Panglossianism (3)

 The optimistic future of Bin Salman's mile-high mirror-cities, Musk's Martian transplantation; an optimism based on number and algorithm, the machine in dominant-mode, humans reduced to ferrying through the sky in flying taxis.

Everything planned to the last pfennig. Apollonian perfection. The counter is to allow things to be relatively unplanned, and this allows-in disorder. Germs and physical strength; natural cycles and psychic equilibrium (generations.)

Where there is disorder, metamorphosis from disorder to order happens with the strength of carrion-feeders, the processing of pathogens through the guts of scavengers.

Optimism seems to discount the power of the underworld to replenish through the natural processes of fermentation, rotting, growth and revival. Future-optimism will establish hygienic monocultural cowsheds run by AI, while realistic-pessimism will let nature take its course in a rough-and-tumble mixed farm with totally inefficient hens running around, and kids throwing stones at crows on fallow ground.

The big question is, how does one provide sufficient grain in a system that is mixed and not monoculturally efficient (on view of the Ukraine situation)?

There's no easy answer but, as was said previously (PM5), generational rhythms are vital and the imbalances of age can be disastrous (China, less so Japan.)

Where there is no equilibrium the psyche is weakened. Furthermore, where disorder and germs provide no support for the immune-system, poor health and weakness will proliferate. Possibly diseases that affect elderly such as Alzheimers.

Feeding the world is an optimistic aim, but pessimism predicts there are factors outside of the aim at perfect efficiency. There is also the point that a logical order is ruled by the cerebrum (number), while an illogical disorder is much more amenable to the cerebellum, through movement, breath, blood (PM3.)

The world of movement is less logical, and implicates the underworld through the strength of metamorphosis. The revival of the future - in crops, the vine - occurs from decay and carrion.

The gross or bestial in nature is associated with fecundity (see Greek comedy, the human piglet PM2.) Camels and horseshit would predominate in a disordered future of fecundity. The balance of seeming opposites in dirt and ability to achieve health through cleanliness. 

Hygiene is an optimistic dream of a perfect future that cannot exist and is weak, unhealthy, in disequilibrium. Angus McKie had a story in HM where the payoff was, 'It depends if you're an optimistic or a pessimist', and that's about the size of it!

Capital-democracy has to have a bright future to sell, but it depends if it's all just words and numbers (when words become numbers). What is convincing to an acolyte of variable time (ones and zeros, GPS machines) is not necessarily right for the spinning Earth in its invariable strength (P200), the balance of sun and moon. 

Rather than absolute logic, a type of disordered feuding that has a casual stability, a calm disposition, a history. Don't forget the snake.

ADAMYoutu.be/WrgM3OpkTTw

Panglossianism (2)

 Rugged strength requires disorder as a counterweight to the illusory tidiness of number and DNA, the parallel system that the ego of acolytes is irresistibly drawn into. Disorder provides the feuding state of affairs, the carrion that attracts vultures. And it provides the dirt and germs that strengthen the immune-responses. 

Health is a process of metamorphosis that strengthens defences whereby what is left to be in nature is the source of human socio-economy.

Since modern Man inhabits an infertile system of weakness (DNA, 'clean-meat'), it never seems to occur that the logical system of capital-democracy is only one option of government. In Andrea Warner's biography of Buffy Sainte-Marie, the point is made that ethnic forms of government are equally viable, more so if one believes in history.

Cradleboard emphasises the concept of living in a circle, seeing one's self as part of the continuum, and therefore affected by everything that came before - beginning, middle, and end. In studying governments through indigenous eyes, fourth-gradevCradleboard kids learned about the Haudenosaunee Confederacy, the Plains Tribes and the Pueblo forms of government, and discovered that-surprise, surprise-there are multiple ways to govern, not just one based on government in parliamentary hierarchy. Without tearing anything else down, Cradleboard taught that there are alternate ways of governing not rooted in colonialism. (page 212)

Communal forms of government - the Pueblo autonomous villages North of Mexico - grow out of socio-economic history of the stability of harvests, the sources of irrigation..

As Buffy says (page 211), the Haudenosaunee Confederacy "actually practices democracy, which the Greeks only talked about." (Athenian democracy finished with the end of the Peloponnesean war, and the Spartan terms for peace.)

Now, a socio-economic history is cyclical and lives off of the spin of the Earth (see P200 invariable time). The rhythms are to do with strengthening effects of metamorphosis from degradation (seasons.) The cycles provide strength because of the presence of dirt - in soil - that sustains germs that strengthen immune-responses. The source of strength is ever-present, and represents the underworld (in Greek myth, Persephone - spring - lives with Pluto in Hades for 6 months of the year, then joins her mother, Demeter - harvest.)

Buffy also makes the point that 'the West' is a euphemism for 'white'. We live in a system implemented by white (men) for what is perceived as a certain type of head.

Green Lantern #76

This type of head has given us scientific advances, but also the infertile corruption of natural rhythms. Distorted rhythms - meaning variable time needed for calculation of GPS, computer numbers - have no need of fertility and dirt, and therefore no use for the metamorphosis that strengthens.

But, without metamorphosis, the physical situation of fermentation and rotting process is taken out of the equation. The process is facilitated by manure of livestock in fallow fields, but this is increasingly taken as a source of carbon and nitrogen, that are 'bad'.

This is only so in a system which isn't cyclical. The soil holds nitrogen, and fungi are able to fix N2 from air, and this forms the nutrient-rich area for growth (of plants) on a mixed farm.

In a system of corrupt rhythms, time is variable, and the natural cycles of decay and recovery are stymied. The next stage might be 'clean-meat', whereby there is no process of rotting (nutrients) and meat is simply stored inside labs/warehouses. 

The future we are entering (through the mirror of illusions, or variable time) is one of no physical reality, composed of motion-capture and expressive algorithms (prev.) A dark psychology that uses numbers instead of physical reality. 

The entire area of recovery, of foul-smelling waters,  dying dogs and decadent ways is omitted from the future perfection (see 'Ghost of Hoppers', P143-145.) Perfection is a vision (Apollo), not a reality. Without the presence of Dionysus it becomes a corruption and distortion that is a form of weakness, of words that infect via the dragon of news (prev.)

Panglossian optimism is a way of denying the strength created by the underworld, both physic and psyche, in invariable time.

GOD IS ALIVE, MAGIC IS AFOOT Youtu.be/i-GonR4S1to(from 'Illuminations', 1969, words by Cohen.)

Panglossianism (1)

 Nietzsche wrote Beyond Good and Evil, which implies that both are part of the universe. Professor Pangloss was Voltaire's mockery of Leibnitz' 'The best of all possible worlds' in his satire Candide.

Panglossian optimism seems to imply that nothing bad is really bad because it all works out for the best. This is a confused and confusing way to view reality, though could well apply to the ego-future of Musk&Co.

Voltaire, though a rationalist, had the attitude that we should 'tend our garden', meaning the Earth, prefiguring Rousseau's state of nature (and of course Ralph Waldo Emerson, Walt Whitman.) In a garden things are either good or bad. Slugs can be bad for lettuce; compost is good; water and ponds are good; Japanese bridges; too much neatness can be bad.

In The House of Elrig (prev), the young Gavin Maxwell and his buddy in the Highlands have a habit of turning over dead rabbits to see the disgusting creepy crawlies lying underneath,  hookworms. While such things can't be said to be evil, there are places where it's not your place to be.

Vultures are obligate scavengers because they are totally dedicated to their task of stalking the dead. They have to be internally tough and outwardly cleansing, disinfecting themselves to survive the corruption. 

Even if it would be stupid to think of vultures as evil, they are associated with corruption and have evil connotations. Pigs are also associated with corruption, and are 'unclean' to Jews. In Hebrew, Beezelbub (devil) means lord of the flies. 

So corruption as a general thing has bad connotations. But, clearly, the bad has to be present since an overly tidy garden can also be bad!

Panglossian optimism seems to deny the fact that things are definitely bad (repulsive) and that they have to be controlled, tended as in a garden. The key person there is the gamekeeper, who figures also on The Housecof Elrig.

A traditional gamekeeper does not have the egotistical convictions of a lab-scientist, and does things which can be considered 'bad' like shooting foxes and crows.  Everything a good gamekeeper does is to balance forces of predator-prey and to maintain fertility. 

Corruption is a necessary evil of nature that the crows and ravens are there for. Ravens are another harbinger of destruction. These beastly things will peck the eyes off newborn lambs and calves 

Evil in that sense is a connotation in nature, and one has to set against it a catastrophically psychotic tidiness (see TofF2 Babcock Ranch.) Clinical tidiness detaches the human from corruption or rotting pig manure, and we are told (by 'them') it's all a matter of DNA and numbers.

This denies the strength that comes from the bad and the good together in a physical situation of disorder (decay and revival.)

Disorder allows the strength of mechanism to function; the vulture's intestine that is knotted cords of muscle. Clinical tidiness is the illusion that enables scientists to treat DNA as a type of organic computer, the product of number and weakness of psyche.

A balance of seeming opposites, dirt and cleanliness, depends on a feuding state of affairs for rugged strength. One can't have order that's not tyranny; DNA is a tyranny of 'fact' masquerading as an illusory order. Fitness can only be a product of rugged strength, not number and weakness (ego.)

Post-mechanical (5)

(Mechanical 1)

 

Reviving through disorder is a common theme of this blog (check Buffy HB70), and the possibility that science enters a parallel universe of precision (DNA, GPS) that is seduced by the tantalising falsity of order (see Korvac W8).

Maggie, in Jaime Hernandez' stories, goes from being a mechanic in the jungle to the shabby chic of Ghost of Hoppers (P143-145). Always there is the whiff of decadent behaviour and bodily secretions, of foul-smelling waters or dying dogs.

A pungency that is strong and pure and original from the morbid fertility of the jungle. The mechanics of plants and animals is pretty precise, but so is their fertility. 

This area of reality is Dionysus, Stravinsky's The Rite of Spring, sacrificial and pungent and barbaric. Archaic strength reeks of blood and bare maidens. Historically, Dionysus came from the east, possibly Persia, a cross-dressing glam-rocker riding a donkey or bull.

Where there is this level of anarchic disorder, there has to be a counter-force that achieves some visionary substance. Am ideal that appears to have substance. In Greece this is Apollo. Zoroastranism is even more menachean in its continual strife of seeming opposites.

As was said in HB70 (under Buffy), entering a parallel world of order and precision the balance of these seeming opposites is no longer possible. The strength of metamorphosis - the rotting process that leads to dried buffalo manure - is more or less denied in the interests of clinical tidiness. Without dirt there can be no cleansing process. 

The useful product in the process of metamorphosis; without the process there can only be weakness. Metamorphosis tells you that from disorder comes order. The two are seeming opposites rather than existing entirely apart.

It's clearly not possible get anything from order per se, since one needs a dynamic of the physical mechanism, the skeleton (see Korvac.) The mechanism of movement is a case-in-point - the antagonistic pairing of contrary muscles that generate pull and tension.

Rugged strength (the guts of vultures, PM4) is a reality of the balance of seeming opposites. The scavenging vulture that cleanses the rotting carcass of pathogens through the power of its intestines.

Strength is a product of the metamorphosis of dirt into cleanliness. DNA is essentially illusory; it contains information that can be accessed by mechanical forces, but these forces are antagonistic. Without the strength, all is weakness and illusion (the compulsive ego, number - see Grace Slick quote )

Without metamorphosis, the compulsive ego is inside a clinical universe of sterile logic. Without the fertile ingredient or the dirt of the land, it's zeroville. 

Going back to No More Heroes (PM4), I noticed that the lyric seems to contain two things. One is the Soviet feud between Trotsky and Lenin (Dear old Lenny); the other is the "tricky, illusory, duplicity" in human culture. 

That quote is taken from Orson Welles' documentary on Elmyr de Hory (The Great Elmyra), the Hungarian art-swindler. As a scholar of the artists, the forger reckoned he supplied a need.

Sancho Panza was of course Don Quixote's faithful retainer; Don Quixote was another fantastic illusory character. But another way to put it is that they are original creations of a fertile imagination. They are contrary; they are against prevailing trends. 

Another way to put that is that they are feudalists (They watch their Rome burn.) As I've said somewhere before, Rome was a festering pot of quarrels and feuds. 

Caesar achieved power by military duplicity that was sanctioned by the Senate. Feuding, or low-level fights, is a traditional way of resolving conflicts, between men and women, within self-reliant neighbourhoods (see Detroit, Drama3.)

Now we live in a society of sameness and social-media, feuding has gone away. A neighbourhood that resolves conflicts by way of feuding is not necessarily tidy, it could be run-down and decrepit looking, practically a jungle (as happened in Detroit.)

But the degradation has a psychic strength that enables rebuilding in time. Without the psyche all you have is weakness, confusion. Detroit is a case-in-point that went outside civil legislation to achieve independence. Poverty is no impediment. The dollar and federal legislation do the opposite. 

What I'm really getting at is tribal foundations of stable societies. Things happen without planning and the country (Dionysus) isn't dominated by the city (polis). Generational rhythms. Only over-urbanised societies seem to have disastrous age-imbalances. The psyche is weakened and there is no equilibrium. 

Harlan Ellison in What Killed the Dinosaurs  argued it was lack of imagination. That is, weakness of psyche. The modern parallel order is heading away from invariable time (of neighbourhood rhythms) within the stars and the zodiac, and into variable time of machines and social-media. Words lose meaning without the physical rhythms that enable revival from degradation, the melancholy of meaning.

The human is being made less physical and more of the head. But it's a false order, an illusion of clinical perfection that lacks the original force of Dionysus. 

Leila Borari, Amazon jungle (Mirror, article on blood gold.)

Post-mechanical (4)

NO MORE HEROES

Rebellion comes from revival, and there can be no revival without a rugged area that cleanses pathogens and creates strength. Vultures are the archetypal symbols of this strength; their guts are rugged enough to deal with the infestations of dead meat by parasitical bacteria. 

Vultures and other raptors are on the wane because the age-old equilibrium of stable systems is on the wane. The stability implies scavenging and the presence of detritus that is thoroughly cleansed and disinfected.

Strength requires two things to be present: the presence of detritus (dirt), and the presence of rugged cleansing agents like vultures. Detritus is necessary for the cycle of events: past-present-future. 

In terms of human culture, I always think comic book continuity is a type of detritus that decays then revives, and that continuity is like a type of bizarre underworld of the psyche.

The strength of comics is in their bizarre continuity - past-present-future. Grant Morrison in Supergods thinks of the comics industry as a type of organic lifeforce, but where there is life there is also decay followed by revival  

Comic book continuity establishes an equilibrium of the bizarre underworld psyche. One of the most bizarre was Neal Adams' Deadman (1968), and his first splash page features a trio of aphoristic raptors.

Strange Adventures #206

The notion of someone being dead or in the underworld crops up also in Greek comedy. As was noted in PM1, the physical comedy is probably associated with the cerebellum rather than the cerebrum, the former controlling autonomic areas of breath, blood, bodily movements and sight. The obscene or the deathly are equally prevalent. 

Our own culture is cerebral to a fault, and perhaps may explains why rebellion is difficult to orchestrate from a mundane system of number with no attachment to desire or personal reaction to events (in the moment.)

The  cerebral culture becomes variable in time (machines, ones and zeros), while physical comedy takes place in a moment of time (past-present-future). The progression of events has to implicate the revival from decay and the presence of detritus.

Deadman is somewhat Greek in its dark comedy since the realisation is one can't just pay for a coffee and so forth; one has to go through different procedures. Here, the bizarre Rama Kushna worshipped by the circus fakir.

Adams took over the writing from Jack Miller for a couple of issues, and he clearly enjoyed the comedy to the point of parody!

Strange Adventures #213, at a fraudulent fortune-tellers. 

The cerebellum or hindbrain is much more into the bizarre confusion of life than the cerebrum, since the physical progression from past to present to future is bizarre, in a way. The worm conquers and vultures feast.

It's not that mundane, but it does supply strength to reality. Physical health and therefore  the spirit. Leave things be to restore vitality is the refrain - see Buffy quote on dried buffalo manure and campfires HB70. 

The problem is that hygiene is a response to a system that's weakened and cannot deal with the pathogens in its midst.

A system in equilibrium has detritus that is dealt with by the cleansing agents such as maggots, vultures, ravens. The bizarre nature of comics is a cultural parallel of that fact.

It is the bizarre psyche of comics continuity that acts to continually revive characters and situations. It's probably the hindbrain at work as opposed to the more conventionally-minded cerebral word-cruncher.

Unfortunately, where there is no past-present-future revival (spirit), words lose their meaning (semantics taking in epistemology), and meaningless acts seem to recur (see PM1, the culture of sameness, the domination of social-media.)

The future as a state of mind (PM3) - words, numbers - has to be countered by the revival of the future from the past. This is the state of the spirit that fosters rebellion.

It comes essentially from the cerebellum and from physical comedy, the bizarre underworld. The meaning of things is quite difficult to appreciate unless one moves from past to future via events in the present (moment of time.)

Aging populations, for example, are imbalanced and a sign of weakness. The only real use for the elderly is really to compost them and restore the fertility of the land. It's because without equilibrium meaning itself ceases to have significance. One has to escape from meaninglessness, and the only way out is through the strength of revival.

UNDERGROUND ROOT

Post-mechanical (3)

 Conway's quote from M5 that the 'factual' (logical) is prone to the unreal ties-in quite nicely to Claude Levi Strauss's structuralism, such as in the Oedipus myth.

Or, to put it another way, the grotesque logic of comedy counters the unreality of 'fact'. Sophocles' cycle of plays, such as  Oedipus Rex, are tragedies. However, the fantastic fate of unknowingly marrying his own mother has a type of black comedy.

Levi-Strauss takes the original source which contains fantasy-elements such as dragons, and develops it structurally by easing out 2 motifs - family relations and the chthonic (underworld) - as outlined in

quora.com/how-does-levi-strauss-interpret-the-myth-of-oedipus

The chthonic elements are fantasy but, in terms of the myth, they are as real as the family relations since they relate to earth and the cycle of death with life.

In the myth there is no choice between chthonic and the family relations since both form the structure of the myth (according to Levi-Strauss.) It's a balance but nor a choice.

The reason is probably because the chthonic can be a fairly bizarre area of fungoid secretions and dog-headed gods that govern revival and therefore strength of living things (Proserpine or Persephone the Goddess of spring in Hades.)

Myths are balanced, they are not factually true. The logical fact would be that Oedipus is related to his wife, ie genetically. Genes are logical, but they do not contain the progressive bodily movements of living things that contribute to revival (on the earth or soil.

Myths are action-oriented and contain bodily movements (fights). The reality is not factual but fundamental (to reality.)

It's sort of like the sense of 'spirit and dirt' that was cited in What the F***?3. It's not the case of facts which have neither spirit nor dirt (psyche and the physical.) Myth is fecund, whereas modern reality is sterile.

Myths relate to the action-oriented area of breath, sight, blood that are associated with the cerebellum (hindbrain, see PM2). The future (of DNA and so on) as cited in What the F***?3, is associated with a state of mind (logic) as opposed to a movement of progressive events (past-present-future). 

Revival. In other words, the future as a state of mind is prone to unreality, in terms of psychic strength, physical fecundity, the movement of progressive events. The logic (ego) is too convincing for its own good. 

Post-mechanical (2)

 It's often a good idea to relate things to ancient Greece, where most things of note have their origins - with the exception of superstition which came from the Israelites.

Yes  I'm talking abuse, dislike, satire and slander as exercised in the comedies of the mainly known Aristophanes - The Knights (on the Peloponnesean war with Sparta, prev), Peace, The Frogs etc.

Before going further, I checked the Stevenson gag on YouTube,  and it was actually Mel Smith playing the psychologist . This makes the gag, "cut off their goolies", pretty absurd for such a refined fellow to say. Absurdity was the stock-in-trade of the Athenian comedies. In The Frogs, Dionysus is depicted as a cross-dressing glam-rocker, while in Peace Olympus is reached on a giant dung-beetle.

The basic point of a lot of the comedies was to seriously satirise the social order, done with absurd logic. In The Frogs, Cleon's role in leading the war against Sparta is likened to a slave running his master's house (Aristophanes was fined for slander.)

The freedom and range of delivery and expression of the comedies take things away from a logical order and into a type of lunatic logic. This is almost the opposite of Conway's quote in M5 that logic is 'vulnerable to the unreal'; the grotesque logic of comedy points to the fact that logic itself is not the whole of reality.

In fact, the body has its own logic which incorporates the obscene, the bawdy pun, the liscentious slander. In terms of theatricality, the plays were staged at the festival of Dionysia, which originated in fertility rites and hymns to the gay god of the vine. 

Creative lunacy, limber movements of garlanded girls. While one could say Greek tragedies (also staged at the Dionysia) were cerebral, comedies were intentionally the opposite. Clever but physically bawdy and entertaining. 

This makes the basic point that comedies had to encompass a wider instinctive area, closer to the animal. Rather than abstract thought, the movements and expressions of the body are brought to the play.

In actual fact, the associative centre for this is the cerebellum - the hindbrain - that attaches to the spine. The reality of this relates to autonomic control of speech, breath, sight, blood. It is a fundamental reality that connects thought to spine and movement.

Basically, abuse and dislike in comedy come out of this area, for example if the crowd are composed of ugly people. So, really, to be abusive is to be enabled to use words as an effectively satirical way to lampoon the powers that be.

Whereas modern economy and politics are a game of numbers (logic, cerebrum), comedy is a game of wordplay and physical abuse that satirises through association with the natural world. 

For example, in one play a girl is sold as a disguised piglet to gain food for war victims. Piglet in Greek also means female genitals. So, meaning that is tied-up with the gross and the bestial always has an element of abuse. The ludicrous logic of comedies undercuts the political and economic logic of the Athenian power-mongers (like Cleon or Pericles.)

In short, the way to counter the modern fantasy (of logic) is not to match words  but to implicate modern Man with the gross or bestial in nature that is the reality of fecundity; physical expression, psychic strength. 

Logic is unreal if one assumes the gross and obscene are legitimate tactics to undercut the sterile game of numbers played by our leaders. Fecundity is a strength and an unstoppable reality in the face of the fantasy of numbers. Myth versus illusion.

Post-mechanical (1)

 Going back to M5, Conway's quote on the factual that becomes unreal and the doom (of modernity) is pertinent. The 'factual' displaces desires into a distorted reality of number and illusion (the compulsive ego.)

This neglect of desire and fecundity has the effect of creating a neutral zone, the equivalent of the neutral zone of sex (Godard, Weekend, Goodbye to Language.)

Quite a good sign of the modern illusion is the use of words. Women are over-sensitised. Sheryl Crowe launched a fairly typical complaint into her career that she was seen as a "bitch" rather than ambitious. 

The casual attitude to speech that one finds in Blaxploitation films of the 70s (prev) has evaporated. Terms of abuse in these films are used routinely in that it is a street vibe of relationships. Bitch could easily denote a woman who is sexy and ambitious, so could be taken as a type of stereotype (of sexy women, natch.)

CC Beck (prev) made the point in TCJ that, 'The liberals want more stereotypes, not less. They want everyone to be the same.' Taking that a bit further, the neutralising of sex and race (through censorship of words) also neutralises desire (body, sweat, obscenity.)

To abuse someone verbally can also be a subtle turn-on. Frank Zappa has a song called Jewish Princess delineating all the attractions of a hairy Yemenite hole. Hair, the 1968 musical (not the fukwit film) has a song called Colored Spade that lists outmoded slang terms like jungle bunny, little black sambo. The most extreme is R Crumb, who is heavily attracted to fleshy protruberances of southern black women. 

Censorship of words is an easy way to censor thoughts and to make things similar which may in fact be different. Differences have the affinity of psychic power (gospel.)

Psychic power can be censored and verbal abuse tidied up in the name of sameness. But I think one should be aware that words are just words, and a casual attitude to their use is people power versus the power of the state to indoctrinate.

This comes out very strongly in the aforementioned Blaxploitation films. The Pam Grier films are pretty damn sexy. In Foxy Brown, the initial scenes are of a police informer undergoing plastic surgery, a friend of Foxy's. She doesn't recognise him but, as he notes, his vital attributes are unchanged. "I noticed!" she ejaculates.

Jokes aside, censorship of words dilutes desires and personal reaction, while expressive slangy street vibe does the opposite. The story revolves round the black brothers in a community who form an anti-pusher committee and take the law into their own hands. The black dude they poleaxe is the "bad nigger" who won't be back in their neighbourhood, "dig it?" "Right on, brother", agrees the police informer.

Expressive words are thoughts, and censorship denies the desire for power in social control. Body sweat, obscenity, physical force, stereotypical abuse. If one can't abuse a bad scene, how does one deal with it? (There's an old Pamela Stevenson gag where she's playing a psychotherapist who's responding to a bigoted oaf saying the only way to deal with hooligans is to cut off their goolies. She goes into a spiel, then decides "cut off their goolies" is the best option. Oddly, that's the end to this film.)

Today's world is under censorship in words that censor thought and the desire for social control. All that is delegated to the state and the dogma of sameness (psychic weakness), more or less exemplified by social media. 

Blood, sweat, physical abuse (fighting). We are ruled by heads, not physical reality. Even on the sexual front, is there any sweat in Fleabag or the Shades movies? On the social front, blood is sometimes called for, and the words of the state are poison to the people. (The Hong Kong protesters, to be honest, had to shut up Carrie Leung's toxic verbosity any which way, and the situation now is clearly highly verbal and not atall physical.)

The neutralising of words is the neutralising of meaning. Meaningless acts seem to be on the rise, whether it's Japan or USA. It's not just a case of the democratic state, but the rude boys of the populace and the desires that imply force and fighting in the streets.

Mechanical (7)

 The movement of a spiral contains freedom and order - see What the F***? 5 - and hence the large-scale similarities they are seen in the rhythms of nature (galaxies, tree branches, serpents, limbs.)

The microcosm reflects the macrocosm if the universe is seen in invariable time (P200.) Instead, modernity inhabits a system of distorted rhythms that are a hyper-accurate illusion of variable time (run by GPS, DNA.)

An illusion can be hyper-convincing to the numerically-compulsive ego (the neutral head, prev.) But, as has been discussed in 1/2 Essay 5 and M6, the mechanical movements of the body (phenotype) decide which bits of DNA are used (miscopies or mutations.) The mechanisms of the body implicate desire (psyche) and the understanding of reality (meaning, epistemology.)

The numerical illusion is immune to the obscenity of the 'asshole of the galaxy' seen in Revivalism 7, which instead takes the form of a numerical observation of algorithms. 

Where there is proportion and balance there will be obscenities, and a reasonable example of this is classic Disney (see Pinocchio, prev.) The animal escapades are more like comic capers, but there is always quite a lot of scope for the fertile imagination. Snow White and the Seven Dwarves was given a pornographic makeover by Berni Wrightson, for example.

Desire, or fecundity, permeate the large-scale similarities of the universe. The modern illusion manages to avoid all hints of desire via the numerical fixation. But, as has already been mentioned, this has the effect of creating neutral information that is the equivalent of the neutral zone of sex.

So, the fact that science ignores the obscene doesn't mean it isn't nevertheless exposed to it as a type of cosmic joke! The large-scale similarities also tend to be copied by motion-capture and the expressive algorithm (prev.) This idea was previously discussed on relation to 3-D animation (pixar) which has none of the atmosphere, virility and dangerous depths of classic Disney (2-D cell animation.)

The future will resemble a copy of the large-scale similarities without the understanding of obscenity and the fecund substance of the universe (Dionysus.) The perfection of Apollo paints a false picture of a sexually neutral, racially neutral world.

The world of sameness, as opposed to the frisson of differences that achieve an affinity of psyche. Low-level feuding, insults, abuse causing reaction and innate responses, instinctive strength (dirty jokes.)

The body, activated, feeds into the psyche; strength and communal feeling are the result. A neutral reality (of the head, the dragon of news) is also sterile and, as previously discussed, germs and dirt serve to strengthen immune-responses. Body and psyche are difficult to separate in an active situation. Fecundity affects calmness of psyche, instinctive responses. 

Measurement can dispense with psyche, and the reason is possibly that psyche is intrinsic to material reality. Measurement without the psychic component is illusory. The psychic component has to contain balance and proportion which are intrinsic to understanding (the body, sweat, obscenity, see Aristophanes prev.)

According to Vincent of UVS three are 3 possible mechanical models of the solar-system - geocentric, heliocentric or barycentric (the latter is an integral gravitational partial-solution.) But he also says

The underlying mechanism for the vortical motion of a galaxy is the intrinsic spin of its hyperspherical torus.

In other words, without the large-scale similarities of spiral movements in nature, there would be no balance and proportion, and no understanding in a psychic sense of reality. This possibly includes archetypes or planets (see Theosophy, prev.) Instead, we inhabit distortions of rhythms that nevertheless convince the compulsive ego.

Mechanical (6)

 You can't separate peace from freedom because no one can be at peace unless he has his freedom. (Malcolm X)

If 'the people' are the body, and the government is the head, the rhythms and pursuits of people invite desires and personal reactions of the psyche.

Freedom is not just a prerequisite for peace, but the movement that attains order. The physical balance of the proportionate body. The same on a larger scale applies to neighbourhoods. A body is at perpetual war (against invaders) to establish stability; a community has low-level feuding.

If that isn't peace on Earth, it's still not the idle words of our dear leaders. It's a physical fact that invites desire. Neutrality can never triumph over the physical activity of the people in pursuit of desires.

Classical movement and rebellion go hand in hand. The body is an antagonistic system of action and reaction (muscles) that is built for fighting. The expression of this in ancient times was the Greek athletic games; the restraint that gives truth to action.

Strength, though whether that counts as peace is in the eye of the beholder. Mechanical strength, basically, of the body in strenuous pursuits. In other words, a mechanical system is the origin of all other things, including the psyche (wheel of the zodiac), in invariable time, natch. 

While the ego of acolytes is satisfied by the machinations of a system in variable time, that is simply a type of mental weakness, a neutrality of mind with no physical force.

A system which is mechanical can only operate in time (rhythm) - see M2, 1/2 Essay 5 - and so is related to the large-scale similarities of rhythmic balance (tree branches, constellations, galloping horses, serpents.) 

Random genes or miscopies (prev) are selected if they match the order of motion of a particular organism (phenotype.) This is obvious if one considers that a mechanical system obeys Newton's laws of action and reaction.

Any movement one produces, say a punch or a lift, will come up against resistance. The muscles respond, or a joint 'snaps' and needs time to recover. The flexing and coordinated actions are the order that one sees in natural evolution. Clearly mechanical, and not random atall.

The mechanical universe invites desire (psyche), the swaying milkmaid or Swahili waterbearer.

Large-scale similarities and stylised silhouettes have romantic overtones. 

By contrast, the neutral world of the ego is an illusion, a compulsion of number that convinces by neutralising sex and race (see M5). The psyche is weakened and rebellion of the people as a popular pursuit almost unknown  

Freedom is a bodily pursuit (mechanical) enabling order (commune) and the low-level feuding implied. It might not be world peace, but it's not the anarchic order of militia-minds that nowadays runs riot.

Mechanical (5)

 The sterile electronic system of variable time has steadily eroded the value of the human being in an illusion of knowledge. 

"Know yourself" said Bruce Lee and, instead of the neutral head attached to electronic modes of knowledge, we instead have bodily expression. Pick-up a broom and it becomes a javelin to throw. One steadily gets a feeling for Greek culture - see discus scene in Le Mepris 1/2 Essay 2.

Hence the modern confusion. Instead of honing instincts that promote a classical standard of understanding, we are lost in byways of bizarre information divulged by acolyte heads, from Musk down.

With the standard of classical understanding intact, Man is able to adopt a complementary social order of small-scale feuding and the frisson between individuals. The rhythms of desire and personal reaction are allowed freedom within this classical order of feuding (city-states, neighbourhoods.)

The differences between individuals promote a psychic affinity of strength (P11). Instead of allowing for differences, modernity promotes a similarity that confuses everything for a neutral state of affairs. 

Words lose their meaning, and one can't even abuse hebes or dikes. Where everything is equivalent, there is no standard in sexuality or race. The upshot is everyone is more-or-less white, but whiteness loses its definition. Gay boys are just as likely to be macho, there is so much confusion. 

In Weekend, Godard relates a neutral or anal sexuality to the equivalence of objects in capital. This becomes more obvious in the sterility of an electronic system of detached heads.

In Goodbye to Language, the scatological scene of the guy on the toilet seat could be taken as a reference to the way the detached head operates in a neutral zone in modernity (of numerical compulsion, see Grace Slick quote.)

The rhythms of rebellion have a standard of physical pursuits that are increasingly unknown. Instead of feuding and Walt Witmanesque obscenity, the neutral head tends to be highly socialised.

Bodily expression is freedom and, in the highly socialised state, this freedom increasingly does not exist. The only freedom left is actually order (militia), which is the other confusion the US has about the use of firearms (see prev.)

Classical, bodily freedom is also a type of order; the two are connected by proportion. The rebellious time of the 60s was quite well represented in comics. In Iron Man #42 Gerry Conway has this quote.

So it happens for a man who's life is based on fact, whose parameters of existence lie on more than realistic foundations - is particularly vulnerable to the unreal.. Such is the curse of the scientist. Such is the doom of modern man..

'Facts' of the detached head that is unrelated to bodily proportion and the dynamics of movement. "Don't think, just move." (Conway's quote is really on Stark. Iron Man may be electronically enhanced, but it's a dynamic system that motivates the body to action.)

What is fantasy, what is real, in a universe of electronic reflections (convincing illusions)?

Iron Man #43

Stories have subtle meanings, relating to understanding. And this is especially true in the action epics. Where an illusion can be convincing to the detached head, the fantasy becomes apparent when the rhythmic pursuits of physical rebellion take over people's bodies. Where freedom of action determines thought. 

A decapitated head can be bad taste (as in EC comics), but that doesn't alter its essential reality, and the understanding thereof. Living things die and decay, and capitalism is just a sterile illusion that may take-in the detached head, as opposed to the activated and rebellious body of people (government vs 'the people', another theme of the story.)