The fact that the gross physicality of
symmetry and proportion – the primitive lewdness represented at New Grange
(prev) – is ignored by the mainstream is obvious in their espousal of profane
meat.
You know the article on traditional
husbandry linked to in P128? There’s a much bigger article on “cultured meat” in the same paper.
Falseness is routinely presented as “fact” since – as has
been pointed-out already – they are very similar. Facts in a sterile order are
a product of straight-line, perspective logic.
You assume they harvest stem-cells which automatically
divide, so it’s a type of life without the attributes of living.
De Quetteville writes persuasively as that’s his job. Like
Gates before them (prev) they go for “bleeding” meat that gets the chops
working.
Throughout all the persuasive copy, it might escape notice
that this is profane meat. It may not be GM or DNA but equally there are no
physical conditions for strength.
There is no physical activity of grazing, of recycling
materials, of causticity, of lewdness or of an ambient situation where the
behaviour (psyche) is exercised on God’s Earth.
The serpent is loose in the meat since, without the
symmetries one doesn’t know one’s ass from one’s elbow (see “cuts”, prev.) In
order to know what you’re eating, “they” have to tell you, so you get yet more
copy Here it's something on beetroot).
The
conditions of strength are born of symmetries, of dirt and cleanliness and the
cycling of materials. From the physical is the psyche expressed, in the moonlit
lows of herbivores on the range.
What “they” are really saying is that the physical and the
psyche in rustic situations are now past tense. The sanitary techniques can do
without them.
On two counts that is wrong (or three, counting the moral).
One is that the serpent is loose in the cultured meat. Two is that physical
conditions for strength are progressive; the soil is fertilized, plants grow,
birds sing and feed on bugs (tra la la).
Where there is rustic song and recurrence of seasonal cycles
of strength, Dionysus the gay god dances, his donkey neighs charmingly. The seasonal
aspects of rural living are represented. The serpent has a sinuous sense in the
movements of dancing figures, the supple spine (instinct).
What “they” are selling in their “advertising” copy is a
future without activities of a rural, bodily persuasion that are gay and lewd.
Cultured meat is profane because the serpent is a lewd
creature. There is a sexual aspect to growing meat and this aspect cannot be
denied since it is just a physical reality. Growing "clean meat" in a lab is
another way of saying there is a numerical compulsion. You can see from the
diagram that numbers take the place of physicality. The cells grow into strands
containing up to a trillion cells, and these are then layered.
The numerical compulsion has to be sterile; otherwise there
would be growth with living attributes – symmetries of the body. The fact that
it’s sterile doesn’t mask the fact that there are lewd possibilities; slime and
sleaze are physical aspects of life; the lewdness is still there in a serpentine form that could be adapted to either sex.
The sterile order makes the assumption that they can make a
world that is completely separate from lewdness but, in fact, the lewdness is
just there in another form. Its very sterility gives it a profanity that can be
adapted to male or female. This harks back to Jean-Luc Godard’s Weekend
and the erotic beginning with "Anal Ysis" motif.
Another way of saying it is that the Black Sun of
calculation has no distinction in terms of sexuality, and the numerical compulsion
produces meat of profane lewdness (since the physique can’t be denied). In a way it’s
a complete lack of romance; the recognition that living things are fertile and
have behaviours that are meaningful (psyche, atmosphere, lust.)
There is a sort of hypnotic deception in the long-winded
copy that sells these techniques as sterile and safe (similar to “Friend”’s
hypnotic delivery, P129) A physical deception that ignores the land that needs
cyclical regeneration to thrive in seasonal splendour.
All these factory-techniques (see the sausage-factory of Tout
Va Bien; Doury, Aristophanes, prev.) really hark back to the ruptures that occurred
between the countryside and rural pursuits, with the growth of megalopolises.
Quite a useful data in this context is 1854: Commodore Perry’s steam-ship raid
on Edo (predecessor to Tokyo) that opened-up Japan to outside trade. The
Shogunate collapsed a few years later and the age of Imperialism began.
Hiroshige
This
print of Edo c1841 paints a fairly fisherlike picture; the comings and goings
of peasanty-types into the bustling throng of the port.
This active intertrading between country, sea and town
doesn’t disappear – as can be seen from the 50s Edinburgh fishwife (HB127).
Modern advances don’t stymie ancient practices (see 19th century Shanghai which
was then a city of pig farmers ).
It’s because there are two things going on; the countryside
has its own rhythm, the town has its. They can interact with lively gusto. It’s
only when progress becomes an exercise in sterilization that the fertile zones
of lewd and lusty living become to “them” a thing that is really dirty and
unnecessary.
This misrepresents the fact that strength is a combination
of dirt and cleanliness, that meat on four legs fertilizes the land for crops,
insects, birds.
The whole mindset is against fertility that gives lewd
vigour to rustic pursuits, where milkmaidens sway with lusty abandon. If that’s
sounds like a cliché of peasant idyll that doesn’t make is less true.
The sinuous serpent is present in rustic pursuits. But it is
also present in the labs where profane meat is grown. Ignoring that fact is a
recipe for physical and psychic weakness in a future where meat and algorithm
are one.
