they all thought it was them other guys not themselves. Cannibalism in the Caprichos, impaled bodies in Desastres, pop art at its finest. The Horror, the horror, Poe, Conrad, who you like? “Gentility, mercy, and a sense of justice toward others are, if not false masks or lies, then certainly the product of consideration: which is to say, artifice.’ 224 They for sure are to thems as live in their hat, as Goya would know since the corrupt cabinet minister Godoy “became the most consistent and enthusiastic client Goya had in the first decade of the 19th century.” 240. See Manuel Godoy, Duke of Alcudia, “Prince of the Peace,” 1801. That’s how you get money, but nothing beside The Dead Turkey, 258. Was Godoy what they said he was. He proposed the far future plans of Johann Pestalozzi in Madrid whose pupils,”when eh paid them a visit, would chant in unison:” 232
Viva, viva, viva
Nuestro protector,
De la infancia padre,
De lat patria honor,
Y del instituto
Noble creador.
(“Viva, viva, viva, our protector, father of our childhood, honor of the countgry, and noble creator of our institute”) which with a few names change could have been chanted in Babylon, Rome and Washington D.C.
Napoleon fought Spain for six years from 1808, producing Goya’s etchings Los desastres de la guerra, The Disasters of War, which together with his Inquisition Album are way over the line of perception, need independent study. See though Lux et tenebris, 1812 and allegory of the Constitution of 1812. Goya is as prophetic as Blake against empire, but more bloody by far, Blake without the spiritual side of vision, but with the outrage of the blood. Not one of the Disasters of War were issued in Goya’s lifetime (273). The title page reads, Tristes presentimientos. These are all such astonishing and detailed things that come with calling Goya the last master. A little like Van Gogh’s extensive drawings they must impact his later painting, but are left behind for the broad stroke that portray the ruin massively not linearly, almost not figurative. I guess we want to escape them so bad we can say they’re not paintings and take flight that way. They are etchings, but just look at This Isn’t the Least, of Disasters 67 or even more Might She Revive (303). Hughes says the Disasters portray “a pessimism so vast and desolating that can fairly be called Shakespearean” 302, but really folks, Shakespeare in this can be called Goyaean, “the greatest anti-war manifesto in the history of art” 304. It should be taught in high school. That would do it, The Third of May, 1808 (1814), “he kneels before the firing squad, but not in a posture of submission. it is more like devotion” 314, it is an act of charism, he is praising God as the bullets fly. Will they never fire as long as his hands are raised? Ask Moses. Hughes discussion of this is excellent, 314f.
The only difference between A Process of Flagellants 1814 and the later Black Paintings is the smaller brush strokes and detail, on a panel, the same with the Inquisition scene of 1816. These horrors with the Disasters of War, the thief scenes, the Caprichos Hughes happily calls “carceral torments” 339. in this case “human consciousness beset by forces of chaos, secrecy, anonymity” 340, all of which would be taken for encouragements by those wars advertised but not yet come of apocalypse, human hybrids and robots. Hughes describes Goya at 72 in his Self-Portrait, 1815, “his forehead is like a cannonball,” 343. The last of these would be his Suenos or Dreams and Proverbios (Proverbs) of unbelievable power of this “grotesque and pathetic group…Goya talking about himself” 368.
In 1814 Ferando VII, Goya’s third king sought to stamp out all liberal French sympathizers from the mind of the populacho. This ditty was sung:
Vivan las cadenas,
Viva la opresion;
Viva el rey Fernando,
Muera la Nacion!
(Long live our chains, long live oppression; long live King Fernando, death to the Nation!) Hughes 325f.
17 Dec 2012
When events track a line they point a trend. Too good to be true, societal shaking events, 9/11 enabling the terrorist movement, Hurrican Sandy enabling the re-election of Obama, The murder of children enabling disarmerment.
19 December 2012
Consumed by appetite. Usually we say appetite consumed, but when the self spends its resources to gain the whim of the moment, and all its resources are gone, then appetite consumes.
Undated paper Found while cleaning on top of scanner. 2 women, mother /daughter naked in a limo with bed
The Name
23 December 2012
Our fiction requires us to believe that once upon a time, a war began between the man and some forces opposed to him. The intent of these forces was to corrupt his culture, his mind, his thought, his very being into some corruption of his genome into thing foreign to his birth. These forces were known as the gods.
It would be like introducing German words into the French language, for the French pride them purity of language, that introduction of Celtic, words into the original pure Latin, but these are only analogues of our story of the vulgate that occurred when myth was introduced into science, but that is not our story either, because these are all analogues to the introduction into the human genome of animal, plant and, yes it is a making of hybrids we shall say.
There are no literary works written in vulgar, a hybrid of the streets of the Roman empire
31 December 2012
2015
Soul
Spinning. Gobbet Mag Experimental Word Stuffs 9 Dec
Once
Like A Light. The Penny Blog. 14 Nov
Colonia. Farther
Stars Than These. 12 Nov
Satan
at the Supercollider. Red Fez 83. 13 Oct
Cover, Photo, Buffalo
Almanack #9, 11 Sept. Now saved here
Mennonites,
Muslims and Martyrdom. Camel Saloon Gallery, 2 April.
Nephilim Handbook-- David, Days of Noah, FEMA, Gilgamesh, Lucifer, mirror Vatican, nephilim, Nimrod, supernaturalist government, transworld damnation
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