Mutability and conscientious fact-merchants, a parallel reality corresponding to the sun (ego, Apollo.) The sun is the ultimate source of radiation and mutation, as seen in the classic Thomas/Adams X-Men #59.
The classic use of the psyche in rapport with bodily movements and mechanism uses the technology with insoucience that frees it from control by either ass or head.
Lee Perry used 4-track reels to eternal effect (see prev) with a fantastic lightness and balance of motifs, especially jungle basslines and vocal pyrotechnics.
The psyche is in rapport with the body, symmetries that are fundamental to living, that harmonise the parts of the body. The head sitting on its ass is not.
In a symmetrical situation, there are bound to be hierarchies of development because each level has its own symmetries. The human body is controlled by the flexible spine, the pendulous top and the pelvic posture.
Symmetries are so vital that possibly people tend to forget them; the placement of figures on a landscape in narrative painting is dependent on meaning for left/right, up/down, depth of field (see BWS The Enchantment W11.)
The parallel reality (of the sun or ego) apparently doesn't see these symmetries, and hence the epistemology (meaning) of language used. However, evolution without the hierarchy of symmetrical movement would just be the mutability and chaos of genes.
Why is it that scientists see the symmetries of quantum physics but not of the body? Because it is of the head that is attached to number and algorithm.
A body is a higher-level symmetry; a commune or Algonquin longhouse have social symmetries. The problem is, without a view of higher-level symmetries, one doesn't know one's ass from one's elbow.
Cosmic obscenities (Revivalism7) are barely discernible, whereas to the ancient Greeks they were all around (in myth.) The most influential pop music of the 20th century was probably Motown, and it contains the sounds of the city, the patois, 'suger pie, honey bunch' turns of phrase of thr black citizens of Detroit (see Drama3.)
60s-style technology can be superior because it frees the psyche. The most classic example of lo-fi technology that frees the psyche in rapport with body gestures was KT Tunstall's use of the foot-pedal on
BLACK HORSE AND THE CHERRY TREE outu.be/FGT0A2Hz-uk
The insoucience and bird-like gestures are ineffably free (loose, under their own control.) KT of course gave birth to the gargoyle that is Ed Sheeran, and this brings in the point that good and bad are always present.
That is, in a symmetrical universe that has hierarchies and is not simply the province of number for egg-heads. Lee Perry makes the good/bad connotation very manifest on his version of
OXYGEN Youtu.be/GV9Rp57t0ZM
