Pictorial 132

Is progress, then, a process of repetition in sterile space? This corresponds really to “resolved space” – see CL Moore Tales of Faith 12 Pictorial 8 (Judgement Night). Is electromagnetism really reflection, the illusory mirror of a wizard - HB20?

It's an open question, but the more work facilitates a repetitive situation the more it resembles rubbish removal - see P111 Elena illos. The more that happens the less revival there is from a state of decadence. It's the Harlan Ellison quote, "They're paving over the world."

Whether true or not, how does one define something original as opposed to a repeat? Original cultures have the serpent at root. The primeval rhythm of things that live and die. Decadence produces fertility and the strength of revival.

As it says in P130, town and country have different rhythms, and they can overlap with gusto if their separateness is acknowledged.

(Peruvian schoolkids search for a signal). Peruvians of the Andes seem to have a need for phones that preserves their difference. As previously stated, it’s only when mathematics (algorithms) becomes the reality that the endless repetitions without meaning or direction ensue.

A traditional culture destroys light with decadence, the primeval forest. The modernists are likely to be gulled by Musk’s rocket algorithms that head off to Mars. The anti-modernists are more likely to head into forests, as Ari up did in Indonesia before landing-up in Kingston (). Perhaps that was a subconscious desire for a decadent lifestyle of shadow?

Is Ari Up original? Was she appropriating Reggae in the way the Stones did the blues? Clearly not, as noted before she just liked Jamaican culture. If there’s an expert it might well be

LENNON

Whether he’s right or not, all I’d care to say is there’s a genuine sense of decadence and melancholy to the music, the artist is likely to be genuine and introspective and an adventurer

Lennon admits they’re good even as he derides them! It’s very difficult to be definite about music since even repetitions – copies – can be entertaining. But the Stones have no real sense of melancholy as opposed to showmanship.

Ari Up for me is more telling and true; the story is believable. Melancholy is the counter to endless advance along a sunbeam of light that is endless repetition. The  sunbeam is convincing to the ego, and it is composed of numbers and algorithms, but the very endlessness gets one down and one wants to lie down and rest in a shady grove.

REYNARDINE

In the leafy grove one might get a scent of cosmic poetry, and start to live like the fox. In the grove exists the simple symmetries of nature, leaves falling, buds developing. In the grove exist stories, such as the one of Reynard the fox.

Stories, or a poetic sensibility, have their share of melancholy, but from the same shadowy area is barbaric splendour born and the heroic proportions of Diana the huntress.

The endless ride on a sunbeam may be enticing - - but it is really going nowhere very quickly. More or less going into a parallel reality of sterility (head, algorithm) and away from the symmetries of fertility (body, physical action.)

Within the cycles of life and death there is always a melancholy strain, and it is the fertile ground where stories are told, where differences are kept and hunts occur.

In this modernism where something becomes nothing, it seems only to be where differences are deliberately accented that stories of feeling occur. I noticed this in the new film of The New Mutants. All the five characters are genuinely different. From Rahne (Reynard) Sinclair to Amerindian Blu Hunt as Moonstar and Brazilian Zaga as Sunspot.

Their differences aren't just racial but in their shared experiences of denial, so having this affinity binds them. The problem with modernity is that there is no affinity in sameness, only psychic weakness and disillusion! Once something becomes nothing, differences are eliminated.

This seems to be the aim of the Big Tech alliance of the Black Sun of calculation (algorithms, head) that creates a sterile zone. This is the future of Virgin Galactic and Musk, where the genuine cycles of death and renewal that forge natural strength (the hunt, stories for kids to grow with) are relegated to superhero films.

Pictorial 131

So, Kanye West is losing it? I wouldn’t write him off too early as, with his bizarre outburst, at least he is not trying to make logic out of an illogical situation!

This is the fallacy of everyone down the line, in that the modern order assumes sterility – of the Black Sun – when the condition of physical and psychic strength is fertility.

The mainstream is intent on improving the logic of the original illogic with a numerical order of absurd sophistication. The egos of politicians are convinced by the numbers, even as the profanity and meaninglessness exponentially increase.

Modern societies are built on similarities, to such an extent that one can barely open one’s mouth for fear of being cancelled. As has previously been mentioned (see Detroit Drama3), physical and psychic strength are built on differences, and in the difference is psychic affinity felt (Outremer, prev.)

This reactionary world harks back to more independent lifestyles, such as southern share-cropping. “Poverty” (but freedom and strength) subsequently gave way to the urban sprawl and bourgeois values.

No mainstream candidate can recognize this for the reason they deal in numerical logic. West is not constrained by logical rules, and did suggest something similar in his “40 acres and a mule” quote (prev.)

Conditions of strength are conditions of dirt, mainly because they are countrified. Where there is dirt there is cleanliness. The history (and pre-history) of Fulling is a very good example of this (HB60); mud and stale urine were the original detergents used for making linen clean on riverbanks.

  Robert Robertson quotes a mention of this practice in The Odyssey, of which DH Lawrence wrote this poetic variant.

The man of Tyre went down to the sea
pondering, for he was Greek, that God is one and all alone and ever more shall be so.
And a woman who had been washing clothes in the pool of rock
where a stream came down to the gravel of the sea and sank in
who had spread white washing on the gravel banked above the bay,
who had lain her shift on the shore, on the shingle slope,
who had waded to the pale green sea of evening, out to a shoal,
pouring sea-water over herself
now turned, and came slowly back, with her back to the evening sky.
Oh lovely, lovely with the dark hair piled up, as she went deeper, deeper
down the channel, then rose shallower, shallower,
with the full thighs slowly lifting of the water wading shorewards
and the shoulders pallid with light from the silent sky behind
both breasts dim and mysterious, with the glamourous kindness of twilight between them
and the dim blotch of black maidenhair like an indicator,
giving a message to the man –
So in the cane-brake he clasped his hands in delight
that could only be god- given, and murmured:
Lo! God is one god! But here in the twilight
godly and lovely comes Aphrodite out of the sea
towards me!

The mainstream seems to be really morally confused, and the reason seems to be that differences – whether it’s dirt or independent living – are vital for conditions of strength. In the modern scene one is cancelled for differences; a recipe for weakness.

Federico Garcia Lorca, the patriotic Spanish poet, wrote of Andalucia,

"gypsies, horses, archangels, planets, its Jewish and Roman breezes, rivers, crimes, the everyday touch of the smuggler and the celestial note of the naked children of Córdoba. A book that hardly expresses visible Andalusia at all, but where the hidden Andalusia trembles."^[

This was during the Franco era where primitivism held sublime sway in the hidden valleys of brimfull streams and fir-laden hills with wolf-like dogs.

In a situation of sublime primitivism, the expressiveness of the body – and its serpentine roots – holds sway. Lorca is a poet of the body and the land, and this applied to other artists of that period, such as Nijinsky.

 

Poetic language is colourful and musical, the very opposite of words which become numbers (algorithms) in the modern order of the Black Sun of calculation.

As was noted in   , Ada Lovelace – the world’s first writer of a computer algorithm – called herself a “poetic scientist”. Her mother Annabella Milbank – Byron’s wife – was a mathematician who deliberately led her away from what she saw as Byronic decadence.

The implication is that there is no real overlap between physical decadence (body) and algorithms; they inhabit different universes. But the fact that Ada Lovelace valued poetry would make it inconceivable for her to imagine a world without poetry.

In other words, a world of the primitive, expressive body. This condition of primal strength is the very thing a world of the head seeks to eradicate with words and numbers (or the expressive algorithm, prev.)

The body, in its symmetries, its dirt and cleanliness, is a poetic ideal that DH Lawrence’s poem sublimates to perfection. In order to counter a world of numbers that has no time for poetry, one has to revisit Ada Lovelace, and the recognition that poetry is extant is the world and is not number.

Poetry is part of the fertile world of plants and animals, the sensational cycles of causticity and atmosphere that are strong and emblematic of the universe at large.

To Lovelace, mathematics existed in this world - in the petals of flowers, the Fibonacci series in planets etc. The wrongheadedness of modern science is to suppose that the universe is a creation of mathematics; that it is essentially sterile by origin, as opposed to fertile by origin.

This goes counter to all artistic principles of creativity, which find inspiration in sensation, atmosphere, lewdness.

In their land of physical boredom scientists do without these things but, since the physique can’t be denied, they still enter a lewdness of their own devising. The Black Sun of calculation.

 “As far as the laws of mathematics refer to reality, they are not certain; and as far as they are certain, they do not refer to reality " (Einstein)

IE maths can be fantasy, as is happening in the bizarre algorithmic hinterland of mainstream politicians, who have less poetry than West has in one little finger.
Einstein also said that,  "Now that mathematicians have got hold of relativity I'm not sure I myself understand it"
You could almost suppose he and Ada have something in common there!


Byron the sensationalist is fertility personified, the Dionysian area that Annabella steered Ada away from. This is fine in a purely mathematical area like the    series. Mathematics is an ascetic occupation - one reason why Byron and Annabella fell out so completely, becoming "The princess of parallelograms" in Don Juan.


The Greeks recognized this asceticism, and honoured the Dionysian festivals as the counter to vain pursuits of the rational mind. Thus was drama born, gaiety and tragedy both, physique and psyche, body and soul.


If Dionysian pursuits are fertile, scientific logic is sterile, which is the basic illogic at the heart of modernity. It's true that a sterile order could be very logical, but that logic has its profanities that exist in the physique - of Man or animal - that cannot be denied (P130).


This makes logic illogical because we exist in a physical cosmos, not an immaterial one of the head (electromagnetism, sun). The extremely simple products of nature - like dried buffalo manure (Buffy) - are products of a cyclical system of primal symmetries.





Without the powerful symmetries there is no fertility and we exist in a parallel logic of sterility that is absurdly complicated. The logical complexity serves to fool the ego with endless numbers and algorithms. The programmers rule with this illogical logic, and they are all to some extent the same, be it Bezos or Musk or anybody inbetween.
 
It is possible to build an entire universe out of the Black Sun, which is really the false sun of numerical compulsion. In their state of physical boredom they cannot deny the physique, and so are compelled to sterilize human culture in the name of the Black Sun of the acolytes.
 
This was the logic of Gates’ pathogen-killing toilet (HB31) and the same logic is behind “clean meat” (P130) that does without animal husbandry.

An information system is true only insofar as it is not composed of dirt and cleanliness, or the cycles of nature. These cycles are always meaningful; cleanliness is only meaningful in the presence of dirt, in that dirt is powerful and contains nutrients.

Back in HB2 there was a piece on a Roman Baths set in a site rich in mineral clay and natural springs. Mud or clay are the healthiest detergents because they are not sterile. The baths are a mixture of the complexity of clay-formations with the purity of spring water.

Purity occurs in natural systems that contain the strength of dirt. These cyclical systems can be represented by the symmetries of a human body. The symmetries are lithe, athletic and give direction to action.

Without direction, life is sterile information of the head (algorithm). Direction has to be a product of the proportions of the body that are inherently athletic. Barbaric splendour decorates the body in such a way as to accentuate the heroic proportions.

 

Adastra © BWS 2003

To a society of the head all this is Greek. Physical boredom is the result, and the numerical compulsions of the Black Sun that shines where the sun don’t shine.

A society of compulsion is really heading towards that Black Sun, since there is no acknowledgement of the simple symmetries of the body that give life direction and meaning, dirt and cleanliness.

Its sterility is born of weakness and semi-psychosis of acolytes of the Black Sun.

 

Pictorial 130

The fact that the gross physicality of symmetry and proportion – the primitive lewdness represented at New Grange (prev) – is ignored by the mainstream is obvious in their espousal of profane meat.

You know the article on traditional husbandry linked to in P128? There’s a much bigger article on “cultured meat” in the same paper.

Falseness is routinely presented as “fact” since – as has been pointed-out already – they are very similar. Facts in a sterile order are a product of straight-line, perspective logic.

 

You assume they harvest stem-cells which automatically divide, so it’s a type of life without the attributes of living.

De Quetteville writes persuasively as that’s his job. Like Gates before them (prev) they go for “bleeding” meat that gets the chops working.

Throughout all the persuasive copy, it might escape notice that this is profane meat. It may not be GM or DNA but equally there are no physical conditions for strength.

There is no physical activity of grazing, of recycling materials, of causticity, of lewdness or of an ambient situation where the behaviour (psyche) is exercised on God’s Earth.

The serpent is loose in the meat since, without the symmetries one doesn’t know one’s ass from one’s elbow (see “cuts”, prev.) In order to know what you’re eating, “they” have to tell you, so you get yet more copy Here it's something on beetroot).

The conditions of strength are born of symmetries, of dirt and cleanliness and the cycling of materials. From the physical is the psyche expressed, in the moonlit lows of herbivores on the range.

 

What “they” are really saying is that the physical and the psyche in rustic situations are now past tense. The sanitary techniques can do without them.

On two counts that is wrong (or three, counting the moral). One is that the serpent is loose in the cultured meat. Two is that physical conditions for strength are progressive; the soil is fertilized, plants grow, birds sing and feed on bugs (tra la la).

Where there is rustic song and recurrence of seasonal cycles of strength, Dionysus the gay god dances, his donkey neighs charmingly. The seasonal aspects of rural living are represented. The serpent has a sinuous sense in the movements of dancing figures, the supple spine (instinct).

What “they” are selling in their “advertising” copy is a future without activities of a rural, bodily persuasion that are gay and lewd.

Cultured meat is profane because the serpent is a lewd creature. There is a sexual aspect to growing meat and this aspect cannot be denied since it is just a physical reality. Growing "clean meat" in a lab is another way of saying there is a numerical compulsion. You can see from the diagram that numbers take the place of physicality. The cells grow into strands containing up to a trillion cells, and these are then layered.

The numerical compulsion has to be sterile; otherwise there would be growth with living attributes – symmetries of the body. The fact that it’s sterile doesn’t mask the fact that there are lewd possibilities; slime and sleaze are physical aspects of life; the lewdness is still there in a serpentine form that could be adapted to either sex.

The sterile order makes the assumption that they can make a world that is completely separate from lewdness but, in fact, the lewdness is just there in another form. Its very sterility gives it a profanity that can be adapted to male or female. This harks back to Jean-Luc Godard’s Weekend and the erotic beginning with "Anal Ysis" motif.

Another way of saying it is that the Black Sun of calculation has no distinction in terms of sexuality, and the numerical compulsion produces meat of profane lewdness (since the physique can’t be denied). In a way it’s a complete lack of romance; the recognition that living things are fertile and have behaviours that are meaningful (psyche, atmosphere, lust.)

There is a sort of hypnotic deception in the long-winded copy that sells these techniques as sterile and safe (similar to “Friend”’s hypnotic delivery, P129) A physical deception that ignores the land that needs cyclical regeneration to thrive in seasonal splendour.

All these factory-techniques (see the sausage-factory of Tout Va Bien; Doury, Aristophanes, prev.) really hark back to the ruptures that occurred between the countryside and rural pursuits, with the growth of megalopolises. Quite a useful data in this context is 1854: Commodore Perry’s steam-ship raid on Edo (predecessor to Tokyo) that opened-up Japan to outside trade. The Shogunate collapsed a few years later and the age of Imperialism began.

Hiroshige

This print of Edo c1841 paints a fairly fisherlike picture; the comings and goings of peasanty-types into the bustling throng of the port.

 

This active intertrading between country, sea and town doesn’t disappear – as can be seen from the 50s Edinburgh fishwife (HB127). Modern advances don’t stymie ancient practices (see 19th century Shanghai which was then a city of pig farmers   ).

It’s because there are two things going on; the countryside has its own rhythm, the town has its. They can interact with lively gusto. It’s only when progress becomes an exercise in sterilization that the fertile zones of lewd and lusty living become to “them” a thing that is really dirty and unnecessary.

This misrepresents the fact that strength is a combination of dirt and cleanliness, that meat on four legs fertilizes the land for crops, insects, birds.

The whole mindset is against fertility that gives lewd vigour to rustic pursuits, where milkmaidens sway with lusty abandon. If that’s sounds like a cliché of peasant idyll that doesn’t make is less true.

The sinuous serpent is present in rustic pursuits. But it is also present in the labs where profane meat is grown. Ignoring that fact is a recipe for physical and psychic weakness in a future where meat and algorithm are one.

Hyborian Bridge 127

The Record has some more archive footage (P124); this is a Sunday dinner get-together in a Glasgow tenement, circa 50s

There is a lot of movement to-and-fro, clutter. If there was a dog under the table it would do well! Like a castle, the social, communal area is dancing and free-form, rather than really specialised in one area.

 

The ambience is a free-form of the body that is freely expressive, whether sulky or sultry. Most social areas nowadays are standardized into moo-eyed smugness.

 

 

The fish-wife from Edinburgh is clad in loose work-clothes, bunched to accentuate strength of female physique (uses head for strength, not thinking!) The Record says these colorful pursuits in the centre of Edinburgh uses to "walk into town" - so that is all gone to the era of distribution and desultory numbers.

 

The predatory reptile must be fed through its neck, and the colorful pursuits follow. Our bodies are proportionate and symmetrical, and this gives meaning to the story of life (Weird 11 "The Enchantment").

 

The head can be persuaded that it is no longer living in this proportionate, symmetrical body & and that is what has happened since the free-living 60s. The mainstream now exists in the hall of mirrors of acolytes of sorcerers (HB20).

 

You could ask, why has this happened now? And the answer is as one approachrs the vanishing point of technique one gets closer to zero. Words become numbers, and numbers are convincing to the ego.

 

We live in the age of protests (Hong Kong, blacks), but not of meaning and power. The Hong Kong guys should have taken-over the reins of power and declare common law. It's a power game, not a social-media show.

 

Blacks might be better off running their own affairs more as in Detroit (Drama3) rather than taking to the streets. The ambience of a particular place is not a numbers game, it's a dance of life, song and movement.

 

The more this dance is denied by physical boredom, the more the compulsion of numbers runs affairs, and the less the expressive body is in control.

 

Physical acts are the reality, and fro this lack of boredom is physical strength derived. Ambience is the visible sign of that story being written (see old photos of Harlem).

 

In the modern hall of reflections, we are seeing multiple head (Hydra) in a sterilised hospital setting, where profane meat is on the menu (GM, DNA P121). Back in the squalor of a 50s Glasgow tenement there is dirt and cleanliness, psychic ambience and sensuality of expressive physique.

 

Quite a lot of that comes down to atmosphere - a substance that is in short supply in modernity. Atmosphere is almost an opposite to appearance (Apollo), being something that has shades of suggestion.

 

Chick Chalmer's photographs of Orkney and of cowboys - Denizens of the Netherlands 2 - have that type of feeling of something in the air.

 

You could liken it to a type of shabbiness where the rhythm of living comes first, and order second. Apollo - or order - is a false god in the sense that things are cyclical.

 

The cyclical state means the sense of living amongst caustic substances of nature; the smell of a sheep's fleece, the carrion of predators, the scavengers that squirm. Life's ordure us caustic but strong and prey to the cycles of nature (see Duffy quote on dried buffalo manure).

 

In Orkney, of course, one finds stone circles which constellate the serpentine nature of things. Even more nakedly primitive are the symbols found at New Grange in Ireland.

 

 

 

The serpent – the primitive – cannot be denied, and if it is not there in its natural guise, it will be there in unnatural, profane form.

 

The sinuous symmetries of things are primitive, strong and physically alluring. Where there is cyclical movement there is dirt and cleanliness, the process of decay followed by revival.

 

Ambience is really a product of the caustic nature of reality, of the cycling of materials. The condition is fertile, and where there is degradation there is revival. Ignoring this serpentine reality leads to a sterile order that is the product of the detached head.

Since physique can’t be denied, the head is caught in a compulsive numerical situation of physical boredom. The Black Sun that shines where the sun don’t shine (see Wizards of the Black Sun   ).

 

Symmetry cannot be ignored – after all, it is in quantum physics – and the barbaric strength and primal ambience is there for all to see.

 

Adastra © BWS 2003

Sublime symmetry, astonishing psyche

Pictorial 129

As with Darwin, the acolytes make of what is really a cyclical system (day and night), a straight-line, perspective order of competition - that is convincing to the ego.

 

This is always approaching the vanishing point of technique - head, expressive algorithm, ones and zeros - and away from the primitive physical reality that has ambience.

 

Ambience comes from the movements of the symmetrical body, the fact that it has a back and a front, a left and a right. The fact that the head is supported by the reptile neck which is ancient and strong.

 

The strengths of the body are sensual and predatory. Instead of the physical boredom of a world of numerical compulsion, there is food and dance. 

 

Where are the simple sensations that tell animals where to feed, when to have sex, how to be matriarchal? In the physique, since only the body has direction - front, back, left, right - and the agility to perform. 

 

The replacement of primal rhythm leads to new perverse lifeforms of the psychotic serpent of GM, DNA. Profane meat with no direction at all.

 

The symmetries of the body are its power to move, as well as to move the hearts of poets and minstrels. Symmetries are cyclical; in other words they go round from front to back and from left to right. A cyclical world is one of movement and fertility, of decay and revival.

 

It could be a garden pond (prev), or equally the dark fairyland of CL Moore's Black God's Kiss. The toad-like beings that squat and jump over marshland are bizarreness personified, as are the horses that run and neigh with terrifying humanity.

 

The tall, reed-like grasses that Jirel runs through, the marshes she skirts, are sensual and fertile, and this is a very good example of a physical and womanly story that has visceral movement (even of trees).

 

Moore is weaving an ancient tapestry, and her realm seems to lie outside of straight-line perspective. The problem with Darwinism - as was noted previously - is that it exists in the parallel reality of acolytes of Galileo (Newton), not the land of weaving lines that attracts storytellers.

 

The odd thing is that the more things are left to grow and be what they are in reality, the more delicately womanly and the less Darwinian they seem to be. It's almost as if the imposition of Darwin by "them” gives the opposite reality to what is there if left to grow. 

 

Why should that be? Because it's not just Darwin. We live in a perspective system that is the heir of Galileo, and the imposition of any theory will have the same attributes.

 

This system is very persuasive to the ego, for the very reason it is not a tapestry of symmetries, but a universe of facts. Facts by their nature are not movements or symmetries. DNA, for example, is detected by x-ray diffraction - ie a type of lens or perspective (cells, as noted before, are watery gels, so that is their physical substance).

 

Living things are visceral and gel-like; nevertheless: science portrays them as factual. And it's so convincing to the ego! Slugs slide on slime; the throat is a golden orifice that mucus enhances; tadpoles in garden ponds swim through green slime.

 

These are the poetical qualities that come out of the symmetrical movements of living things. Where there are symmetries there is slime and dirt. Where there is dirt there is cleanliness. It's a cyclical situation; of letting buffalo manure dry out and become useful (Buffy quote, prev.)

 

The cyclical situation is society left to be what it is in reality. Decline and the strength of decadence is in the revival, the psychic aura (Detroit Drama3).

 

This goes totally over the head of the political classes - from Putin to Merkel to mini-Merkel to Bloomberg.

 

(Putin) grew up in a rough-and-tumble neighborhood in the former imperial capital that grew shabby and destitute by then.

In the two decades under Mr Putin, the city of five million people got an expensive face-lift, with boutique hotels, local designer shops and organic food cafes popping up all over town. (DT)

 

Bloomberg ruined New York in much the same way. Quote,

'There are barrow-loads of flowers in Times Square, not barrow-loads of sleaze.'

Sleaze is the human version of slime; it lubricates areas that otherwise would be dry.

 

What is sleaze but the rhythms and movements and colours of the human body? The things you might see in the field in a Van Gogh painting. It's a form of primitive strength that doubtless existed in ancient Rome. Sleaze, like bare-breasted tribes, is a natural product that just happens, somewhat like ancient Greek sculptures.

 

The opposite state-of-affairs is the unnatural movements of compartmentalized office-workers seen in Doury (Pictorial 121). Instead of free-expression there is a semi-psychosis of living as meat in a sort of sausage-factory (Godard, prev.) where the serpent is free to roam.

 

In the factory (or hospital) people tend to act as if there are no differences - since meat is just meat - when the truth of natural living is that differences are powerful and primitive.

 

JK Rowling has been having an ongoing debate on the right of women to be women (ie different from men) which is mind-numbing so I won't go into it. Essentially "they" say if you're born with a male sex-organ it can be cut - again see Doury.

 

There is the whole issue of appropriation, which seems to be rife with confusion. 

 

Florence Pugh has apologised for cultural appropriation after admitting she wore cornrows as a teenager.

 

..(she said) a friend at the time criticised the way she'd styled her hair.

"She began to explain to me what CA was, the history and heartbreak over how when black girls do it they're mocked and judged, but when white girls do it, it's only then perceived as cool." (DT)

 

This confuses me, like, totally! Fashion appropriates styles left, right and centre. Pugh liked Jamaica and wore cornrows; it's just a choice, a fashion.

 

The primitive strength of tribalistic cultures is under threat from the disease of sameness. The mainstream acts as if we are all advancing towards meat (progress, algorithm) and the primitive strength of difference is treated more or less as something animal and odd, rather than the psychic and bodily resource that it is in reality.

 

Ari Up’s Rasta headdress of was a source of primitive power that probably attached to her psyche. Psychic strength - aligned to body movements - is what "they" don't want, so they seemingly confuse with messages of appropriation by a mainstream which is ideally advancing towards a hybrid type of meat/algorithm (see “the expressive algorithm”, prev.)

 

Marvin Gaye apparently thought the Stones had appropriated the blues, but that could be more of a commercial comment. Ari just likes black culture - same as Perrine Sandrea, prev - and behaves accordingly. Grace Slick likes Spanish culture - and behaves accordingly.

 

Those of a rebellious strain of mind are often drawn to the pungency of physicality. Grace Slick, in her memoire Somebody to Love? quotes a scatological verse she sang while at Finch finishing school. She calls this “Chaucerian trash”

 

The ancient Greek comedies were also harsh social satires, lewd and coarse (see Aristophanes' The Knights Pictorial 47 http://icionrebelle.blogspot.com/2019/04/pictorial-47.html

 

Whether it's Zappa's assholes, or coarse Roman graffiti (see Cleopatra, prev), it's all the same physical satire of a life which can never be purely cerebral. BWS's Adastra The Pizza Story is also in this tradition of furry coarseness that stops bloated speech with the reality of physique where the undergarments usually are. 

 

© BWS 2003

 

It’s a powerful zone which harbours the meaning of physical relations; which harbours dirt as well as clean linen. There’s a connection between undies and the physical power of the underworld (P128). Aran is so startled at the sight he swoons and is rendered speechless).

 

Modern society is not only words but also numerical, and this harks back to another Grace Slick quote on numerical compulsion (HB62/1). As time goes by, the numerical/monetary order resembles more and more a mirror of illusions, where the real physicality of living is absent.

 

The mirror - or electromagnetism - the Black Sun that shines where the sun don’t shine - that produces very convincing illusions to attract the ego. That illusion is the monetary order we're in, increasingly an algorithmic figment of acolytes' grandiose but futile plans for expansion.

 

The counter to a society where profane meat (GM) and sex-by-proxy (DNA) are the norm, is a decadent state. The strength of decadence is often contained in caustic reality. To a sterile order, the strength of decadence is paved-over with straight-lines, with the resultant loss of ambience.

 

A rebellion against this order has to take a leaf from Slick's brand of caustic physicality - which is really going back to the lewdness of Aristophanes (see "The Knights" prev.) Appearance can be appealing and persuasive enough, but underneath is the primitive serpent which is let loose to breed profane meat (see Doury, prev.) without the gross physicality of symmetry and proportion which are present in nature.