LL
June 22, 2011
Klaus:
Looks like I'm going to really spend some time with "Metaphor". The mathematical language is beyond my immediate grasp. I'm think, for now, I'm going to put it to the side, but I look forward to returning to it. Some quotes that jumped out at me:
"Thus, we have indicated, the thought-object itself cannot be depicted explicitly within the domain of the communication medium. However, the reference to such a thought-object can be recognized by a hearer whose mind contains the sibling of that same thought-object."
"Otherwise, only if such suitable primary sources are not available, we should rely upon paraphrases which effectively and fairly state the true paradox associated with that original discovery."
"This form of classroom introduction to such original sources has a required order, as the ordering of Euclid's Elements of geometry illustrates, from a formalist standpoint, the notion of a choice of such an order. Secondly, the ordering is determined by the consideration, that mastery of one discovery is virtually prerequisite for the comprehension of a successor in that series. The sound secondary curriculum teaches geometry and the plastic arts, as the domain of visual experience, as, in parallel, the student concurrently learns language, literature, and music—the domain of hearing."
LeClair:
Hey William,
Just chilling this evening. Taking a cut off from the cut up. I have a rare occurrence of responsibilities to manage over the next several days, so I may find little time through the week end... but don't worry. I'll be back at it.
Pax
Klaus:
Good call. Talk to you soon.
Eyes Walled Shut
June 22-23, 2011
Klaus:
First cycle through. Speechless.
Did you honestly just discover this Wall/EWS yesterday? I trust that what you represent is accurate, but it's really, really, really eye opening.
LeClair:
Yes sir.
I speak the truth to you hear, without the slightest distortion. It happened just as I say.
Before last night I had never heard "The Wall" and it has been over two years since I have watched EWS
LeClair:
Hey William,
I noticed the misspelling of "hear/here" in my above email, and I couldn't help myself. I need to say a little more here, just a word or two.
I'm not one for dramatics, but I give you my word that in our discussion I have never even remotely distorted the truth. There are alot of e-shennanigans going on out there, but that is not my style, and even if I were likely to engage in such foolery, I think this subject is far too interesting and fragile for anything other than complete and careful honesty. I do not expect you to trust me as we may continue, but I hope you will.
In spite of my natural tendency to explore frontiers of information, I do not think I would have made this discovery without prompting from you. Further, I think that there may be a link between you and me, a link with a highly charged potential. Given the few hits at Floyd/Kubrick site, and adding the ridicule I have had to deal with when I try to broach this subject, I suspect there are not many people who are after the same magic. I mean... it is scary. A can of worms.
I am grateful that there is just one person with whom I can express this particular vein of thought in a detail that is not widely appreciated, and who seems to be touched by the same spectral influence. I will treat this relationship with respect.
I have just completed my second full play of Pink Eyes Wide Shut and it was every bit as powerful the first time around. One thought that occurred to me is that Kubrick is "another brick in the wall" and that this album is a critique of the underlying cruelty of Kubrick's work. This may seem like a stretch, but I have my rationale, which will surely come out in our investigation.
I may have a little time tomorrow to look at "A Pillow of Winds", and if I can I'll send you my thoughts. Otherwise, I'm likely out of the game until Monday. Lot of household chores this weekend.
Talk soon,
Mark
Quick Reply
June 23-27, 2011
Klaus:
Thematically, Pink Eyes is in tune, and my focus on this connection was monopolized, but there are some literal lyric-to-image synchs that are DEAD ON, too many, just as if K drops a few atomic bombs along the way as a kid randomly lights firecrackers. The exactness of these connections distracted me, in the sense that it made me recognize that this was THE MASTER WORK of K and Pink.
PKD uses a term, "enantiodromia", used by Heraclitus, then Jung, to "describe the tendency for the psyche to overcome deepseated psychic resistance by shifting (seemingly suddenly) to the opposite pole of attitude, belief, and emotion". It's a psychic "2012". I usually undergo this during hallucinogenic work, or intense marijuana visions (if I haven't smoked in a long time). But the tandem of Shining and EWS and our dialogues sent me hurtling through an entire pole shift of confidence and meaning. I kind of expected it, was kind of ready for it. I expect that you may be very in tune to this phenomonom, judging by your direct response.
This enantiodromia is a kind of vertigo, a distortion, a Mirror image, a conscious nightmare, the content of which remains in the brain more lucidly than a dream. I needed to banish the residues of those visions by humbly asking you directly about the Pink Eye origins. I hadn't the strength in that moment to reconstruct the trust that I have in this. Thanks for understanding.
Trust in my words as well, I present my feedback directly and honestly.
Talk to you Monday.
LeClair:
Cool, bro...
Talk Soon.
LeClair:
Hey WK,
Did you have a good weekend? I got all my chores done and managed to get in two more complete plays of PEWS, once without the subtitles. The exhilaration of this "discovery" is just about the finest I've ever felt, and I have had more than a few thrills in my life. I am excited to get back into our discussion about The Pink Shining.
Before I get into APOW, I want to sum up some thoughts on OOTD and also address a few vital points you suggest in your mails.
- Water.
The "light blue" book and album colors and the movie credit titles are the idealization of the color of Water. In The Pink Shining this calls to mind the bathroom and kitchen, and the distorted sound effects that make these rooms different from other household space. Think of "singing in the shower" and therefore "Singing in the Rain". "Singing in the Rain", a movie about the attempt to bring sound to the movies, I spoonerize as "Reining in the Sing", which describes the enclosure of a space in a wall of sound barrier. Could it be that prior to the age of sound reproduction and synch, that we lived somehow outside of sound, "outside the wall", in a world of silent psychic imagery, with the music of the spheres as audio track? Does this idea in any way relate to a period of time in the womb (caul field)? Pink Eyes has alot to say on this subject. There is something here about sound "underwater" that links nicely with "Comfortably Numb". "You are only coming through in waves..." and the like. But I glean more depth from the conflation of water with light.
Underneath the "blue" title credits, Jack drives the "yellow" VW. As idealization of the bodily process, water is "blue" going in and "yellow"coming out. These two colors are also noticed in the theory of an object moving at light speed, which approaches yellow and departs blue. I could be wrong on the succession, maybe approach is blue and egress is yellow, but I am certain about the coloring.
As we have the "86" and "8/6" reference attached to the same images, I suggest this reinforces my theory that the Japanese detonations serve some sort of "time busting" purpose. In my earlier mail I suggest the bombs are designed to "outpace the sun", but I would add that maybe this has to do with achieving light-speed tech. Moreover, because the innate references to sounds cells, this same"'blue/yellow" connection could relate to Moon Landing tech, which is to say, the tech that allows for the possibility of leaving the "echo-drome" that is the Earth's atmosphere.
And together it all seems bound to the emerging Age of Aquarius and the Magick of Dee and Kelley through Crowley, Hubbard and Parsons, all of which is obsessed with the Moon and Sun. There is a poem by Golden Dawn-er Yeats that suggests the destination of the soul is the Sun, by way of the Moon's orbit. It is found in the epilogue to his "A Vision". I intuit something like this: the Moon is the key to a Solar "stargate". This is theme is present in the first verse of "Echoes", which I'll get to when I look at mirrors in detail. Because of the anal-pedophila implied in "The Shining", along with data from some other research3 regarding the occult nature of the "stargate", I am stuck on the connection to the Sun as "anus" as expressed by Bataille in his short surrealist essay "The Solar Anus". It gets into many ideas that gel with our investigation.
This imagery of Water is chilling when considering the McKenna link you sent to me. Think of the refractive quality of water, which "splits" the image. Christ bears a pitcher of water. McKenna says Christ is the demiurgic presence that "splits" the time stream of human history. Let's say McKenna's interp of his vision is correct. Could it not be then inferred that Kubrick's work is a competitive technology, designed to give an ominous tone to the chance at reality outside of the BIP? And if so, could one not simply reverse the whole model to imply that McKenna and his ilk are wolves in sheep's clothes, concealing an unknown danger, attempting to draw as many in as possible with false promises of spiritual transformation, and that Kubrick and others are trying, on the psychic level to sound a warning? I walk the line on these questions.
- Nice hit on that sandwich/cunnilingus pairing. The jam on his cheeks is decidedly lurid. It reminds me of 69 from "The Book of Lies" which ends with the admonition "...little children, love one another".
- About "Catcher". It occurs to me that the final image of the book is of Holden (hold-in-caul-field) watching his little sister ride a carousel. "Carousel" the musical brings "You'll Never Walk Alone". I consider the title of this song may be a cryptic threat, given by the "all-seeing" demiurge to his malformed creation. Add to this the notorious rep of "Catcher" as some sort of MKUltra trigger. The poster in the Overlook games-room reads "Monarch" and "SKI" and shines a bright light into the eyes, in the technique of an interrogator or torturer. The letters "K" and "I" from SKI are pressed together in such a way that one could read SKI as SK in a stylized font. The implication of this image is massive, but at the least it seems to indicate the hand of Stanley as practitioner of the Monarch Mind Control program. As I stated re: Pink Eyes Wide Shut, I think Waters may have "busted" the code and delivered "The Wall" as a critique on Kubrick's skullduggery. I further posit the possibility that Pink Eyes Wide Shut is Stan's response to that critique.
- You might be amused to note that the first four blue letters that overlay Jack's VW are RI and CH and the last four are ec and BU which unscramble into CUBERICH.
APOW plays from
00:06:11 to 00:11:22
00:46: 57 to 00:52:55
01:39:39 to 01:44:50
The links seem pretty straight forward, but there are a few interesting subtleties.
- Each play sets the stage for the increasing theme of isolation. Of being closed in. This fits in with either the gnostic BIP idea, or the sub-gnostic "lost in space" concept that I favor. There is a nice parody of reversal in the idea of Summer/Winter. I think APOW expresses a wintry quality, but lyrically refers to many seasons. The regular staff of the Overlook will have their summer, their vacation, during the winter, and the Torrances are on vacation of sorts at the empty winter hotel.
- Two plays take place in the caretaker's bedroom, sitting on the bed. APOW makes reference to sleep and being in bed. What it interesting is that in different scenes we see the characters in question from opposing perspectives. The article at Kubrick/Floyd discusses the use of this convention, which is apparent especially in the age of silent art cinema. This type of image reversal is all over Kubrick. I am not sure what it means, exactly, but I think it has something to do with the general theory of mirrors I'll present later. There are mirrors present in all three scenes, and in each case characters are in direct eye-line with the mirror on the set. The first of these mirrors is the first we see in the film. Danny at the wash basin.
- The musical modulation from E major to minor is timed to three "darkening" events. The first finds Ullman beginning to explain the Grady tragedy of '70 to Jack. The second comes just as Jack says he can't sleep because he has "...too much to do...". We know where his plans will take him... right along the same path as earlier caretaker Charles Grady. This play of APOW relates also to the content of the novel, which blurs Charles into Delbert. The third follows Wendy as she crosses from the well-lighted Colorado room into the dark passage behind Jack's typing desk. This final modulation relates as well, I think, to Grady in some way. Wendy will confront Jack soon after. Jack, who is now operating under the spectral influence of Delbert Grady. To this I add a sneaking suspicion that that "Grady" is a reference to the Monolith, the Moon or both of these. Is Apollo 13 is the Tragedy of '70? Off by a foot pound per second, per second?
There is a scene in the first "Superman" movie that has some cryptic moon/monolith clues, which includes a cop called "Officer Mooney" or "Moon-e". "Grady" is a homophone for "Grade e". I think that the letter "e", particularly in lower case, is somehow a symbol of the Moon and/or Monolith. I find a small conformation for this in the "Superman" film with Brandon Routh, which finds him lifting the monolithic "black" island into space to the music of Ligeti, also used in the soundtrack to "2001".
- I have found two fairly direct lyrical connections, both related to Wendy. Wendy, says she'll "...lock the door..." lined up nicely to the same lyric in APOW. Later, the "golden dawn" lyric comes close to Wendy riffling the novel pages at Jack's desk. As I pointed out, in the Italian version these pages read..."...the sun holds the morning in its mouth...".
There are one or two things I am forgetting here... I need more diligence in my note taking. I hope that your comments will jar some of it loose.
I will start on "Fearless" now, which is where I think that this thing really starts to break free and fly.
Peace Oot for Now.
Mark
Klaus:
I too was in the spell of Pink Eyes this weekend and took it in twice more. It is an incredible find indeed. It feels as though an avalanche hit my brain last week.
I've can't get my thoughts down right now, expect a message tomorrow.
Demiurge Overkill
June 28, 2011
Klaus:
I wanted to take a little time to gather my thoughts, because I don't want to fall into the trap of "forcing" it, offering connections in bulk in an attempt to keep up with your insights. I want to only report what is there. The key to this work is some sense of objectivity amidst this swirling subjective tsunami of cinema. Ulitmately, the goal is to cut this mother into enough pieces to reveal the truth, what ever that is. I am trying to prevent myself from muddying the waters.
To remark one more time, it really is exactly like the commentary of Joyce scholars with Finnegans Wake, which is my cue to jump into the POW notes:
**I appreciate your concern for clarity, but I think your worry is unnecessary. So far, your comments have been intelligent and restrained, and have helped me to see many things I had heretofore missed out. For my end, I am never more satisfied than to be proven wrong on a favorite theory--but I will fight for a good idea until it is surely dead. Indeed, I must be proven wrong in some way before the thrill of new discovery becomes to life. My attitude toward this material is the product of a 30 year obsession with "2001". The basis for this obsession is nothing more than the desire to "make sense" of the movie. I will not settle for a merely self-satisfying result. Our endeavor is the natural expansion of the same principle. We differ here from attributed scholars because we do not seek external validation to our findings. Throw in everything you've got, complete with any scathing critique, and in the spirit of mutual trust, the truth will rise to the top.
1st Play
-first mention of 1907- tied to McKenna, but Tunguska happened in 1908, not 1907. McKenna is usually right on with his facts.
**This slight discrepancy does not deter my interest here. I think McKenna's "theory" is key. The hotel is built from '07 to '09. Indian (alien?) attacks are repelled during construction. Because of the conflation of Bear/Russia and clues from "Dr. Strangelove", the Tunguska event fits in with my theory that the nuclear events of the 1940's had a reverse "ripple in time effect", precipitating anomalies in the past time stream.
-cruel winters, description of the Caretaker: why do they not hire TWO families to take care of the Overlook, recognizing the isolation? $$$
**There must be "one family" as a model of the "Nuclear" nature of events at The Overlook. Jacques Lacan talks about the "algebraic" shuffling of human emotions from one person, family or community onto outside groupings, to allow that certain traumatic facts of life are not dragged into daylight. The Overlook experience is designed to counteract the false influence of "the other" upon the family unit.
-not physically demanding, psychological: much like the psychedelic experience, or death.
**It is a fun fact that it is Wendy doing all of the maintenance while Jack writes.
-Charles/Delbert: stacked neatly in the West Wing
-"before I turn you over to Bill" coincides with "Golden Dawn"
**This is interesting. The symbol of "The Golden Dawn" is the is the ascending blue and descending red triangles you describe that take place near the second playing of "Golden Dawn". What a great clue. Nice one bro. In the "Golden Dawn" symbol there is a sun in the center of the image. I am also interested in this bit of dialogue "...turn you over to Bill...". Could it be that Ullman and Watson somehow represent the opposing sides of a One Dollar US Bill? Turning over as US gives SU--Stuart Ullman.
Second Play
Problems with "reception" Wendy goes into the aurifice. She contacts the US. Misses torrents?
**I like the "torrents" pun. "Jack Torrents" seems especially profound. Could Danny be "DNA Torrents"? There seem to be more than a few computer related puns hidden in Kubrick at large. This whole issue of contact wit the forestry service seems related to Moon Vehicle to Earth communication. The tree on the US Forestry Placard is a rocket rising above plumes of exhaust. There is a similar image of a tree on the wall at Zeigler's house party in EWS. The rocket appears to be aimed at the Sun. This is another clue to some thoughts I have about the use of mirrors as related to some lyrics in "Echoes" ("...no one flies around the sun..."). I'll open this vein when I get into "Fearless".
Wendy-yellow top, blue bottom
**Wendy's yellow top times to match the VW from play One of OOTD.
Language on the radio: they say "OVER" to note a stop in communication because they can't LOOK at each other.
Danny: cognitive hallucination of two girls, wearing red, white, blue
Danny-when he talks to Tony, they can't LOOK at each other. This is back to your theme of listening without looking, with Adults using phones, radio, TV, the Child either: utilizing the organic, original media, or recreating this media based communication through mental disturbance ( imaginary friend). The key here is content.
-42: 1st play, Danny has 42 on his sweater, looking in mirror: tv like reflection. 2nd play, Summer of 42 on the TV.
The day is Monday, Moonday. The woman wants to give the boy $$$ for his service.
He refuses, will take coffee and marvelous doughnuts instead. There's a fantastic transition between the Summer of 42 dialogue to Danny and Wendy speaking. The kid in '42 switches roles and asks the woman if he can get his firetruck. Follow the scene on the TV as if the subtitles are strictly for that.
**Oedipus Wrecks. I love your notion of interplay between the TV and reality in this scene. Which one is real? Who made who?
- books surround the apartment, but very few are seen at the Overlook.
TV is central.
Third Play
Right back where we started from, Daddy away "working", Danny abused, and actually wearing the brown fur of the Teddy bear (robe), watching TV over breakfast with red and white tablecloth.
Halloran asks Wendy if she is a Winnie, and their is a Winnie the Pooh Bear next to the baseball bat. Wendy is a Winnie, and will protect her honey (she calls Danny "hon").
Promises of time/obligations of time: Five minutes, five months. Lotsa fives.
The visual of Wendy over the manuscript in the box reveals a descending blue and ascending red triangle on the ceiling.
Wendy understands her husband to be the blind creator/demiurge of gnostic theology. A false god who imprisons.
Re:Water/Waters: Roger Waters split the image in two and reveals the audio, the radio frequency of Tony, who delivers accurate content.
**Here is a corker! What if "Tony" is also "Tone e". Such would fit with your idea of "accurate" (in tune?) audio content. Many of the songs are in the key of E and/or contain the note "e" as a part of the triad of the key signature.
I want to send some additional commentary on your notes. I agree "Fearless" is where this elevates.
**Over all, an excellent batch of clues in your discovery. I look forward to your upcoming commentary. I am gonna start on "Fearless" now.
For now,
BK
Outside the Wall
June 28, 2011
Klaus:
"Could it be that prior to the age of sound reproduction and synch, that we lived somehow outside of sound, "outside the wall", in a world of silent psychic imagery,with the music of the spheres as audio track?"--LeClair
This made me think of the bicameral brain, and the supposed "wall" between the two. This union of media might reflect the union we experienced consciously. This might have had the effect of isolation instead of liberation, where instead of a wall dividing, there is a wall enclosing.
Roger Waters concerts for the Berlin Wall falling down might have been a misguided celebration.
Klaus:
There are 86 metals in the modern periodic table.
Germany is divided into two provinces, Upper Germany and Lower Germany, year 86 AD.
LeClair:
Dear William,
Before I give some thoughts** I want to report another beautiful discovery. I am off and running the "tensor", measuring three Kubrick's against three separate Floyd's. I was simply astounded with the first control, found by mashing "2001" with "The Wall". It is awesome. I propose the gentleman's wager that if you perform this first experiment, completing the tensor will immediately self validate. The time code is 00:04:22 on the movie. All Play Repeat on the albums as always. The start codes are standard for each film, 4;22 for "2001" and as already practiced for "EWS" and "The Shining".
I plan to carry out the complete tensor as follows for what I hope is maximum tension.
Act One:
2001 vs. The Wall
The Shining vs. DSTOM
EWS vs. Meddle
Act Two:
EWS vs. DSOTM
2001 vs. Meddle
The Shining vs. The Wall
Act Three:
The Shining vs. Meddle
EWS vs. The Wall
2001 vs. DSOTM
**Notes from this email threaded into email above
Klaus:
http://nndmt.com/audio/McKenna/
If you'd like to hear the rest of the lecture that follows the bifurcation rap, go to "Rites of Spring 1-B" in the above link. This picks up in mid story and continues. Good stuff.
2001/Wall
June 28, 2011
"Isn't this where we came in?"
Digging it.
How could I never connect the stewardess in pink sitting next to Floyd!!!
LeClair:
Still working on "Fearless" and juggling my so-called "normal life". Should be a mail later today. I am glad you did the 2o01/Wall mash. Pretty nice, huh? The ending is particularly smashing.
I just want to say that it is really rewarding to find someone out there like yourself, not only for your excellent insight, but for your energy and good humor. I am grateful to have you to talk with--about these mysteries so scintillating.
Have a good one...
Klaus:
Second turn of the wall through 2001. Might be my aesthetic favorite.
Felix Culpa
June 30, 2011
Klaus:
My DVD malfunctioned, so that the second track The Thin Ice played for it's second time right at the end of the Intermission. This played perfectly to my eyes and ears. Will have to replay with a nonsmudgy DVD to compare.