Destruction of the New.. by the Old (2)

 It all started in '63; the original pulp imagination that comes from primitive roots. Those same routes that are described by Kari Hohne in The Mythology of Sleep: the Waking Power of Dreams (prev.) The forest of belief and fear that the hero must conquer and integrate to the Self.

Pulps are our books of conquest, and the fighting never stops - until everything is neutralised by sameness. This was why I took an unpopular line vis-a-vis the Ukrainian war, since the neutralizing dragon of the West is somewhat more subtle than a Russian tank.

Once everything is neutralised there will be no more wars since what is there to fight about in a kingdom of the dead? The physical reality is acrobatic and not of the head (ego.) It was the acrobatics of a Kirby cover that enticed BWS, according to a YouTube snippet.

Pulps are the acrobatic world; the primitive expression that is lost to calculation of the head. A good indication of what has been lost is to pit Tony Stark against Elon Musk!

Both are ostensibly doing very similar things. Helping the military (in Ukraine or Vietnam); miniaturising electronics (in satellite arrays or iron suits); acting the playboy (in Hollywood or Monte Carlo.)

What is to explain the fact that Iron Man's gadget-laden universe seems to increase in interest with each passing year, while Musk's becomes an electrically neutralizing force of palpable dimensions?

The answer is that Musk lives in his head while Stark lives in the dreamland  of the pulps. Dreams are myths, and despite any modern futurist credentials, are rooted deep in the past; in the forest of fear and the serpents of lore.

Musk is on a one-way trip to the calculating land of ones and zeros - the dual-note of 'Jirel Meets Magic' (prev.) The end-product of that trip is the neutralizing effect of information, or the vanishing-point of technique (sun, the Relativity of time.)

Dreams are primitive, primordial, serpentine and cannot be distracted by these neutral types of technique that lead nowhere. The calculating head is ineluctably drawn into itself, into the universe of electromagnetic impulses.

Outside is the dream that animates reality; the forest of fear; the labyrinthine, serpentine ways. Into this delves the Iron Man, and it is the old world of myth rather than a Brave New World of nothing.

It is ever the case that delving into myth opens the route to a revival, a renaissance. From Greek ruins come majestic insights.

In Tales of Suspense #43, Stark labs are assaulted by the Netherland, in the delectable shape of the lady Kala, who wants Iron Man to help them conquer the overworld. As descendants of Atlanteans, their technology is sophisticated, but Kala discovers this is one conquest she can't win.

Like Proserpine in Pluto's underworld, she cannot emerge except as a symbol of the death that gives strength to growing things (spring.) Like Proserpine, her diaphanous undergarments are a symbol of the lower regions that entice only to destroy.

The primitive blood and corpse-like land of the pulps is a harbinger of vitality that is lost to the calculating head. Like the dog in Goodbye to Language (N3) that rolls on decaying matter and springs up invigorated, the germs and nasties that inhabit the physical reality also imbue strength. Metamorphosis and revival are linked to lifecycle and the psyche of childlike wonder (imago).

Pulps inhabit a primitive, dreamlike world where the psychology is one of conquering fear, one that Marvel's heroes epitomised. The timeless area is like a type of detritus that continually revives.

The strength of revival is forever attached to immortality or death, and this gothic principle runs through comics. The Eternal Vishanti; the Living Tribunal; Eternity.

Ditko's dynamics in Doctor Strange may be the opposite of Iron Man, but the dreamlike and the primitive vistas are eternally there. Anything else is a wasteland that vanishes the further one advances into it. The mirror of illusions; the head of the sorcerer; the promise of a future that vanishes into the mists of oblivion; the land where calculation is everything and physical reality nothing; time is relative and eternity is nowhere; primitive realism and psychedelic grandeur are lost to time.

Destruction of the New.. by the Old (1)

The old in this case is myth. One can analyse archaic stories - such as the Gilgamesh saga - through the prism of dream symbolism, as Kari Hohne does in The Mythology of Sleep: the Waking Power of Dreams. 

The hero is forever fighting - reminiscent of Marvel Comics - and the aim is the integration of different aspects of their persona. Enkidu, the forest dwelling wild man, is sent to kill the tyrant Gilgamesh, but they end up partners in arms. They set off to kill Humbaba, hideous guardian of the Cedar Forest.

Fear can take on monstrous proportions, especially when it is trapped inside of the forest of our beliefs. (page 190)

Humbaba is the Shadow Self, who must be confronted, challenged, defeated and integrated with the Self. This is the heroic challenge. Conflict and defeat are keys to integrating Self.

If we are angry, we meet a world that is angry. If we only know pain, we find ways to validate it. This is something we fail to realize as Victims. (page 194)

It seems to me our modern world of confusion is to validate the Victim ethos, as opposed to the Hero ethos. We live in a world of isolated egos, never able to integrate Self through conflict.

Conflicts cannot only be psychological in nature, they exist in a concrete world of differences that manifest in nature as predator-prey.

These two recognise their opposite in eachother, and it identifies, strengthens their belief in Self. Without conflict and the battle, the integration of Self is hardly conceivable.

This is where feudalism is much more of a forest of belief and fear than is our modern neutralised world of ego. I did say earlier that Putin's aggression in Ukraine was confused because, in the normal course of events, communes are rebellious places, and they respond best to tyranny 

But we do not live in normal times; there is not so much tyranny and rebellion as the tragedy of an ego that is incapable of integrating the Self.

The Self can be integrated through tyranny and rebellion, as it was on the Middle Ages - and in the field of heroic fantasy. It can only be integrated through differences, it cannot be integrated in a world where everything becomes the same.

Putin's point about the Victim status of 'cancel culture' was well-made (namechecking JK Rowling, prev.) It is possible the West is trying to cancel Russia, and the route to sameness could be Ukraine.

To make this point completely visual, here's a clip of Putin's daughter Katerina, performing as a competitive 

ROCK'N'ROLL ACROBAT

Acrobats throw eachother around, and it's noticeable the man is heavier and taller to accommodate the tricky routine. Physically that's very apparent. Compare this with transgender swimmer Lia Thomas.

While psychologically he might be a she, physically speaking it's apparent the spread of shoulder and narrowness of hip are male. This matters if we live in a physical reality as opposed to just a psychologically fixated one (of the ego .)

The trouble is that the Western way is composed of distorted rhythms that neutralise the psycho-sexual aspect of physical reality. Back in P200, it was pointed-out that a spinning-top must have invariable time if it is to have a primordial rhythm. The Earth is a spinning-top, so it must have invariable time (not relative.)

The sun is spinning and pulsating; the moon is spinning and orbiting. In space they are acrobatically linked through invariable time. The closeness of the connection is almost incestuous. 

Artemis and Apollo 

So what has that to do with Ukraine? Ukraine has become a proxy war of the West versus Russia, whereby GPS missile technology is showing dividends.

GPS is relative time, relying on ultra-accurate calculation (by machine.) Musk's Starlink array is a vital part of this war.

While Putin might prefer to have s conflict of tyranny versus rebellion (a type of balance), the actual conflict is a proxy war of West versus Russia. The proxy-war does not care for ideals or beliefs, and is part of the Victim mentality that the West fosters in place of a true religion.

Both the West and Putin are confused, and this confusion spreads like a cancer to all areas of modern rule (misrule.) The Victim status has now descended on the Caribbean. They cannot accept that conflicts of the past are part of an evolving process, and instead only know anger and pain. Prince William, unfortunately, on a Commonwealth tour with Kate, is bent like a weak reed.

In a world of victimhood only the hero can conquer; only primordial myth can defeat the weakness of a modern rule of order that is disorder; the disorder of sameness; of calculation as opposed to belief; of neutralising information as opposed to psycho-sexual action.

The neutralizing dragon (3)

 Goodbye to Language is another typically montage-like film where a lot takes place offstage, here in the house of a liaising pair. It's sometimes from the dog's eye view of Roxy, the mutt who spies things at home and wanders round the forest (in 3D though mine was 2D.)

Launching into a review is not really the intention, and this is exceptionally difficult to critique, so I'll start by going back to the aforementioned 'shot/counter-shot'.

A lot of people may have felt, "but this is ubiquitous", and for TV shows I think it probably is. At random I looked at 'The Doomsday Machine' Star Trek episode from 1966. The opening has Kirk walking round the control room. He first asks Lt Palmer a query (the stand-in for Nichols/Uhura), then he proceeds to Spock and asks him.a query. Both had shot/counter-shot, followed by a distance shot of Sulu. 

It's logical without being creative, and the documentary format itself - interviews - is 100% logical (uncreative.)

However, films are films. In Goodbye to Language, the living room of the liaising pair has a large screen continually showing classic pictures. The last one shown was a silent film, and of course this is more like a drama with masks as opposed to language.

Godard idealises the silent era of such as Chaplin, and an ideal film does not necessarily have language as it's about seeing the world as it is (through a dog's eye view.)

I took a look at the trailer of Power of the Dog, and there was an action scene followed by the typical duo scene where there is shot/counter-shot. To use that is lazy directing because it follows the language. The language is covering the visual sense, directing it.

Film doesn't have to be like that. Another old film playing in the background had the two characters, man to left foreground, woman to right background. The sense of romance in the lighting and expressions and sound was palpable.

The other thing is that a camera is something you point. It makes things very easy and therefore technically lazy. Technique rules rather than the visual. The technique of comic books is different because it's often better to show the two characters, or to vary the angles. This is the opening to 'All Around the World' Planetary graphic novel.

Shot/counter-shot puts language at the head of things,  whereas a film should be filmic - visual. The difference of a film from a TV interview should be very apparent! Godard's films are vehicles for ideas, not language.

There are various ideas and quotes. The Apache word for world is forest.' The labyrinthine land where Gilgamesh roamed (prev.) Untidiness and darkness, soiled beauty, soiled maidens.

A labyrinthine place has a physical cycle of repair and regeneration. Words do not count there. We live in a topsy-turvy world where words have come to define the physical reality but, in fact, the reverse is the case.

The snake-like, labyrinthine ways are the ways of action, and from these come the epics of past ages. Words are born of the wordless. The shots of water in this film (and the others) have an Odyssey-like depth.

Going beyond words is going into myth. Myth is reality without the Dominion of language (of 'fact'). If this is the Western way, Europe and America are both on the wrong side of history. The two characters wander the house in a state of ennui - inspired by words?

He has a scene and theme reminiscent of Weekend (1967), where Byron, Shelley and Mary Wollstonecraft (writer of Frankenstein) are wandering the forest of lake Geneva, declaiming. The romantic era is long gone, only Frankenstein remains!

'If Russia becomes European it will never be Russian again'. Another saying that holds water. Putin's principles are confused, as was noted previously, but to have the endless interviews of shot/counter-shot is going nowhere very fast.

Not  only forests are labyrinths, but towns and ports back in the day. That is what is being lost. The scented decadence of movement and force that provides romance and dark ambiance. Action, not words.

AMSTERDAM

Where there is communal action, rebellion is always there. Even in Russia, if Putin is a tyrant rebellion is still possible as we've seen.

The neutralizing dragon of news (words) renders things neutral, partly through this trope of shot/counter-shot, partly through ignoring the physical sphere entirely. Sex-differences are no longer de riguer (see Rowling.)

A neutral world is also one that is compulsive- as opposed to fecund or sexual. This makes another link to Weekend, which starts with a description of an anal-oriented orgy. Here it takes the form of the 'equivalence' of toilet humour.

The neutralizing dragon (2 of 3)

 Notre Musique is satisfying visually with sweeping scenes of a war-struck Sarajevo - bridges and emerald green River, majestic edifices gutted to the bone, fleeting city-trams - and not least for Godard's appearance as himself at a conference where he espouses his antagonism towards the cinematic device of 'shot/counter-shot'.

I'll start with that, as to interpret what he means is tough, and without understanding this piece may as well remain unwritten! Shot/counter-shot' is a documentary method whereby two actors are shot at identical angles, and they are made to seem equivalent.

From that seeming triviality, he goes on a rigmarole. Elsinore in documentary form is a fairly plain castle in Denmark. It is only placed in the vision by the knowledge it is Hamlet's castle.

The way I understand that is that a documentary style appears real but lacks vision. Reality has two faces in that struggles are going on. Between men and women; between blacks and whites; between Red Indians and cowboys.

A trio of native Americans appear as 'ghosts'; Godard also shows a photo of Richmond, Virginia after the civil war. 

So, the film is a poetic exploration of violence and war - victors and losers - and possibly also feuding as I've been using it in a communal sense. Godard's films are known for being documentary-style, but they are nothing without the vision and here the fantasy-elements are rendered realistically.

What that means in short is that documentary style of shot/counter-shot renders reality without the vision and you have just the text, or words.

"Text has covered vision."

Vision is dark, sombre, tragic. Also gay.

The bridge bring rebuilt over the river has two faces representing the pain and guilt of war, struggle between peoples. The water is a rich emerald green - which I took to be the fertility of blood sustained in the conflict. The Noto-esque underworld (see 'Red Lace'..) is there all the time, and red changes to green (the Styx.)

In the sombre world that is not all text (head), the physical processes (body) create active areas of regeneration from degradation. Reality is two-faced because from the brute destruction and disorder comes ultimate revival and fertility.

Branching off from what Godard may have intended, there is an Arcadian reality where physical processes are left to themselves in relatively primitive situations of country, peasant-based smallholdings.

Arcadia is where Buffy's quote on dried buffalo manure (see quote HB70) rings true, because things are generally left to their own devices. Untidiness becomes tidiness through the natural processes that just happen.

In American terms, it's the country blues that seem quite simple stylistically, but actually have a lot of physical, tonal content.

GOING UP THE COUNTRY

Canned Heat in their third album have an extended country blues called 'Parthenogenesis/Nebulosity'. As the sleeve notes say, the meaning of that is not atall clear, but it could simply be literal. Parthenogenesis means (among other things) the unfertilised eggs of queen bees that give rise to male drones. 

I did a little reading on bees, and their lifecycle is astonishingly fecund and debauched! This is the very content of a blissful Arcadia, one that is heard only through (nebulous) pan-pipes. To some that would be reactionary, even an Uncle Tom-ism, and I think that may well be the case. Truth is no stranger to controversy. That is, the physical reality of the body rather than words of the documentary head (text.)

The next film I'm looking at is Goodbye to Language from 2014, which one might assume has a not dissimilar theme. The documentary-style head has no physical content - of Arcadia or the underworld - but has a lot of neutralising style (words, and words that can't be used.)

What we get is a world of policies (federal legislation) but where you can't insult people. As I've been saying for awhile, insults in organic communes are normal and just a recognition of differences that exist. Even words that are not insulting such as 'Redskins' are legislated out.

Shot/counter-shot in the documentary-style establishes a world of text that corresponds to the reality 'they' want. It's one that has not the physical untidiness (disorder, destruction) nor the gaiety of revival (psyche, Dionysian rites.)

As a director, Godard's aim is to "shine a light on darkness.. notre musique.' One must first have the darkness. Without the revival from darkness there can be no psychic strength.

The neutralizing dragon (1)

 Having watched about 1/3 of Notre Musique - from 6 years previous to Film Socialisme - it's a thematically dense piece so I thought I'd write something about the end of the end of one film and the beginning of the other, since they're thematically similar, followed by something on Notre Musique (follow that?)

Yes, cos Godard's gnomic utterances seem to inspire reflection along certain lines - though it's difficult to say where the film stops and the thought starts!

For a start, going back to his view of TV as 'the state', Film Socialisme has the line at the end that the state is 'We', the individual 'I'; in a drama we pull together; in a tragedy not atall.

While Notre Musique has the line

The dream of the individual is to be two; the dream of the state is to be one.

There is also the line

Democracy and tragedy were wed in Athens.

To weave these together, I have to start from my previous stuff on antagonism inside communes - the mini feuds that resolve conflicts. The friction of different personalities or between husband and wife or differences between clans. Feuding allows for a modicum of force to enter into relations; dueling or fisticuffs. Not everything is state-sanctioned by policy, basically.

Now, when Godard says 'democracy is tragedy', that might apply to a state-sanctioned democracy where the individual was submerged. But it doesn't necessarily apply to the type of feudalism that is inherent in communes where policies are not allowed to dominate (the example of Detroit and federal civil legislation was cited, Drama 3).

Antagonism is a physically active situation (of the body) where there is psychic strength enabled. Where the head becomes dominant (in policy), one is much more approaching a psychological situation where tragedy is unavailable.

In a sense, this is the modern world. As I said before, Putin's aims in Ukraine are confused (his principles) because he is not allowing for the fact that strong communes are feudal and should not be tyrannised or made to come around to one point of view (the unitary state.)

Putin is very verbal and uses words to instigate conflict of a unitary state on the communes. In actual fact, the word 'tyrant' was used as the nom de plume of a coin collector of British and Anglo-Saxon kings; he meant 'absolute monarch' but, in fact, the barons had en masse equal power to the king and it was all a balancing act.

'Tyrant' in antiquity, simply meant king, hence Oedipus Tyrannus. In the plays such as also Electra, there is a psychological wash over the protagonist who sort of retreats into their shells. The Greeks invented psychology along with other things 

In the drama of a commune, to paraphrase Godard, individuals come together at times of crises; but in a tragedy individuals are distinct, isolated.

This applies to the modern situation in general because of the doctrine of sameness as opposed to antagonism that enables differences to be resolved.

What I was trying to get at is that there is a principle of movement and force that gives a commune self-government through feuds (probably the blues!) This principle is being ironed-out through the neutralizing dragon of news.

It's a sort of 'zero' whereby differences of the physical reality cannot be tolerated (as in JK Rowling's case). Richard Ingrams of the 60s satirical mag Private Eye says

At 84 I would like to write another book.. but it's hard to be controversial these days, particularly if you're old. I spend a lot of time reading PG Wodehouse. He refers to a psychiatrist as a "loony doctor". That would cause great offence now. (DT)

The physical or sexual areas are not verbal but actually real flesh and blood. 

Going back to Putin, he is more like a tragedian than a tyrant. But, in a sense the same applies to the neutralizing West. Communes which are free - in physical state and free-spirit - are rebellious and so can be tyrannised by a king. It's a state of balance.

In a world where force and movement do not really exist in that sense, the neutralizing news creates a despondency of individuals, and that is the tragedy of democracy which I think Godard alludes to.

Pictorial 213

 Taking-up the devil's mantle again, the universe is experienced in a physical way when time and silence have meaning (staring at the stars). Movement is appreciated by the eye - rhythm, force - as Daredevil leaps along rooftops.

The wash of news, and now social media, dulls the metaphysical with the scourge of 'facts'.

Learn to see before you learn to read

goes one of the lines in Film Socialisme, the 2010 collage or collision of scenes by J-L Godard (then about 80.)

With the American Way battered, and the Russian way even more battered, seeing through a battered European perspective may be a wise alternative.

Battered, meaning shabby ambiance, soiled beauty, sultry decline and divine swine. The latter are the animals that peer through the screen at odd times. The purrs of cats from a YouTube meme, seen on-board a cruise-ship (also harbouring Patti Smith in cameo); the cloven-hooved creatures at a Core d'azur gas station..

FILM SOCIALISME

At about 3 plus minutes is a shot of the gas station's waterpump windmill (in shadow), reminding me of the Old West's iconic windmills. The film may not have much narrative flow, but Godard is a master of creating a sense of the casual and natural, people pawing like animals (the off-beats of off-screen music..)

What that could say is, the life lived casually and naturally comes first; the story comes second. For a start, why does the French gas station have a windmill? Presumably to pump water from a well, meaning either they have less plumbing or more water - as in the Old West.

If this is a French and French West African way, it is anti the Anglo world which is ruled by capital. By the 'cleanness' of smart plumbing and increasingly by algorithms (text or story.) Numerical efficiency rules (Ed Sheeran writes algorithmic pop songs for dollars?)

Outside the Anglo world is the shabby-chic European twilight. 'Facts', unfortunately, are no longer sufficient to run an order that is governed by algorithms.

Pam Geller, as noted previously, blatantly lied about Trudeau for the sake of her principles; the Russians are blatantly sidestepping truth in Ukraine for the sake of their principles.

"Putin plans to rebuild the USSR and have Russia back as a superpower. He genuinely doesn't see Ukrainians as their own people. He sees them as inferior Russians. (guy called Ingram.)

But, for Ukraine to be part of a new Russian Empire would clearly be superior to being just another capitalist country like, say, Denmark.

Principles have to have priority over 'facts' because only principles have the force and rhythm of movement, of purpose. Facts are always there to be argued over endlessly.

For example, American forces in Afghanistan committed similar acts to the Russians in killing innocent parties. It was either 'mistaken' or 'unavoidable', the result was the same.

The more primitive way of looking at reality is through force and purpose and movement. These supply principles which modernity lacks.

Putin's principles are confused, as was noted before, because the modern paradigm is confused. The same goes for America in Afghanistan.

The legitimacy of communes and free trade ports - see historical prev. - is a case of disorder and rebellion first. This enables legitimate physical action that establishes order.

These types of opposite statements and quotes litter Godard's film (a classic is, 'Islam is the occident of the East' by Rudyard Kipling.) The primitive sense of disorder and beauty and natural rhythmic force is necessary to create a renewed sense of purpose that is not purely the Anglo credo (text) of dollar, algorithm, number.

Pictorial 212

 The disorder of the underworld brings order in its wake. Put another way, the struggle between differences that becomes strength, that produces psychic luster. Storm-damaged trees that fall, that replenish the habitats of the lifecycles of numerous bugs (P211). All this is a way of simply leaving things be; leaving things to decadence and revival, the natural cycle of germs or Man (physical vigour.)

Instead of the law of supply and demand there is a much older law of trading-ports that become established by dint of geography and maritime conquest.

The entrepot of Amsterdam and the free trading ports of the Hansa have much in common with old Shanghai (TofF2) with its fermenting pig manure and decrepit wharves; romance and decadence entangled in the gloaming.

Unfortunately, that's all I can say of these archaic maritime trade-routes for now as I got diverted by watching 'Scenario Video', Godard's screen-notes for Slow Motion (prev.)

Godard is intent on discerning truth, which is the link of music to film, or between dialogue and movement. Film is above all the experience of time (27 times a second) and not simply of 'shooting the script' in post-Hollywood fashion.

Movements are the way we experience time, and dialogue interferes with that. There are punctuations of silence in much the same way as is practiced in action comics (or BWS Monsters for the sake of breathing and experiencing the character's state of mind.)

In terms of action, 'the silence of speed' allows us to experience time in an animalistic fashion. Do we have punctuations and pure silent action in our modern lives? is a question in point.

This tallies with our exposure to news, which is purely verbal. The war in Ukraine is clearly socially emotional, so doesn't that mean something is lacking?

Movement is rhythm and force, while dialogue is 'pure information' (in quotes). The Russians are apt to describe this as "misinformation" ("what is the source?") but in any case could be a case of information overload.

In a war the aim is to win, and Putin has a greater right than simply 'fact', which is the right of legitimate physical action.

It's a war of principle; as was said in P211 though, the principle loses legitimacy as modern wars create an order, when the disorder of rebellion is what brings order in its wake.

I mean, the legitimacy of communes and free-trade ports during the time of the Hanseatic League. Putin's (nostalgic) principles are confused owing to the modern paradigm of pure calculation (or Relativity.)

This in turn tallies with our experience of time. The divine rhythms which sailors used to steer by are denied us and we are assailed by a social and factual smorgasbord.

'The silence of speed' is an area where physical action has legitimacy in that the universe is being experienced in a physical way (not just through a verbal wash of news).

Where the physical universe exists, the psyche has a development over time. Silence is that experience, and has the assets of fantasy and poetry (as opposed to supply and demand.)

One other way to delineate it is that it's probably the opposite of Simon and Garfunkel's iconic 60s anthem The Sound of Silence! 'Hello darkness, my old friend' could take you to some other area of decadence that is in the nature of true living.

Time is fundamental to experience in a foundational way (dance, force, stillness, punctuation), and therefore an area where physical action has some legitimacy (in terms of reality or realism.) Where that is so, the psyche develops over time (childhood innocence.)

If we live in a nefarious area where illegitimacy rules, that is a fundamentally confused situation. Blaming Putin or anyone else is too easy when the paradigm itself invites confusion. To be ruled by a state of confusion is a recipe for rule by social media rather than the force and rhythm and stillness of dance (by the stars.)

The tyranny of the calculating head versus the unspoken force of the twisting body under the turning stars. The continuity of action; microcosm echoes macrocosm - P200. Like the Batman on the NY skyline making iconic shapes; meditating under gargoyles; finding meaning before speaking; natural strength before weakness.

The Batman, it's grim up there 

Pictorial 211

"Ukraine is an inalienable part of our own history,  culture and spiritual space." 

Putin's argument is a good one. Kiev Rus' from the 10th century Viking Volodymyr established the Orthodox religion. Although a thorough-going pagan with hundreds of concubines, he forged trade-routes and captured a princess of the Byzantine empire (legitimately).

On the other hand, is he paying lip-service to Orthodoxy as a way of establishing a universal order of his own choosing? Religious faith is a struggle that becomes a strength. Blood symbolism and warrior monks are nothing new, but faith is something that does not need to change God's plan, that takes the world as it is. 

Monks chant and meditate in surroundings of solemnity and power. Monks also grow herbs and vegetable gardens. The physical reality is a strength of the body that feeds the head ('White Rabbit')

Putin and his cohorts, surrounded by cameras and computers (the mirror that convinces the ego with straight-line logic and charts) live inside an illusion of the head.

Somewhat like the European Right, they are good at verbal - and that's all it is. One can't invent psyche because it comes out of organic strength. All one can do is play wargames based on a myth. The force is nostalgic, and harks back to the Soviet era.

The Golden Cockerel 

is folkloric Pushkin made into an opera by Rimsky Korsakov. Written just following Russia's disastrous defeat by Japan, it tells of the mythical Czar Dodon, who's astrologer makes a golden cockerel to warn of approaching enemies.

Dodon is reassured, and decides to go off to war with his sons. Bruised and bloody, they reach the fabled realm of Shemakha who's Queen seduced them into decadent ways.

HYMN TO THE SUN

In this production, the Czar and his sons wear phallic hats, with staging and costumes by Japanese. Duly married to the insurgent Queen, Dodon returns in triumph, only for the Queen to vanish and the cockerel to stab him to death. The astrologer sings in the 

EPILOGUE

The 'pure illusion' is conquered by decadence (a possible reference to the goat-like Rasputin), and this is a very apt description of the modern illusion. Decadence is the idea that things are left to be, and indeed to decay and become overgrown.

It's the world of fertility, which in nature is strength. Storm-damaged trees, for example,

..break down at different rates and.. that's good for the invertebrates and the general ecosystem and the carbon is restored to the soil. (DT)

Deadwood is an ideal habitat for bugs.

There are literally thousands of species of beetle and other sorts of insects that need decaying wood for at least part of their lifecycle.. The newly formed clearings also allow new trees to develop.

Human civilization cannot develop away from nature and become pure ego. Once that happens, psychic weakness is inevitable. The rebellious spirit is the natural way of saying no to an ordered universe of zero psyche. This occurs throughout Russian history. The Tatar Cossacks were more or less mercenaries employed by the Czar (Gogol writes of a Ukrainian uprising against Polish aristocracy in Taras Bulba.)

Cossack mercenaries were employed by the Persian Shahs and became the Caucasian (or Circassian) brigade that established the Pahlavi dynasty (toppled by the Ayatollahs).

These historical accounts are the struggles between differences that become strength, that produce psychic luster. Without the struggle, pure order is just a pure illusion.

This is so throughout history. On the very borders of Russia was the Hanseatic League of Baltic and German cities. Warlike merchants established trade-routes as far as Novgorod.

Without the struggle that has a psychic strength and without the disorder that speaks of decadence and debauchery, there is only the mental weakness of order (see Euripides The Bacchae where bestial rites tore Pentheus to shreds.)

The disorder of the underworld is always there, but the strength of decadence is denied by those who live by dogma. Zest and the children of Dionysian rites are lost in the quest for the neutralizing dragon of endless sameness. Putin is more dogmatic in his quest for the mythical creature than the West, but in the end will it really matter?

Putin makes a good case but the problem is, if you win you've already lost. With the dual-note illusion of efficiency (P210) that ineluctably draws the ego toward ordered sterility.

In the parallel reality where the psyche is more and more out of reach, Putin is trying to reach an anachronism, a state of mind that is on the wane. A social milieu that is the microcosm of a cosm of divine rhythms that mysteriously imbue the psyche.

We live in a confused state of distorted rhythms or what you could call the Relativity paradigm (HB209). A calculated war is ineluctably drawn further into that state of confusion.

Pictorial 210

 As a way of labelling 'modernism' under one signal, Pamela Geller has a piece on 'Cuomo-clone Hochel's ban gas and make NY electric bill'. Pam, I happen to know, is rabidly pro-fossil and, while I can't go along with her principled blue-collar stance, the 100% electrical future is exactly what 'they' offer as it is a clean fuel.

Clean as in antiseptic, suitable to a global hospital. This is a point I've been making in that it tallies with a paradigm of ones and zeros - algorithms and the vanishing-point of technique.

While the global climate is cited as a cause, in fact it masks an infertile agenda. There are numerous examples. Peat is a well-known fertilizer and protected reserve on wetland moors. 

New analysis found how peat extracted for UK horticulture in 2020 could release up to 880, 000 tons of CO2 over its lifetime.

By 'released', they mean rotted into plant-growth, so the figure is seriously misleading. Granted wetland peat moors are the ideal reserve for carbon, that doesn't make the use in horticulture negative so long as the reserve is sustained.

Similar arguments go for pasture-fed cows that fertilize the ground and so their carbon output goes into plant-growth. Grass-grazed cattle, mobile and alert, are neither methane polluters. The fertility-cycle cycles carbon where the infertile cycle does not. Similarly for the Ohio intensive pig-farms.

That's why, while I don't identity with Geller's rightist agenda, our views tally in the sense of being outside the modern paradigm of antiseptic electric.

Outside, dirt and cleanliness are the thing, in the way coal miners would take to the water after blacking-up. Maybe coal isn't that healthy, but in general the germs and generous bacteria in dirt roughen-up the body and supply it with rough treatment that animates the immune-response ready for any nasties that may appear.

Valeria's bathing ritual in 'Gods of the Mountain' (prev)

The antiseptic paradigm is built on measurement that is an illusion. Rough living is a product of rhythm, force and movement. One climbs the branches of a tree and is aware of large-scale similarities (limbs).

The physical aspects of nature are stylised symbolically, as was shown in P206 (Haeckel and Tudor symbols). Stylisation accentuates the physical power and imbues a psychic luster.

The parallel universe of measurement lacks power and denies fertility. The paradigm confuses high-tech complexity for lo-fi truth.

In some ways, lo-fi contains truth because- like Lee Perry's Black Arc recordings - the childish avant-garde imagination is let loose rather than imprisoned by the technology. 

However complex the technology, we essentially live in a dual-tone world of ones and zeros controlled by algorithms (see 'Jirel Meets Magic'). This dual-tone reality is given utterance by the Lithuanian avant-garde lo-fi composer

VITALIJA GLOVACKYTE

Despite the complexity of our world, it is one of efficient sameness. Outside the listless paradigm is the real world of inefficient differences that are balanced in terms of strength or fertility (figuratively, a fertile artisan-base.)

The dual-tone hypnotises the ego of acolytes with its siren-call. They are captives of Korvac (W8) or the universal order that becomes the vanishing-point of technique (GPS navigation.)

Tractors that are guided by satellite can only be the harbingers of sterile monoculture. The truth is hidden, which is that the principle of struggle, of predator and prey, is the inefficiency that secures the strength of difference against the oppression of sameness.

Korvac-types like Putin are in fact pursuing the weakness of death, a universal order that is pure illusion. Rebellion as a principle of identity is historically established in the Baltic states, Lithuania, Latvia, Estonia.

The principle of the struggle of differences in terms of strength is surely seen in Orthodox iconography.

Ukrainian Cathedral, London

Pictorial 209

(SCC - it's HB213)

 If the physical universe is the principle of continuity in action (body, cosmos), and news is the infinite mirror illusion (of the head, electromagnetism, algorithm, measurement), it might make sense to pay little heed to the 'facts' of news, and only to certain principles.

Pamela Geller, for instance, brazenly misreported the Canadian Mounties "mowing down and killing innocent civilians", with her sights set on liberal vaxxer Trudeau.

Conservative principles justify such tactics, as no doubt Trump would concur. Beyond the left/right debacle, though, the news neutralises differences which exist in natural circumstances. Insults in the natural order of things are good because they recognize differences.

Neutralised debates take place between heads rather than between bodies (duels of honour), and so belong to the illusory universe of facts (the Greeks probably covered this already with the social comedies/satires of Aristophanes, and the emphasis on rhetoric.) The body is basically balanced as is obvious as no one has two left legs.

If politics were similarly balanced it would allow for self-governing communes by means of low-key feuding (fighting) - see Blaxploitation movies. Insults in this neck of the woods are de rigeur (honky.)

THE JACKSONS

In other words, the exact opposite of what we're told (by 'them') in the way strong communes become established in the natural order (low level fighting, feuding). The point has been made before of areas as diverse as Rab C Nesbit (TV comedy) and Detroit city (see Drama3).

This is the physical reality, of what has been called the principle of continuity or physical motion of planets (spinning bodies in space.) The parallel, Relativity world of measurement is of the head rather than the diverse body (active and fertile areas of dirt and cleanliness, strength and immune-response with no vaxx tyranny.)

The point is, all the issues are connected, not just to vaxx expertise tyranny, but to the tyranny of the head per se. The paradigm is tyrannical; depends on how much dogmatists a la Putin take the illusion to reality. Putin's speech on Ukraine was clearly made up on the back of an envelope. In his infinite mirror illusion, logical fallacies where there is no internal balance of power pile up unhindered.

It's not a left/right thing since the Spanish Vox want to scrap the devolved administrations which at present are balanced in a fairly fair way.

The physical balance of semi-autonomous regions is a principle which invokes the independence of psyche. The inventions of the head - left or right - are delusions to quash strength of psyche with logical fallacies.

In short, the physical world has its own logic which is a balance of power; the symmetries of lifecycles (imago) and psychic luster; the underworld that revives the spring (Persephone, wife of Pluto.)

The physical strength of the land - in this case one associated with Rasputin rather than Putin - is denied and lost to the calculating head. To the debauchery of the mad monk one can add this rejoinder.

"Our marriage is over due to the fact that we barely see each other. Vladimir is completely submerged in his work.

The sordid and the sacrosanct are closer than many would allow, at least in the psychic luster that is not prey to fallacies of illusory logic of minds neutered by their own egos (measurement and calculation.)

Observation (see Tycho Brahe etc prev) in the normal course of events is something of sinew and reaction. A medieval longbow was aimed in the general direction of the opposing force. With small arms, dueling instincts and speed of draw came into play in the Old West.

THE LAST GUNFIGHTER

The body, in other words, employed skills that don't rely purely on observation of the target, but muscular agility. Once observation becomes a question of measurement and calculation only, it is essentially now a product of the head (electromagnetism), and wars are creations of the head (tyranny).

It's the sense of the real. Calculated measurement creates an illusory space where modern wars are invented. The sense of the balance of powers in a physical context is overlooked as irrelevant (to dogma.)

The same point was made of Afghanistan, where American technological prowess existed parallel to the actual reality of balance and power in communes. Villages, clans, ethnic regions with a sort of feudal sense. The American presence evaporated with no overlay of psychic luster (see prev.)

The technological wars are an illusion because the mathematical universe (of computers and machines) is the one that can be observed by mathematical instruments! It exists inside a tautology, or the vanishing-point of technique.

If observation is measurement, then observation and mathematics become the same thing (HB213). The ego of those like Putin does not see this, especially as in their speeches they are staring out at the camera staring in. It's a type of self-observation that distorts natural rhythms and is prey to the illusory measurements that exist in Relativity space.

In short, it's the very precision of observation that is illusory since it is no longer subject to the balance of powers of the body in active situations, or the body of the cosmos as bodies in motion (spinning).

The physical balances and symmetries of lifecycles imbue psychic luster that cannot be invented. Psyche is implied by the principle of continuity, and even more by the presence of aether, if that exists (see UVS website.)

IN THE YEAR 2525

Zodiac

(from DNO5)

 His head was shaved, accentuating the skull-like appearance of the deep-set eyes, the skin drawn taut over bone. A living machine of flesh and bone and blood, all capacity for emotion eradicated by training and an operation performed during his youth, his only pleasure that of mental achievement..

One day he would be part of it. His body would weaken, his senses grow dull, but his mind would remain active. Then he would be taken, his brain removed from his skull, immersed in a nutrient vat, hooked in series to the countless others which formed Central Intelligence. (page 37, 40)

The corporate Cyclan describes accurately the future of Musk and Bezos, with the exception that they both have girl friends! On that score, Grimes made the implaussable comment that Earth-time is relative, while sidereal-time is cosmic. The way I see it Zodiac time is earth-time since it relies on the spin of the Earth at time of birth facing the sign of the Zodiac on the horizon.

This is absolute time and is not atall Relative! One could almost suppose Relative time is the product of increasingly accurate measurement. Atomic clocks measure time accurately, but why should the universe spin like an atom when it is composed of galaxies and stars?

Is it that the hyper-accuracy of measurement creates inaccuracy? These inaccuracies are what we are told necessitates Relative time. In other words, Relative time is based on incorrect measurement of cosmic time!

Can accuracy itself be inaccurate? Sure, if the thing being measured is wrong. The athlete's body is lithe and dainty as it whirls at fight or play.

Without the sequence of expressive and impressionistic acts of the physical body, there could be no motion-capture, no large-scale similarities (of balance and proportion). 

Large-scale similarities are seen in the mechanical plane of the Zodiac. Physical reality is mechanically active. However, quantum mechanics is itself a product of machine-measurement (see "The Airtight Garage", prev.)

The Wool-Pack frontispiece

The athletics of physical pursuits around the Arcadian plane imbue a calmness of psyche that matches the grandeur of the cosmos. 

In short, life without the physical pursuits of hunting, gaming, singing is inward-turning and psychologically dark. The profane serpent of distorted rhythm in place of the gnarled branches of the old English oak. 

Dr Strange #3 1974(Lee/Ditko reprint)

Arcadia

 Well, the modern order is heading directly away from Arcadian pursuits, away from body and towards head. It's a parallel universe that convinces the ego the further inside the mirror of illusions one gets. The mirror of illusions that is tantamount to a cyborgian world, one where relative time exists in a parallel universe of hyper-accuracy that distorts natural rhythms.

Einstein has some good quotes, but this has to rank as the dumbest.

The word God is for me nothing more than the expression and product of human weaknesses, the Bible a collection of honourable, but still primitive legends which are nevertheless pretty childish. 

Somewhat reminiscent of Henry Ford's History is bunk, this places everything in the land of thought, whereas the body acts thoughtlessly and instinctively - see Bruce Lee, prev. Modern engineers are convinced by their machines - be it Twitter or Tesla - whereas it's the physical environment that imbues the psyche with power or weakness.

Sending text-messages on world-affairs while riding a driverless Tesla is physically to be in a state of continual weakness.

Going back to Einstein's quote, the physical state of hardship of the ancient Israelites resulted in strength of psyche in terms of survival. If the Israelites hadn't survived he himself might not have been born!

In other words, physical strength is a good in and of itself, regardless of 'facts' (that can be weakening), or that can enter a parallel reality of sameness.

The physical reality is fertile, strong and fairly filthy, surviving by continual revival. The physical reality imbues the psyche, whereas Western technology sows discord.

This was seen in the war in Afghanistan which was won in technological terms, but lost in terms of the psyche of the populace (see Maçaês, prev.) America technology entered a parallel reality of privilege that won a material reality, but lost a psychic dimension of the communes and regional warlords.

It's a Pyrrhic victory of matter over matter. Modernity is in a confused state owing to the ego seeing itself in the mirror, as opposed to the harmonious body. As far as Ukraine goes, any victory of Western technology will also be Pyrrhic as the psyche of 'Rus' isn't going away. Putin's aims are also confused, so the war is the most confused battle of modern times.

This psychic dimension to battle and daring is glaringly obvious in Japanese anime. Attack on Titan (prev) has a neat trick of matching the primitive threat of instinctively predatory titans to the primitive fears and desires of the protagonists.

Much anime has a metaphorically primitive side that relates behaviour and instinct to the gigantic threat of mechas, or in this case titans (Evangelion being the ne plus ultra.)

Apart from the psychic component to communal acts, there are the large-scale similarities of a physical reality that are outside the parallel reality of relative (or variable) time - see P200.

As Apocalypse says in the X-Men animated series (prev),

Who controls time controls reality.

The machine-reality of GPS navigation. This world is psychologically dark, inward-turning and an effective program.of sameness (Musk may call Twitter a force for democracy, but it is much more a force for the sameness of technology on the head.)

The epic formula is the physical assessment of threats, and the physical action against them that impacts on the psychic dimension (of strength.) There are two states of affairs: one is acting from physically feuding (low-level fights), or thinking and operating solely from the head.

The long-running Dumarest series (prev) has as the nemesis those who aim.to symbiotically run the human leaders, the demonic Cyclan or corporate mind.

However, as M Harold Page says in Blackgate, the Cyclan are contradictorily weak owing to their arrogance of mind. Dumarest is not only smart but has the athletic coordination of eye/hand/brain to instantly act on a practical impulse.

This happens at the dénouement of Eye of the Zodiac when he shows the Cyclan the two 'affinity twins' (artificial symbiote) he has in his possession, and then deftly knifes the acolyte and plunges the recessive needle into the Cyber, rendering his brain inoperative.

The physical act of putting into effect acrobatic proportionate balance in the instant pursuit of aims wins over pure mental ability. 

Not only that, the pure mental cyber enters a parallel dimension of logic that convinces the ego and there is in effect a tautology of electromagnetism. Where the physical plane is distorted, psychic weakness is bound to follow.

The profane serpent of distorted rhythm replaces the fertility that can border on debauchery. The primitive and the serpentine cannot be denied; they will either be naturally available on a fertile plane of existence, or unnaturally available on a sterile plane of existence.

Arcadia (2)

 The only way to tie this section on time together is to assume there are two types of time. Otherwise, things get vastly too confused. After all, Stephen Hawking's book has to be assumed to be a legitimate reference for a certain type of time..

Either the universe is engineered or it is a product of psyche, so the assumption is that an engineered universe has one type of time. This harks back to The Airtight Garage, where the highest level of the garage is constructed of machines ().

However, engineering is solar since electromagnetism is the solar force that harbingers the age of technology. This age ineluctably is drawn into the ego (head) via the electromagnetic algorithm (ones and zeros.)

This is what I've been calling the vanishing-point of technique, akin to the dual-note from "Jirel Meets Magic' (prev.) In other words, an engineered universe is a universe without psyche that continually approaches the vanishing-point (a perspective illusion.)

If this universe is a creation of the head (ego), theoretically it could replicate the body cybernetically. We live in confused times (see HB209) since we continually confuse two different things: head/calculation and body/proportionate rhythm.

Machines can replicate things, so one could imagine a reality of motion-capture and expressive algorithms that was very convincing and difficult to out as illusory. 

However, motion-capture (as used in CG and a sometime technique in animation) ultimately depends on the body's rhythms and balances, the acrobatic and animal area. One could still imagine a situation where motion was 'captured', and the reality itself was fake, or algorithmic.

I happened to pick this '65 book up (#149 of the title) which features the first part of the Tubb story. In it, he has what may be his first exploration of an 'affinity pair'; a piece of technology that allows one person mentally to control another mind's emotions and thereby their behaviour.

Tubb developed this in Kalin (book 4 of Dumarest) to an 'affinity twin' of dominant and recessive codes (gene sequences) that attach to the brain. Dumarest carries the sequence in his memory and for the rest of the series is continually pursued by the Cyclan who want it to rule the universe (by proxy.)

The Cyclan are what you could call a corporate lifeforce, and lack what we would call the strength of independent psyche. Psyche if expanded infinitely becomes what you could call God, so the Cyclan are essentially godless.

Now, Einstein's quote seems to dismiss God as 'primitive' (superstition?) but the origin or psychic spark of things has got to be primitive (primal). The psychic reality is dismissed as primitive clearly because it does not conform to the dictates of engineering. Primitive instinct is a reflection of the proportionate body (balance, rhythm, motion, action, fighting, hunting..)

In other words, the psyche and the physical are joined by a sense of the primitive. Animal proportion is itself primitive, it doesn't evolve so much as it just already is (the domain of 'primitive' myths.) Darwinian evolution could be vastly overplayed by the engineering faculty, or neo-Darwinists (the DNA Dragon). Arcadia resembles a wilderness where there is very little engineering (see HB2 on Rome )

The primitive side of things is a staple of Japanese anime (see prev) and, in Attack on Titan, grotesque red death stalks the scene; melancholy permeates the universe; it's bestial and tough, but the revivalist goal invokes the psyche with overwhelming force ("fight, fight, fight!")

The psyche is outward-going (conquering), whereas the ego is inward-turning and psychologically dark. Attack on Titan is in some ways re lated to ancient Rome as well as medieval Saxony, and engineering (of walls) plays a key part in the plot. However, the fantasy universe is not built on engineering, it's built on psyche (trust, fear, courage, loyalty).

It's a sort of nostalgia for the times of heroism of past ages, dark and primal though they were. But psyche is the reality of a universe where time is invariable. That has to be so because psyche is attached to the proportionate body, the acrobatic athletic reality.. the spinning-top of the Earth..the milky way (see P200).

Yes, Biblical events have a "childish" physicality, running round in chariots, invoking refrains. Words are meaningful; words nowadays have lost their meaning in dark psychology and the neutralizing dragon of news. The compulsions and distortions of the ego (calculating head) versus the acrobat of the fertile field ("Yaar!") Dionysian urges over the perfection of Apollo (sun) that enters a parallel reality of sterile words and illusions.

The Holy Land circa 10,000 BC (deliberate mistake)

Hyborian Bridge 213

 The theme of utopias which are actually dystopias (as with Logan's Run, say) might apply to Godard's return to form in the 1980 Slow Motion, shot in video-style (JLG was no different to anyone else in that the 70s was a complete blackout), where the two countrified and city prostitutes represent the soul-destroying lack of freedom in capital.

Premiering at Cannes, there were boos and shouts of "filth" and "degenerate", probably owing to the sordid office sex scene, which actually consists of ludicrous descriptions with only a bare rump visible (under the desk.) In short, it's one of his best most visually compelling, a dense montage, and was a success, also stateside.

The era of the spirit being the 60s, when the material 70s dragged people back to 'real life' the consciousness had already departed. Huxley, in fact, was a pioneer of the freewheeling era, The Doors being named after The Doors of Perception, and The Perennial Philosophy being a crash-course in world spiritualism. World religions agree on:

God is unconditional eternal being

Our consciousness is a reflection of that

Realisation

One might simplify this a bit to:

Spirit exists

In the physical plane, spirit becomes visible

Arthur Koestler embodies this type of perennial philosophy in Ghost in the Machine. Something of the same turn of mind is found in Hildegard Von Bingen in the 12th century.

When the words come, they are merely empty shells without the music. They live as they are sung, for the words are the body and the music the spirit.

The perennial philosophy could be demonstrated with quotes of this sort from various centuries and cultures, as in Huxley's book. A dystopia is therefore a culture that - for all its surface well-being - has lost the perennial philosophy. It is an illusion of the head with neither physical nor spiritual strength (health, self-sufficiency.)

On a dental track, I had an infection that was starting to get painful but by the time I got to the appointment it had cleared. That seems to imply my immune response is working, which is preferable to antibios or surgery.

The guy took an X-ray, which is clearly a form of truth. However, if everything was X-rays it would no longer be truth but an illusion. Modern science relies 100% on accuracy, and this trend could be dated from Tycho Brahe's measurements of the orbit of Mars and other celestial bodies.

Tycho Brahe was a Danish noble who's vast resources of castle and keep enabled him to build the most sophisticated observatory in Europe. Johannes Kepler was the German mathematician who's work depended on precise observations for checking.

Working as Brahe's assistant on his mural quadrant (using a slit and 'gunsight' to figure star positions rather than lens), Kepler's three laws of planetary motion were the result and, as Kitty Ferguson says in The Nobleman and his Housedog, it was a chicken and egg situation. The egg you could say was Brahe's mural quadrant that enabled Kepler's mathematical chicken to hatch.

The idea is one checks the mathematics against empirical observation. However, if you compare them with Einstein, the mathematics comes before the measurement, chicken before egg.

This trend has continued to date. A supercomputer was fed the known laws of physics to include cold dark matter; the simulation then predicted patterns of stars that matched observation.

The chicken/egg situation is perplexing, to say the least. Is it conceivable the universe becomes more mathematical the more you measure it? How can that be explained?

One way to describe it is that the universe of observation is a very convincing illusion. Convincing because of the mathematical accuracy. However, as has been said with Relativity, the principle of continuity is not obeyed; that is, the spinning in invariable time of planets and celestial objects - HB210

Relativity and measurement simply move towards an illusory space of mathematics (that is hyper-convincing to the ego of acolytes.) In other words, measurement and mathematics become the same thing: a logical illusion (or parallel reality )

So how is it that the universe of observation is an illusion?. Well, it's also the universe of machines (see The Airtight Garage), while the physical universe depends on the principle of continuity, of objects spinning together in time.

This is what we see in the constellations; one can observe without accurate measurement! Tycho Brahe represents the start of the trend towards pure precision in scientific instruments.

When the physical universe exists, then the psyche is implied in the organic balance upheld by the principle of continuity. This in turn means the system is astrological as these early astronomers were inclined to. Kepler was thinking Christianity, but one might as well go back to Ptolemy and the balance of Artemis with Apollo. 

If modern astronomy is now algorithmical, the same applies to other areas: DNA, 'smart' home heating. Why is that? Because it's the vanishing-point of technique. Without the psyche, there is only a mathematical space that needs measurement. But, as previously noted, DNA miscopies rule because the balanced body selects them when needed for action.

The active world is physical; physical life is dirty; dirt is healthy for a working immune-system. Heat is not necessarily healthy; one needs moderation (mammals are self-heating animals.)

In short, a very convincing illusion depends on measurement and mathematics, and this can be dated from The Nobleman and his Housedog circa 17th century.

'But without the Queen the dragons would become extinct- only the gigantic, golden Queen could breed the new flights. And the Queen was fading..dying..leaving behind one last, huge, golden egg..' (Dragonflight, Anne McCaffrey)