The alternate UK newspaper The Light so far as I can gather is radically anti-corporate state, though whether you call that left or anarchist is anyone's guess. What they stand for tallies to a large degree with what I've been calling the physical reality (nature/culture) that is expressed in communal psyche (song, praise.)
This applies to diverse aspects, such as the Indian small-farmers' rebellion against Modi's free-market/infrastructure legislation; the Babcock ranch syndrome of an "electric-green future" (all prev) - and so forth. The future may be electric, but it is not green. Decadence and decay - of vegetable produce, or of fermenting pig manure - are clearly a strength of the physical reality of self-sufficient areas that are not governed by the efficiency of scale, but by the inefficiency of green nature!
Efficiency is itself inefficient because it is part of the electricalization of the world. The Light are very good on this aspect.
You would never put all your best eggs in one place lest the one basket should fall..The notorious Georgia Guidestones reads 'Maintain' humanity, control over the world's energy needs is a very smart way to do that (pun intended). We used to have gas cookers, coal fires, wood stoves and now new homes will be banned from having gas central heating from 2025.. nothing that mega-corporations, governments and NGOs push for is meant to benefit the common people, it is meant to enslave us, eventually.
Yes, but slaves to what exactly? Corporations have always existed in history, and what The Light calls 'collective' could apply to monasteries, or even a Greek city-state!
In Hyborian language, the Red Brotherhood (of the Vilayet sea) or the Free Companions. One can't do without collectives whether historical or fantastical. I guess The Light mean enslavement to finance but, as has been noted passim, the money market is just the way the numerical order is run.
Enslavement to numbers in the form of algorithms (ones and zeros) that are assumed to be right (logical). That is really to say, enslavement to calculation, so this is the same trend that can be deciphered in 17th century Poussin (HB190).
This is really why the language I'm using is not that realistic: the devious serpent, the Black Sun of Calculation, or even Puss in Boots! It's more like fairy tale language for the weird land that 'they' call reality.
If we are in a calculating world (of the head), we are not also in an active world (of the body), and it's clear that fairy tales apply to the active human and animal body, male and female, in a green world (of trees and owls and nightfall.)
What is called reality has the illusion of realism and is highly convincing, but it could still be a mirror (electromagnetism, straight-lines.) The Light takes a shot at the electric car as a 'green' standby, with their hazardous batteries. I looked this up , and a possible future battery is made from organic quinone, so could prove friendlier (after all, nothing is perfect.)
But, if electric cars are friendlier and all things become electric, is electricity itself green? No, it's the calculating engine of electromagnetism. 'They' don't really mean green energy, they mean clean. It's the same trend to tidyness and caution that originates from the 17th century and Poussin, and culminates in the all-electric future. Ironically, the more 'green' the less green (ie more electric.)
Sterile, static, lab-harvested, run via algorithmic logic (‘clean meat’, gene-editing). The monotony of calculated sameness that is equated with efficiency. Except that nature’s inefficiencies are strong and purposeful, carefree as opposed to calculated, active as opposed to static, a world of coordinated differences that incorporate strength, rustic pride in the harvest and Dionysus, the psyche rebounds, the plains of plenty, the pounding rites of spring.
Carefree, dynamic,
coordinated, communal, song, gay giggles, rustic milkmaids.
This goes down badly
with the spokespeople such as politicians for the ego-centric accomplishments
of sterile efficiency, who could not conceive that inefficiency is simply the
way nature maintains fertility by allowing untidiness, decomposition and
revival.
The sterility of the
head of the acolyte – represented by the DNA-Dragon – versus the fertile areas
where the body performs active country pursuits. Weakness versus strength.
A world the shadow of
illusion hangs over all things, versus the heritage of a free psyche in a
universe of dreams. A world where the greatest illusion of all – DNA – convinces
acolytes with the logical sequence that ignores the coordination of antagonistic
principle (the ideal figure, athletics).
“When my colleague Rick
Ree sequenced it and told what family it belonged to (Picramniaceae) I told
him.. no way. I just couldn’t believe it. (DT item on a newfound tree in the jungle)
A logical sequence is highly
convincing and therefore true within a logical universe (the mirror of illusions)
where the DNA-Dragon exists. The difference with reality is that coordinated
antagonism ITSELF produces sequences of balanced proportion.
(see also the
perspective of the lens – the false Apollo – in P56). A comic book sequence, by
comparison, tells a story – a story is told through the elements of balance and
proportion. We exist in the world of empirical reason as opposed to empirical
tradition (see passim.)
The language of myth is
strong and pure, unsullied by calculating reason. The reason of calculating
number that is itself the sorcery of our age; an age of the death of carefree
active and fertile plains of bold dreams. The free and melancholy psyche of
Man’s lineage.
Within the mirror of illusions exists the profane serpent of corrupted rhythm; primal rhythm cannot be denied, only distorted. This language of fairy tale can't be fooled by the numbers of modern science (programmed, see The Airtight Garage.)
An elemental truth is always going to be so, and this is what modernity deviates from. One can go back to the last days of the cowboys and the classic 69 film Butch Cassidy and the Sundance Kid (George R Hill.)
This is told in a modern - ie 60s - rendition of nostalgia for the days round about the time of the onset of general electrification. The train at the first scene, for example, is a period piece that still emitted steam. There's the bicycle scene (Newman and Ross) that was just playful improvisation. The characters are carefree in the sense they live solely by wits and physical skills of riding, shooting, tracking.
When they are tracked by the super-posse, they escape by throwing caution to the winds and jumping into the super-hazard of shallow rapids. The world they live in is one of Fortune (see Byron quote) which of course at the end runs out when they are gunned down by Bolivian cavalry.
However, the last shot they appear in sepia as a framed memento of their last escapade; they have become myth. The same thing applies to Hill's film, and myth (as Newman says in an interview) is always hard to disentangle from the reality.
The basic point is that, in an elemental world myth is real because it is elemental. That's why I'm using the language of fairy tale to describe the modern 'reality' (illusions). The myth contains elemental things such as friendship, camaraderie in active settings that rely on pure skill and coordination (hand/eye) as it as happened since time immemorial.
That physical coordination and the antagonistic principle of muscles-in-action is what makes us human, active in the world of action, and makes human part of nature (when that principle is active it can be startling, as in the Raducanu phenomenon.)
The language of fairy tale is the language of myth, that has a physical reality in the dynamics of bodies-in-motion. Human, animal, elemental. Where there is coordinated, communal reality, the psyche has a means of expression in song, or the song of life (and death.)
Physically (dynamically), the modern order approaches zero or the vanishing-point of technique. Rather than submitting to 'their' language of DNA information (that attracts the ego to the mirror of illusions), the language of fable invokes the DNA-Dragon.
In the mirror of illusions resides the profane serpent of corrupt rhythm. In Elena's picture, this is hidden by the DNA-Dragon of ego-lust and accomplishment.
Conan and Valeria - adventurers of active renown - are sombre but sure inside the id of age-old decadence - representedby a serpent's shed-skin - that revives in time.
The id is sure, but has the melancholy of
(Elena's drawing is loosely based on BWS 'Red Nails')