What proof is
there of this sorcerous system that seemingly circumvents sensations such as
sight and sound to surround the psyche subliminally? Well, just sight and
sound, smell and feel.
A familiar sight
in the modern world is of a head gazing at a screen intently, the experience of
straight lines consuming the attention. What is never seen, and what is seen as
totally reactionary, is for things to be preordained, for each person or animal
to know their place.
Yet in the womb
this has to be so to create a distinctive personality of uniqueness in the
cosmos. What is preordination but action? Line and movement in the bold
language of cartooning (Hyborian
Bridge 91). This is exactly
what Modern Man has decided to do without, in the domain of facts and
information flowing through screens.
Simple scenes of sight and sound can often seem preordained, like a
ritual dance. Jean-Luc Godard’s dark fairy tale, Les Carabiniers (1963) reads
like a silent film where characters act and react like marionettes.
Godard insists he doesn’t write the script till after the film is shot! A
slight exaggeration, but the point is: what is the script for action in the
world, for development in the womb? DNA? DNA is information, not a script. A
script is action and reaction in time and place. The action-and-reaction is not
Newtonian, it is fluid and serpentine. There is no such thing as
disproportionate action in nature. But what causes the proportion, the grace?
The feminine principle of harmony within the womb (water, moon) where
there is no competitive element. Godard’s 60s films are as much a hymn to woman
as they are explorations of revolutionary attitudes. “Women are more
natural”; “Their ideas are better.”
Godard uses light to create action and beauty on the screen, the two
things which counteract a masculine world of information (or text, which is
what most mainstream films are). Les Carabiniers is an ode almost to
there being no story; the action then becomes the story through guile and
boldness. Well, there is a fundamental question here.
A story is told by characters or animals that are proportionate (such as
Aesop’s fables). Therefore, the principle of proportionality comes before the
story. In other words, action is what creates the story, by being
proportionate.
This is why a masculine world of competition has an illusory narrative.
Myth and fantasy tell stories of times and places where the principle of
proportionality holds sway. The feminine principle of the hunt – Artemis, moon
– is pure action, blood and glory. Everything in this world of myth is
proportionate, and the story flows from the sweat and bounding grace of
glorious limbs in motion.
The female principle is inherently proportionate and fleet of foot, and
it is this which is lacking in a masculine order of competition (Darwin).
Proportion is simply the application of a harmonic in the womb, which reflects
that of the moon and water (Hyborian
Bridge 82)
What “they” call natural selection is actually unnatural selection within
a system of straight lines (electromagnetism, sun). This unnatural selection
convinces the ego (of numerical economics, speeches of acolytes). The ego is
trapped by the physique, so that the numerical and sexual become one (physical
boredom – see Blake’s print of Newton).
The feminine principle of proportionality (in the womb) gives rise to
predator-prey relationships (of the hunt). The talons of the bird rend; the
carrion feeders feed; blood, tree, grub and root are one tangled web of life
and death.
Red Sonja #11
This is strength, and it is the lusty destruction of Dionysus, uncaring
like the stoic donkey.
This lost world of uncaring gaiety is built on strength and beauty. The
warrior and the huntress will outlast the charade of competition in an illusory
order of straight lines.
