LYRICS

The applications are to blameAll the people do all dayIs stare into a phone (Placebo, Too Many people)

“Take nothing but memories, leave nothing but footprints!” (Chief Seattle)

When rock stars were myths (Sandi Thom, I Wish I Was A Punk Rocker)

Machines were mice and men were lions once upon a time, Now that it's the opposite it's twice upon a time (Moondog)

Time is an illusion (Einstein)

Monday 13 July 2020

Pictorial 127


“let's empower people with 40 acres and a mule, let's give some land, that's the plan." Kanye West

Politics is approaching zero for more reasons than the purely political. Be it Biden or Trump, the protagonists approach eachother because they deal solely in money as opposed to the physical reality of fields and forests.

As an outsider, West may not yet be aware that the game is a money game. Or, as Clinton said, “the economy, stupid.”

All modern candidates are so ditto it takes a rapper to be different. Why are they ditto? Because money is numbers, and numbers are convincing. Money gets convincing things like iphones to plug-into the head and feed the ego with “facts.”

Certain of West’s other utterances make one assume him to be widely read so, while certainly egotistical, he isn’t plugged-into his own inane universe in the manner of a Trump. He goes outside the universe of the detached head (attached to machines) and into areas such as art history.

The fact he’s a also an astute businessman I guess is positive, but his priorities appear to be more broadly moral than narrowly monetary. The morality is that land empowers; it is a type of freedom the urban life appears to lack.

Tax is trivial compared to the moral backbone of rustic growth, decay and rebirth. However, not only is money convincing and gets convincing things, but the more convincing things get the leas real they are.

The real universe is proportionate and symmetrical, like an individual human body. A product of unthinking harmonics (womb.) The feminine principle of beauty and harmonic symphony (moon) is outside of ciphers/TV commentators, who are rapidly approaching the vanishing point of technique (numbers, algorithms.)


This state-of-affairs attracts the ego, which explains the similarities between Biden and Trump. Outside of this is caustic physicality, which is the product of the cycle of decay and revival in nature, of things being left to be what they really are.
 
Grace and strength (Pictorial 39)
The caustic materials of living cycles have atmosphere, because atmosphere is the presence of strength. This type of moral milieu and atmosphere is anathema to the Clintonian notion that money alone runs the economy (stupid.)
Money becomes the handmaiden for a logical system that approaches the vanishing point where straight-line advance becomes ever harder to distinguish from repetition. To what extent is modern progress actually repetition in the land of numbers (algorithms)?
Land provides freedom and strength, where numbers supply information. The information is attractive to the ego.. (etc.) This is where West’s quote is very telling. Life is not a numbers game. It is born of cycles and dies by the same cycles.
It is proportionate and symmetrical. It has atmosphere and caustic strength, smells, dirt, cleanliness. Every living thing has harmonic power – the feminine principle of beauty (womb, moon.)
This is the unthinking universe that actually delivers moral strength. TV commentators do not live in the unthinking universe (of nostalgia) and so can only deliver weakness and numbers. Trump is a product of this logical system, and cannot conceive that strength derives from the land, from mules and dirt.
From the west and the range – a slight coincidence with Kanye! From bison and other proportionate emblems of vigour on the plains. From their throats and the strong neck and pliable tongue that connects them to reptile origins.
The story of sinuous strength in active lands of dirt and dust and drench is an American one of nostalgia. Neither Trump nor Biden have apparently heard of it, only West.
 
Crosby, Stills, Nash and Young (about 1970)