Pictorial 136

The infinite mirror illusion which is also real is pictured in fantasy-form quite beautifully by Louise Simonson’s saga of Illyana Rasputin’s destiny as the Darkchilde, which appears throughout New Mutants.

I say “beautifully” since Illyana, the litrle snowflake, is a young woman of really enchanting “White Russian” looks, with a clear-eyed honesty of intellect to match. Her seductiveness is such that the demons of Limbo are in love with her, and she is torn between her destiny as then Darkchilde, mistress of Limbo, and her bonds with her teammates and planet Earth.

The way she first gained access to Limbo was via a stepping disc. These are described as connecting Limbo’s past, present – and even future – which can all be NOW. That is an exact description of the spacetime continuum according to Einstein.

The stepping discs can be thought of as infinite mirrors which establish relativity in the reality of Limbo. Like our modernday world, Limbo is dormant in terms of the physical reality, and is ruled by the egos of demons and sorcerers – S’ym, Nastirh, Belasco – plus the darkchilde herself.

Limbo is on the one hand an illusion – of spacetime – because it has no physical reality. On the other, it is real because of the physical attributes of the demons themselves. Not least, the perpetually mutating Illyana herself.

Illyana’s strength of innate psyche enables her to harness differing physical attributes and gain possession of her soul-sword, "a piece of her dies to the darkness inside."

 

New Mutants #72

Her beast-like nature is the very soul of reality owing to her primitive, animal-like force and charisma. One is also beset by the crudities innate in such a cloven-hooved form frolicking about; the savage, bestial nudity. This is quite reminiscent of Greek comedies (see Aristophanes P47) and the lewdness of Roman graffiti (see Cleopatra HB18).

Primitive bestiality is completely physical, and it’s worth comparing these two pictures

 

The tongue in these is something like “the snake that speaks” from The Shadow Kingdom (prev), a primitive throwback to reptilian origins.

The psyche in both these pictures is strongly connected to the primitive physical. The primitive physical is really the antithesis of Limbo – spacetime – which exists in a perspective system of past-present-future.

 

What that really says is that Limbo – spacetime – is a sterile environment that can have no renewal from decadence.

The Darkchilde is fertile, lusty, hungry and the antithesis of something that is more or less dormant.


The fact that Nastirh wants her for his "dark bride" is reminiscent of Greek myth, where Venus marries Vulcan, and Proserpine (Persephone, Spring) lives with Pluto for six months of the year.


The fact is that Limbo - a sterile, dormant environment - is not the whole of reality. It can only seem so to the ego that is convinced by sterile facts. It's essentially nothing without the dark bride who revives from a state of decadence or decay (inside).


Growth or rebirth spring from physical decline (age). This is the fertile world of primitive lusts and strong symmetries that exists in time (rhythm) and counteracts sterile certainties of spacetime (Limbo.)

The strongly physical and primitive and bestial and lewd have a way of counteracting the sterile certainties of our modern scene. There was Kate Bouman’s black hole, for instance, from HB56.

The truth of the primitive is the truth of the symmetries of fertility. These counteract the sterile truths of a perspective system (of lenses or mirrors or stepping discs) in spacetime.

This argument could be carried on further, since primitive symmetries are strong, active, virile or feminine. They are not bound to one part of the body, like the head.

Those who deal solely with the head are really in a parallel reality which is weak, and fatally attached to algorithms and electromagnetism (the mirror of illusion).

Neuralink article

 

The brain doesn’t need to be told what to do by processors since that is the job of the psyche (the strong sense of being). The psyche is the expression of our physical forms. If we are to be active and self-governing, the psyche must direct the physique (in a dance).

Inside the mirrors of illusion exists the profane serpent, since the physique can’t be denied. It exists in profane form as a corruption of primal rhythms, within the sterile system of electromagnetism.

Not just Musk but also the other Big Tech companies are messing with heads to the detriment of strength of psyche within self-governing communities that have inside them psychic strength.

New Mutants #73

Hyborian Bridge 135

All illusions are convincing, and a mirror image is bound to look real as it’s a reflection in immaterial (resolved) space.

The idea that something can both convince the mind and be at the same time a wil-o-the-whisp is the basic premise of The Mirrors of Tuzun Thune. Through long hours of studying Tuzun Thune’s sorcerous illusions, Kull is finally unable to distinguish in his mazed consciousness which is the real Kull.

Is everything a case of belief, as the wizard would have him think? Mirrors are the most basic forms of technology (optical illusion) and, in a world composed of mirrors, that might well be so.

This would be resolved space – straight-line perspective amenable to the ego that believes in itself. It is the fact that things exist outside the ego that the wizardry can be defeated.

‘Kull!’ cries Brule, shattering the spell. People have shared bonds, not just with eachother but with the labyrinthine likes of nature, with the decrepit dereliction of city alleyways.

Bonds can be broken by straight-line certainties that attract the ego like moths to a flame. It is the very certainty that is false. The labyrinthine ways of a forest are the stage for the everlasting hunt that is Man’s primitive nature. Blood and savagery by the light of the clear moon.

The urge to hunt is clean and wholesome, a sign of an active nature. Because we live in an inductive reality – of the mirror – it is a combination of the compulsive head (ego) and the cold-blooded reptilian urge underlying it.

A 2-fold order that cannot deny the physique, and merely corrupts it into reptilian ways of the sinuous and unwholesome (see “clean meat” P130)

The immaterial space of an optical illusion is resolved space has no finality. As in the Kull story, there is an infinite progression of mirrors, each comparatively smaller.

This cold-light reptile technology is opposed by the finality that is the cycle of life; that things decline and invite an upsurge of vitality; that decadence is strength and regeneration.

The cold mirrors shatter and the reptilian illusion with them; decrepit dereliction then creeps into the abandoned mansion of Tuzun Thune, and that is the finality that destroys the infinite illusion of resolved space.

 

 

M and J Severin © Marvel

In the land of the mirrors, light is reflected infinitely into a logical fairy tale of the acolytes’ egos. In the land of nature’s symmetries, light is destroyed (by leaves) in the physical reality of nature's symmetries.

When something becomes nothing it at the same time can become ultra-convincing (see Hiroshima quote, pre,) This is the infinite mirror culture we’re in: Einstein can be seen as a reflection of Faraday – see Vincent quote HB46

For Einstein’s quote on Faraday see HB21 Faraday invented the solenoid which becomes the template for all subsequent works on electrodynamics – including special relativity. The logical ego trap is sprung, since all subsequent works become ever-more geometrical (CERN)  and ever-more convincing (to the egos of acolytes.)

It’s an infinite mirror illusion which is also real – it’s just not the whole of reality! The confusion with illusory time is a case-in-point. “Relative to” spacetime, time might be an illusion, but this is a geometrical zone that has the same sterile components as CERN.

Time is expressed in rhythmic symmetries which symbolise cycles of fertility. In the physical world of fertility, time is expressed; in the immaterial land of sterility, it is not expressed.

Living things contain components of the cosmic symmetry (front, back; left,right); they are almost defined by a sense of balance. You could say this is an illusion – like time is an illusion – but it is physically real, containing primordial rhythm. Because immaterial reality is sterile, it has no primordial rhythm but, since physique can’t be denied, it contains the profane serpent (or profane meat, prev.)
The arguments are confusing since relativity is a type of linguistic trap (see Vincent). It is not true in rhythmic, symmetrical situations – such as sun and moon – but is so in geometrical situations like CERN (that attract acolytes’ egos).

A geometrical society has to build geometrical spaces – such as the proposed Neom city, for instance. These spaces have to be sterile (algorithmic, numerical) and entail rubbish-removal. They build-over fertile areas such as oases. A fertile zone is generally left to its own cycles of decay and revival. The idea of leaving things to be is anathema to the ego that is attracted to number and algorithm. They find these results convincing.

But in fact there can be no revival without leaving things to decline au naturel. Civilizations decline and then renew in periodic cycles. Decline is an untidy state of being that allows for freedom and self-governing psyche.

The physical decline can be picturesque, and is supportive of strong psyche and eventual pickup (Detroit). States of decline will always tend to be built-over by the ultra-convincing zones of sterilization of culture – but the progress is an illusion.

The progress is in a sense the infinite mirrors of the modern illusion; very convincing but going nowhere physically and psychically. As was stated elsewhere, the sea is a type of illusion that now reflects and now has deepness (Francis Stevens Claimed). Everything has its illusory aspect, but searching for convincing truth in mirrors of modernity is even more of an illusion! What’s much more true is the melancholy that informs joy in being.

 

Dante Gabriel Rossetti

Mye laydy Greenslyevys

Hyborian Bridge 133

In perhaps the best and most spine-tingling Kull tale, The Shadow Kingdom, there are many mentions of the labyrinthine ways of old. The archaic nature of Kull’s palace is inlaid with “inscrutable wisdom” and “inhuman powers.”

Almost akin to CL Moore’s Black God’s Kiss, the cold-blooded reptile urge underlies all human strivings, and the archaism is unnerving.

For as he watched, Tu’s face became strangely dim and unreal; the features mingled and merged in a seemingly impossible manner. Then, like  fading mask of fog, the face suddenly vanished and in its stead gaped and leered a monstrous serpent’s head! (King Kull, page 34)

The serpent is sinuous, supple and sexual in a degenerate way. Mention is even made that the original expelling of the serpent-men led them to mate with snakes in the bush so that their race would eventually become extinct.

Throughout the story, the uneasy sense of time-lost illusion haunts Kull. When Brule repeats the phrase, Ka nama kaa lajerama, Kull cannot remember having heard the phrase. But, says Brule, it is in “the soul mind that never dies.”

The serpent is a strong predecessor who haunts Man’s memories and, when Kull sees that his own form has been taken by one of the arcane priests, he babbles,

“Am I a figment of thought?”

Brule brutally wrenches him back to reality with the pragmatic, “Slay him!” All figments vanish when the blood flies. Quite a similar scene occurs at the end of Milius’s Conan (1982), where Thulsa Doom’s hypnotic utterances sap Conan’s will to fight. He is saved when he glances at his sword which serves to slay his enemies, regardless of the state of his head.

The serpents are real in our own race memories, and those are the “inhuman powers of archaism”. Our modern reality seeks to do without archaic powers of the sinuous kind by placing us in an inductive mirror of illusions.

This resolvable space generates compulsive behaviour of the head – numerical, algorithmic. But even here the serpent cannot be ignored since it is like ignoring the symmetries and rhythms of the human physique.

The serpent is our primordial ancestor, and within the mirror a profane version is manifested. It is not so much the serpent-men of The Shadow Kingdom with men’s bodies as it is the man-serpent from the Conan tale The God in the Bowl (Conan #7)

 

CH4

The head in this case is classically ideal, somewhat like a PR poster! But flailing along powerfully is the inhuman reptile urge of primeval rhythm.

The compulsions of the modern head in the mirror of illusions (electromagnetism) cannot deny the primal origins. It is the primal fertility that takes profane form when it is subject to the sterile illusion (see “clean meat” P130)

The modern scene affects a sterility that cannot exist, and that is a product of the mirror of illusions. By welcoming fertility in all its decadence and morbidity, the convincing illusions of the modern system are effectively banished.

Banished by the fields, by honest dirt that symbolises a fertility that is physically pure and clean (quote at end of A Boy and his Dog, “I want to get dirty so I can feel clean again”). The cycles of life and death are self-evidently there in areas that have the symmetry of fertility (such as planet Earth).

I was reading a piece by Ian Botham – ex test-cricketer all-rounder turned professional hunter – on the enemies of grouse shoots on the Scottish moors. All he is saying is that nature by-and-large should be left alone, with gamekeepers allowed to control predators in moderation. The fact that “green” spokespeople quarrel with this indicates what a fictional land they inhabit!

© BWS

Hyborian Bridge 132

If the profane serpent exists in an illusory reality – the mirror of electromagnetism into which the future is collapsing – the opposite to that reality is the almost morbid infatuation with fertility that has been called decadence.

In order to justify my use of the word decadent with respect to Howard, one has to acknowledge that a contrary view is often stated.

Blood and passion make the Conan stories so powerful in impact. Blood and passion and the triumph of barbarism over the decadence of civilization. (Robert Weinberg, Annotated Guide, page 117)

I can see what Weinberg means, but have to ask whether decadence is an opportunity for vital springs to upsurge once again? Civilization must decline if it is to have an influx of strength. The alternative is the dead-hand of tyranny that makes a bad thing worse still.

‘This is the price a nation must pay for decaying: the strong young people come in and take possession, one way or another.. the people are fat-bellied – but still they murmur and curse and spit on my shadow. What do they want?’

The Pict grinned savagely and with bitter mirth. ‘Another Borna! A red-handed tyrant!’ (Kull and Brule in Swords of the Purple Kingdom, King Kull page 141)

In the modern scene, tyranny takes the form of the sterilization of culture; the abandonment of the fertile zest in the gardens and ancient quarters of color.

The morbid fascination with scenes of blood and passion are almost a definition of the French-tinged decadent movement of the mid 19^th century which influenced both the pre-Raphaelites and the symbolists.

There is at the same time a turning back to medievalism, and a disgust at material corruption, particularly as seen in Burne-Jones’ fantasms

 

The Beguiling of Merlin

The weird eroticism of this is not far from Brundage’s Weird Tales covers! The original decadent art movement is opposed to nature – biologically and morally, conventional sexuality. You wonder, though, is this had something to do with the established mainstream (Anglo) domination of the Darwinian view, which imagines what Richard Dawkins later called a “blind watchmaker” at work?

The decadent repugnance for materialism might have extended to what were seen as the “facts” of nature – the improvement of species by natural selection as opposed to the passion of irrational love.

What I have been saying for awhile is that the symmetries of nature – and the sublime symmetries of the erotic and feminine – symbolise a fertility that is physically pure.

Symmetry is strong and simple, and is not selected for, it just is. A figure has a back and a front, a left and a right. The swaying, serpentine lines of the feminine figure are manifestations of primal symmetry.

What I’m saying is that decadent art has not been corrupted by the modernist infatuation with “facts” that supplant a priori reality. If the “facts” of Darwin contain no primal symmetry, then they are equally a fiction or fairy tale.

Symmetry is an aspect of fertility, or the cyclical shape of things.

 

HB127

Darwinism is simply a convenient way of making things non-fertile – occupying a sterile system or illusion. Therefore, the idea that we live inside an illusory system – of mirrors or electromagnetism – run by acolytes of sorcerers, has some traction.

The illusory system becomes ever more mirror-bound as time goes by, owing to electronic advances and algorithms. The general tendency is that straight-line perspective replaces any archaic notions of cosmic symmetry, such as sun and moon.

Where these symmetries exist, the sense of decadence is often palpable (see BWS Artemis and Apollo). It means a closeness to the fertile wellspring of life and death. In the case of sun and moon, an almost incestuous closeness.

Myths are born of these cyclical situations. Decadent art is not just pre-Darwin but even more likely pre-Galileo. Nowadays we are beset by spokespeople like Greta Thunberg who are convinced by facts within this illusory sphere of mirrors.

It is a very convincing system, since by following these facts one enters more and more into the illusory, electromagnetic reality of acolytes (see HB131). The system is immaterial and we, as humans, become ever-more bound by algorithms and mirrors. Whereas “they” say the facts need to be followed to become more green and carbon-neutral, the system is not as green as you might think.

It is really a form of sterility (that enables rubbish-removal) and not a physical manifestation of fertility. Not only that, but the sterility – the mirror of illusion – harbors the profane serpent. The shiny, slimy insidious forms that corrupt natural rhythms and physique.

In order to retain our human psyche, we have to reject the immaterial and grasp the physical in all its morbid and fertile – decadence. Things decay and they then revive in the great wheel of destiny.

So, whether Howard is or is not, his situations and settings rely on what you could call “the cracks in pavings” syndrome, whereby the ruinous and archaic are really held to be morally virtuous (by not being completely sterile and sorcerous). In such settings the warrior and the sorcerer are really on equal terms. An ancient evil, like Acheron, has lost some of its bite, if you like.

Modern settings have none of this decadent strength, and their sterility enables the acolytes’ illusions to confound us, so that we no longer recognize the reality of fertile situations on symmetrical planet Earth.

“40 acres and a mule” is quite a good mantra to carry to these political, logical, numerical and monetary occasions that – like Biden and Trump – are so alike. “They” want us to think there are differnces, while the illusion gets ever-more overpoweringly ditto. The physical reality is Spanish Harlem, Indians, cowboys, Detroit (Drama3 as opposed to any monetary engineering they foist on society in the name of Red or Blue concerns.

Hyborian Bridge 131

The Black Sun of calculation is another reason why Biden’s so-called green revolution is so much hot air. All that tends to happen is that, in all the areas that are labelled “green”, there is ever-more dependence on electromagnetism – the sun – and therefore an ever more immaterial culture. Ever more heading towards convergence with the algorithm.

Electromagnetism – or the mirror of illusion – is the land that the profane serpent enters. The land that has no concept of the symmetries of fertility in the field.

This is the land of physical boredom where the body is moved around by machine. Since the physique and the rhythms of nature can’t be denied, they are corrupted by the Black Sun into pornographic illusions that attract the ego.

The illusions are the profane serpent, that exists inside the mirror. Something very convincing, like the expressive algorithm, and with a  queasy sexuality, like clean meat (P130) Wherever there is a queasy sexuality, there is a certain attraction, and that is the profane serpent at work.

The green revolution is essentially sterile, which means ever-more rubbish removal to keep the system operative. In a sense, rubbish-removal becomes the new green, replacing the physical lifestyles amongst decedent areas, strength of psyche

SPANISH HARLEM

Everything’s the opposite of what it should be, but of course what “they” say is that it cuts carbon emissions. Biden is talking of aggressive carbon border taxes in a foreign policy initiative. I think one should define a few things. First of all, to forestall the heat-death of the Earth is not necessarily green as opposed to clever technology. Why should wanting to save survive be called green?

No one is talking about a change of lifestyle to the physical areas of movement and action in the fields of fertility. They only talk in sterile numbers.

That entire area is entering the mirror of illusion wherein the profane serpent dwells. The psyche –especially of children – will be prey to the serpent, rather than being wild and free in the playground of the childish mind.

Animals are playful things, and in a future of the fields of fertility, goats will make friends with cute kids and all will be well. I’m not saying there won’t be war and famine, just that the strength of psychic health will be there to cope.

I was watching Vie Privee (1962) with Brigitte Bardot as an over-exposed star who goes batty (somewhat autobiographically), and noticed that when she went home to her country estate for a sabbatical, the first thing she did was say hello to the goat, Claudio.

The French are better at this kind of thing than Anglos, in a way, but it makes a rustic point of having physical/psychic action as opposed to a sterile monetary system of order, whether it is called green or not.

Animals and pastures are organic, so maybe that is a better word? As was noted previously, only Kanye West of the present candidates has made any reference to rustic endeavours. While Biden talks rust/green belts, West is imagining a poetic sense of antiquated ease. It only seems like folly in the context of the billions of easy money coming off the Biden lips. In the context of having an attractive lifestyle, isn’t it fairly appealing?

Living on 40 acres with a mule is organic and self-sufficient, so perhaps that’s what we should be talking about, rather than the green illusion that leads to the dastardly dragon?

Biden in one respect is “better” than Trump because he’s green; in another respect worse because there’s more money and a bigger illusion.

If all this sounds like a fairy tale, it might be because it bears some relation to Weird Tales and Hyboria, where the sorcery exists in an illusory world of ingenious traps. The main difference with Weird Tales is that decadence is an overriding facet of the stories, particularly in Brundage’s curvilinear covers.

 

In a world of decadence, the strength of feminine revival is a powerful antidote to the illusions of sorcery. The same feminine prospects are present in BWS’s art-deco infested Conan. Howard’s delicate descriptions of women and flowers are ever-present in his fantasies.

In short, “green” has metamorphosed into something overtly masculine and numerical (monetary). The dollar is not green, but milkmaidens in pastures new are. Those milkmaidens and those mules connote psychic strength from the organic or physical cycles of fertility on our symmetrical planet Earth.

Hyborian Bridge 130

Carrying-on from The God Delusion, these fertile symmetries of the rustic culture were discussed awhile back starting with HB108 (and through to HB111). The worship of the field goddesses was a strong feature of Hyborian societies.

The point was made then that, in a primitive situation, an ecosystem follows Man on his trade-routes in the form of the pack-animals which transport goods. The dirt and ticks and flees are part of an active system that lives and feeds. Cleanliness is really a case of balance.

In the sterile modern system (of manufacture and trade), that sense of balance is lost, and there is the domination of economy over ecology. If you go back to HB108, the primitive religions celebrate the feminine harmonic of fertility in the field (Ishtar). These are somewhat like the Dionysian frolics which sanctify the donkey.

Fertility – or the dirt of the fields – sanctifies health and cleanliness through this need for balance (in the living and feeding cycle).

If you call this part of The God Delusion, then it’s to do with dirt and cleanliness, and the ritual practices since the dawn of time (such as Mosaic Law, prev.)

A sterile system – of the head or mirror, illusion – is outside this, but has its own problems associated with number. Numbers attract the ego of acolytes, as in the case of “clean meat” P130, where cells multiply but the rhythms and symmetries of nature are corrupted. Meat that is grown without the fertile symmetries of nature then allows in the profane serpent.

The odd thing is that “clean meat” is a pornographic illusion, since a sterile system continually removes rubbish – or the cyclical component of matter. Since living things are cyclical, they are removed from the system, along with their sounds, smells, gayness of manner, playful frolics.

P21

A sterile system may be immaterial (head, number, algorithm), but it cannot deny the physique (body) and so is always attracted to the Black Sun of calculation. Sterilization of culture is always going to have a physical aspect of the body (see Grace Slick quote HB62/1).

The entire region of fertility in the fields is a feminine harmonic that has grace and charm (Biblical Ruth, prev.) As was noted in HB108, “information gathering” is also a product of the strength of fertility. In other words, primitive rusticity is much more feminine and earthbound.

In Hyborian lore, Ishtar comes-up against nomadic warrior gods which she tended to outlast. Primitive tribes will gather information that accords with their beliefs in the health-giving properties of fertile cycles (see Adastra in Africa).

What you could also say is that cultures that are fertile tend to leave things to decline is a picturesque fashion. It’s the tumble-down mill, airy barn and rustic farmhouse syndrome as opposed to the build-over and pave-over and insulate-over syndrome.

From these signs of decadence spring the gayness of grace in the field, honking donkeys and general disorder. From decadence comes revival because it is a sign of strength in the field.

None of this can figure atall in a sterile order that attracts the ego with number and algorithm, but has no time for the symmetries of fertility that are products of primitive, cyclical rhythms.

The male ego is attracted to a completely different area, but since the physique can’t be denied, always ends up in the Black Sun of calculation, that shines where it don’t ought.

This is the future of numerical sex and the expressive algorithm that the likes of Dawkins are unwittingly promoting with an ego-illusion that has no basis in the symmetries of fertility.

Hyborian Bridge 129

From the previous post, if Sandrea (Perrine) is the subjective, feminine side of things, Rand (Ayn) is the objective, rational side. I just happened to notice that,

SANDREA – RAND = SEA

Take away Rand’s logical thoughts from a lithe ideal of the outdoor female figure, and you’re left with pure rhythm (Perrine, as I may have mentioned, was studying computing last I heard, and her mother was a scientist – see Ada Lovelace).

One could imagine a sea-faring race such as the ancient Atlanteans, masters of metal and with halls of science, but the one thing one can’t imagine is Atlanteans without the sea. Atlanteans are imagined as hardened, heroic figures with ideal human symmetries, romantic and fertile.

 © BWS

The fertility of symmetry – the romantic, erotic element – is something a science of information can never allow itself to dream of. Spokespeople like Richard Dawkins have an immaterial belief in words within their logical fairy-tale.

Their logic is so consistent that, to them, the symmetries of a physical world are aspects of The God Delusion (I just read that Dawkins is selling this and others to Arab nations via free pdf downloads!)

The God Delusion is the idea that things are fertile and erotic and feminine, and not at all composed of information. You suspect Dawkins is aware that rhythm exists but sees it as a physical aspect of reality, as opposed to the immaterial information that supplies logic. It would never occur to him that, without a purely rhythmic symmetry, the interlacing twists and turns of the body could never exist.

 

In short, when the ego is so convinced of its own logical thought-processes, the entire physical world ceases to exist in their minds (if not bodies). This could be why he calls it The God Delusion.

Romantic physicality is an idyll and has a simple, primitive strength, the taste of rough living. For example, the Dixie that comes to mind is one of ploughing barges on the Mississippi, the rough living of blacks on plantations and old-time courtesies.

Physically-speaking, it’s countrified idyll. Politically speaking there are inequalities, but there is a primitive strength that is really of the body and song, much like the cowboys.

Now we have not just the Dixie Chicks but also Dolly Parton talking out “Dixie” from their association. The confusion is that Dixie is a political insinuation, when it’s equally a physical state of being in the body as opposed to the head.

The South is associated with an almost morbid sense of fertility, a culture almost reminiscent of an African jungle. To “them” all that is negative for the sole reason that it’s primitive physicality, as opposed to the immaterial world of silicon valley.

The logical fairyland is itself an illusion that convinces the ego that the fertile rhythms of nature and of the human body are not atall what constitute reality, which is information.

The morbid fertility of the South is a product of decay and rebirth, which is again something they cannot allow to prosper. To a sterile order there is only endless rubbish removal to maintain the sterility. There is no revival from decadence. “They” inform us that God is for kids and that the human race has grown up. To which the reply is,

“Do you want to live forever?” (Valeria, Conan). Destiny and lifecycle (physical reality.)

The very process tends to make places similar and lacking in distinguishing atmosphere, smell, longeur. The reason is that “they” are building an immaterial reality which happens to use materials (materialism).

A physical reality has the strength of primitive symmetry from which flows fertility and erotic connotations. Primal rhythms cannot be denied, and in the case of materialism take the guise of the profane serpent – see prev on cultured meat, GM etc. The sausage-factory of a non-cyclical order.

The God Delusion is acolyte-speak for the sorcery of the head – mirror, illusion – which cannot deny the physical, which sterilizes culture with the Black Sun of calculation.

The fertile symmetries of rustic living are the counter to this sorcery of words and number represented by those South African twins, Dawkins and his chum Musk. Whether black, cowboy or Indian, all have such things in common in regaining a physical foothold on land, from sea to shining sea, with air to spare.

Pictorial 135

If there is a sorcerous system, it is the profane serpent that cannot be denied by the immaterial, the serpent that exists in the mirror of illusion (electromagnetism.)

In mundane normality, the serpent is primeval rhythm; the folding turns of the body in recline (). In the sorcerous system, the serpent has been extracted and exists in the labs of acolytes in profane guise as cultured meat etc (GM, DNA).

While science professes to be logical, it relies on profanity since logic cannot explain living systems which are symmetrical. The spokespeople for the system – like Atten-bore, prev – cannot explain rhythm, but it doesn’t stop them delivering an infinite number of meaningless words against a backdrop of swarming forms.

What science does not do is take rhythm as the starting point, rather than a stream of facts that have no psychic or physical reality. The fact that rhythm is unknowable – as illogic as time – and has to be experienced points to science as a mirror of illusions.

They – the acolytes – enter the mirror by avoiding the primal aspect of creation - the symmetrical serpent – and replacing it with straight-line perspective. Because the physique can’t be denied, the profane serpent enters this mirrorland of logic. The entire logical system is a convincing nothingness devoid of psyche or the physical, of content or style. They are replaced by number, convincing to the ego.

It doesn’t matter whether you take Darwin or any of the other sorcerers. Darwin can’t explain rhythm, and replaces it with other discoveries like DNA. The system is sterile because fertility is a product of serpentine symmetry of physical forms of animal and human. The symmetries connect back and front and sides into proportionate shapes of action in the field.

All scientific systems are information as opposed to symmetries. Information attracts the ego to the mirror of sterile illusions. What is sterile is also rubbish in that it cannot revive from decay.

As noted in P111 the primitive sublimity of sphagnum moss peatland decays and revives in acidic greens and browns. The caustic content of places of power that would offend a Trump or Musk.  What “they” call green and clean is simply sterile. A castle is draughty and smelly and therefore has an ecology of dereliction – the strength of survival that is left by-and-large to fend for itself.

Draughts are healthy to the lungs, and germs are strengthening to the immune system. Castles have fertile cultures that are self-generated, much like what applied to Detroit (Drama3).

Tudor re-enactment

Glasgow tenement 1960s, Gothic deluxe (Daily Record)

The modern mirror of futuristic progress is convincing but doesn’t have the time-based attributes of creepy atmosphere and haunting desolation that gives presence to abandonment.

I know desolation isn’t very nice, but it won’t kill you and adds to the spice of life. As I tend to say, dereliction allows for revival through psychic and physical strength.

The mirror of illusions “they” operate is psychically weak and getting weaker over time. The patina that time leaves on things is really a product of the serpentine reality of lines over time.

The psyche of pleasure, the frolics of a funky gibbon – all are pure rhythm that science denies, while letting-in a profane variant in the form of sterile techniques (clean meat, GM, DNA).

The mirror of illusions, the sausage-factory (prev) – same thing - see Doury ().Another image that springs to mind is the one of Ayn Rand in her architectural "Fountainhead". Stern and self-absorbed, it contrasts nicely with the one of Perrine Sandrea ready for action in the field. The one is of the head - mirror, illusion - the other is fertile and of the lithe body, the sinuous neck.

 

Rand/Sandrea

C7 

The images of a Randian city have their attractions. There is a style that may be somewhat ascetic but can't be downgraded to Trumpian tastelessness. The big city has its place; it's only when reality becomes logical that the physical rhythms of the country are eclipsed by profanity.

Ayn Rand was a philosopher not a practicing scientist. I suppose she liked the psyche of pleasure, which is really rhythm-based. The enemy is not Rand, it is the acolytes who make of a numerical/monetary system the entire reality, not just the rational market a la Rand, extracting primal rhythm in the process.

Thus is the profane serpent formed in the labs of modernity. The noble horse is a counter to this Black Sun. Let's ride back in time, to

To those who argue that facts are accurate; facts cannot be detached from physical reality. To take a biological example, sweat glands produce watery secretions which evaporate in heat, taking energy out of the surrounding air. This creates a cooler surface air (much like convection does).

All biological processes are chemical, which rely on physical processes. So, to say something is natural selection can only really be true detached from physical reality – which governs the entire process.

It could be said it’s physical reality that selects the organic process, rather than the organic process selecting anything!

By and large, physical selection will override any organic process since physical processes are so universal. The physical processes of the sea produce fish which have many similarities; of the land ditto; of the air ditto.

What “they” call natural selection has much less to do with primitive physicality, and much more to do with an immaterial state of number (algorithm) that changes the physical reality to a sterile profanity. The “facts” are true in a sterile state that attracts the ego to the Black Sun of calculation, that shines where the sun don’t.

Similarly, if the lungs weren't physical, they'd just be worthless junk. Anything physical has to be effective to a proportionate athletic figure performing physical acts of hunting and everything else a soul needs. When the physical rhythms – of land, sea, air – are eclipsed, enter the profane serpent that cannot be denied by the immaterial, the serpent that exists in the mirror of illusion.


(= new)

Pictorial 134

When something becomes nothing, the odd thing is it at the same time becomes highly convincing. There was the atom bomb quote in P133 which could almost represent the triumph of ego-calculation over mundane normality.

That was a deliberate act of war, whereas the nitrate explosion in Beirut was an act of carelessness. Yes, but to “them” the carelessness has managed to take-out Ottoman and French-colonial areas of elegance and slight dereliction.

To “them” the ideal city is Neom, the prospective Saudi Arabian desert metropolis of straight lines and algorithmic drones (I mean, inhabitants.)

I’m not saying any of these acts save Hiroshima are deliberate acts of flattening, just that the mindset cares nothing for ancient dereliction – or even art-deco (the careless act of the “restorers” of Glasgow School of Art, prev.)

What they want is a type of new nothingness that is clean and clever, ascetic areas of prosperity. It’s highly convincing to the ego, being composed of the Black sun of calculation; the immaterial that cannot deny the physique, and that shines where the sun don’t shine.

The logic has an illogic at its core. Namely that time – the symmetries of the body and the universe – is illogical and “just is (prev). The symmetries produce male and female, back and front, and the cycles of fertility that constitute life and death.

The cold mirror of logic is simply a name for a sterile system that persuades the ego with facts (numerical, monetary) but cannot revive from dereliction or decay.

The strength of dereliction is like the stench of death; it’s just a fact whatever one thinks of it. There is another area of facts that come from empirical tradition (see prev Mosaic Law), and that are true in the cyclical sense of recovery, of dirt and cleanliness (see Buffy quote on dried buffalo manure, prev.)

Traditions are born of universal rhythm, rather than of inductive reason (see The New Atlantis, prev.) Tribal apothecaries, the uses of buffalo hide, and the stars themselves.

On the latter, I read that Nasa announced a 13^th Zodiac constellation called Ophiuchus, owing to the Earth’s wobble over millennia. Astrologer Sally Kirkman says,

“No-one is going to have Ophiuchus as their star sign, it means nothing. All the star signs remain as they have since ancient times.

“In brief, western astrology, which is the standard in many countries in the world, is based on the tropical zodiac. The 12 star signs of the zodiac are fixed and they connect to the Equinoxes and Solstice dates which are the same year in, year out and are linked to the seasons. They do not change - the dates of each star sign remain the same.

“There is a beautiful symmetry in the 12 signs of the zodiac which ancients knew about and their hidden knowledge has been passed down throughout time.” (DT)

In other words, the Zodiac is not strictly factual, it is symmetrical. The facts that ARE there come out of the rhythm of the cosmos; first rhythm, then information (the physical and the psyche).

This is the empirical tradition which science overthrew, and has now reached the stage of the vanishing point of technique – or ones and zeros (algorithm).

 

 

 

1960s/70s Glasgow’s “grim” tenements and children playing – could be Harlem (Daily Record)

Pictorial 133

If electromagnetism represents reflection in a hall of mirrors (HB20), the mirrors represent facts that exist outside of the illusory aspect of time.

Time – or the primeval rhythms seen in spiral motifs at New Grange – is illogical in that it just is, rather than having a rational, classical mechanical explanation. If it wasn’t that things “just are”, then they would be logical and amenable to fact-exploitation, coding and algorithms.

If that is the case, then this entire world of factual accuracy, coding and algorithms is a modern fairy tale existing outside of reality, which is primal rhythm. The rhythm is obviously visible in classical mechanics since particles spin, but it doesn’t mean all rhythm is classically mechanical. Primal rhythms are sinuous, swaying, womanly, proportionate (womb, moon).

The fairy tale exists in resolved space, the sterile and tidy land of straight lines and perspective (electromagnetism, sun). I know this can sound pretty weird so, to take an example, here’s a diagram of the latest Mars Rover.

 

As you can see from the captions, every instrument is electromagnetic, and the same applies to almost all detection systems. Space is the sterile area of electromagnetism, while Earth is the cyclical area of the Midgard Serpent.

The physical reality is that the undulating lines of life have a serpentine origin that gives shape to their symmetrical nature.

The undulating lines - which artists explore through cartooning () – are expressions of time and space. They are balanced and proportionate. The factual world tends to replace the fertile areas with sterile space, represented by straight lines (paving.)

Straight line perspective attracts the ego with illusions of progress that are more like a process of repetition in sterile space – reflections, mirror. If progress is possible, it cannot be at the expense of decadence, which is the cycle of life and death, followed by revival (fertility).

A place of power, of revival, is replete with detritus. One good example is the activity of beavers, which cut down trees, place obstacles in water and generally rough-up a riverbank hooliganishly. The photo tells its own story (here).

 

From detritus and the hunt and the deep, dark wood come stories and legends that feed the imagination of children and carry on a cycle of psyche that has strength and reality.

The irony is that the insubstantiality of time has to be there for the substantial world to develop.

“All the elements are in place, but they are form without substance” - line from “The Fall of the Mutants”, probably by Forge, on the need for spirit to reenergise the world (Storm).

Claremont’s tale reads like a fantastical fairy tale, whereas the modern fairy tale reads like reality – the fantastic element is missing. That fantastic element is what you find in the deep, dark wood where the snake glides and the stag runs. The rhythms that carry manner and style of the shape of things. These fantastic elements of physical substance are what are absent in a world of fact and the explanations of classical mechanics (ie the whole of modern physics.)

“That beautiful cloud.. I have never seen anything so magnificent in my life.” (Hiroshima survivor)

The atom bomb represents the ultra-convincing nothingness of calculation, the Black Sun or sterilization of fertility. The eye can’t fail to be attracted by the sight, just as it can’t fail to be attracted to the perspective reality of an iphone.

A logical order has its attractions, but it is a type of visual illusion that fades like the mushroom cloud. What is left is the decadence that revives. Beirut, before its explosive calamity, had French-colonial rundown elegance representing crumbling revival of the long and interesting polyglot history prior to the Hezbollah /Iran nexus.

If an atom bomb is convincing calculation, much the same applies to contemporary political reality – monetary and numerical – without the physical reality of rustic decay and elegance, but convincing to the eye.

You notice that Einstein’s continuum tends to convince people (ego), and it is again nothingness in terms of decay and revival. Lawrence Durrell wrote The Alexandrian Quartet on this exact topic, set in Egypt, being presumably intellectually convinced by the relativity principle!

All this you could probably call the vanishing point of technique; relativity, continuum, iphones. The logical perspective is attractive to the ego, much in the same sense numbers and monetary systems are.

It doesn’t change the fact that they are approaching zero in terms of physical reality; the serpentine decay and revival of living systems on planet Earth (currently stationed between Mars and Venus).

The mainstream politicians – be it Biden, Trump – are depressingly similar, and it takes an outsider like Kanye West to add a dash of poetry to the proceedings (P127). Poetry is not logical; it’s not number. It’s essentially rhythmical and inhabits the same moral reality as the Old West. People and animals in motion with poise and grace.

Poetry takes one out of the area that convinces the ego with facts. Even if it’s true to say an atom bomb has a certain poetry – according to the survivor – it just shows how convincing hot air can be. It doesn’t last and what’s left is the decadence that survives and thrives.