As with
Darwin, the acolytes make of what is really a cyclical system (day and night),
a straight-line, perspective order of competition - that is convincing to the
ego.
This is always
approaching the vanishing point of technique - head, expressive algorithm, ones
and zeros - and away from the primitive physical reality that has ambience.
Ambience comes
from the movements of the symmetrical body, the fact that it has a back and a
front, a left and a right. The fact that the head is supported by the reptile
neck which is ancient and strong.
The strengths
of the body are sensual and predatory. Instead of the physical boredom of a
world of numerical compulsion, there is food and dance.
Where are the
simple sensations that tell animals where to feed, when to have sex, how to be
matriarchal? In the physique, since only the body has direction - front, back,
left, right - and the agility to perform.
The
replacement of primal rhythm leads to new perverse lifeforms of the psychotic
serpent of GM, DNA. Profane meat with no direction at all.
The symmetries
of the body are its power to move, as well as to move the hearts of poets and
minstrels. Symmetries are cyclical; in other words they go round from front to
back and from left to right. A cyclical world is one of movement and fertility,
of decay and revival.
It could be a
garden pond (prev), or equally the dark fairyland of CL Moore's Black God's
Kiss. The toad-like beings that squat and jump over marshland are
bizarreness personified, as are the horses that run and neigh with terrifying
humanity.
The tall,
reed-like grasses that Jirel runs through, the marshes she skirts, are sensual
and fertile, and this is a very good example of a physical and womanly story
that has visceral movement (even of trees).
Moore is
weaving an ancient tapestry, and her realm seems to lie outside of
straight-line perspective. The problem with Darwinism - as was noted previously
- is that it exists in the parallel reality of acolytes of Galileo (Newton),
not the land of weaving lines that attracts storytellers.
The odd thing
is that the more things are left to grow and be what they are in reality, the
more delicately womanly and the less Darwinian they seem to be. It's almost as
if the imposition of Darwin by "them” gives the opposite reality to what
is there if left to grow.
Why should
that be? Because it's not just Darwin. We live in a perspective system that is
the heir of Galileo, and the imposition of any theory will have the same
attributes.
This system is
very persuasive to the ego, for the very reason it is not a tapestry of
symmetries, but a universe of facts. Facts by their nature are not movements or
symmetries. DNA, for example, is detected by x-ray diffraction - ie a type of
lens or perspective (cells, as noted before, are watery gels, so that is their
physical substance).
Living things
are visceral and gel-like; nevertheless: science portrays them as factual. And
it's so convincing to the ego! Slugs slide on slime; the throat is a golden
orifice that mucus enhances; tadpoles in garden ponds swim through green slime.
These are the
poetical qualities that come out of the symmetrical movements of living things.
Where there are symmetries there is slime and dirt. Where there is dirt there
is cleanliness. It's a cyclical situation; of letting buffalo manure dry out
and become useful (Buffy quote, prev.)
The cyclical
situation is society left to be what it is in reality. Decline and the strength
of decadence is in the revival, the psychic aura (Detroit Drama3).
This goes
totally over the head of the political classes - from Putin to Merkel to
mini-Merkel to Bloomberg.
(Putin) grew up in a rough-and-tumble neighborhood in the former
imperial capital that grew shabby and destitute by then.
In the two decades under Mr Putin, the city of five million
people got an expensive face-lift, with boutique hotels, local designer shops
and organic food cafes popping up all over town. (DT)
Bloomberg
ruined New York in much the same way. Quote,
'There are
barrow-loads of flowers in Times Square, not barrow-loads of sleaze.'
Sleaze is the
human version of slime; it lubricates areas that otherwise would be dry.
What is sleaze
but the rhythms and movements and colours of the human body? The things you
might see in the field in a Van Gogh painting. It's a form of primitive
strength that doubtless existed in ancient Rome. Sleaze, like bare-breasted
tribes, is a natural product that just happens, somewhat like ancient Greek
sculptures.
The opposite
state-of-affairs is the unnatural movements of compartmentalized office-workers
seen in Doury (Pictorial 121). Instead of free-expression there is a
semi-psychosis of living as meat in a sort of sausage-factory (Godard, prev.)
where the serpent is free to roam.
In the factory
(or hospital) people tend to act as if there are no differences - since meat is
just meat - when the truth of natural living is that differences are powerful
and primitive.
JK Rowling has
been having an ongoing debate on the right of women to be women (ie different
from men) which is mind-numbing so I won't go into it. Essentially "they"
say if you're born with a male sex-organ it can be cut - again see Doury.
There is the
whole issue of appropriation, which seems to be rife with confusion.
Florence Pugh
has apologised for cultural appropriation after admitting she wore cornrows as
a teenager.
..(she said) a friend at the time criticised the way she'd
styled her hair.
"She began to explain to me what CA was, the history and
heartbreak over how when black girls do it they're mocked and judged, but when
white girls do it, it's only then perceived as cool." (DT)
This confuses
me, like, totally! Fashion appropriates styles left, right and centre. Pugh
liked Jamaica and wore cornrows; it's just a choice, a fashion.
The primitive
strength of tribalistic cultures is under threat from the disease of sameness.
The mainstream acts as if we are all advancing towards meat (progress, algorithm)
and the primitive strength of difference is treated more or less as something
animal and odd, rather than the psychic and bodily resource that it is in
reality.
Ari Up’s Rasta
headdress of was a source of primitive power that probably attached to her
psyche. Psychic strength - aligned to body movements - is what "they"
don't want, so they seemingly confuse with messages of appropriation by a
mainstream which is ideally advancing towards a hybrid type of meat/algorithm
(see “the expressive algorithm”, prev.)
Marvin Gaye
apparently thought the Stones had appropriated the blues, but that could be
more of a commercial comment. Ari just likes black culture - same as Perrine
Sandrea, prev - and behaves accordingly. Grace Slick likes Spanish culture -
and behaves accordingly.
Those of a
rebellious strain of mind are often drawn to the pungency of physicality. Grace
Slick, in her memoire Somebody to Love? quotes a scatological verse she
sang while at Finch finishing school. She calls this “Chaucerian trash”
The ancient
Greek comedies were also harsh social satires, lewd and coarse (see
Aristophanes' The Knights Pictorial 47 http://icionrebelle.blogspot.com/2019/04/pictorial-47.html
Whether it's
Zappa's assholes, or coarse Roman graffiti (see Cleopatra, prev), it's all the
same physical satire of a life which can never be purely cerebral. BWS's
Adastra The Pizza Story is also in this tradition of furry coarseness
that stops bloated speech with the reality of physique where the undergarments
usually are.
© BWS 2003
It’s a
powerful zone which harbours the meaning of physical relations; which harbours
dirt as well as clean linen. There’s a connection between undies and the
physical power of the underworld (P128). Aran is so startled at the
sight he swoons and is rendered speechless).
Modern society
is not only words but also numerical, and this harks back to another Grace
Slick quote on numerical compulsion (HB62/1). As time goes by, the
numerical/monetary order resembles more and more a mirror of illusions, where
the real physicality of living is absent.
The mirror -
or electromagnetism - the Black Sun that shines where the sun don’t shine -
that produces very convincing illusions to attract the ego. That illusion is
the monetary order we're in, increasingly an algorithmic figment of acolytes'
grandiose but futile plans for expansion.
The counter to
a society where profane meat (GM) and sex-by-proxy (DNA) are the norm, is a
decadent state. The strength of decadence is often contained in caustic
reality. To a sterile order, the strength of decadence is paved-over with
straight-lines, with the resultant loss of ambience.
A rebellion
against this order has to take a leaf from Slick's brand of caustic physicality
- which is really going back to the lewdness of Aristophanes (see "The
Knights" prev.) Appearance can be appealing and persuasive enough, but
underneath is the primitive serpent which is let loose to breed profane meat
(see Doury, prev.) without the gross physicality of symmetry and proportion
which are present in nature.