Legendary figures tend to oppose the Randian universe of perspective,
logic, order (the dollar – or maybe the vertiginous opening of Watchmen?) This
happens to be a hidden Arabic courtyard, but you could easily imagine Conan
skulking along the roof, dirk in hand; somewhere that is largely left to its
own devices, the patina of age pleasantly coating its nooks and crannies. Souk,
camel
The source – the origins of classical culture– according to Nietzsche
is Dionysus. Without that element, Apollo is mere illusion, and that is where
we are. The head has become the sole point of reference and the body is
nowhere, in some pornographic hell. Acolytes of sorcerers are denying Man’s
status as an active land animal with marine prowess, and the strength harnessed
by Gaia in the fields and seas.
They do it in the name of “smart” hygiene, which means the head
attached to electromagnetism or AI. The latest example is the Gates’ sponsored
“bleeding” burger, which takes DNA of soy and injects it into fermenting yeast.
Thereby instead of living, breathing beef one has an AI-controlled tank of vile
yeast run amock on GM.
Naturellent, this is sold
as great for the health of the Earth when it is the exact opposite. What is
good for the health of the planet is active life on open ranges that eat off
the land and are not force-fed with artificial grain (also GM Pictorial 44)
The acolytes the like of Gates are trying to draw us off the land and
into hygiene-machines run by Amazon Houses off of Google platforms. The lie is
that Earth does not actively strengthen its constituent parts by the foraging,
hunting, herding and farming of humanfolk.
There is not strength derived from the inert (ie machine) processing of
weakness, of brains addled by their close proximity to their electromagnetic
buddies
SY BORG
Pseudo-genitalia is the word (another theme Frank explored in Joe’s Garage); an obsession with running DNA round like processed meat (see Aristophanes Pictorial 46). GM is “hygienic-meat” grown in vats by acolytes of the sorcerers of hygienic order (Crick, Watson, Franklin), having no physical substance or psyche.
Pseudo-genitalia is the word (another theme Frank explored in Joe’s Garage); an obsession with running DNA round like processed meat (see Aristophanes Pictorial 46). GM is “hygienic-meat” grown in vats by acolytes of the sorcerers of hygienic order (Crick, Watson, Franklin), having no physical substance or psyche.
Don’t be fooled by fancy words; the genome is strictly for hygiene
obsessives who like to breed meat for their profane use, sex by another name.
There’s also A Boy and his Dog down in
Topeka, the tasteful scene of Vic bound to a machine. To quote Vic, “I want to
get dirty, so I can feel clean again!” To hygiene obsessives this makes no
sense, stuck in their subterranean facilities. “They” have no awareness of
strength; that dirt is cleansed by the self-regulating and self-generating
killer of pathogens, the Earth itself.
They have no awareness that the traditional farm is an absolute of
proportion (style) and psyche (narrative content); the physical substance
(physiology) and modes of habit of pristine livestock (bbrray!). There is dirt
and cleanliness, there is natural activity of animals and Man, the range is
rough and tough, the psyche is willing, yeehaw!
Pictorial 44 – under the Lauzier/Alexis strip – says something
like, “the primitive awareness of physical absolutes breeds an archetypal
individual (who had) racial attitudes (like Howard and his cohorts in 30s
Texas.)”
The modern world may not like to know that – but another danger looms.
That of intolerance to non-conformity. Because the conformity “they” desire is
that of the masters of illusion, where there are no physical absolutes –
meaning, the range, the hard days of grinding toil, saddle-sore and hungry,
that breed men and women of a certain type.
The illusion is the perspective illusion of the head – a parallel
reality of fact without proportion or psychic narrative, a relative world of
illusion. This is the world that will be run by AI. Why? Because AI inhabits a
perspective reality; it is the master of illusion.
There is a choice to make. Either we live in the ancient world of dirt
and cleanliness and primitive action (body); or we forever face the illusion of
the sun in a perspective reality where fact equals fiction (head, AI).
sleeve to Sunfighter, Slick and Kantner, 1971
I’m sitting here
writing while listening to Cat Stevens’ questing album Catch Bull at Four from
1972. People were questing in those days, why no more? Could it be that we are
now Traylor’s “Pets”? I reckon it’s possible, so decided to adopt Traylor’s
poem to my cause – not change anything, interpreting is all.
First off, the telescope
was the innovation that ushered in the new Copernican age of heliocentricity,
dating from roughly Galileo in the 17th century. Lenses and optics
later ushered in microscopes, and the physical and biological studies that
culminated in the discovery of DNA (from a Franklin phot.)
Obviously,
lenses act exactly like eyes by refracting (bending) light. Relating that to
the poem, “the probes of some super power” are the lenses of telescopes and
microscopes. Microscopes reveal to us a hidden universe of microbes under
bright lights on glass slides (hygienic, natch.) Meanwhile, telescopes reveal
to us the hidden depths of the universe above, which is pretty big if not
infinite.
Now, what do
microscopes and telescopes have in common? They show us worlds which are
somewhere else from our own physical substance. Scientists with their fancy
talk will tell us we are full of microbes, but the fact of our physical reality
is what we feel in our muscular and sensory systems.
You can make the
case that everything, from blood corpuscles to endocrine (hormones), is
microbial and that’s true. But our sensory and symmetrical self is the organism
that we are, regardless of how complicated the minutae. Only our selves have
the proportion and balance of an organic system.
Weird 11 (“The Enchantment”) makes quite a big
thing of the different symmetries of figures in a landscape. There’s the
forward prospect into the frame that BWS makes use of in the doppelgangers on
the far side of the lake.
detail with crumpled Conan #20
There’s the
left/right symmetry of the figures. There are other symmetries and asymmetries;
the four elements; the up/down asymmetry. There’s the even more profound
asymmetry of the bright light of life and the sombre dark of death.
The symmetries
and asymmetries are fundamental to an active life on Earth, our history, our
pre-history. What “they” tell us is the universe is revealed to us by
microscopes and telescopes (lenses); what they don’t tell us is it takes us
away from our active selves in our primitive bodies, and into our heads.
Specifically our eyes which view the lenses (and the iphones, natch.)
The head is a
perspective system, and is prone to perspective illusion (see Pictorial 44)
These illusions are very convincing, so what you can say is the entire
universes of microscopy and telescopy can be added to the illusory “facts” we
are given. A fact doesn’t have proportion or balance as the human body does. It
doesn’t have symmetry (or asymmetry). A body has a front and a back, it has
mirror-image symmetry. All of these are much more than facts; they are our very
selves.
You know the
smutty jokes in Aristophanes’ The Knights? All that smut is
proportionate and body-symmetrical. That’s why it rings very true, if lewd, and
why the myriad facts of modernity ring very false, if sterile.
So, my
interpretation of Traylor’s poem is as a perspective universe of “facts” which
are also fictions, both of microscopes (bugs) and of telescopes (the light from
stars that is not proportionate, ie as constellations of figures are).
proportionate reality of figures (absolute psyche of the universe Drama2)
According to
Relativity, this absolute reality is a fantasy and we live in a universe which
is relative to light, not the Earth’s orbit. Nevertheless, Relativity is much
like a reflection, moving images travelling through the medium of
electromagnetism (mirror), where the speed is relative to the speed of light
(the medium of electromagnetism in the mirror-image).
Einstein was
aware of the need for an absolute Aether (see Hyborian Bridge 49 ), else
the difference between a reflection and relativity is very hard to discern, in
terms of physical substance. In absolute terms, then, the stars are psyche
(narrative content of constellations – myths) and the moon symbolises aether or
physical substance (which may not be discernible relativistically, since it is
an absolute).
Relativity is
intrinsically confusing, and it seems that Vincent (of UVS Hyborian Bridge
48) is in agreement that the universe must be absolute (though I admit he’s
gone quite of late). If we see relativistic effects it is some form of
perspective engineering (like CERN) and not what the universe IS in terms of
psyche and physical substance.
From that standpoint,
scientists have released the first computer image of a supermassive black hole.
It seems to resemble the pupil of an eye and, with that in mind, I’ll leave any
comment to Frank Zappa
It's
lookin' at you
Don't fool yourself girl
It's winkin' at you
Don't fool yourself girl
Don't fool yourself girl
It's winkin' at you
Don't fool yourself girl
Katie Bouman’s
algorithm BROKEN HEARTS ARE FOR ASSHOLES
You might say
that’s lewd – like Aristophanes. You might also say it’s a truism (see Walter
Ralegh quote Tale s of Faith 6). Anything that has physical substance
has a symmetry of figure and form. Without the symmetry there is neither
physical substance nor psyche.
The cold-blooded
logic that needs light for its parallel reality of perspective is an order that
is not figurative. It is both fact and fiction. We, as humans, have to imagine
a figuration of physical substance and psyche.
Since the facts
of scientists – microscopes and telescopes – are largely independent of
physical substance, and of psyche – constellations of stars – they are not
gonna be aware of these truisms even if they are self-evident. What one sees is in the eye of the beholder; “they”
see one thing and I see another; they see facts (which are fictions); I see
ambiguous symmetry (CL Moore Hyborian Bridge 17)
In a universe of
physical substance and psyche, meaning is through interpretation, so we get
figurative myths (which BWS champions); the universe of Plato and
medievalism up to the inauguration of telescopes (and microscopes) by Galileo
and then Newton.
Now, a figure of
heroic fantasy is above all physical substance writ large. Their status is
symmetrical, and they are balanced between head and body. That is their true
claim to fame, since Conan is not averse to thinking his way out of dire
straits. This happens in Conan The Conqueror (Hour of the Dragon)
when the a group of nobles engineer a Nemedian coup with the aid of the archaic
wizard Xaltotun of time-lost Acheron, reanimated by arcane arts.
Conan finds
himself taken by Xaltotan to a deep, dark dungeon of Tarascus’ Nemedian palace,
his position hopeless, when unexpected succour arrives in the shape of a woman
of Tarascus’ seraglio who has
..“loved you
ever since I saw you riding at the head of your knights along the streets of
Belverus.. My heart tugged at its strings to leap from my bosom and fall in the
dust of the street under your horse’s hoofs.” (page 47)
These muscular
fantasies are much more than erotic dreams. Her devotion demands a sense of awe
precisely because she doesn’t desire more than
The one look
he cast back over his shoulder showed him Zenobia leaning over the window-sill,
her arms stretched after him in mute farewell and renunciation. (page 57)
Yes, she would
like the embraces, but hers is a mystical devotion to this man of myth. He is a
man but also representative of the power and awe of the universe, of the stars
above.
Both of these
have symmetrical status, and neither are purely factual. They have absolute,
figurative power or psychic narrative (this is what I was saying of Diana Ross
or of Johnny Cash). Absolute power is figurative, not factual. To say that we
have this power while the universe doesn’t is meaningless. Rather, the “powers
that be” want us to believe the universe is an inert machine (like the
intensive beef lot.) Weak and sterile servants of the dollar – or the solar
serpent let loose (Hyborian Bridge 30,32,36)
What I’m saying
is the lewdness you find in Greek comedies is very true to the absolute,
figurative reality of the universe. The sun will only give us order
(appearance) while the moon symbolises physical substance (style, proportion).
The stars have psyche (narrative content, myth).
Taken all
together there is lewdness because it is part of life’s joy. Ancient landmarks
such as Stonehenge are emblematic of such rites.