Pictorial 198

 If the hyper-realism of a machine-universe is also a parallel reality of illusory space, it's going to make for a confusing situation!

This is for sure, so there's little point in saying things are part of some great conspiracy as one has to face up to the facts of hyper-realism in the modern world.

Perspective is s a way of visualizing things in a mathematical space, which is why it has an illusory as well as hyper-realist quality.

Riemannian manifolds, for example, have this type of general appearance.

The Escher-like quality of distorted perspective is fairly unsettling, yet this is what we are told to think of as the Relativity situation, where the perception of time is now relative to the bending of spacetime (by gravity.)

That's the mainstream way of looking at it (that Vincent's UVS contends with). Another way of looking at it - and I'm not saying necessarily corresponds to UVS - is that manifolds are simply entering a parallel reality of hyper-realism.

In the parallel reality, time is now highly relative, and this means that machines can.compute the time-speed coordinates of any place on Earth. In other words, it's nothing to do with gravity bending, it's the mathematical space that bends and creates the hyper-realism of relative time!

Of course, this convinces acolytes of illusory accuracy of the reality of the machine-universe (see prev 'The Airtight Garage').

It seems to me that, as well as agreeing modernism is deluded, one has also to accept its hyper-realism. It's this factor that convinces people and sells the gadgets of acolytes of the parallel system.

Actually, a fairly good way to visualise it is by contrasting Pixar with classic Disney animation (prev.) While Pixar is far more realistic, it at the same time loses the archetypal symbolism that one can for sure see in Snow White. The guileless beauty; the darkness; the psycho-sexual element.

Disney doesn't just have accuracy; it has the feel of line, the density of ambiance, the cottages and colours of atmospheric landscape.

Darkness is lacking in hyper-realism and, even though they may say one can detect Hans Anderson in Toy Story, the visual cadence is not the same (as in Disney.) Darkness is the key ingredient to a world that is felt as opposed to merely realistic.

Without the physical animation of irregular linework, there can be no revival from the decadence of nature; the dark underworld that supports growth.

Another good example of the archetypal in comic-art is the French psychedelic hippy Caza.

Virgo

The psycho-sexual in cosmic situations is oftentimes allied with death, to the extent that the situation itself is cyclical (see Howard's"The Frost Giant's Daughter", HB194) P194

The pulp extent of this is often associated with Francis Stevens' queasily erotic and mouldy lost lands of peril ("The Nightmare"). Her maritime tale "Claimed" has an archetypal darkness that is possibly second to none (or nun, even.)

In short, the archetypal images of queasily erotic darkness are rife with meaning. The sea as a harbinger of monsters; the dark forests of the soul (and Noto's Sonja); the eerily humanoid horses of CL Moore's "Black God's Kiss".

Physical animation and irregular linework are the keys to all this paraphernalia of the unconscious. Anything irregular cannot be hyper-realist and hence give the credibility of mathematical logic/space (perspective/illusion.)

The real problem is that, if mathematical logic distorts reality, we end up with a distorted version of reality. If we are in fact inside a hyper-realist machine-universe, it is not reality and just as surely harbours the profane serpent of distorted rhythm (see prev.)

The profane serpent is the distortion of natural ways. The 'Einstein tongue' (prev) is the other side to the 'super logic', and the physical reality of life on primitive Earth.

The reptile and the primitive and the sinuous and the sensual require the freedom of expression that a soulless mechano-verse does not.

One facet of this one sees is that instead of free-expression one gets routine. The dances and reality-programs are staged and learnt as opposed to casually felt (by a commune.)

Free-form dance is clearly a sign of free-expression, and one quite often finds this in the 60s films of Jean-Luc Godard (see also 'Survivors', prev.)

LES CARABINIERS (dance at about 1:40)

Godard's films have a darkness and vision that creates a reality that is highly expressive, giving meaning to simple sequences - of dance, song, meandering - that the modern scene has forgot.

Where a mathematical universe is dominant, the simple scenes of ramshackle expression are alL but crushed (physical and psyche). This is why hyper-realism has the negative faculty of distorting what is simple and natural in ramshackle situations.