Pictorial 206

 I don't know if anyone noticed that Haeckel's Art Nouveau-esque drawings of natural forms and the Yorkist symbols at Devon have a certain family resemblance?

I mean, in the overall symmetries and flowery patternings. Differences have similarities in the physical spectrum; not necessarily the scientific world of measurement, but the sensual depiction that accentuates florid aspects.

I did a bit of reading, and Haeckel was essentially an artist who became a scientist through his infatuation with microflora and fauna of the sea. With one eye on the microscope he would draw these amazing tapestries.

pixartprinting.co.uk/blog/drawings-ernst-haeckel/

Architects and Art Nouveau designers were influenced, and it seems

..only included the elements of rhythm, force and movement..

Unsurprisingly, since these are the elements that make up the natural world. Haeckel's drawings were copied by lithographic plates which even more accentuate these elements. Are they realistic or artistic?

They're sort of highly stylised versions of natural forms, which throughout history has been practiced by Man (Pictish standing stones ornamentation.) The physical elements are accentuated since they emphasize the power of nature.

This goes back to Plato and idealistic form; the essence of something is strong and rhythmic. Greek sculpture is Platonic form. Ideal form contains stylised elements, and some comparisons from Yorkist symbols make the point.

If you take a look at the discomedusa on the link, it was said to have inspired a decorative chandelier. The bold abstraction of the Yorkist crown bears a distinct similarity. The radiating spokes of the Sunne in Spendour symbol can also be likened to Haeckel's marine forms.

This is an argument I've been following for awhile; where things are different, they have similarities in their physical shapes. The branches of a tree and the limbs of a figure. Haeckel's designs are similar to Yorkist in their large scale similarities.

Science - and particularly Darwin and genetics - deals in minute differences, which are then measured. These differences may convince the ego that something is there, but in fact it's the large scale similarities that are vastly more powerful!

Anything that is different has large scale similarities because rhythm, force and movement are primordial aspects of growth. Without them everything is chaos. 

The problem is, the logical order we are in requires measurement, and this convinces the ego (of acolytes of the mirror of illusions.) The stylisation of symbolism is actually truer to the physical spectrum of reality. 

Alan Moore in 'Blood from the Shoulder of Pallas' has a very similar argument (Watchmen). Owing to measurement, science takes us out of physical reality and into a parallel reality decided by measurement and convincing to the ego. One cannot consider natural forms without rhythm, force and movement because that is what they are!

Differences contain similarities for that reason. Darwin cannot be considered apart from that argument, otherwise we are entering a parallel universe of measurement (and machines.)

Spiralling galaxies and proteins are testament to this fact. We seem to have become habituated on the Western sofa to accepting something that is parallel to the actual reality of the situation.

News, or the routine facts of a logical order, is driven at us with the intensity of a fire-breathing dragon. Whether it's the DNA Dragon or 'the retail price index' - quote from Paul Kantner on 

STAIRWAY TO CLEVELAND

When, actually, the physically strong rhythms of natural power of the human physique create the ideal woman and ideal man!

The physical reality of these wouldn't seem to be worth questioning, going by the history of Western art, or Brundage's Weird Tales. Nevertheless, JK Rowling has come under intense criticism for defending the identity of 'woman' as opposed to some neutral receptacle.

Let transgenders have an identity, by all means, Rowling is merely defending the sexual province of womankind that gives differences meaning. The physical substance of the issue concerns strong rhythm (menstrual) that women have, along with curves. It's not a technical issue, it's a natural one.

Transgender women are women. Any statement to the contrary erases the identity and dignity of transgender people, and goes against all advice given by professional healthcare associations who have far more expertise than Jo or I. (Daniel Radcliffe)

This implies that expertise is able to baffle the physical substance of strong rhythms that occur in nature. In fact, expertise tends to do just that, under the pretext of improvements to living as a sop to the ego.

Figures (numbers) replace real-life figures. The ego accedes its need for 'nuanced thought' (Rowling) to expertise.

As some know, fantasy artist Jeffrey Jones became Catherine in later years, and I have a personal email from Michael Kaluta (both of The Studio) to the effect that it was his conscientious admiration for the ideal woman that prompted his change. In other words, the physical nature of woman was his reality.

That might be called a trait of the imagination, and it is imagination that is lacking in the modern neutralising news of fire-breathing dragons.

The dragon enters a parallel space apart from physical rhythms, and defined by expert pronouncements that dabble in measurement of wellbeing as opposed to the actual reality.

The neutralising aspect of measurement occurs outside the physical rhythms of natural power, convincing to the ego.

Rowling's thoughts are not that far from 50s women such as Betty Grable who thought themselves a match for men BECAUSE OF their difference.

..what nine-year-old Grace saw was a woman who looked like a princess, behaving in a primarily offensive, often masculine way and producing slapstick results.. Significantly, she takes it with no whining or lobbying against sexist attitudes.. At the end of the film, when she discovers that Romero has a woman on the side, she dumps him with a few well-chosen remarks and shoots the same judge in the ass again - this time hitting both cheeks. (Grace Slick memoir, page 6)

The difference between the sexes is physically empowering, and this was strongly brought-out in Louise Simonson's writing of the 'war' between Scott, Jean and Phoenix in X-Factor (Louise, incidentally, is the ex-wife of Jones.)

#18

A war is something fought between different elements, and is a way of resolving conflict. As Scott says in #19, mutants have "dramatic ways to express themselves". That's life, and it doesn't have to be death. A battle of wills is the route to resolution.

In a neutral world, these battles are verbotten in a ludicrous quest for wellbeing, fueled by fire-breathing dragons of sterile expertise.

Of course, dragons have their own physical identity along with everything else, which underscores the absurdity of a parallel universe built on neutral facts.

Pictorial 205

Avengers #93 page 13,14

The dynamic rhythm and design of Adams' imagining of the Vision's body's defensive actions.

The unreality of Adams'work is nevertheless inforned by physical processes of swirling movements that are universal in nature (P204).

Actions in nature - whether defence or offence - have an oppositional tendency that is in perpetual imbalance. Nature is hovering forever on the interplay of balance and imbalance. The swirls of galaxies; the strewn stars of the night sky.

This is the physical reality we see. Of course, it's not scientific since measurement is the key to scientific progress. Without going into massive detail, the news over the airways relies on a fantastic amount of measurement and analysis.

In a sense, the exercise neutralises a universe of conflict and balance into one where there is only one view: the view of expertise.

Towards the dormancy of the sofa the expertise is directed (P201). It's a topsy-turvy world-view since, as is visualised in Adams' pictures, primeval rhythms create the reality of defence and attack in nature.

The strength of the primordial universe is seen where balance is really externally visible in the tapestry of water and wood, moss, lichen and herbivores of an ancient temporal rainforest.

If the visibly physical universe exists in a state of primordial balance, the modern order exists in a state of omnipotent news that neutralises this primordial reality.

The primordial is often visible in fantasy and comics, needless to say. The animated X-Men (prev) manages to work in Nietzsche's'Beyond Good and Evil' when the Phoenix starts to manifest bad symptoms.

You want me to give up this body? Never! It has a power beyond good and evil. The power to create - and to destroy..

This is very close to Apocalypse's own creed: Louise Simonson develops this very effectively in the comic (of which more next post). For the nonce, it's worth noting that Jean's bombastic demonstrations and declarations are really equally close to a Clair Noto-esque underworld of revival from morbid fertility.

Noto uses blood for this power (see 'Red Lace' prev) in the form of giant sacrificial rocs and carniverous blood-sucking plants.

The fact that nastiness exists in nature is not exactly news and, in fact, the news deliberately skirts the issue. Unfortunately, without the underworld cycle of fertility - however debauched - there can be no revival and natural strength.

Apocalypse, in the comic, makes very good use of this type of argument, and it's fairly easy to make-out that it is a type of evil. On the other hand, the fact that evil exists is not exactly news either, and Noto seems to be seeking a type of primordial balance between that possibility and rejuvenation (Sonja's blindness is cured by a rocs heartblood, she is a pure spirit.)

Apocalypse makes an undeniable point that he has been around in all the ancient civilizations under various names (Kali, Set..) The ancient principle of balance allied to resurrection is powerful and enduring.

In this situation, primeval rhythm is archetypal and had always existed in nature. German naturalist and marine biologist Ernst Haeckel's detailed drawings from the 19th century tend to emphasize the Art Nouveau aspect of seaforms (poss prev.)

Artforms in Nature

Scientific literature does contain these things; it's just that the mainstream downplays them as 'a flair for artistry'. Hence, the dominion or hegemony of the competitive Darwinian view that convinces the ego with the illusory 'facts'of a competitive order, at the expense of overarching rhythms of the pulsating universe that animates the shapes of living things.

Why does the competitive order appear to lead to global sameness? For the reason that rhythm is a product of diametrical opposites and makes things different.

Another way to put it is that Haeckel exists outside the mirror of illusions, 'facts' that are studied at the expense of rhythms (see DNA and fish swarms.)

Facts are neutral, whereas rhythms have the oppositional sense of balance that manifests in Art Nouveau embroidery. The selection of DNA rhythms by proteins (prev.) 

Neutral facts could be said to be amenable to routine, whereas powerful rhythms are not. Pamela Geller had a few quotes along those lines recently. One was the NYPD are set to

record the race, gender and age of every person they pull over

Which is like racial profiling plus; communes do not require this type of data as they are self-governing to a degree (see Blaxploitation movies prev.) Communes that have low-level feuding resolve differences that way.

She also quotes the DT journalist Allison Pearson tweeting that 70% of London's Covid hospitalisations diagnosed after being treated for other ailments.

A positive test 8 days after admission means the hospital basically gave the patient Covid

Hospitals are the ultimate in sterilised routine, but clearly they don't repel viruses! Some sort of balance is required; somewhere between lack of medicare (of say Brazilian jungles) and advanced hospital facilities and algorithms.

Ensconced on the Western sofa, the head is sort of saturated by facts and routines which constitute news.

In days of yore, symbols were vastly more important for the transmission of 'news', and of course symbols tend to have archetypal significance of shape and structure. The Yorkist Rose, say

telegraph.co.uk/news/2021/12/28/richard-iii-may-not-have-killed-young-princes-tower-london-new/

A few years lateryoutu.be/-dMyeKWnp-0

Pictorial 204

On the purely technical front, the prev post (third para up) is not exactly right. It seems flu virus is composed of segments of RNA that can 'drift' into variants which the antibody is able to recognise. Covid is composed of a long chain of RNA which can recombine with other Covids to form a variant that is less easy for the antibody to recognise.

On the other hand, the immune-system as a whole is both innate and adaptive and designed to impinge on germs that enter the body. It seems reasonable to suppose that the more the overall system is responsive to danger, the more the white blood cells that specialise in viral attacks - leukocytes and T-cells - will be there.

Science deals in the active-ingredients - which happen to be leukocytes - but the design of the entire system which is contained in the blood and lymph is implicated.

T-cells are very bright and can do brilliant things, but they have to be ready for the fight in the first place which includes the strength of innate and adaptive in tandem. The idea of strength - the power of the blood - is not necessarily a scientific one, but it really involves the complete rhythmic situation occuring inside the blood.

Avengers #93 page 12 Neal Adams art

If you take a look at Neal Adams' design from P203, it has a certain unreality since he's designing it from his head. However, the dynamic swirling actions correspond well to physical processes. As was noted in P203, fish swarms make good analogues for protein-folding, and proteins are responsible for all these actions inside the body.

A hyper-reall illusion that inhabits logical space will not also inhabit rhythmic space. If logical sequences of DNA attract the ego of acolytes, the nemesis is the body that is cutoff from natural rhythms of recovery, represented by rough areas that strengthen the immune-system by opposition (P203).

Instead of oppositional responses that strengthen by virtue of difference, we are condemned to universal sameness in a global laboratory. Measurement becomes everything, algorithms triumph, the ego is sated and the profane serpent of corrupt rhythm is abroad.

Where genes are concerned, the sexual breeding element is never far away; Mr Sinister from the X-Men (P203) is a good approximation of this pervy side to the mainstream.

Hyper-realism is always going to have this effect on the ego (of acolytes) and essentially the same holds for Relativity space (of satellite arrays and GPS). Everything is measurement, algorithmic for the sated ego.

The 'resolved space' of CL Moore's overlapping realities of an artificial asteroid in Judgement Night (see also 'The Airtight Garage'). Hyper-realism is the illusion of parallel realities that are defined by measurement to convince the ego. Within this illusion exists the profane serpent which distorts natural rhythms with Mr Sinister's pervy glee.

This undulating reptilian horror must be one of the hopeless addicts, wealthy enough to indulge his madness even when civilization was crumbling outside the walls of Cyrille. (Omnibus p484)

What are these real rhythms? Well, if a protein folds spontaneously, a galaxy spirals. These activities are extremely similar, and both echo the swarms of fish (P203). The cosmos echoes the microcosm.

Unfortunately, science cannot leave its habitat of inductive logic because this is what attracts the ego with number and algorithm. When science spies these rhythms, it is seeing through the sterile space to the fertile area outside.

This is the area where meaning (epistemology) occurs through cosmic rhythms. However,as noted (P201), it has epistemology but not precise measurement. Precise measurement is supposedly for adults and everything else for kids, but you could also say it's an illusion of a parallel reality! 

The illusion is very convincing for the fact that it's composed of precise measurements. Where there is imprecision, of course there will exist people to take advantage of that. The truths of herbalism area undermined by the charlatan (see Ben Jonson The Alchemist.)

Yes, the human condition and character is imperfect, but the alternative is a belief in rational rules that become more preposterous by the day.

The belief is bolstered by logical space, when scientists are even now seeming to be coming-round to the idea that gene expressions in phenotype (body, somatic) are best represented by a fish swarm algorithm (prev.)

In other words, in the body the selection of genes (by proteins) for a particular somatic act (neck muscles, say) resembles the movement of a fish swarm. It's all about balance and nothing about logic (see Corneille: the illogical contains the logical.)

The trouble is, the logical, sterile space bolsters beliefs that are irrational even when they follow rules of logic! Outside the logical space exists the real world of swirling stars and shoals in the sea. It can't be measured in the same sense, and algorithms are just a way of holding on toligic where none really exists apart from the waves of transcendent rhythms.

The primitive and the physical are out there, outside the illusion of logic. There are always choices to make; between comedy and tragedy outside of the modern illusion. The psyche is nourished ('Feed your head', White Rabbit) by macrocosm and microcosm alike. 

Tell the truth but tell it in slant

Success in Circuit lies. Emily Dickinson (quoted in New York Times in article on Christmas)

Logic is s type of trap for the ego that leads to illusory reality. It doesn't necessarily supply physical meaning, and therefore the psyche is short-changed.

You might ask: doesn't the psyche require decisive truths? Not necessarily. If the truth were decisive there would be no journey, no story to tell. No spiralling yarns a la X-Men.

Those who reckon the ego is a repository to truth are living an illusion of the mind. The world is above all active and governed by animal will and

FLOWERS OF THE NIGHTYoutu.be/Z1mDXp8uaKo

Is astrology for epistemologists or charlatans? It's an open question, and it's also an active world of foraging and scenting (animal-like).

Omnipotent expertise doesn't actually exist because all it means is you're inside a closed space of a closed minded of sterile logic. Only in fertile areas is there oppositional strength, the strength of difference. 

You'll get extreme accuracy but not the ghoulish romance of swirling carrion-feeders.

Pictorial 203 (no pictures yet)

 In the modern sterile situation, sinister subtexts of anti-virus technology are harnessed within the mirror of illusions by expert acolytes.

The mirror of illusions is logical induction, harking back to Newton's expts with light (Newton's Knives C4-C6). This is the parallel reality we are apparently inside.

While genes have sequences that can be executed by algorithms, the movements of sequences within the code depend largely on random miscopies (or errors). The only deciding factor in choosing genes is really the balance of s coordinated physique in the activities of nature (see prev.)

The balance of the body is what could be called oppositional, relying on opposing muscles attached to ligaments, skeleton, in order to achieve animation.

It struck me that proteins should also be oppositional, in that protein-folding is indeterminate and depends largely on imbalances within the molecule l. In other words, the folding of the molecule is so finely balanced it can't be predetermined.

A Google search led to the rather surprising analogy of a fish swarm! I suppose that makes some sense since fish are not that smart and rely heavily on tiny imbalances in the shoal for their movements.

Still, what that says is that everything in nature - from proteins upwards - depend on indeterminate balance for their movements. The obvious conclusion is that physical reality in nature is dependent on balance primordially. Genes are only selected according to that criterion (naturally.)

Or, another way to put it is, nature is primordially oppositional. There is a balance between two options, left or right, and neither is predetermined.

This is the exact counter to a logical sequence that is predetermined. What this implies is that the genetic code is illusory in that it is selected for by way of balance; the logical sequence is not what is selected. Bits of misplaced or miscopied code may come in useful and be added to the mix at some date (or not.)

Approaching the code logically is a false reality that doesn't correspond to the physical reality (of body structure.) However, the ego is led down this false path.

Mr Sinister, the pervy gene-acolyte from X-Men, is a good symbol of this 'progress'. The fact that genes are so convincing convinces the ego of acolytes, and actually makes them into egomaniacs!

Sinister's fatuous experiments succeeded in producing the clone Madeline Pryor, whose false memories and Phoenix residue provided a toxic combination.

Sinister represents the hyper-real illusion of logical sequences that permit pervy corrupt rhythms to be extracted. The slimy predatorily sex-obsessed (with the mating of Scott and Madelyne and harnessing of their progeny) Sinister fits this image perfectly.

Having been watching the X-Men animation recently (1992), it's worth noting that Apocalypse makes a worthy opponent to Sinister, in that he has really universal omnipotence and nothing false about him.

He does not deal in illusions but in naked fear: famine, pestilence, war, death. These hombres (and ladies) are piped-in by the unreal music of the spheres.

Defeating Sinister is almost child's play to defeating Apocalypse and, as of now, I'm unsure how they accomplish it. In order to combat something that's false, one mainly needs the reality of physical balance and psychic calm.

This is why I've been saying for awhile that faith in experts is misplaced if they inhabit an illusory reality of logical induction (measurements of experiments.)

Where we are now, the virus epidemic is just evolving in a sterile system of weakness. Outside this system exists the rough, fertile areas - of soil, agriculture, plants, animals, activity - that tend to promote oppositional responses in the production of antibodies to germs.

The scientific revolution originally was about going without germs but, in fact, opposition is fruitful and promotes strength. Modern scientists seem unwilling to accept that argument, even though they study fish swarms as analogues to the opposing choices that always occur in a balanced system, such as a protein (structure).

In a word, there is s Sinister subtext to use DNA as a logical tool that can provide code for vaccines. The subtext is that the ego is quite happy in its false system of pervy and corrupt rhythms. Within this system, the evolution suggests that viruses mutate with a fair degree of ease, and it is actually the weakness of the human immune-response that is the problem.

Even so, 'they' will study the emerging situations as it suits their logical-ego to do so (measurement is everything.) The point is a vaccine works by stimulating the immune-system to respond by making antibodies. These will extinguish the virus. Period.

ILLO

Even if the virus mutates, a healthy immune-system should be able to respond to the mutations by producing varying designs on its own initiative. I mean, how do these guys think activity works when it's not inside a lab? By what you could call initiative, self-government, action and improvisation in-the-field.

The only way to counter that hubris is in rough, highly physical environments and activities, going about with horses and other animals and the good ol' earth and its plants.

The Sinister side of science denies this area for its illusory and sterile logic of pervy corrupt rhythms, or the profane serpent.

Pictorial 202

Without the physical reality, everything becomes neutral. In America they topple Confederate statues, then get excited by a time-capsule. Read my lips: the statue is the physical reality. Opposition is not neutral. Not everything is academic, and the dollar is not everything. Renegade Democrat Joe Manchin was plying this tune on his lyre, sailing along the Venetian-style lagoons of West Virginia.

The unreality of his conscientious belief in fertile fiords as opposed to lorryloads of funds is an old-time song all-but forgotten amid the sameness of a hyper-real illusion.

With the great, loping strides of his faithful Carthaginian bloodhound, Hasdrubal, alongside his riverboat in the neverending search for game, Manchin cuts an old-West figure; part beast, part thinker.

A universal sameness funded by dollars that are as urban as Rome itself meets the opposition of a single mariner, with the gore still fresh on his hound's chops. 

To the urban watchdogs of the dollar, such primitive physical reality is as weird and unreal as the lagoon of Venice and the death-song of Dido. What is unreal is actually the cyclical nature of a lifedeath scenario, which tunes the psyche to the physical nature of existence.

A physical situation in nature is muddy and nomadic; a mixture of canvas and limpid grottoes. Reminiscent of ancient groves and yardarm alike.

School in Afghanistan mosque

Syrian refugees

The dominant physicality of the situation, medieval in style, is what tunes the psyche to high-strung vistas of yore

This rustic dominance is the very counter to a world of the closed mind. This has been the West's advance from the ignorant gladness of peasantry to the awful sameness of psychic numbness of present days.

"Let's celebrate everyone regardless of talent", trumpeted Sam Smith, a fitting epitaph for the modern disease.

The modern mind tells us things devoid of physical reality. WitnessJK Rowling's discomfiture on the sex front! Elvis Costello wrote on the award of honours "Why not change the last word to Excellence. It would save so much angst." So the British Empire is neutralised owing to opposition (which is real.)

Opposition is strength. You sit on the floor, limbs folded by opposing muscles. A scouting party by a campfire, sitting in contact with the friends in the fertile soil. Not just beneficial bacteria that are symbiotic to soil and Man, but nasties that promote the immune-system antibody response, supplying strength by opposition.

Strong gamekeeping sets the balance between predator-prey with shotgun or hounddog. The setting is active and the primitive rustic base establishes a psychic calm.

There is a morbid fertility of the bayous. The rank odors are sweet and sour; sweat streams down humped backs. The psycho-sexual situation is unreal to those in endless corridors of sterile illusion, but heard in the music of the spheres.

It only takes a single rugged opponent - or maybe two if you count the previously cited Ye West of Wyoming (formerly Kanye.) While West's rural fabrics are currently slo-go (having sold one of his ranches), he is still hell-bent on establishing a psychic rapport with ongoing Sunday Services (website.)

Both of these critters are almost by definition unpredictable hombres, but they represent the old-time rivers and rustic places of the song of the West (and South, natch.)

LOOKIN' FOR MY RAINBOW 

Pictorial 201

 Cosmic sofa of One Size Fits All

The humble sofa is one of the best examples of the corruption of natural rhythms by the profane serpent, for the reason it looks fairly inoccuous.

In a certain sense, the modern sofa is the descendent of Blake's print of Newton, whereby the ego seems unaware of its surroundings of lichen-encrusted rock-formations. 

P83

The parallel reality that Newton's induction (of light) represents amplifies the head to colossal dimensions, while doing without the self-supporting body.

From the vantage-point of a sofa, it could appear that the body has itself been amplified with the perennial and habitual dance shows that seem to attract views!

Like Anita Roddick's quote on body-beauty products, though (), the focus on the body is just an illusion. The body is not intrinsically active in the natural world, but is merely a fashion commodity.

Via the sofa, anything can be sold as healthier fashion, while the body is itself non self-supporting. Amazon, for example, could use drones delivering organic farm food. From the vantage-point of a sofa it appears to be a fairly good deal, not from the vantage-point of the body.

People tend to somehow be seduced through the head via the sofa on the merits of products for the body. Why should that be so dire?

Well, the body that is not self-supporting is weak for the reason that the body depends on strength-in-nature. The body is left defenceless while sold products that keep it in a defenceless position.

But, what is wrong with buying organic products via Amazon (or Lidl supermarket?) What appears seductive to the body via the sofa is simply the opening to a vast infrastructure-machine of sterile efficiency.

Whatever is sold amplifies the sterility and makes the body increasingly defenceless. The reason is that on the first hand germs provided in soil and dirty environments strengthen the immune system by prompting its antibody responses.

Why are we currently in a neverending plague-situation dominated by experts? Because the ego relies wholely on measurement-techniques. It cannot go beyond this state of weakness to natural order of disordered strength and germs. Of course, measurements impress the ego of acolytes. Viruses prosper in weak environments of a sterile order.

On the second hand, there is a purely physical reason: the body needs to be physically self-supporting. Sitting on the floor, the limbs bend and physically support the body. The act of rising entails effort. Traditional Japanese furniture and postures are healthy from this standpoint.

Medieval furniture consisting of the odd wooden chair and with rushes spread on bare earthfloor is fairly similar. The Tudors sat on cushions on the floor rather that chairs 

It's not so much sofas are nefarious as that they are attached to a world-devouring system of sterile logic attached to the head that is seducing (for the body.) These are the disrupted rhythms of the profane serpent.

Rhythms that we see in nature are simply the visual surface of the subworld of revival within the soil; of water and decaying humus (organic matter); of the great peat moors; of trunks and insect lifecycles.

Unless the body works among these great cycles of nature and subnature, we are subject to an illusion via the sofa from the vast and sterile infrastructure-machine (that runs the so-called organic sofa-life.)

Fertility is a dirty area, and that is strength. It is a type of antagonism of predator-prey. If living is a conflict, that is the price for strength - physical and also the psychic calm of nature. I was surprised to hear Kantner and Slick - of Jefferson Airplane fame - arguing for war and peace as inevitable staples of an artistic credo.

KANTNER/SLICK

Kantner is a warrior, for all his Communist leanings, and would look cool riding a horse. It's probable that he saw the Communists as heroic strugglers against capital; the struggle itself was his Pride (of Man.)

This Teutonic strength is somewhat anti the Anglo capital-world of ever-more retail-outlets. The idea of conflict is not necessarily to be pro modern war; it's more the notion of medieval-style heroic conflict between states that is never resolved.

Howard himself was against 'Roman' war which he considered civilized, as opposed to barbaric brawls. To some extent, medieval conflicts had a heavy dose of ritual too (see Siena.)

Conflict of that type seems to be a supporting factor in societies, and the nemesis of the Western ego - represented by the sofa - is the weakness of the body that is supported on all fronts - save its own. The body that is cutoff from the cosmos.

WHEN THE EARTH MOVES AGAIN

In a universe of 'fact', myth is still running the wheels of fate and fortune, unobserved by scientific method. The unavoidable truth is seen in the cosmic vista of the night sky, the undeniable fertility of swirling celestial bodies in astrological time. Astrological time is far from a precise measurement but has epistemology (meaning). The psyche gets a fix from significant events, while modernity sows profitable confusion

Confusion between body and mind. Between the body as an active force in nature, or the body as a mere fashion commodity.

Last Edit: Dec 15, 2021 at 3:02pm by neilnv2

Pictorial 200

 Having acquired X-Men animated series, apart from the top-notch stories it's apparent that dynamic cartooning action must have free-form line with simple sequences.

One only needs an impressive impression of the action sequences, expressed with colour and shape and line. The physical illusion dynamically attracts the eye and, through narrative sequences, provides the psyche with ample clues on the interior characteristics of the protagonists.

Why can this psychic content not be achieved with the 'realism' of 3D? Well, many things are illusory in the real world: moon and sun, earth and sea and sky all depend on balance in the nature of things. Is the sea a calm, reflective surface or s raging torrent of unreachable depths? (see Francis Stevens' Claimed prev.)

'Realism' is just a word. Living in a 3D world, we recognize expressive impressions of movement through outline and though the focus of distance. The rough impressions of the eye to brain are perfectly adequate since they rely on rhythm.

For example, if a car speeds past lampposts, there is a beat. That is the rhythm of movement, which includes distance between lampposts and the timing of the action. The simple equation is that

speed = distance/time (km/hr)

In other words, animals in motion don't need to calculate these things, they just sense the rhythm.

This is really why 3D animation is unnecessary, since the expressive impression contains within it the free-flowing, free-form line that dynamises the action.

Everything is rhythmic, and it's not to do with cumbersome calculations which is what algorithms do. Their calculations determine the structure of the body under animation but, in fact, these things are better suggested, more dynamic and expressive.

Bear in mind that anatomy is antagonistic push and pull (muscles), not a logical calculation of ones and zeros (algorithm.) Before the scientific era,outline was sufficient. Animating that is rhythmically accurate and perfectly sufficient for directing purposeful action with psychic content.

For a fairly sophisticated story to work, various things are happening on-screen. Flat colours and shapes with layered effects; sharp repartee ('sugah'); the shifting line of contour; shadow and silhouette; dazzle; shade..

The eye is intensely affected by these rhythms; lose the rhythm and you lose the impact. To none of that does 3D add anything, but it subtracts quite a lot!

The 'realism' of 3D has no psychic content, which is artificially mapped onto it at a later stage (see P199). In 2D animation, the rhythmic line is what connects action to psyche. What affects the psyche is fairly obscure, down to light touches of line (visual) and lines (repartee).

As a fan of the genre, one isn't impressed by 'realism', only accuracy in terms of the story. Good animation tells this in simple rhythmic flow of action, colour, shape. Many have commented that the animated characters are far truer to the comic (than the films); it's down to deft touches and an almost thoughtless manner. Almost a definition of poetry as opposed to didactic efforts.

Action in the physical world is a dynamic state that doesn't recognize thought (head), only the rhythms of the body (transmitted to the brain). See Bruce Lee, prev. 2D is dynamically active, reflecting a psychic content and behaviour of characters, exactly as in real life.

3D is a step towards hyper-realism that mirrors the scientific era. Consider the world as a spinning top; this is accurate enough, and it's very clear that a spinning top has to have uniform time over all of its surface.

Bruegel, Children's Games

There's one rhythm, the rhythm of the top spinning (in space). There is a universal beat to this and, according to UVS website (of Vincent), aether exists and harmonics of spinning celestial objects percolate aether.

This then has rhythms associated with it. Note that these rhythms can only exist if there is uniform time - that's a definition of rhythm. If time was relative there could be no universal rhythms.

So, the question is: is the rhythm of the world distorted by Relativity calculations? The precision is like the precision of 3D animation (algorithms or vectors in 3D-space). It disturbs the rhythms of lines which don't need calculation, but are expressive.

The hyper-realism does not allow for illusion but, in fact, illusions of focus and blurred outlines are what create the illusion of rhythmic motion.

Hyper-realism extended to its ultimate becomes Relativistic. In other words, for the purposes of accurate time-speed calculation, time becomes variable.

The hyper-realist illusion is what 'they' would like us to think of as reality. It is simply an illusion of machine-precision that enables machines to calculate time-speed coordinates.

The accuracy distorts the rhythms because the mathematics of 'bending' enters a parallel reality of hyper-realism (P198).

Hyper-realism distorts free-form rhythm and one can see this in 3D animation. Hence the dynamic balance of protagonists and their effect on the psyche (of viewers.)

The distortion of natural rhythm is what I've been calling the profane serpent. Meaning the organic run by machines/algorithms (see 'clean meat', prev.)

In terms of this type of mythical imagery, what you could also say is that the 'spokesperson' for the profane serpent is the sorcerous dragon!

A fiery dragon is easy to liken to the loudness of ego that trumpets misguided assumptions about the accuracy and precision of scientific method.

Like Newton's light-box of knives (C4-C6), one enters a parallel reality of precision without the rhythms of life and death that animate nature. While we have the 'realism'of DNA, we don't have the reality of decay and revival provided through the soil and the underworld.

Pictorial 199

 Going by Jean-Luc Godard's 60s style, pop-culture is as 'serious' as it gets if the inspiration for conscientious belief is anything to go by (Alphaville).

Hyper-realism distorts reality by convincing us that an illusion is the real thing, when it is actually harbouring the profane serpent of distorted rhythm (prev.)

Pop-culture in Made In USA meant by-and-large movie images and the gangster myth of the 50s, and I propose to update that here to animation and Japanese anime.

I came-out in P198 against Pixar and that argument is worth extending both in terms of anime and traditional cartoon series with extensive narrative and design elements.

Pixar is machine-design, meaning something that is understood by algorithms (not humans.) Humans then 'animate' the designs - by placing skeletal shapes - but to my mind that means the narrative actually loses the design element.

Design is colour and shape in 2-dimensions; perspective can be added appropriately at times for implied realism and effect. 3-D is not design, it's simply machine-accuracy.

The story can be told but it can't be designed with colour and shape in the narrative. You may say the stories are just for kids and they don't recognize sophisticated atmospheric illusions, but kids grow-up and their experience amounts to something (in the developing psyche.)

Atmospheric illusions are unreal yet add to the physical sense of reality (inside the mind.) The psyche is entranced and this is the way the story is realised. 

Hyper-realism has neither the physical illusion nor the psychic content that spur imagination. Rather than talk abstractly of kids cartoons, consider two disparate examples: the popular anime 'Cowboy Bebop' (from end of 90s); 'X-Men TV series' (from mid 90s.)

Granted that kids cartoons are for kids, these are about visualising characters with anarchic, interior lives and intermingled histories (I'm looking at you, Rogue.) The only way to do that effectively is to design them with shades of grey that show their expressive interior natures (psyches.)

One can't do that with machines; it creates a topsy-turvy world where fractals and vectors are mapped onto perspective coordinates of illusory 3D space (visible to the algorithm, natch) - used to produce something that has no internal life. The story is matted-onto their 'realism' and given Tom Hanks' voice.

Kids are misled into equating Tom Hanks with an artificial simulacrum. This illusory technical reality seems to match the Relativity time-speed of the mainstream (P198) - a topsy-turvy world where technique produces an illusion of reality (the vanishing-point of technique.) 

'Cowboy Bebop'is blessed with psychic darkness - of nostalgia, loneliness - and a tonal palette to match. The score by Yoko Kanno  - of 'Macross Plus' - is a jazz-funk maelstrom that matches the moods to perfection. Macross Plus also proved inspirational for its mix of sombre and wacky, the literal genesis for Cowboy Bebop's narrative style.

TANK

Yes, these are adult cartoons, but kids also have moods, and grow into adults. False accuracy cannot compete with unreal shades that match mood and fit the narrative like a glove.

To say that narrative is distinct from mood and atmosphere is to render it devoid of interior content (psyche). To only have narrative content is to miss the real point of narrative: to disturb and arouse the psyche.

As a sidenote, this over-emphasis on narrative seems to apply to live-action dramas such as, say, West Wing. There can be a case of too much narrative, too little action. The overwritten aspect applies to such films as 'Being the Ricardos' (the Lucille Ball story.)

I take my cue from Godard here, to whom words without action are a poor-man's cinema. Maybe I've come to think like my hero (so, sue me!)

From classic anime to the X-Men series which, although I haven't yet seen, is clearly not only designed with intent, but reads like a crash-course in X-Men history.

The design is based on Jim Lee's 1990s variant and, again, these cartoons can't work unless they're designed by a human hand. It's not about 3-D 'realism', it's about having s psychic content that is created by physical illusion.

Illusion is found in art because it affects the psyche; when reality becomes illusory then the psyche is lost. I read a bit about the X-Men series, and it seems to have been a bit of a collaborative effort. To have written a story encompassing X-Men #1 (Magneto) and X-Factor and Moira McTaggart and Days of Future Past is something of a feat!

There is a sense in which classic pop-culture is a sort of detritus that never goes away; it decays and rejuvenates and you need to tap into it.

Someone like BWS might find that distasteful, while to me it has an archetypal strength. Life is not perfect, and pop-culture just extends those. imperfections. The universe isn't composed simply of words, and the characters do what they do to the best of their abilities.

It's unreal and dark and archetypal, exactly what hyper-realism isn't. Simple sequences and ramshackle experience work on our psyche. There is no falseness and jokes are offhand. Physical illusion collaborates with psychic content. This is the off the wall strength of pop-culture that one can trace equally from Godard in 65 and X-Men in 63.

Hyborian Bridge 201

Judging by the lack of interest, the accuracy of the last post seems to have been dismissed by most viewers, so it may be worth recapping from an unexpected direction.

If we inhabit a parallel reality in which everything is entirely regular - if, in fact, this is the definition of a parallel reality (see CL Moore ) - then there can be no question of rebellion.

One wonders around more-or-less at a loss and, in fact, the general tone of fantasy-oriented is vis-a-vis dystopias. This can be seen in thee first modern variant in Francis Stevens' The Heads of Cerberus (HB194).

I noticed the recent posts in 'Post Apocalyptic Style' that covered this ground in such titles as X-Men and Avengers. In an old issue of Avengers, the Vision has this to say.

Avengers #86

What is it about parallel realities that makes them prone to dystopias? In a branching of straight-lines, any logical trend tends to get enlarged, and this would explain the political content, from The Heads of Cerberus - a fascist future Philadelphia - onwards.

If we inhabit a parallel reality (to be repetitive, as these things are), that will find its expression in pop-culture; in fact, this is the topic of Jean-Luc Godard's ostensible 'homage' to US gangster films, Made In USA (1966).

Full of frayed paintwork from Marseille AKA Atlantic City, the film inhabits a cartoony underworld of bright colours, bright lights and unexpected sounds.

Ostensibly a noirish thriller on Karina's (Paula Nelson) vengeful search for the killer of her estranged rebel boyfriend - with political echoes of the Algerian war - Godard deliberately tries to make it unreal.

As one character says, it is

a Disney film.. with blood.

In fact, it reads something like a French colonial echo of American imperialism! Karina searches for verifiable truths - and finds the illusions of pop-culture (with a cameo by Marianne Faithfull).

But what if pop-culture IS the truth, in the sense that pop-culture is very liable to inhabit parallel realities that branch from the mainstream? Hidden inside these icons of femininity and masculinity of the cinema (and comics, natch) is the old France of Jacques Tati, that one sees in the scenes of frayed posters, cabbage patches and dilapidated garage settings.

Where a parallel reality so often inhabits the soulless machine-verse of political speech - here heard on a reel-to-reel recording of a comrade's call to arms - outside of this is the old-time universe of boiled cabbage (as R Crumb said of Popeye.)

What a parallel reality so often lacks is the very thing that gives food to pop-culture in the first instance, which is the frayed dinginess of soiled tenements.

Hidden inside pop-culture is this need for the experience of frayed settings in downbeat situations where once was Gasoline Alley.

The political and economic are not necessarily straight-line situations in that there is also the ecological situation (see Minnesota Institute of Environment). Because one inhabits a parallel universe of mathematical logic (Relative speed-time, see P198), we end up with a distorted version of reality. In effect, inside a hyper-realist machine-verse - which harbours the profane serpent (of distorted rhythm.)

In the frayed tapestry of Godard's film, as in Tati's Monsieur Hulot, one can see behind this to the dark underworld from where revival springs (Persephone and Pluto.)

Primitive economies harbour beliefs of resurrection - as is true of the Hyborian mates of Ishtar (see Yaple, prev.) The rhythms of revival are essential and, as has been noted previously, invade the trade-routes of Hyborian cultures.

Pack-animals carry pests on their hides, and the goods they transport are associated with a roving ecosystem. The mouldy underworld of fungoid revival is a part of the trade-routes of yore.

There is no such thing as sterile cleanliness in this situation, only balance. Balance between pests and disease and health creates strength and revival. It is this world of the primitive underworld that is outside a parallel universe of straight-lines - or distorted Relativity logic - and that is visible if one looks hard at the pop-cultural shavings that Godard gives us in

MADE IN USA

The political manifesto read with robotic monotone on reel-to-reel is possibly a reference to the psychotic Alpha60 in futuristic thriller

ALPHAVILLE

Why traipse around in some semi-psychotic political zone of parallel-relativity that renders the psyche numb with intolerable sameness? Better to rebel in terms of physical activity, establish a small-holding with a mule somewhat along the lines suggested by Ye West (prev )

The nouveau physicality of surroundings will endow the psyche with a sense of the absolute (see Johnny Cash, prev), the primitive, the eternally juvenile.

Pictorial 198

 If the hyper-realism of a machine-universe is also a parallel reality of illusory space, it's going to make for a confusing situation!

This is for sure, so there's little point in saying things are part of some great conspiracy as one has to face up to the facts of hyper-realism in the modern world.

Perspective is s a way of visualizing things in a mathematical space, which is why it has an illusory as well as hyper-realist quality.

Riemannian manifolds, for example, have this type of general appearance.

The Escher-like quality of distorted perspective is fairly unsettling, yet this is what we are told to think of as the Relativity situation, where the perception of time is now relative to the bending of spacetime (by gravity.)

That's the mainstream way of looking at it (that Vincent's UVS contends with). Another way of looking at it - and I'm not saying necessarily corresponds to UVS - is that manifolds are simply entering a parallel reality of hyper-realism.

In the parallel reality, time is now highly relative, and this means that machines can.compute the time-speed coordinates of any place on Earth. In other words, it's nothing to do with gravity bending, it's the mathematical space that bends and creates the hyper-realism of relative time!

Of course, this convinces acolytes of illusory accuracy of the reality of the machine-universe (see prev 'The Airtight Garage').

It seems to me that, as well as agreeing modernism is deluded, one has also to accept its hyper-realism. It's this factor that convinces people and sells the gadgets of acolytes of the parallel system.

Actually, a fairly good way to visualise it is by contrasting Pixar with classic Disney animation (prev.) While Pixar is far more realistic, it at the same time loses the archetypal symbolism that one can for sure see in Snow White. The guileless beauty; the darkness; the psycho-sexual element.

Disney doesn't just have accuracy; it has the feel of line, the density of ambiance, the cottages and colours of atmospheric landscape.

Darkness is lacking in hyper-realism and, even though they may say one can detect Hans Anderson in Toy Story, the visual cadence is not the same (as in Disney.) Darkness is the key ingredient to a world that is felt as opposed to merely realistic.

Without the physical animation of irregular linework, there can be no revival from the decadence of nature; the dark underworld that supports growth.

Another good example of the archetypal in comic-art is the French psychedelic hippy Caza.

Virgo

The psycho-sexual in cosmic situations is oftentimes allied with death, to the extent that the situation itself is cyclical (see Howard's"The Frost Giant's Daughter", HB194) P194

The pulp extent of this is often associated with Francis Stevens' queasily erotic and mouldy lost lands of peril ("The Nightmare"). Her maritime tale "Claimed" has an archetypal darkness that is possibly second to none (or nun, even.)

In short, the archetypal images of queasily erotic darkness are rife with meaning. The sea as a harbinger of monsters; the dark forests of the soul (and Noto's Sonja); the eerily humanoid horses of CL Moore's "Black God's Kiss".

Physical animation and irregular linework are the keys to all this paraphernalia of the unconscious. Anything irregular cannot be hyper-realist and hence give the credibility of mathematical logic/space (perspective/illusion.)

The real problem is that, if mathematical logic distorts reality, we end up with a distorted version of reality. If we are in fact inside a hyper-realist machine-universe, it is not reality and just as surely harbours the profane serpent of distorted rhythm (see prev.)

The profane serpent is the distortion of natural ways. The 'Einstein tongue' (prev) is the other side to the 'super logic', and the physical reality of life on primitive Earth.

The reptile and the primitive and the sinuous and the sensual require the freedom of expression that a soulless mechano-verse does not.

One facet of this one sees is that instead of free-expression one gets routine. The dances and reality-programs are staged and learnt as opposed to casually felt (by a commune.)

Free-form dance is clearly a sign of free-expression, and one quite often finds this in the 60s films of Jean-Luc Godard (see also 'Survivors', prev.)

LES CARABINIERS (dance at about 1:40)

Godard's films have a darkness and vision that creates a reality that is highly expressive, giving meaning to simple sequences - of dance, song, meandering - that the modern scene has forgot.

Where a mathematical universe is dominant, the simple scenes of ramshackle expression are alL but crushed (physical and psyche). This is why hyper-realism has the negative faculty of distorting what is simple and natural in ramshackle situations.