Pictorial 150

Morrison’s Cassandra Nova storyline happens to encapsulate the dilemma of modernism. The plot, as previewed in P149 has Angel pilfering a DNA sample of Nova under the guidance of the Cuckoos. Emma Frost is able to cybernetically insert the DNA into a bum-faced alien invader called “Stuff”. The plot proceeds when Jean Grey is able to displace Nova to her bodiless (mummudri) state, and Emma Frost then entices her to think Stuff is her true body.

This is the sort of pseudo-scientific super-science that Morrison is renowned for – corporate entities being a speciality. See this link to Biden’sWestExec ) affiliations.

Modernism is delusional and doesn’t know its ass from its elbow. See prev on “smart meat” (P130). Nova is massively intelligent and has the X-Men running in circles but – in the end – their human fire defeats her dry-as-dust machine-mind.

New X-Men #126, Quitely art

This could really be a motto for the modern dilemma. However advanced the method, it is synthetic and not organic, not natural and able to be left to its own devices. The corporate-executive head deals increasingly in the efficiency of numbers (algorithms) which produces sameness (P149). However, in a bodiless state there are no physical rhythms of the body; meaning, a community that sings together, that breathes the same air, that swallows the same food.

Obviously, communities exist but their physical reality doesn’t enter the equations of the alien heads – who deal in numbers and charts. The physical reality – as mentioned previously – is the balance between body and head, the romance of the throat, speech and song. Proportionate balance is something outside the agenda of the aliens.

A good example of a physical reality is a South American barrio – as depicted in Love and Rockets (prev.) It is a place where efficiency and numbers don’t really exist, but where physical rhythms of living and breathing are powerful and visceral.

I happened to read in a piece on Diego Maradona that, growing-up in an Argentinian barrio, he once fell into an open sewer. His uncle directed him to, “Keep your head above the shit!” A philosophy he apparently followed.

By saying that the human body is primitive by origin, it’s merely stating a truth that we are part of universal rhythms. We are in a state of balance rather than a corporate state.

Outside the barrio is the loam of the fields which cleanses naturally and destroys pathogens. A more primitive existence is more realistic and it’s a case of coming to realize modernism exists inside the reality of a reflection. A reflection that creates sameness. The rebel, who exists in physical reality, represents difference- that is the history of Man. The small-scale conflicts and psychic strength, especially where different people and types come together. That is the history of America in her original rebellious incarnation.

Journey #4

Where there is a state of difference and balance you always know your ass from your elbow as it’s blatantly obvious – you’re staring at it. In Journey, it’s also noticeable that MacAlistaire is the primitive. In #2 3 and 4 – the Sasquatch story – he is employed by the Huron to track a missing squaw.

Elmer Craft askes him dumbfoundedly why the “savages” should need a white man. “’Cos I’m not civilized”, replies MacAlistaire. “The Hurons are mainly farmers and fishers, I’m a woodsman, game-hunter, spoor-tracker.” (TofF11)

Without the primitive side of existing naturally – without assistance, independently – modernism faces the dilemma that any state of advance is really a state of conversion into something else. Something not natural (“unnatcherul”).

A conversion from universal rhythms. I happened to read that “DeepMind”, a British cyber-bio research group, has managed to decode protein folding. It’s an impressive advance, but it’s still synthetic in that they’re converting what is a natural phenomenon into the numbers of a super-computer. The result facilitates synthetic proteins. They forget

FASCINATING RHYTHM

 

Pictorial 149

Revisionism is not the reflection of reality, it is the reality of a reflection (La Chinoise, Godard)
This is one of Godard’s more abstract films, about a group of Parisian Maoists, but the quote could equally be applied to the progress of capital (dollar).

The “revisionist” is expelled from the group, and La Chinoise (Anne Wiazensky) goes on to advocate bombing colleges, and then mistakenly shoots the wrong target.

To her, action is realism and she is acting from a sense of culture against what is given by the establishment. As has been mentioned (), ancient societies were in a constant state of rebellion, which was “normal”, as Caesar was toppled and another took their place.

Conan and Kull followed that format. Historically Outremer was an area of psychic strength and constant rebellion. Religious states such as Turkey retain their psychic symmetry (P147); the dollar despite its apparent strength denies it.

If societies are not in a state of potential rebellion, it’s another way of saying there’s not much there apart from what is handed down from the establishment.

A rebel is rebelling against sameness and advocates action. Physical realism (perhaps that was the appeal of Maoism until the grotesque state tyranny took hold?). The contrary state is inactive unreality – or the reality of a reflection.

This could be the state we’re approaching, since so much of the work comes down to intelligent infrastructure. In this domain, efficient distribution is the key, and this comes down to the translation of words into numbers – algorithms.

Efficiency is really the opposite to rebellion, since it means one obeys the running of the machine. However, as was said of Lee Perry (), he invented dub in a Jamaican radio-shack simply by fooling around with the machinery. He had an intuitive knack.

Knowing too much is a case of having the machine do the work rather than the human creativity. Dub is primitive and dynamic, with a flair for experimentation.

By kowtowing to the machine, the instinctive simplicity is lost. Perry works against efficiency to achieve originality; the modern mainstream works with efficiency to achieve sameness.

The numerical compulsion of the ego is therefore driven by sameness. Godard, in Weekend, associates this with the anus, being sexually neutral – see P103

Babylon system is a case of getting ever closer to sameness. Rebellion is a sign of life and blood and prey.

New X-Men #125, Kordey art

WE ARE NEIGHBOURS

Dub represents the war between the rebel and the technology. Its idiosyncrasy is its message and its meaning. Living and breathing are an irreconcilable war against sameness.

Exactly the same applies to gamekeepers who manage predators on moors and for farms (). As an update to that, the process of controlled burning of heather in England has come under a government ban (DT). The mindset of the minister is generally not to think of the state of dynamic growth that gamekeepers deal with yearly. They are not thinking realistically, only abstractly.

Associated with that, teenagers under 18 have been brutally restrained from holding airguns (DT). One trains to shoot for balance, both bodily and for the sake of wildlife.

The intelligence of Babylon system denies the primitive sense of balance in the landscape. The clearest sign of this is the recent sanctioning of a tunnel under Stonehenge (DT).

Without the strength of primeval balance, things approach sameness. This is almost the same as saying nothingness, in terms of the symmetry of the psyche. A conviction of the ego without meaning.

Hyborian Bridge 146

The image of corporate America is caught by the SpaceX astronauts going for liftoff on Musk's machine.

If a corporation is the head, it makes sense to have a row of faces staring at you through space-visors. All helmeted space-faces seem to look oddly similar, like they've entered some parallel-verse. This was the one flaw of Outland, I felt, as the ''High Noon" battle took place suited-up outside of the colony (unlike the French Connection-style chase inside the gridiron complex).

Could that indicate that in space everyone becomes the same by dint of the technological imperative? A lone voice can fight for only so long. A lone wolf has to be different but what if the imperative of space is to become one with the machine via the algorithm?

What I really mean is that by conquering space, one enters a parallel dimension where algorithms rule. Anyone who challenges their authority is doomed to failure. (Space IS that reality, but it is possibly becoming apparent down here, if one thinks of the recent US election chaos!)

The parallel dimension convinces the ego for the reason it is composed of number, perspective and the rules that run it. 

As was said back in H06

on the Old Gods of Hyboria (the Shemitic mother goddesses), where there is belief in the strength of fertility, the worlds of information and belief are tied together. What is credited is what serves the laws of fertility and renewal. With this s can be associated obscene acts and the annual rebirth of the mate of the goddess with the cycle of vegetation (see Yaple).

The animalistic, the obscene and the filth if the earth revitalise through strength and cultish reverence. The animalistic represents sex, death, rebirth, the bloody hunt of prey. Does space represent the exit from this world through the universe of illusions (electromagnetism)?

Aldrin photographed by Armstrong (seen in reflection)

The mirror of illusions inside which things appear the same. Space is the most true mirror I that it is barren. The ego is persuaded by the image that reflects the truth of a perspective illusion.

Space is the place where the ego heads via algorithms (number). By ye same token, it's the domain of sameness. The gods and goddesses and their rustic physicality remain on Earth while Man - as a disembodied head - voyages the stars.

More broadly, since the new space frontier is built on computers, is it a case that the bigger the computer the better for everyone, as with Amazon's global franchise? Many would say that is America's future. An interesting image is this one from Conan #1 that juxtaposes future space travel with a sorcerer.

The sorcerer's overreaction could be that of shock the old gods had been overturned in this far future epoch! The gods are difficult to escape though, their vengeance, as this Jefferson Starship track illustrates.

WINDS OF CHANGE

Gods and goddesses of the sky and earth represent the storms of creation and destruction. Unless those stories are outmoded the old ways could well return.

Kantner, though a fan of sci-fi and the romance of planetary voyage, is questioning all things in

AMERICA

Is the future America one of illusions? Beliefs incorporate obscene acts and from.them is born a society of strength and not simply one of information. How does one fight back when one's strength is sapped? 

By entering space, does one also enter a hermetically sealed capsule that essentially seals the head off from the outside world of the body (see Orphans of the Sky, a construction of the delusory mind as opposed to the physical universe that is visible to all).

An active world can be a simple one - see HB145 on Godard - and has the romance of physical balance.

The head and body are balanced together and obviously connected via the neck. Rather than saying that the head represents 'intellect' and the body is 'anti-intellectual', it's more true to say that a romantic world is one where action (body) puts emphasis on song, breathing, swallowing food (see P1). The hunt, the apres hunt (the piste, the apres piste).

The future'they' envisage is persuasive to the ego; for that reason one should be suspicious of its veracity. Their future is supposed to be 'smart' - meaning of the intellect - but in a way that means dumb, sincw we're going to be told what to do.

How to process information that is beyond one's ken? Is that what they want so that we enter an illusory mirror world of all these so-convincing images?

The head is electrochemical impulses (see ) but our primitive reality is muscular and to do with glands and serpent-like extensions. The primitive can't be reconciled to to what'they' term advance, it can only be ignored or replaced by a profane version (see previous).

The elegance of the human figure, the arch of the neck, the swaying sensual grooves, are truly intelligent because they express physicality. Without this the psyche is nowhere. Django without the performing women and guitar player (and horses) wouldn't be Django

"And me I don't want to go to the moon

I'm going to leave that moon alone

I just want to dance with the rosebud Sioux this summer" (Generation, Buffy)

Hyborian Bridge 145

Well, I was reading in The Record on how Obama and Biden established an unequal corporate America which allowed-in Trump. If America is now a company, is that company corrupt in the way the mining franchises in Outland are (P148)?

As I was attempting to delineate, Outland is not so much corrupt as allowing the dollar to carry everything in its path including human flotsam. If the dollar is successful then everyone is happy – even if they’re not.

The flawed logic is behind Trump’s thinking and, as The Record says, is alomg similar lines to the Democrats. With Trump the process is easy to decipher since the lives lost to coronavirus don’t seem to worry him.

Superficially, this is much more like the Io franchise boss than others. However, the mindset that thinks the dollar is good goes right across the board; John Wayne said High Noon was anti-American, so I wonder what he’d have made of Outland?

The older books such as Hawthorne’s The Scarlet Letter are clear on this, as are events like the Salem witch trials (dramatized by Arthur Miller).

The corruption of the Indian wars is legendary. Corruption is unfortunate, like a sprained ankle, but it’s the product of natural societies that are not tyrannised by order and “fact”.

In Outland the officials are following instructions so that’s not so much corruption as lack of corruption. Connery, as the heroic lone wolf, is a law unto himself.

OUTLAND

The difference between a law officer and an outlaw un American history is moot, the one becoming the other. The chief thing is they possess the reflexes and instincts of a killer and so can do the job. This is as true of Django as of Outland.

What this implies is that both law and outlaw are governed by the body, as opposed to the head. They run on instinct. The body isn’t run by the CNS, it’s a product of muscle; of autonomic responses like breathing; of endocrine (hormones) all of which need to balance (yoga).

America as a corporation is heading towards a basic lack of balance owing to this fact. The ones that run it are white males that belong to the Anglo-fraternity that worships the dollar. Alongside the Silicon-valley data-heads.

However, the Earth is also a body, the body of Ymir, the fir trees, the boulders and canyons (). When Gates announced his pathogen-killing toilet () he must not have realized that the soil and its natural crumbling texture is the most effective pathogen-killer. He merely replaces a natural process with one that destroys fields and forests (see Adastra in Africa)

The reason he didn’t know this is probably that he didn’t want to. He is a true believer in number and algorithmic technology, and to “them” this is a green technology.

This allies with Biden’s “green revolution” () that would convert processes to electrical. All these trends go one way; towards order, number, algorithm (electromagnetism). But this world of the head is not the true world, which is one of balance.

The strength of an ecosystem lies in the different animals pursuing their different ways in a low-scale war that has no reconciliation.

Ian Botham (DT) has been writing bout how gamekeepers who manage predators for farmers, by shooting crows etc, are under threat from lobbyists. The lobbyists are under the impression shooting is unnecessary.

AS Botham points out, they’ve never seen the pecked-out eyes of new-born lambs. In nature nothing is reconciled and one can only achieve a precarious balance; the independent operator in-the-field has that in their sights.

What “they” call order is always a euphemism for a system that is run by the head as opposed to the athletic body (of a ranger) living amongst wild things. Different things have a strength of psyche that gives them a natural affinity (see Outremer

P11

)

When different things come together, the primitive simplicity conquers. Or that is to say that rhythm and instinct of the body-in-action predominate over the illusions of technological advance.

The head is in thrall to this advance while the body isn’t. There is no reconciliation; it’s a war. The warrior will use the technology as Django does a revolving machine-gun but he dopesn’t need it. A colt 45 will do just as well, so long as the reflexes are there.

DJANGO

You may recall Jean-Luc Godard’s quote cinema is truth “24 frames a second” (). That is to say, action and interesting things that transpire, such as the preceding clip. From the truth comes a story; destiny, faith, life and death.

The Godard-esque ideal is for the action to tell the story almost like a silent film. In this is a simplicity that conquers; the simplicity itself is the story.

This puts the body and its symmetries to the fore; the irreconcilable balance in that it’s impossible to change the form of a body.

ALPHAVILLE

Without the simplicity, physical reality is difficult to pin down and with it psychic strength evaporates. The head (of the acolyte) is able to achieve a reconciliation with order (“fact”), which then becomes the technological order of words (numbers).

While the likes of Perry () are able to work against technology with playful intent to simple effect, there is no reconciliation and we are in the world of the dancing body.

RETURN OF DJANGO

..but also the world of the decaying body, the physical reality of cyclical symmetries of body and earth. The lightness of Django is very affecting owing to the dark reality. We are psychically strengthened .

The exit mentality that seeks to avoid such dark realities is illusory and weak. Its very weakness attracts the ego (number). Outside of this illusion are the dark goddesses of fertility – Ishtar and obscene cults, see Yaple

HB106

Darkness is simply the other side of gaiety and rejoicing in the renewal of new life. The world of irreconcilable differences that is psychically strong, fairly filthy, clean limbed and often affable, unless..

Pictorial 148

As readers of L&R will be aware, Maggie quickly abandoned her Mechanicos sci-fi storylines, so much so that the title is almost a misnomer.

What is probably more true to say is that the characters live on the outskirts of a technological world; they use it but it does not use them. They get the leftovers of Capri and so forth (). Maggie lives in the physical world of decay, as her moniker from the first book might suggest.

Technology cannot share this world since it has the optimism of an exit from the cyclical underworld (P147)

If technology is “advanced” it is because it has this exit strategy via number from the underworld (see Gates’ tribal-culture destroying tech-toilet HB31) However, this leads to a future of rote that is psychically weak.

The primitive in reality is the figurative reality that gives life meaning. One way to look at it is that a future without the primitive is a technological hell-hole, somewhat like Outland, the 1981 sci-fi movie starring Sean Connery as a marshall resembling Gary Cooper’s in High Noon.

Taking a note from Lee Perry, hell is “very low” while heaven is “very high” (Oxygen 4). The primitive version of “very high” is figurative symmetry, or the notions of celestial heaven propounded by such as Milton.

The primitive version of “very low” would be primal chaos. There is a way of thinking that says chaos is simply lack of symmetry,. Such as the perfection of female form.

The notion of technology without the primitive is a figment of the exit mentality that is an ego-compulsion (of number). From that perspective, the Anglo-world is a compulsive one, while the Latin/Caribbean one is more natural. Perry’s imaginative light touch with technology reflects his philosophy of the “Super Ape”, something not unlike the comic book superhero.

UNDERGROUND

The Super Ape is Man as a species who lives underground as well as overground; who is aware of the primitive power that corrupts.

The romantics, from Byron to Howard to Kirby to BWS have a primitive power that doesn’t bow to technology. Stories are driven by primal forces. Mad Max is the archetypal example of technology that appears primitive owing to this war between the untamed and the technological.

The hero (here Mel Gibson) is a muscular throwback; never a robot, a natural man with a manly aura (Django is another archetype). His primal strength is never subdued; his untamed soul is at war.

This war is required for stories to have psychic strength and depth. The Kaluta/Lee Starstruck is another example of the neverending conflict between advance and primitive beliefs.

Beliefs are to do with physical reality rather than numerical compulsions. Without the physical there can be no revival from corruption and decay. The psychic strength that is contained in Jaime’s stories of Maggie is testament to this.

Corruption you could say is the lack of the tyranny of order (“fact”) that renders societies fascistic. This is the narrow escape that America has achieved from a 2-term Trump scenario. If one thinks of a future Trumps-scape allied with Silicon Valley assholes it’s as close to hell-on-Earth as one can imagine.

Outland is quite a good take on the age-old hero as an agent of integrity counteracting chaotic advance (in this case corporate). The strong have a primal belief in themselves while the weak are gullible suckers for any techno-escape that is an exit to nowhere.

Pictorial 147

Joining together the last several posts – from Jaime Hernandez to magic realism and psyche (Faith) – lines can express physically the psyche that is hidden in time.

Lines that are not factual are true psychically – through the magic realism of Jaime (P144, 145). Jaime’s brother Gilbert is known for his exaggerated female shapes and, actually, the female figure is an ideal example of a line that is not factual.

A factual line – whether curved or straight – doesn’t have the inherent stresses of rhythmic proportion. For a start, why is the female figure curved? The reason is to be able to give birth to the human head or, in other words, the wisdom of the species.

That tells you that the lines are fundamentally symmetrical, head to tail. The perfection of line is a product of primeval symmetry that articulates the figure.

Another way of putting it is that the numbers attached to a figure – 31, 25, 34 – demonstrate the inherent symmetry of the universe.

Whereas modern numbers are attached to algorithms and logical constructs (of politicians or economists), primeval numbers are not.

Taking that a stage further, men and women of faith in the Middle Ages were much more Pythogorean and mystical than are moderns. It all depends if you think the universe is symmetrical or not! (this goes back to Katie Bourman’s black hole HB56)

In that the information we’re given by “them” has no inherent symmetry, it could be a type of ego-compulsion that attaches numbers to certain things that are attractive to the ego (of acolytes). As I’ve been arguing for awhile, the ego-compulsion to remove dirt implies a society that has no decadence and so no revival from disorder or abandon (see Detroit Drama3). Decadence or decay is simply society left to abandon – as parts of America often are owing to economic downturn.

However, if the psyche is kept strong and independent, revival can take place. The physical world decays so that is reality. Strength of psyche comes from maintaining that as a basis of the society.

It is shown in a roughness of living that allows-in dirt and disorder. There is muscular action in-the-field and the lines of nature change through metamorphosis (growth, decay cycle). Compare this with the ego-compulsions of “clean meat” (prev) that allow-in the profane serpent! The traditional societies have a symmetry in terms of the fundamentals of life and death, the lifecycles of nature. The psychic reality is hidden within the symmetries of time that define a strong physical establishment.

A DAY FOR THE HUNTER, A DAY FOR THE PREY

Symmetries are not factual, but they are primal and powerful. One can see them displayed in the designs and lighting of religious establishments.

Religious societies, such as Turkey or India or Iran, have more proportionate, symmetrical power in their establishments that the West, for that reason. Despite everything else, the west’s financial power is weak and has no access to primitive realism.

We may scoff at Milton’s highfalutin phrases, but they have a primal power that Blake captures in his prints (HB145). By going into a factual reality, the west has departed from the primal power that lives in time and expressive line.

This world is found in comic books – be it Kirby or the Hernandez Bros – and also in 60s hippies and rhythmic patterns such as Jamaican dub or other West Indian styles.

The psychic truth is hidden from the compulsive-ego that is attracted to geometry and perspective (number). Blake’s print of Newton has him seemingly unaware of his surroundings in a fantastical coral deep underwater!

Scanning the net, I didn’t see a like interpretation to the one in P59 that the brain is transmuted into the body, ie looking at a silhouette of the brain. It seems to be a print that is capable of varied interpretations to those who prefer visions and fantasies to the cold hard “facts” of reality.

This is partly why I’ve been intent on saying that because the modern order is so attractive to the ego doesn’t necessarily mean it’s not an illusion (of the mind).

Facts are very convincing, by definition, but they may refer to an abnormal reality that is weak and nor strong. A primitive reality is strong, and physical as opposed to mental.

The physical strength of an animal in movement and combat is a type of music; the spine is the bass-note that defines the form, gives it flexibility.

If reality is really a war between the technical and the untamed (Bruce Lee prev) then the music of the spine is not recorded in the modern order. None of the musical aspects of figure appear in DNA. Basically, that’s why DNA is factual and not figurative. After all, a figure is a product of balance – where is balance? It’s something like Plato’s idealism.

While facts do not inhabit a figurative reality (of form) they cannot deny the physique, and hence this idea that the brain transmutes into a body which is as inert as Newton’s in Blake’s print. In other words, because numbers are so convincing to the ego (algorithms), there is a scatological compulsion owing to the reality of the physique (see Slick quote HB62/1). A society of pure number and ego seems to be one where rubbish-removal and work need to be almost equivalent. In other words, there is no work where the body is physically active in areas where there are processes occurring that are cyclical and not simply to do with exit. That is to say, dirt and metamorphosis in-the-field (fertility).

The seeming scatology of Blake’s print points to a physical reality. Milton’s Paradise Lost is full of scatological references in that that is the reality of processes that corrupt and so forth.

The active body is muscle-in-motion that weaves shapes and performs acts of athleticism. The body is strong because it is non-factual; the ego attempts to confine things to the factual area, and make them weak. Fact becomes infertile.

The moon – or the feminine principle of fertility– is equal and opposite to the sun. The problem with data is that there is no fundamental psychic reality. Where there is a fundamental – or absolute – reality, one has interpretations, myths and so on.

There is a real problem with the modern mainstream, which is hooked on numbers as the absolute standard! I noticed that John Bolton (DT) said let’s get back to Reaganism, which means the dollar. There is little to choose between Bolton and Trump really; both support and America of pure order with no corruption or decadence. Whereas it’s a strength that America can be corrupt (as India can). There’s a less monetary tyranny; it’s more natural.

Only Kanye West is into a sort of post-hippy hybrid-rusticity that incorporates lifecycle. In his case it’s cotton cutting in Wyoming, but could involve mixed plantations. No mainstream politico/economo can go that route since they deal solely in numbers ($), infertile facts. The underlying physical reality and hence psychic strength escapes them.

Pictorial 146

The Record, which posted some cute pictures of Connery and his granddaughter, also had a piece on his well-known comments in Playboy on the merits of smacking a bitch (first wife).

It’s easy to pick on this, but for someone with a primitive, manly vigour, physical acts tend to be instinctive. The restraint is there too, but what “they” want is for no acts to be physical, only verbal.

However, sex is physical. Clearly, they want no primitive vigour to be expressed unless in the bed! To my mind it’s just a way of departing from physical norms that are justifiable expressions of the human being – as a body not a detached head.

To be manly is to be restrained; the two go together. The body is an expressive instrument, 10s of thousands of years old in memory and meaning (story.)

"Sean of Steel"

“He was not able to express himself latterly. At least he died in his sleep and it was just so peaceful. I was with him all the time and he just slipped away. It was what he wanted.”  Micheline Roquebrune, who paints gaily but she and Connery must have hit it off quickly so you can assume there are certain similarities of resolute steeliness. Life is not completely gay in that things die; the story of the lifecycle is what counts.

There are foul-smelling waters that hint at decay and ultimate revival (prev). Dreams of rebirth are real.

"Then I dreamed I saw this man. I was in his arms. And I thought 'At last, peace'. The next day I went back to the tournament and that was that!

This stage of the lifecycle ends when the psyche departs the body. Ancient tribes used to put old ones out to die; it’s a tough way to slaughter someone, but in terms of the lifecycle it’s essentially correct. The earth will receive them and the cycle continues. Our societies think that the fact of life is more important than the psyche (cases such as Michael Scumacher.)

Roquebrune is content and that’s that. There is a strength there that in modernity becomes a suffocating weakness of care. There is a physical reality that moves things forward.

We in the modern scene are servants of the machine rather than its masters. This was brought home to me by an extended listening to Lee Perry’s (prev) early recosdings on Trajan from the mid 60s.

What started off as reggae and rock-steady gradually metamorphoses into something simpler and better, with a lot of voice overdubs and reworked sounds. Perry had his own radio-shack and was known for his idiosyncratic sleight-of-hand.

OPERATION

What struck me is that the primal elements are established by his imaginative colour of rhythm and melody, broken-down rumpty-tumpty rather than rote. Whereas a machine can become rote, Perry works against that to establish his mark. Feelings are playful and primitive and instinctive and childlike and this power conquers the tendency of technology to become banal.

A year or so later he established his Black Ark sound-studio which has become legendary (and later burnt down!) Primitive simplicity can conquer the tendency of technology to dominate and dictate. Think of a 60s VW camper van.

See Zen and the Art of Motorcycle Maintenance, prev. Kantner’s Blows Against the Empire is another example of hippy vibes

HIJACK conquering technology.

The primal elements are simple, stark, clear and not dominated. As Bruce Lee said of his fighting style () it’s a war between a wild beast and a robot, the two are never reconciled.

The attempt of modernity to reconcile facts with robotics is doomed to failure. The likes of Richard Dawkins whining about memes and information are the polar opposite to Robert Robertson (HB60)

Robertson speaks of historical and physical truths that resonate psychically. He was, incidentally, a Scottish nationalist much like Connery; both men of steel who were ready to repel invaders!

Primeval elements conquer technology with simplicity. It’s a war, not a reconciliation. The primal female form is the triumph of swaying rhythmical simplicity and force over such minor details as DNA, which has neither primal rhythm nor psyche. Logical junk composed of “facts” which can easily be abnormal or weak (see micro-evolution HB132)