"One Size Fits All" by Zappa and the Mothers of Invention is the cynical and satirical apex of hippy culture of the 70s ("blow it out your ass, motorcycle man".)
Applying it to my own proclivities of different types operating within higher-level milieux - aristocrats, peasants, knights, priests - all these bygone areas of interesting difference have been replaced by a single model of "one size fits all".
As previously noted, this is the model.of the western white man - as opposed to Japanese, Chinese, or American Indian say. The prevailing opinion is that the model is superior, but this could be based on a linguistic illusion (see DNA, prev.)
Assuming that to be so, then it is the linguists who are the true masters of the situation. What do I mean by linguistic illusion? Basically, that information lends itself to linguistic illusions. So, what is information in this context?
Any data that comes out of a geometrical system, as opposed to an organic one, such as an ecosystem or an old town quarter or a souk or an.oasis. Geometry has been.present in previous societis such as the Egyptian pyramids, but as a specialized area for an elite priesthood (a la Stonehenge).
Throughout the series I've been harping-on about induction, the solenoid and electromagnetism (C4-C6 and rehsongcycle.com which is currently in suspension).
The summary of that, though, is contained in HB56. Our view of the universe is basically seen through lenses of various types, whether it's black holes (algorithmic telescopy) or DNA (x-ray diffraction).
The problem with that is it begs the question, what is reality? As humans, we employ eyes attached to our heads, and our reality is partly physical (body, physique) and partly psyche (thoughts, brain impulses).
Thoughts are essentially electromagnetic, but they are attached to the physique, which is physical. Our physical realities are the product of balance and symmetry in an absolute framework of time.
That has to be so since, in order for morphogenesis to occur, the time-framework throughout the developing body has to be the same as the universe. Absolute time is what we see looking at the stars strewn across the heavens.
In other words, relative time does not exist in an.organic system. It may exist within a geometric system such as CERN, so what scientists are observing is geometric reality.
Since a lens is a geometric product that bends light, the data scientists are observing is purely geometric (existing outside of absolute, universal time).
In order to fathom the implications, it's necessary to go back to the Northern Renaissance and Albrecht Durer. As previously noted, while Durer incorporated Italian Renaissance geometry, his style was still romantic Gothic linework.
In some of his works, such as Melancholia, the geometry is separated from the figures and landscape. He also painted realistic nature studies such as
The Great Piece of Turf
The sense of disorder goes against the Italian Renaissance ideal, and yet there us a type of order apparent in the layout of opposing plants.
In the oppositional (ecological) reality, there is more a sense that untidiness is part of the great plan; things just happen spontaneously.
This goes against the whole idea of providing a logical.plan for events, as is seen in geometrical reality. In a geometric system, information is built-up, and the information is highly convincing (to the ego).
Any geometric illusion such as a mirror is highly convincing to the eye. Linguists are then able to convince people it is real, as opposed to geometrical.
This is essentially what happens in our scientific system, in that it is seen through types of lenses. The geometric reality is relative and linguistic.
So, by "one size fits all", I mean a type of head that is convinced by the geometric system. But information, as noted previously, produces sameness, as opposed to difference (see DNA).
In an absolute system of linework (pre Durer), things are opposed haphazardly and differences are apparent. What this implies is that an absolute system is ecological, as seen in Durer's study. Ecology is the study of how differences interact, as opposed to a geometric system of sameness.
Where differences interact, so do the lines that connect them. The metamorphosis of line contains similarities, so that one can't have sameness without difference.
Rather than one size fits all, the pre-Durer world is one where many different things contain similarities and have affinities as in an ecosystem of symbiosis and predator-prey relations with plants.
Our linguistic world is therefore a product of a geometric illusion (sun or electromagnetism) and not an absolute world of differences.
The illusory area is approaching a reality of ones and zeros (see Jirel Meets Magic), a convincing illusion of data and response, robotic as opposed to spontaneous psyche and social-physical. Police as opposed to civilian.
At the risk of having brickbats fall on my head, the vast majority of blacks are better at arts than science. The mainstream model obstructs us from saying this only because the western-model is supposedly superior and everyone can imitate it if they try.
For a start, an illusion is only superior if you are a follower of sorcerers. Secondly, trying to do something by following an educational model is different to the spontaneity of a commune.
Much that happens in strong communes is spontaneous and tribal a la song, dance, drama (Bruegel, Crumb, the Appalachian mountains).
The unthinking universe approaches an absolute world of time - and here one approaches the poetic differences of social and ecological reality, where linework is much more established. Poetry needs the unthinking side to be able to describe the psyche that is invisible. The astrological dimensions beyond human ken.
The Red Sonja artist Frank Thorne is supreme at evoking the tracery of different things in natural settings, and their similarities in the metamorphosis of line. Here, in #1 The Blood of the Unicorn, scripted by Clair Noto, Sonja establishes a rapport with the woodland beast.
Red Sonja #1 1977
The meaning or epistemology of the erotic in terms of natural power is also much more apparent in an absolute system of ornamental linework. One thinks of the gaily wrapped Geishas from the east or rustic milkmaids from the west.
It's their very difference that sustains a belief in their similarities. Since Newton, the west has entered a world of induction where information takes precedence over a universe that is unthinking and symmetrical.
Information, in that sense, produces sameness. The unthinking poetry of differences comes from an absolute world that is vanishing, one where the tracery of romantic linework holds sway over east, west, north and south.
