northanger (northanger) wrote,
northanger
northanger

  • Music:

not here for me

saw The General's Daughter again sunday, watched it several years before. decide to check it out online discovering it's based on a book by Nelson DeMille [+][+][+] & the general's daughter reads Nietzsche. don't think movie specifically mentions Nietzsche; however: whatever hurts you makes me stronger. Nietzsche: Out of life's school of war: What does not destroy me, makes me stronger (Twilight of the Idols). tracking down quote got me to What Nietzsche Really Said (Rumor #24. Nietzsche Praised War) & connection to Heraclitus that made me search for Nietzsche-Arthur + Nietzsche-Sumeria. this entry unpacks Cycle #38 Hendoku-Iyaku Transits.

later, read note left by Gloria on my door, with "Matt 24/25". also pointed to Nietzsche: The Mount of Olives (Thus Spoke Zarathusra :: Winter, a bad guest, sits with me at home; blue are my hands with his friendly hand-shaking) [+][+]. Matthew 24 deals with the eschaton, considered an apocalyptic text, which is how i found David Tracy's lecture, Form & Fragment: The Recovery of the Hidden and Incomprehensible God. modern totalizing systems, recovery of the "fragment", gathering the fragments, recovering the neglected fragments of the apocalyptic and the apophatic-mystical. the fragments of Heraclitus.

Derrida's Hauntology, hauntology summary, Literary Modernism, Some Cultural Forces Driving Literary Modernism, Nostalgic modernism.

(question: is nostalgic modernism a form (container thingy)? if yes, what are the "fragments"?)

[29-Nov|1:00pm] :: Katie Hnida [+] was on Larry King Live last night talking about her new book (Still Kicking: My Dramatic Journey as the First Woman to Play Division One College Football) & being raped by a teammate while attending the University of Colorado. (ironically, a similar situation allegedly occured in the sportswriter's home). Hnida eventually transferred to the University of New Mexico & played with the Lobos where she'd be the first woman to score in an NCAA Division I-A football game [+]. see: physicist & Nobel Prize winner Murray Gell-Mann & not here for me.


With Joyce and other modern critics we see the abandonment of a nostalgia for a lost totality. The peculiar form of the fragment first became important for artists, then for philosophers, and now for theologians. It is a form, a literary or religious form, that can challenge any totality system, especially the totalizing systems of modernity. There are three kinds of contemporary thinkers for whom the category "fragments" is crucial: the first, the radical conservatives see fragments with regret and nostalgia as all that is left of what was once a unified culture. The second, the postmodernists, see fragments as part of their love of extremes and thereby as emancipatory toward and transformative of the deadening hand of the reigning totality system, the rationality of modern onto-theology. The third group, of whom Walter Benjamin and Simone Weil are the most suggestive in the early twentieth century, see fragments theologically as saturated and auratic bearers of infinity and hope, fragmentary of genuine hope in some redemption, however undefined. I am most interested in Benjamin and Weil in developing my own theory of fragmented forms.

Hauerwas challenges the triumphalist totality system of Christendom and calls for the recovery of more authentic Christian communities. I am sympathetic with this yet I would see this move as yet another recovery, a positive and important recovery, of the "fragment." This is where he and I would likely differ in emphasis, for I also remain interested in the fragments from the secular world, I'm interested gathering fragments from postmodernity, from Derrida's criticism of a nostalgia for a lost totality. I am also very interested in Buddhism and its emphasis on letting-go, on non-attachment or the "not clinging" aspect of faith.

The prophetic tradition of Christianity, Judaism, and Islam breaks or fragments the whole. With prophetic proclamation you have a fragmentation of totality. In the movement of history and experience, the religious form becomes either prophetic or meditative. There is proclamation and there is manifestation, meditation, participation and wisdom. The contemplative or meditative form is found in the wisdom tradition of the Old Testament and in the Gospel of John. I am suggesting that prophecy and wisdom can either be generalized or intensified. If the prophetic tradition is generalized it becomes primarily an ethical tradition. When the prophetic is generalized, the religious and ethical are collapsed into one another. [+]

Kierkegaard's paradoxically anti-Christian double, Nietzsche, plays the same fragmentation role for Christendom and Enlightenment modernity alike, but now with a hammer. When Nietzsche's hammer becomes too blunt a tool against Christianity as well as against bourgeois modernity, he too, like Kierkegaard will try any form, any genre, any intellectual strategy to try to break out of any totality system. He forged style after style just as Kierkegaard forged genre after genre. From Nietzsche's early essays to his quasi-gospel genre in his great Thus Spoke Zarathustra to genealogical analysis through aphorisms piled upon aphorisms to fragments juxtaposed to fragments Nietzsche organized in what seems to me in an increasingly desperate attempt to recover (as a former professor of ancient rhetoric) not merely the controlled rhetoric of Aristotle's topics but the out of control rhetoric of the tropes, especially the trope of irony careening with joy at the very edge of what he saw as the Abyss or Void opened up once the totality systems collapsed. [+]

The difference between literary modernism and current pop, however, is that, in the case of the former, the 'search for lost time' involved the invention of new formal techniques.

My claim would be that the Radiophonic Workshop were more important than the Beatles; that the Workshop rendered even the most experimental rock obsolete even before it had happened. But of course you are not comparing like with like here; the Beatles occupied front stage in the Pop Spectacle, whereas the Radiophonic Workshop insinuated their jingles, idents, themes and special FX into the weft of everyday life. The Workshop were properly unheimlich, unhomely, fundamentally tied up with a domestic environment that had been invaded by media. Thus, nostalgia - literally, 'homesickness', remember - for the Radiophonic Workshop involves a craving for houses haunted by weird media. [+]

[+][+][+][+][+][+][+][+][+][+][+][+][+][+][+][+][+]

Cycle #38 Hendoku-Iyaku (triPax/septAlice = midpoint): ARTHUR/HERAKLEITOS=SUMERIA. themes: Britannia, Hellenism, First Civilization | Anglosphere, Greece (Anti-Hellenism/Ethnos Anadelfon?), Iraq.

triPax :: ARTHUR ~ The Formless Fear of O'Neill's Emperor and Tennyson's King

A deathwhite mist slept over sand and sea:
Whereof the chill, to him who breathed it, drew
Down with his blood, till all his heart was cold
With formless fear...
+

The Emperor Jones [+] has long been viewed as the product of O'Neill's interest in the psychoanalytic movement of the early twentieth century. Most critics, both those who reviewed it in November of 1920 and those who have studied it since, have tended to agree with Kenneth Macgowan that The Emperor Jones is, in effect, "a study of personal and racial psychology" largely indebted to Jung's Psychology of the Unconscious.

However, Psychology of the Unconscious, albeit useful in explaining Jones's fatal journey through a dark forest of superstitions and the anxiety-ridden hallucinations they induce, is not very helpful in illuminating one of the play's most significant moments—the appearance of the "Little Formless Fears" in Scene Two. Perhaps no single direct source exists for the term "formless fears"; O'Neill may have coined the phrase particularly for this play (he uses it in no other). Or perhaps, as both the phrase and the context in which it appears suggest, O'Neill intends this scene to echo Arthur's confusion in the misty battles of "The Passing of Arthur" in Tennyson's Idylls of the King. Both Jones and Arthur see the "formless fears" inherent in their declines. Both men have reached the ends of their reigns, both are being pursued by their former subjects, and both approach a ritualistic "passing." In addition, a good deal of biographical evidence hints at the influence of nineteenth-century poetry on O'Neill's work. As an undergraduate at Princeton, O'Neill was noted for his ability to recite poetry from memory.5 And in the years immediately preceding the composition of The Emperor Jones, O'Neill's first wife reports that his reading "consisted of nothing but poetry, Nietzsche, Ibsen, especially Strindberg—and The Saturday Evening Post."6 Certainly, O'Neill might have found "formless fears" almost anywhere; however, as I have mentioned above, Tennyson employs the phrase once (and only once) in a context remark-ably similar to that of Jones's long day's journey into death. The echo of influence resonates too loudly to ignore. [+]


(While his back is turned, the Little Formless Fears creep out from the deeper blackness of the forest. They are black, shapeless, only their glittering little eyes can be seen. If they have any describable form at all it is that of a grubworm about the size of a creeping child. They move noiselessly, but with deliberate, painful effort, striving to raise themselves on end, failing and sinking prone again. Jones turns about to face the forest. He stares up at the tops of the trees, seeking vainly to discover his whereabouts by their conformation.) [+]

septAlice :: HERAKLEITOS ~ Autarkeia Aggregatum: Autonomous Points, Emergent Textures

Matthew 24:6-7 And ye shall hear of wars <polemos> and rumours of wars <polemos>... For nation <ethnos> shall rise against nation <ethnos>, and kingdom <basileia> against kingdom <basileia>

google :: ethnos greek ethic

Anti-Hellenism :: hostility toward the Greek people, culture and country. However, the degree to which actual anti-Hellenism exists is disputed [...] see: Ethnos Anadelfon.

JSTOR: Self-Sufficiency and the Greek City, Marcus Wheeler, Journal of the History of Ideas, Vol. 16, No. 3 (Jun., 1955), pp. 416-420 :: Self-sufficiency in turn, was sought after as a guarantee of political independence: "autarkeia," however, does not itself connote political but economic independence.

s(w)e- :: Pronoun of the third person and reflexive (referring back to the subject of the sentence); further appearing in various forms referring to the social group as an entity, "(we our-)selves." Derivatives include self, sib, gossip, bustle1, swain, boatswain, suicide, swami, secede, secern, seclude, secret, secure, sedition, seduction, sedulous, select, separate, sever, sure, sober, sole2, solitary, solitude, solo, sullen, desolate, solilquy, solipsism, sodality, consuetude, custom, desuetude, mansuetude, mastiff, ethic, ethos (cacoethes, from Greek ethos, custom, disposition, trait; d. suffixed form *swedh-no-. ethnic, ethno-, from Greek ethnos, band of people living together, nation, people (< “people of one's own kind”), hetaera, idiom, idiot, idiopathy, idiosyncrasy, Sinn Fein, khedive, Khotanese.

google :: Autarkeia


Autarkeia Aggregatum, an integrated sound and video artwork I created in 2005, appears in the SIGGRAPH2006 Art Gallery. The visual component of the work emphasizes continuous flow and transformation. There are no cuts or splices in the piece; it unfolds as a constantly transforming, massed animation of nearly 12,000 individual points in a high-definition (720p) visual field. I sought a particular resonance between the visual and sonic materials, a resonance that would suggest a way of being in which a deep inner fullness is expressed outwardly — audibly and visibly — in elegant, self-sufficient restraint.

A common algorithmic process is applied to all of the points comprising the image, but each point has its own instance of the process. Thus, each point is autonomous, acting under control of its own process without regard to the other points. A complexly textured gestalt arises from the combined behaviors of the autonomous points. So when seeking a title for the piece, I turned to the Monadology — the philosopher Leibniz's theory of fundamental particles of reality (monads). I appropriated two words from that work: autarkeia (Greek) for self-sufficiency, and aggregatum (Latin) meaning joined, aggregated. The terms together appropriately suggest an aggregation of the activities of autonomous entities. More subtly, a poetic resonance with an idealized Classicism draws me to the words, suggesting to me a kinship with the "inner fullness" proposed above.

The animation algorithm for Autarkeia Aggregatum is a filtering process that disperses the points of an input image. At its simplest level, this "Brownian Dispersal Filter" (BDF) simply draws the input image row by row, column by column, recreating the image. By telling the BDF to skip a desired number of rows or columns in the process, a simple visual matrix of points predictably results. Each point has two independent Brownian noise functions associated with it: one to control polar magnitude and the other to control polar angle. In end-user terms, these are referred to as "displacement" and "spin". [+]

© Copyright 2006 by ACM, Inc.

midpoint :: SUMERIA ~ Heavy Metal Music, Culture and Philosophy

IV. Metal as virtual community

Though some may laugh at the idea of this biting, hissing, spitting, kicking, shitting and screaming mass of boiling animal hatred as a community, it really is a place in which people live, exchange ideas, form bonds and enemities.

I find "shape" a word that only applies to three dimensions... Again, we need a new vocabulary. And some pot.

- Annatar Gorthaur, maartenj@lx.student.wau.nl

4.1.5 Objective Communication

This paragraph is written in a persona as interpretation of the metal subcultural ethos, in order to establish the strong polarity which is felt by most of those making the metal that matters, if not by all the imitators and clueless fans.

Hence, while this inclination might seem ultra-subjective, one must consider that in an objective data reading from a physical system, what an individual will tell you subjectively may constitute in the abstract form a part of a heuristic tree of knowledge that provides for the differentiation of belief, .: beliefs originate in different methods of approaching a situation/object, and in differentiation open themselves to evolution, or selection of the superior strains of idea while allowing the weaker to lapse.

4.1.5.1 Scientific method

It's science. The core of it. How we inference our way to technology as intelligent apes.

It does not assert that all things are the same, or that we are controlled by an external force. No: only that there is an external reality which is consistent, and provable as such with repeated demonstration from any number of angles.

This is how we have come from clothing ourselves with mud and boar carcass to having intercontinental ballistic missiles. Repeated provability = cornerstone of theory. What we in the outside-the-box school of objective analysis call, "the back end."

The back end is what gives certainty of placement to any thought - a known truth at which to begin decoding the interaction of the unknown with the known. It's like plugging known data into weird math equations to try to figure out what's going on in the equation by how the numbers change.

Inference, or inductive reasoning based on abstract similarity ("resonance") of patterns, without a back end to begin with is a form of "deep" or "mystic" inference, in that it rests upon a collection of basic principles interpreted in the deep abstract with tokens of the same in such a way that none of it is _provable_, only sensible.

4.1.5.3 What Does Art Address

Concepts on art:

Art is beyond politics. Politics uses linear power structures; x = value and y = value and if x is good and y is bad then y is to blame for the continuing failure of human interaction. Art, by being interpretive, is meta-democractic: those who can understand can use these ideas and implement them, but those who can't can only see a confusing appearance. Art is self-filtering for the kind of symbolism that becomes dogmatism in Christianity, or National Socialism.

What Separates Art from Non-Art?

Art has no material objective. It is about abstract communication and nothing more. Propaganda is always directing different interests in a linear path to a physical world accomplishment.

Art is not entertainment or propaganda; both are neutralizers of the perceptive and inference faculties, as both aim at consistency and stability over-riding existential value in the unfolding paradox of being.

Art is a science self-refining enough to tackle the spiritual realm, where strict discipline is necessary for the lack of direct back-end inferential centers to not prevent discovery.

Several generations later, metal remains strong, mostly through a rigorous ideology which dictates what is "true" and what is not; that which is "true" has a consistent belief structurally evident that the principles of nihilism, existentialism, and anarchism/Satanism are reconciliable with ancient concepts of honor and value, a tradition leading through both Judeo-Christianity and pagan (Asatru/Greco-Roman) interpretations of the Sumerian gnostic ideal. (Nietzsche's "Thus Spake Zarathustra" addresses the dualistic ideology of Zoroastrianism, a religion based on the material abstractions from Sumerian mythology, an the origin of the good/evil polarity as found in Judeo-Christian mythos.) [+][+]

[+][+][+][+][+][+][+]

zero+end-points, top guns :: NIETZSCHE ~ The General's Daughter

[0187|{9::0}] ~ #7014-NIETZSCHE {05CP57} • DECLINATION: 21º9'2.4360"S • DISTANCE: 38º40'26" from Zero Point @ EON-3 (Phase Arc 36° ~ Waxing Decile) Revelation, Pivot/Decision Point, New Qualities, Differentiating • 827 CHART: (10) 03VI56, 8º 50' 48.6172"N @ EON-28 (Integration, Vision, Crisis of Meaning, Congruency) • H(x) FUNCTION :: Politics 270° to 360° • Sabian Symbol :: Capricorn 6° A dark archway in the forest leads to greater depths and darkness beyond, in its shade lie an even ten logs.

google :: Nietzsche + "ten logs"

Hitler's North Node at Cancer 16: 'A MAN STUDYING A MANDALA IN FRONT OF HIM, WITH THE HELP OF A VERY ANCIENT BOOK'. Amongst other things, this Symbols speaks of the hours and hours of study Hitler did. It implies very pointed concentration on a subject. He studied architecture, Goethe, Dante, Schopenhauer, Nietzsche along with the Eastern religions, Theosophy, Yoga, Occultism, Hypnotism and Astrology. The 'Mandala' can mean many things, amongst them astrology, but Hitler's 'Mandala' was often the tables mapped out with war maneuvers and his pouring over architectural plans. Jones'' 1931 version of this degree reads A FUTURISTIC EDITORIAL OFFICE PROVIDES UNCONSCIOUS SYMBOLISM; TABLE, MANUSCRIPT, MARTIAL VISITOR, ALL ARE SQUARE. This version of the Symbol really conjures up the image of Hitler, perhaps with his generals, bending over vast models of countries with tanks and planes and all sorts of artillery. [+]

+

Capt. Campbell, the daughter of the general who runs the base, is literally a poster woman for the New Army, a West Point grad and Gulf War hero who posed in a life-size recruitment poster. It's pinned up on her basement wall—and when the sleuths touch the poster it swings back to reveal a hidden playroom stocked with sex toys and videos of many army guys in pig masks and the captain in high heels. She was a high-IQ "two percenter"—and Brenner finds that two percenters often wind up on his desk as homicide suspects. Why is this one a victim? It has something to do with the collected works of Nietzsche on her bookshelf, corruption in high places, and the rag and bone shop of the heart. [+]

Nietzsche loved to use warrior imagery. Despite his antimilitarism and short military service, he retained a love for military discipline, formality, and precision. Nietzsche often describes his own philosophical campaigns as declarations of war (for example, the preface to Twilight) and like his ancient ally, Heraclitus, celebrates war as the ultimate agon (contest) of human experience. (Heraclitus: "War is father and kin of all.") In part, no doubt, such metaphors were compensation for his own poor health. He often talks about regaining his health in military terms, most famously in the passage, "Out of life's school of war: Whatever does not destroy me, makes me stronger." The military imagery is also a refleciton of his fondness for and fantasies of the Homeric Greeks and his contempt for the meek self-righteous pacifism of some of his contemporaries. Then again, warrior imagery was also the macho literary currency of Nietzsche's times, and in this respect he was merely doing what was fashionable. Hegel had simliarly described war in terms of the ultimate solidarity of the state in his Philosophy of Right.[+]

I leafed through the file, intending at some early date to read it from cover to cover. As I was about to close the folder, an errant scrap of paper caught my eye and I read the handwritten words: Whoever fights monsters should see to it that in the process he does not become a monster. And when you look long into the abyss, the abyss also looks into you. —Nietzsche. [+]

"And who put her on that path? You or Friedrich Nietzsche?" [+]

One knows Goethe's fate in moraline-sour, old maidish Germany. He always seemed offensive to Germans; he had honest admirers only among Jewesses. Schiller, the "noble" Schiller, who lambasted the ears of the Germans with big ears—he was after their hearts. What did they hold against Goethe? The "mount of Venus"; and that he had written Venetian Epigrams. Klopstock already felt called upon to deliver a moral sermon to him; there was a time when Herder liked to use the word "Priapus" whenever he spoke of Goethe. Even Wilhelm Meister was considered merely a symptom of decline, "going to the dogs" as far as morals go. Niebuhr, for example, was enraged by the "menagerie of tame animals" and the "worthlessness" of the hero, and finally he broke out into the lament, fit to be sung by Biterolf: "Nothing could easily make a more painful impression than a great spirit who deprives himself of his wings and seeks virtuosity in something much inferior, renouncing what is higher."—Above all, however, the higher virgins were indignant: all the petty courts, every kind of "Wartburg" [note #9 Luther translated the Bible on the Wartburg, and on one of the walls tourists are shown an inkspot which originated, according to tradition, when Luther threw his inkwell at the devil who had appeared to him.] in Germany crossed themselves against Goethe, against the "unclean spirit" in Goethe.

This is the story Wagner put into music. He redeems Goethe, that goes without saying; but in such a way that at the same time he himself sides shrewdly with the higher virgin. Goethe is saved: a prayer saves him, a higher virgin lures him to perfection. [+]

Basically, Bill Kent was drawing up a moral indictment, the way the witch-hunters did three hundred years ago. She was evil, she possessed men's minds, bodies, and souls, she cast spells, she pretended to worship God and tend to her labors by day, but consorted with dark forces at night. He said, "You can see by those videotapes how charming and nice she could be around men, but just read those diary pages—just read that stuff, and you can see what she was really like. I told you she was into Nietzsche—Man and Superman, the Antichrist, and all that sick crap." He took a breath and went on. "I mean, she would go into men's offices at night and perform sexual acts with them, then the next day barely acknowledge they were alive." [+]

AQ 953 = UNCLENCH YOUR ASS CHEEKS, DELBERT, THE SCARY PART'S OVER (The General's Daughter, Nelson DeMille) = I BROUGHT YOU MY BULLETS, YOU BROUGHT ME YOUR LOVE (My Chemical Romance) = LORD OF METALS, MINERALS, TOOLS, WAR, BIRDS, AND WILD BEASTS (Ogun, Seven African Powers) [+].

"Forget Nietzsche. This is Kafka territory." [+]

What does a philosopher demand of himself first and last? To overcome his time in himself, to become "timeless." With what must he therefore engage in the hardest combat? With whatever marks him as the child of his time. Well, then! I am, no less than Wagner, a child of this time, that is, a décadent: but I comprehended this, I resisted it. The philosopher in me resisted. Nothing has preoccupied me more profoundly than the problem of décadence,—I had reasons. "Good and evil" is merely a variation of that problem. Once one has developed a keen eye for the symptoms of decline, one understands morality too,—one understands what is hiding under its most sacred names and value formulas: impoverished life, the will to the end, the great weariness. Morality negates life ... For such a task I required a special self-discipline:—to take sides against everything sick in me, including Wagner, including Schopenhauer, including all modern "humaneness."— A profound estrangement, cold, sobering up, against everything that is of this time, everything timely: and most desirable of all, the eye of Zarathustra, an eye that beholds the whole fact of man at a tremendous distance,—below ... For such a goal—what sacrifice would not be fitting? what "self-overcoming"! what "self-denial"! [+]

The philosopher adds an epilogue to this: Holiness—perhaps the last thing the people and women still get to see of higher values, the horizon of the ideal for all who are by nature myopic. But among philosophers this is, like every horizon, a mere case of lack of understanding, a sort of shutting the gate at the point where their world only begins—their danger, their ideal, their desideratum.—To say it more politely: la philosophie ne suffit pas au grand nombre. Il lui faut la sainteté.—["Philosophy is not suited for the masses. What they need is holiness."] AQ-173 = HOLINESS = SORCERER = YULETIDE [+]

CHAOS

[0714|{8::1}] ~ #19521-CHAOS {07GE30Rx} • DECLINATION: 25º13'50.9799"N • DISTANCE: 190º12'47" from Zero Point @ EON-19 (Phase Arc 180° ~ Opposition) Repolarization, Universal Sphere, Line of Awareness, Tensile Power • 827 CHART: (7) 07GE05, 24º 43' 59.9688"N @ EON-19 (Repolarization, Universal Sphere, Line of Awareness, Tensile Power) • H(x) FUNCTION :: Science 120° to 240° • Sabian Symbol :: Gemini 8° A great industrial plant is closed down and around it mills a crowd of agitators and striking workmen.


AQ 369 (9) = THE GENERAL'S DAUGHTER (Nelson DeMille) = THE HIGHER ECLECTICISM.

AQ 190 (1) = NIETZSCHE = AQUAMARINE = LIBERALISM = NEURO-CHIP = SACRIFICE ME = SUBDECADANCE = VIZARESHA = WATCH-WHER = XENODEMON = X-PATTERN.

:ONE: 788 (5) = NIETZSCHE = SORCERY = BOOTLEGGER = CENTRIFUGAL = EQUILATERAL = ENTHRONE = INDETERMINACY = MCKESSON = NITROGEN = PERCENTILE ~~ 788 SORCERY [4x197p][8° Sagittarius ~ In the caldron of the universe the rocks and world stuff are in the process of formation; the metals glint within] - Hebrew Words: ChKMH NSTRH Secret Wisdom (i.e.Qabalah).

AQ 192 (3) = ANN CAMPBELL (The General's Daughter) = ROSE-MADDER (Thoth Six of Disks; Alizarin, 1,2-dihydroxyanthraquinone) = TRUE WILL = UTTUNUL (Net-Span {9::0} Syzygetic Xenodemon of Atonality) = VILE BODIES [+].

AQ 200 (2) = ECLECTICISM = JANE AUSTEN = SUCK ME DRY = PROROGUED (period between two sessions of parliament; see Charles I).

AQ 207 (9) = ECLECTICIST = COVENANTER (King vs. Kirk; see Charles I) = ENITHARMON = FORTY-FIVE (Khattakian number) = STAR CHAMBER (which grew considerably during the reign of Charles I).

AQ 202 (4) = HEAVY METAL = CHOMSKIANS.

AQ 236 (2) = MADS BOX GENES (pharyngula) = NOAM CHOMSKY.

AQ 274 (4) = APOTELESMATIKA = FANGED NOUMENON (The Thirst of Annihilation: Georges Bataille and Virulent Nihilism, Nick Land).

AQ 278 (8) = DNA BINDING DOMAIN (pharyngula) = ECONOMIC FREEDOM (The New Road to Serfdom, Michael Hudson) = HALTING PROBLEM [+] = SHEMHAMPHORASH.

AQ 285 (6) = THE CASE OF WAGNER = ENDOSYMBIOSIS (see: AQ-273 LYNN MARGULIS) = HELL'S OWN WORM (Liber AL II:63) = LIBER AL VEL LEGIS = VIVID TANGERINE.

AQ 273 (3) = ANGEL OF THE CARDS (Mesh-10. Tokhatto) = DESIRING MACHINE = GEORGES BATAILLE = LYNN MARGULIS = SEMANTIC SPACES (Delerium).

AQ 628 (7) = THE CASE OF WAGNER: A MUSICIAN'S PROBLEM = AN ABSOLUTE DETERRITORIALIZATION = COLLECTIVE MECHANISMS OF INHIBITION = THE SPIRIT OF TWO-THOUSAND-AND-SIX = Y2K IS ABOUT FRICTION AND CONVERGENCE.

AQ 334 (1) = NEGATIVE THEOLOGY = É SAMBA DE PRETO VELHO.

AQ 422 (8) = AVATAR: THE LAST AIRBENDER = MCM1-AGAMOUS-DEFICIENS-SRF (pharyngula) = ULTRA-PERSONAL NATURE (Aguilera versus De Palma, k-punk).

AQ 806 (5) = ANGELS OPERATING OUTSIDE OF NORMAL AWARENESS = MADS BOXES, FLOWER DEVELOPMENT, AND EVOLUTION (pharyngula) = THE FORCE DETACHED FROM ITS SPIRITUAL SOURCES (Ten of Wands ~ Oppression) = THE RED TRIANGLE IS THE DESCENDING TONGUE OF GRACE (The Book of Lies) = YOUR CONSTRUCTION SMELLS OF CORRUPTION (Battle Flag, Pigeonhed).

AQ 193 (4) = TRISAGION = CAPITALISM = CROSSROAD = IBN MAYMUN = KANYA DURGA = MICHAEL BÉRUBÉ = NAPHTANESE = SUBALTERN = SUKUGOOL (Net-Span {4::1} Cyclic Chronodemon of deluge and implosion) = TELEPATHY = TELLURIAN = THE ESSENCE.

AQ 111 (3) = DÉCADENCE = ABYSS = DAMABIAH = GHUBAR (West Arabic Numerals) = GOETIA = JURBO = ORCHID = OTHER = WOMAN = ZEPAR = ZOSO.

AQ 250 (7) = NOT HERE FOR ME = HITLER'S ELITE [+] = JESUS CHRIST = NEBEHR GUDAHTT = PANJ TAN-E AAL-E ABBA = PATER NOSTER = SHALOM ALEICHEM = THEN SAID ADONAI = VERBAL DIARRHEA [+].

AQ 185 (5) = THE GENERAL = BIPOLAR APE (Piet) = EID UL-FITR = ESCHATONS = EUCHARIST = IPSO FACTO = JERUSALEM = PEDOPHILIA = TIKKITIX (Net-Span {5::3}Amphidemon of Vortical Delirium Decadology; Swirl-patterns (tornadoes, wind-voices); Mysterious disappearances (things carried-away)).

AQ 324 (9) = NUMBER AS DESTINY (Tokhatto) = DROIT DU SEIGNEUR = SINGLE-PLAYER MODE = TUNED GLASS TUBES = YEAR END ROLLOVER = YETZIRATIC MAGICK.

AQ 335 (2) = DIGITAL CONVERGENCE (Tokhatto) = LORD ACTON'S DICTUM = GEMATRIA OF NOTHING = CONSOLE METAVERSE = ALPHANUMERIC VALUE = BLACK NATIONALISTS (Omowale Adewale) = CLASS-SUPREMACISM = CONTACT DISAGREEABLE = THIS RENOMU THING.

AQ 416 (2) = AMPHIDEMON OF TALISMANIA (Tokhatto) = AMORAL FUTURIST ELITE (bmr) = ANOTHER KING SHALL REIGN (Liber AL III:34. But your holy place shall be untouched throughout the centuries: though with fire and sword it be burnt down & shattered, yet an invisible house there standeth, and shall stand until the fall of the Great Equinox; when Hrumachis shall arise and the double-wanded one assume my throne and place. Another prophet shall arise, and bring fresh fever from the skies; another woman shall awakethe lust & worship of the Snake; another soul of God and beast shall mingle in the globed priest; another sacrifice shall stain the tomb; another king shall reign; and blessing no longer be poured To the Hawk-headed mystical Lord!) = FYODOR DOSTOYEVSKY = GET RID OF EVEN THE ASPECT (Shurangama Sutra: You must cut off the lust which is intrinsic to both body and mind. Then get rid of even the aspect of cutting it off. At that point you have some hope of attaining the Buddha's Bodhi) = I WILL FILL HER WITH JOY (Liber AL III:45. Then will I lift her to pinnacles of power: then will I breed from her a child mightier than all the kings of the earth. I will fill her with joy: with my force shall she see & strike at the worship of Nu: she shall achieve Hadit.) = IMAGINARY FIGURATIONS (I want to stress this point because, given the legacy of colonialism, it is much easier for Europeans to address social questions related to far-away places, than to stare at the problems in our own backyard. Neither the political Left nor the feminist movement is an exception: how much of our time and energy is spent speculating about, for instance, the terrible status of women in other lands and other cultures, as if the status quo in our daily practice were so incredibly perfect? Yet, women of colour like Chandra Mohanty have warned us very strongly against the ethno-centric habit that consists in constructing the 'third world woman' as an object of oppression that requires our support; Spivak has also equated this form of 'solidarity' to benevolent paternalism, which has a lot to do with colonialism. It is against this flight into abstraction, that feminists have proposed situated perspectives and applied the politics of location: it is time to take a good, cold look at ourselves. Mine is consequently a plea for lucidity and for embedded and embodied perspectives. We need both political strategies and imaginary figurations that are adequate to our historicity. —Difference, Diversity and Nomadic Subjectivity, Rosi Braidotti + see also Nikolaus Lang & Imaginary Figurations) = THE ACT OF DRAWING THE BOW = THE BEAR OF WARWICKSHIRE = THE CROSSROADS RITUAL = XENOGENESIS DECADOLOGY (Zone 8 : Mesh-34 : Net-Span {8::6} Mommoljo).

AQ 455 (5) = TOKHATTO, ANGEL OF THE CARDS = BLUE MICE AND PINK ELEPHANTS = CIVIL AND CONFESSIONAL WAR (Charles I) = FRIEND / ENEMY OPPOSITION (Carl Schmitt) = HEREDITARY COUNSELLORS (Charles I) = MARTIN LUTHER'S MAGICAL ACT (Crowley, 6th Aethyr) = THE YEAST OF REVOLUTION = WE MUST MARCH MY DARLINGS (Diana Trilling) [+][+].

Only the philosopher of décadence gave to the artist of décadence
himself

Tags: astroschyzy, chaos, cycle-38, general's daughter, greek, nietzsche, polemos
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