Helter Skelter Vol. 3: The Pink Shining

The Pink Shining
June 20-21, 2011

LeClair:

Dear William,

I am excited to report a new discovery in the impossible field of iAhuasca, made possible for me by the grace of our e-friendship.

Before talking with you I had not listened to "Meddle".  I have loved Floyd for ten years now, but have listened only to DSOTM and a few "hit singles".  "Meddle" is a revelation.

Anyhow, I was reading up on "Meddle' at wiki and was stricken by three points.  1.  The first title for "Echoes" was to be  "The Return of the Son of Nothing"  2.  One early review of the album proclaimed that it was like "...the soundtrack to a movie that doesn't exist..."

The third is a bit more difficult, but about these first two points I was intrigued thusly... "The Return of the Son of Nothing" could refer to either Danny or Jack Torrance, who "return" to their spectral stomping grounds "The Overlook" to respectively confront and inherit nothingness (Halloran to Danny, "...there ain't nothing in rm. 237..." and also from Jack, after his visit to 237  "...not one god damn thing...") .  Another possible connection I considered in the Italian version of the words on the pages of Jack's "novel"  which read  "the Sun holds the morning it it's mouth" which provide a Sun/Son simile.  I decided to entertain that "the movie that didn't exist" during the creation of "Meddle" (1971) might be "The Shining" (circa late '77 to 80).

The third point is my abiding sensation that "One of These Days" with its reference to "cutting up" the listener is in fact drawn from the Gregorian "Day of Wrath" which promises God's vengeance against the sins of humanity.  If you are with me in the acceptance that this "God" is Saturn, who "cuts up" and "cannibalizes" his children, and add to this the "cutting up" of both "Meddle" and "The Shining"--I think that "One of These Days" (first album track) pairs naturally with "Day of Wrath" (first movie track).

Now, I am a sucker for a Triple Play, and I very much want to believe that "Meddle" is in fact a perfect soundtrack to "The Shining".  I have repeated the complete experience three times, once with a trusted and critical friend who is now a convert to iAhuasca.  This mash is fucking amazing.

The album is a perfect triple play, ending for the third time as we close in on the Photo of Jack at the party.  A fourth replay of "One of these Days" covers the closing credits.  I am telling thee William, you will be blown away.

There are certain musical "themes" that follow specific actions.  "One of these Days" finds us in the office at three separate times and follows with precise timing the entrance of Wendy to talk on the radio and later Jack to dismantle the radio.  Halloran has a theme, a guitar riff from "Echoes", that plays at three discreet entrances to his character: when we meet him; when we meet him again in Florida, and when he returns to the Overlook in the snowcat. "Echoes" visits "the maze" when it is introduced and during both times that it is entered, the latter of these two to profound effect.  These are but a few, and these effects are so many and strong that it is, for me impossible to believe that Kubrick did not break his film into precisely plotted section of 46 min. and 44 sec, which just so happens to be the exact length of "Meddle" played on digital media.

To reinforce, you will notice that practically every time a scene is set, it plays to a mirror from "Meddle".  There are multiple occurrences where characters literally occupy the exact same space within the Hotel as they do in an earlier play of the same track.  The accuracy is highly precise.  Yet another beauty is the exposure of Kubrick's obsession with "the bathroom".   It turns out that the bathrooms in "The Shining" are interchangeable, with similar "Meddle" cues accompanying key bathroom antics.  The scene, during the second play of "Echoes" when Jack enters rm 237, is jaw dropping.

As icing on the cake the musical cues highlight the action of the film just so.  Song cuts closely match many major scene changes, and certain standout phrases of melody pinpoint tense action time and time again.

Here is a final treat, to entice you into performing this experiment for yourself.  The song "You'll Never Walk Alone" is from the Broadway musical "Carousel", which is noted as the first musical to confront the issue of domestic violence.  The song itself is performed by a character who has died during the action.  As mourners attend his funeral, he sings.  This same character is the person responsible for the acts of alcoholism and domestic abuse depicted in the play.  During the the mash-up, the closing invocation of "You'll Never Walk Alone" from the end of "Fearless" matches exactly the discussion of domestic violence in "The Shining" not once or twice, but every time it plays.

Here is how to do it.  At the computer, put the volume on your movie player very low and the Meddle player at 100%.  Make sure you have set your player to ALL PLAY REPEAT.  Do not forget this point, because it can suck to have to start over.  Start the music at the exact moment of the attack of the first note on "The Shining" soundtrack.  Once the Meddle track starts to groove at a greater volume, turn up the movie sound so that the balance is about 60-40 music to movie.  You may want to tweak the movie volume a bit, to keep the mix nice.  You won't be able to make out much of the dialog but the movie music should always be just nicely audible against the stronger Meddle volume.

Sit back and enjoy, cuz you don't want to miss the action.

On a personal note, I have revived Da WWWiz with a recent article and also started a new blog as a more cohesive project, with each article to connect directly to the rest.  The new blog is called "Hermetic Occult Secrets of the Occult" and has one article up.

Da WWWiz on Vancouver riots.  http://wrongwaywizard.blogspot.com/2011/06/pubic-relations.html?spref=fb

The New Blog.    http://hermeticoccultsecretsoftheoccult.blogspot.com/    

Pax

Klaus:

Very much looking forward to getting into this.  Do you have an exact time code to start (00:00:00)?

I have been very uninspired as of late, and your message comes in perfect timing.

LeClair:

Hey WK...

The exact timecode start up is between 00:00:13 and 00:00:14. Better a smidge late than a smidge early, so basically just before the counter tolls 14 secs. This is just after the WB card fades and right when the music on the movie soundtrack starts up. Don't forget to get a good sound balance as soon as you can.

A while after I mailed you, it occurred to me that at the end of "Catcher in the Rye" Holdens little sister rides a "Carousel" as he looks on.

Have fun and lemme know what you think.

Pax

Klaus:

I'm a staunch afficionado of the complete separation of film and soundtrack, so I'm wondering how the balance of the two audios is essential.  I guess I'll find out.

LeClair:

Actually, I'd like to answer that one. First, the balance I suggest provides a unique musical experience. Many sounds from the sound track match with musical cues beautifully. A high pitched whine on the movie sound track, like a high whistle, accompanies the howling of "Seamus", for example. The music from each seem to blend together very well to my ear. Also, because most of the dialog will be just barely audible, there are certain section of dialog that stand out when the music goes a bit softer during instrumental breaks and such. I found many of these emerging dialog sequences to be interesting and in some case startling.

I hope you will trust me on this, but wha ever you decide for your personal taste... I am sure you will dig it muchly.

Peace and Good Hunting

Klaus:

Heavyweight.

Stunned, and a little frightened.  Makes me feel like I've never really understood the film.

Tough to gather the words right now.

The Danny/USA, Lloyd/Viewer connection alone.

I had visited the following link before, at least a year ago, but never followed through.  There is good info regarding Meddle/McLuhan/Floyd here, the info that I focused on.  I was following the 2001/Floyd lead, and did not yet have enough room in my head to accept the notion that this whole thing extended far beyond.

http://www.angelfire.com/co/1x137/theshining.html

I include this link because it is evidence of a public awareness.  This post appears to be ten or more years old, and the home page reveals less than 300 visits since 1998.  I include this primarily to illustrate that the information was up for public digestion, and it sits ignored, an atomic dud.

I want to stress that I am in no way attempting to diminish your moment of discovery by referencing this link.  I might have never gotten to it without your direction, and the silver star is deservedly pinned on you.

I don't think people have the patience to interpret the Meddle/Shining, much like people don't have the patience to read a novel.  There is too much active participation and thought involved, not like newspaper or TV.  I was on the edge of my seat throughout, and in awe of the clarity of Kubrick's vision.  It was the same effect as if a red sea parted in my mind, and the prose of Finnegans Wake were finally witnessed in the clarity with which it was written.

I am also beginning to really grasp McLuhan's role in this, and can sense the commonalites between the Outsiders:  McLuhan/Canada, Kubrick/England(escaped), Floyd/England(born), Scatman and Tony Burton/Second Class citizens, Danny/Child.  All of them satellites orbiting a nuclear American family in a state of evolution, with Danny on the verge of a gravitational no return.

The visual of Danny sitting on the Hexagram, the tennis ball sun at his feet, and rising into space with the Apollo 11 to go observe Room 237 is astoundingly clear and simple to me in this medium, but was elusive before.  1776+237= : ) .

Your essays on the hypercube have definitely revolutionized my lenses, and play a huge role in my ability to process Kubrick's language.

I marvel at your discipline and scope of vision in your ability to capture all of your thoughts into coherent and encompassing essays.  There's a whole hell of a lot shining through here, and I am curious as to your angle of attack here.  I'm also fascinated in how much of our reads match up with each other, as well as the interpretation of whomever posted this connection a decade ago.

LeClair:

Dear William,

Wow, Wow, Wow!!!  This does not diminish but validates me in a manner you can barely imagine.  I am a constant second place winner in life and my only substantial first place victory was a speech I gave about... get ready... the Moon and Werewolves.

Thank you for that link... simply fucking awesome.  And 1776+237 is brilliant and awful.  How did this occur to you?  Please tell me, I am tingling here, I mean... it's genius.

Thank you for your words of encouragement.  I too am interested to compare our competing ideas regarding this discovery.  I hope you trust that I consider everything you have told me with plenty of open thought.

For now, I have no intention of publicizing any of my findings, or my over arching theory.  However, if you permit, I would like to share them to you via this email thread.  They will be lengthy and esoteric, and so I will not expect any particular response from you.  Also, I have alot of time to pursue this, whereas I am aware you carry a full schedule.  I am not a naturally competitive man, but if I get going, there will be alot of enthusiasm on my end.  I wouldn't expect you to carry the same energy, and yet I would, if you agree to continue, always value you as equal partner in this adventure.  Discovery is my passion--not victory.  The truth is, I would love the opportunity to share these thoughts exclusively with you, to create a safe critical dialog between two not too similar minds.  There are some risks.  I made errors in a previous likewise relationship that I am not likely to make again, if that is in any way reassuring.  Please let me know what you think.

I have an idea on how to expand this experiment to mathematical proportion, but I want to look at your link first.

I await your response like a patient man on fire,

Pax

Structure 
June 21, 2011

Klaus:

I'm going to sit down today and attempt to map out my thoughts from the start of the film to the finish.

I think that an email dialogue will prove to be an extremely efficient mode for sharing our examinations.  I look forward to pursuing an omega point on this.

I too approach from an unquenchable and desperate sense for discovery unburdened by the trappings of ego.  I simply want to understand more.  I truly feel like this is a form of cultural autopsy, and I value the chance to cut this into little pieces with you.

I hear a ping-pong in the distance....

Might it be wise to truly cut this into little pieces and discuss this song by song?  Example:  you forward your thoughts of track 1 and inherent scenes, and I'll respond.  After my response, I'll forward my thoughts to track 2.  This will ping pong back and forth.

I intend to move full steam ahead on my own, but this structure might allow some focus to the dialogue.

LeClair:

I think that is a very good idea. I'll confine my thoughts to "One of These Days" for now. I can't wait to hear what you have in mind.

Peace

re: Pink Shining

LeClair:

Excellent sir...

Give me a few hours, perhaps until tomorrow, to order and compose my thoughts.

As a starter, I will lay out my "grand theory" of what I think we are after here.  Please feel free to ridicule this theory at your discretion.

The basic formula has to do with the passage of the Sun around the Earth in one Day.  The pre-WWII Japanese flag was called the Rising Sun and had rays coming off of its central solar orb.  This flag was banned by the Americans as a part of the treaty to end the war in the Pacific.  So let's say for arguments sake the the Earthly Solar day starts when the Sun rises over Japan.  I would refine this to suggest that the Solar Day begins when sunrise creeps westward across the Bering Strait, but these first hours are the time when most stay in bed, to throw their windows open to a full Rising Sun.

So we can now compress this event into the whole of Human Natural History.  Japan is a creature rising from the great sea.  Human Culture develops and struggles from East to West, admittedly moving awkwardly, growing strength until a Indo-Middle-Eastern culture breaks into the Western extremities of Europe.  Africa remains out of reach because of its brutal terrain and climactic condition.  Europe, after a polite Age of Innocence fulminates into adulthood and pushes farther into the West into the Americas.  There is a brief renaissance of geographic conquest and by the 1900's, this phenomenon has reached the limit of Earthly real estate, all the way into the harsh corners of Alaska and the coast of California, as well as all the way South to Chile.

At this point the need of this rampant culture to continue to evolve was the immediate cause of two terrible world wars, the second of which threatened human extinction by attrition.  It is no co-inky-dink that the second of these wars ended upon the shores of Old Japan.  Fact is Japan saw it coming.

The technology of the bombs dropped on Hiroshima and Nagasaki is not designed in the main for the purpose of human and structural damage.  This is a  side-effect, an accepted cost, and is also a cover for the actual purpose of the bombs.  The bombs are designed to open an dimensional portal, to allow for the progress of new worlds to conquer.  And they are successful.  This is what Oppenheimer means when he quotes the Bhagvad Gita.  Human history is dead on Aug 6. 1945.  Aug. 9 is the coup-de-grace shot into to the head.  It is the destruction of human history but also to be the beginning of the New Paradigm and the conquest of terra nova.  The bombs are literally designed to outpace the sun.

Trouble is Human Error.  The old fashion Russians at the Kremlin misinterpret their intel on the ManHatTan Project and set to building a counter-device with the help of some Chinese blokes especially versed in the mystical science of Nothingness.  A doomsday device is created that will destroy reality on Earth from the top down, creating a Black Hole the size of our Solar System and destroying human life for good.  Surely the existence of this device will produce the detente necessary to stop Uncle Sam from using their weapons of mass destruction.

But it is too late.  GI Joe drops the bomb and the device is initiated.  The reality vortex begins immediately.  There will be little, too little time to capitalize on the opening of this gate, which I propose is a MoonGate.  Strange artifacts pop up all over the Earth, at dig site and graveyards.  The long held balance of human sexual dynamic goes somewhat haywire.  The elasticity of social taboo is stretched and will break soon.  By the '50's everyone Stateside is impossibly happy and valuable and none of them know that in ten years it'll all come crashing down.  Meanwhile, a group somehow perceived as "elite" are being classified by way of genetic science into a cybernetic organism that runs on a loop of 70-80 Earth years.  The loop much match closely the memory events of the chosen subject, right up to the event horizon of destruction, circa late '63.   This "data" will be sent into space, to either self-revive in proper conditions or to be revived by another culture far away.

This is where I think PK Dick was wrong.  He interpreted his awakening in terms of religious Gnosis.  It is difficult not to do this.  I suggest that to "become aware" of the system is not Gnosis at all.  Gnosis will be the emergence from this system and into real truth.  Furthermore I argue that very much of human history and the often religious documents that support that history are not in fact ancient, but a part of a software that support the stability of the loop.  I add that the films of Kubrick represent the extreme limit of that technology and are accessible only by those who continually press their awareness of the system.

Kubrick is the outer limit and also the end of sorts.  His films from "Strangelove" on through to "EWS" document the extremities of this software and its code.  I think "Finn's Wake" is a similar tech, that did not exist prior to the 1963 download, when that final shot, back and to the left, killed reality of Earth for good.

I will attempt to sketch this theory in detail as we explore the Pink Shining.  To keep you coming back, I promise to at once show how this theory is supported by the very first sounds of "The Shining", by way of the ominous promise of 2013.

Peace Owt for Now

Mark. 

P.S.  Can you fill me in on just how you came up with the 1776+237 thing.  It is so killer... I must know more.

Klaus:

Hmmm....

1776 + 237

On most acid trips in college, I was struck by the drugs ability to completely throw me into Everything.  This is cosmic beauty in nature, but in a dormitory, it is a prison.  Each and every dorm room door represented a possible reality/archetype, much like a table of elements.  I alone sat in the hallways in fear of the ignorant cellular lives of the people oblivious to the prison.  The oblivious remained content with fascination of the creature comforts that decorated and accentuated their cells.  I guess it was my first vision of the Black Iron Prison on a dimensional level.  The Howl of my soul shook the Foundation and destroyed me.

The Overlook is just such a prison.  The Shining represents the collective Everything that Joyce talks about: Howth Castle and Environs, HCEarwicker, Here Comes Everyone, the HCE, ubiquitous initials that litter FW.  This twisted sleep is The Winter, the Iron Age, The BIP.  The message needed to awake is communicated non-locally in this dream language that Joyce wrote, but also in psychedelic reveries that provide nonlocal communications of cosmic feedback that are almost impossible to explain to another person.

SO, if the prison is made of CELLS, we have our macro to dance with micro, human cells.  One step higher, the rooms of the Overlook represent the years afforded to the great alchemical melting pot of the USA.  The last room, 237, the room of Nothing, echoes our deepest desires--much like the film "Stalker".  Kubrick suggests that the majority of the American public are abused--sexually, psychologically, technologically(TV, media) so that when they enter the final room, the paradigm shift of 2013, they will choose to be slaves to their desires, an eternal workforce for the Caretakers of Hell.

Kubrick, Joyce, PKD, McKenna, are akin to the Gospel writers, the secret Gnostics that don't bury the message deeply, they reveal the message discretely.

Something like that.

Since college I understood that the events of 1945 were of extreme importance.  I have interpreted it as the crucifixion of the atom by human blindness, and that these atoms will be resurrected.  I have had the experiences in my own consciousness of what an eternal Heaven is like, and I have experienced an eternal Hell.  I believe that to grapple with these experiences not as hallucination, but as revelation is the cross that we seem to be bearing.  Kubrick's nonlocal sermons echo around the globe, his screaming gets louder and louder from beyond the grave.

1963--Ullman, a pale JFK, in cooperation with what's on the Bill, must select a caretaker for the secluded garden of beauty before he must leave for the Winter.

The information sent into space came back in 1945 with the discovery of the Dead Sea Scrolls--was this the time-travelling artifact?

Check out McKenna:

http://www.youtube.com/watch?v=HLFSz5zCs5o&feature=youtube_gdata_player

http://www.youtube.com/watch?v=aVaWPdcLLIM&feature=youtube_gdata_player

LeClair:

Your earlier comment was poetic. I am worried about my own worth in the face of such an awesome premise.  I want to discard my false self, and proceed with my compassion, my humanity intact.  I worry I will lapse into old and terrible ways.

For now, I soldier onward.  I will send my "One of These Days" notes soon.

Klaus:

Just check out the year McKenna drops in Part Two.  The Tunguska Event.  The year they break ground on the Overlook.

LeClair:  

Holy Shit Bill,

I heard the McKenna and I can't believe the synchronicity between my "theory" and his own.  It is almost to much to take.  The 1907 inference is enough for me to feel like we are on to a massive discovery.  I have a specific model to explain the timesplit that is educated by the Pink Shining.  I'll get in to it when I discuss the use of mirrors in the movie, and how this use pair with Floyd lyrics.

For now I am doing my "One of These Days" research.

Peace

**(I have embedded my response to LeClair's notes from a subsequent email into the text of following response.) 

OK

Here are some prelims on "One of These Days".

OOTD runs from 00:00:13 to 00:06:11
                       from 00:46:57 to 00:52:55
                       from 01:33:41 to 01:39:39

- First, I recall the common ideas of Cut Up, Magick, Saturn, and the Day of Wrath that I think the song evokes.  Composer Wendy Carlos, herself a cut-up human being, has altered the traditional Gregorian Day of Wrath slightly, I suspect at the behest of Stanley.  Her Shining version is expressed in 5 phrases with the following number of notes.  20-13-20-20-13.  This not only opens and closes with a "2013" but also sums the total 86.  To "eighty-six" is a slang to "cross out", "wipe out" or "destroy" and "nix".  It is also worth a mention that 86 gives 8/6, the day of Hiroshima and Fat Man.  And 2013 is 68 years ahead of 1945.  This reversal of 86 to 68 is I think indicative of a mirroring technology that we will talk about further on.  I have alot of ideas on this matter.

**This is hard to fathom... Wendy/Wendy to complete.  The structure of the score is brilliant, as are your permutations.  Just incredible, I bow to your dissection.  Have you ever heard Electric Wizards song "Saturn's Children"?  Awesome, and quite cinematic.  I need to review the Saturnian background.

- The triple-play of OOTD seems to be about sound and communication over air waves and land lines.  Characters in these scenes are often talking while looking away from their subject: "listening" but not "looking".  Multi-tasking.  Reading, TV and Talk (Danny and Wendy, both times at lunchtime).   Workplace, Telephone and TV (Durkin and Halloran).   Wendy and Jack play with the radio.  Wendy and Dick talk to radiomen.  Halloran listens to the radio as he drives, as I suspect does Jack on his first drive up to the Overlook.

**These are all symptoms of diseased/distressed sense ratios as discussed by McLuhan.

- When Danny confronts the twins in the hallway, he "covers his eyes".  The whole image of OOTD seems related to the act of listening but failing to see.  Because of this reference being made to the problem of sound, I infer a connection to the Moon missions.  If you remember "The Right Stuff", it is concerned, to begin, with the event of the breaking of the sound barrier.

**Danny covers his eyes as we cover our ears.

- On the first play, the drive up to the Overlook snakes like a telephone line or cable.  When he enters the lobby Jack stands in the "reception area".  Phones ring and typists type.  Above him is the sign reading "reception" and just above that, atop a pillar and indeed atop all the pillars in the lobby, are stylized "ZZZZZ"'s, which give the phonetic zzzzzz common to dial tones and bad radio and TV reception.  The second and third plays also find Jack typing.  In all these OOTD typing scenes we do not see any text.  We hear the keys.

- All three OOTD's find us in the office.  Because of my tendency for homophones, I transpose "office" into "orifice" and then "aur-ifice".  "Aur" gives both a reference to sound transmission and also to the element of gold, which is often used in the production of high quality sound devices.

- Another figure that emerges is that of Tony.  During all three plays, and at very nearly the exact point of the song, Tony is visited to the screen.  The first and second and third are three successive appearances of Tony as invisible friend, and the musical timing is re-enforced during the third play when Halloran talks to Durkin/Tony Burton.

- During the first and second play, Wendy is reading "Catcher" while Danny watches TV.  The depth here is dark and arcane, because of the inevitable anal sex and anal pedophilia references in the film.  I also transpose "Catcher" to "catcher in the corn" then "catcher in the maize" and thus "maze".  This is recalled when Jack chases Danny... "...I'm coming Danny, I'm right behind you...".  I hone in on the "dog-eared" page, page 133 of the usual pocketbook printing, which has reference to Vermont (on 132), a "monkey on a bicycle", and contains the phrase "open you ears" on mid-page.

**Please explain this "dog-eared" page, I don't follow

- We also have appearances by HAL, timed to match the music pretty closely in the second and third plays.  In the third play, Halloran listens to the twin broadcasters of Hal and Charlie on his car radio.  The second HAL inference is esoteric, found when Danny finds the twins in the hall-way.  Read from left to right, in the Hebrew fashion are: the Window, the Axe and the Upturned Chair.  The Window is the symbol of the Hebrew Heh, meaning window.  The Ax is cryptically symbolic of Alef.  Alef means Ox and also "to yoke".  The fact that this yoke pulls a beveled blade through the earth should not be lost to this connection to an Ax.  The Upturned Chair is a picto-graphic plain font of a san-serif lower case Lambda, which is analog to the Hebrew letter "L" called Lamed.  Together these give HAL.  And of course, Jack will be made lame or "lamed" in his fall down the stairway.  

**You are an awesome student of language, especially the Hebrew, and this kind of analysis is always my favorite.  HAL/HCE?

That's all for now... next installment: "A Pillow of Winds".  I await your thoughts on OOTD's

Pax

Klaus:

I just want to say that your lens is Hubble-esque.  I need to take time to integrate these notes, I'll respond in time.

Essentially, "Meddle" plays the MAO Inhibitor to the Kubrick vine?  The transmigration of media into matter, the kind of plasmate that PKD references, which is essentially a piece of the logos made flesh?

Just had a storm of epic proportions blow in 30 minutes ago...red sky/clouds, and multicolored lightning.  I have never seen that before in my life.  The Solstice is roaring.

Outside of Temporal Dimensions
June 21-22, 2011

Klaus:

To begin, Kubrick (K) is taking his Content(1) source from another book, from a horror writer King, who writes books read by dolts like Wendy. This is apparent from the written Title and Credits. He takes his Form(2) from a different book, FWake, written by Joyce, who writes for genius like K. This is apparent from the visual pun of the first sentence of FWake and the opening shot: riverrun, past Eve and Adams, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth, Castle and Environs. “The first half of the 20th century can be characterised as ‘science split the atom and Joyce split the word’ and this is particularly applicable to Finnegans Wake, where every word and phrase is loaded with meaning." I don't know who this quote is attributed to, but we can now bring in the Pink laser of VALIS in the form of digitally compressed music by Pink Floyd, echoing the sentiment of "cutting into little pieces". Seprating the sound from visual allows sense ratios to return to normal, to be allowed to see, instead of having static blinding cognition. McLuhan is tied to the album by the similarity of the book covers "Understanding Media" and "Meddle", both in light blue that echo the light blue if the letters of the Title/Credits. To assemble these planes into one experience is the colossal effort of human thought and delicate tapestry. It is a creation of a dialogue in a language familiar to Joyce: nonlicality, coincidance, multidimensional puns that are and are not simultaneously, a representation of the quantum physical laws beyond the Abyss. Pure reception of the feedback requires knowledge and awareness of multiple quanta of temporally bound information. A few simple Coincidances for names only Jack N/ Jack T Danny L/ Danny T Stephen King/Stanley Kubrick SK/SK Take the U out of Stuart Ullman and you have START LLMAN, the double LL of Danny and Bartender These connections weave a subconscious attention to a silent language one sees but does not hear--a reversal of the theme expressed by you. The sandwich Danny eats is very symbolic of an oral sex act, as he pulls the legs of the sandwich apart. Warner Bros/ Bugs Bunny shirt #42/ Hitchikers Guide: the clothing of a child Wendy is surrounded by hundreds of books, she is a horror fanatic, yet is reading Rye. She must be rereading it again, having been unable to cut it into little pieces. Jack N says "I made the Trip" in 3 1/2 hours, which is a true statement, as he wrote the screenplay for a film called The Trip in 1967, and judging by the writing, probably only took 3 1/2 hrs.

LeClair:

When Wendy reads "Catcher" in her Denver apt., one page is dog-eared (creased). Pg. 133 of her pocket book novel.  I made a careful match of the pattern of indentations on the page in question to my own identical pocket book of "Catcher".  Pg. 133 is it.

**Amazing catch.

I am going to have to actually read McLuhan now, instead of just generally infer his work from the work of others who emulate him.  Everything I know about Marshall I learned from Stanley, Cronenberg and Frank Zappa.  I must order "Understanding Media" and do the experiment suggested at the Kubrick/Floyd Site.

**I have read Gutenberg Galaxy, and Medium is the Massage, am finishing Understanding Media.  Very readable, very current.  The idea that sense ratios when disturbed effect consciousness seems almost obvious now, but an amazingly insightful premise for 1962.  The Apartment of the Torrances is filled with books, littered with them.  The Overlook seems utterly devoid of them.  I have a theory based on TV, dreams, and children.

What do you mean that "we cover our ears"?  Do you mean with headphones for instance, or do I miss the drift here?

**Headphones, yes.  Correcting the sensorial feedback, both Danny and us, the viewer are being abducted through a sensory wavelength, a wave that overrides and controls.

Also the HAL/HCE?  What's up... it rings a bell, like I've crossed it before, but I can't quite remember.  I can be a bit slow sometimes, so I hope I don't annoy with my questions.

**Just that HAL is SK's answer to Joyce's HCE.  I would read Robert Anton Wilsons essays on Joyce in the book "Coincidance" to fully grok this.

I am gonna start on "A Pillow of Winds" for tomorrow.

'Til Then...

Have a good rest.

LeClair:

I almost started a new thread for this one.  I was gonna call it "Another Kubrick in the Wall", or "MapOTHER", or my fave, "Pink Eyes Wide Shut".

Let me first say that I loved and laughed at your Trip related email.  Lucid.  Also, I am quite curious about your theory re: children, dreaming and TV.  I fit all three categories, as I am a wild dreamer, and a born TV baby of the '60's, so please, let me hear your theory.

So much falls into place at once, it is like a down pour.  I am seeing, hearing and forgetting ten delights for every one I remember.

Here's the thing.  I was too wound up to sleep last night, super-tired but jazzed by the electro-static revelations of the last couple of days.  Reading cools me out, and so I opted to explore the Kubrick/Floyd Site.  I read the main feature, which attempts to justify the philosophy of a Meddle/Shining mash.  I was impressed by the idea that the reason "The Shining" is such a weird, unsatisfying film is because Kubrick was in fact making a crypto-silent film.  The author makes a good case, and this fits nicely with my own discovery of the proper DSOTM/2001 mash timing, which clearly illustrates that the album is a triple boilerplate to score "2001".  The article even suggests that Kubrick made the Meddle mash to recapitulate the DSTOM mash designed by Floyd, as a revenge of sorts on the band, and particularly on Waters, who I have now learned is a Kubrick fanatic.  Moreover, this "silent treatment" meets your own standard of all music ears, no movie ears.

Now, in a mail to you yesterday, I hinted at an idea to expand this project to math-ic proportion.  This plan of mine is informed by the "physical tensor" informed by the math of Gauss.  I learned about Gauss from Lyndon Larouche at his mag called "Fidelio", a magazine that Kubrick subbed to.  In fact, I would say the single most profound piece of writing I have encountered is out of "Fidelio".  It is called "On the Subject of Metaphor".  Is Larouche the LL that Kubrick is hinting at in "The Shining"?

Anyway, my idea was to use the concept of the "physical tensor" to examine three Kubrick films.  As the tensor, I wanted to use three Floyd albums.  This would mean using three separate albums to measure against three movies.  I knew I wanted DSOTM and "2001", but I stalled at that point.  Because of the Pink Shining and subsequent readings, I have found my second and third movie and album.

A quick confession.  I have always hated EWS.  Just for this reason I have put more energy into EWS than any other film (except "Burn After Reading", a movie alot of fun to watch)--and all for the hope that it would yield some emotional connection to the film and restore Kubrick's last movie to the level of masterpiece I felt his other work represented.  I have had no luck on this task for 13 years.  I have seen EWS more times than any other movie and always hated it.  I have kept this animus a secret to myself.

The best I could come up with was that EWS was a super-intellectual parody of the Hammer vampire films Kubrick loved so much.

My attitude has been adjusted as of the 2 hr an 40 min shock to the system I have just endured.  Now, for me, EWS is possibly the ultimate masterpiece of cinema, and this time I'm not posing for the "in-crowd".  It is not a parody of a horror movie, but the most horrific film I have ever seen.  Like the best horror films it is over flowing with dark humor and deeply touching pathos.  See, I didn't know until just a few hours ago it was a silent film, meant to be heard to the awesome recording of Floyd's "The Wall".  Ziegler means brick layer--I shoulda sussed it sooner, but hey...

Now, there may be an anomaly.  I did not own a copy of the wall at 2 am, so I downloaded the remaster on iTunes.  I have a question to clarify: does the original recording have a short snippet of the very end of the album tacked on to the beginning of the first track "In the Flesh?".  It seems odd but works so well, and the timing given on iTunes is the same as that of the original track so...

If this "snippet" is intended, start "The Wall" (all repeat) at the exact moment the White on Black title for "Warner Brothers" appears, just after the WB vanity trailer fades out..  The timing is at 00:16+ seconds--right between 16 and 17.  If my download is wonky, then the drum opening of "In the Flesh?" can be timed to match Alice disrobing at precisely 00 and 34 seconds. Watch EWS through to the end of the credits.  To my eyes and ears and soul (if I have one), this mash is perfectly electrifying.  It is the bomb my nizzy... turning a shit film and one of my life's great disappointments into a movie I can hardly wait to watch again and again.

The album, heard for the first time tonight, it is a ball breaking triumph, so sonically profound.  But it is magnified to Cosmic Gnosis when mashed with EWS.  Man, this is fun... perhaps a bit too fun.

And on that note... I need some spatchka.   My gulliver is overloaded.  Back to "A Pillow of Winds" after a jolly nap.

If you are gonna do it, I also suggest subtitles.

Klaus:

Gotta get my copy from a friend, I'll synch up tonight.

The album is correct, as my older version reflects the same cyclical wrap around.  The Ziegler connect seems so obvious now.

This silencing of film and resurrection through alternate soundtrack is the core concept of PKD and his Gnosticism.  Much like Maze of Death, Man in the High Castle, the Valis Trilogy....The value and worth is revealed on the content, the healing content.   These operations seem to have restorative powers.

My plan is to reread the LL article, and synch EWS later on tonight ( Danny shuts his wide eyes in The Shining, giving further value to your Danny/Doc--Bill/Doctor extension).

Atom Heart Mother seems like the shrapnel of Pink Floyd's initial attempt at scoring a film, but the initial suite works well at the end of 2001.  Look at all song titles involved in that album.

I'm still a bit shaken about the breakdown of the notes from WC's opening theme: 20-13…

Helter Skelter Vol. 2: How Would He Know Where We're Going?

Pyramid Scheme
March 20, 2011

Klaus:

Rewatching this scene I thought, "Hey, them photos look like a pyramid, with no top". Guess who completes the image?



Hope you are hearing good news from overseas. Just thought I'd share this nugget.

Light 
April 2-3, 2011

Klaus:

I had a very long day, started at the Hospital (for nursing school) and finished up at work (bartending), and experienced an amazing amount of highs and lows, which ultimately revealed a sliver of the divine order, enough to carry me home in high spirits.  I hope you and yours are doing well.  Pax my brother.

LeClair:

Hey Bro,

Yeah man, I'm good. Just sort of undercover these days. I feel a little frozen. Not out of doubt, but out of a real sense of stupendous ignorance. All I feel certain of is that I am probably wrong about everything. It has a kind of a "Winston Smith" vibe to it, but it is not all bad. I have scored a copy of Inception, but have put off the experiment as yet. Just no heart at the moment, but I know it won't last... I'll get angry and want back in the game soon enough.

Interesting that you are studying nursing. I good nurse is, in my view, worth 100 doctors, and I ought to know, having spent a good portion of my life as a patient.

Peace to you and talk soon...

Klaus:

Yeah, I completely understand.  You gotta come down for air eventually.  Crowley in his best moments knew this.

For when you are ready:

Inception: I'm dead set on 2:03:05 for the start of side 1 of Meddle.

I'll write you back when Harry Potter drops and I can fine tune it a bit.

Good to hear from you!

A Good Read: McKenna on PKD
April 14-17, 2011

Klaus:

http://www.sirbacon.org/dick.htm

I UNDERSTAND PHILIP K. DICK

by

Terence Mckenna

1991
Afterword which appeared in the book : In Pursuit of Valis: Selections from the Exegesis edited by Lawrence Sutin

____________
True stories have no beginnings and neither does the tale of PKD’s encounters with the Overmind. But we writers understand narrative economy, and for purposes of narrative economy his story seemed to him to begin with the mysterious break in and riffling of his papers that was made notorious by an article in Rolling Stone, which brought Phil long-delayed and much-deserved fame. The break-in date was 11/17/71. It was a date and a style of referring to time that Phil used frequently.

I turned twenty-five the day before. It was no casual birthday either. I met my natal day by sifting down and sincerely preparing myself for an Apocatastasis, the final Apocalyptic ingression of novelty, the implosion really, of the entire multidimensional continuum of space and time. I imagined the megamacrocosmos was going to go down the drain like water out of a bathtub as the hyperspatial vacuum fluctuation of paired particles that is our universe collided with its own ghost image after billions of years of separation. The Logos assured me that parity would be conserved, all sub-atomic particles except photons would cancel each other, and our entire universe would quietly disappear. The only particles that would remain, according to my fantastic expectation, would be photons, the universe of light would be exposed at last, set free from the iron prison of matter, freed from the awful physics that adhered to less unitary states of being. All mankind would march into the promised garden.

I felt I was well situated for the event as I, quite consciously and deliberately, and to the concern of my friends, had placed myself in the teeming, hallucinogen saturated center of the largest garden I could find, the trackless rain forest of the Upper Amazon Basin of Colombia. My confidence in my vision was unshakable. Had not the Logos itself lead me to this vision, not only by revelation but by painstaking explanation? I had no radio, no way to contact the outside world at all. Who needed that? I knew with perfect clarity that the world of time, the illusion of history was ending. Divine Parousia was entering the world, and the just, the meek and the humble were leaving their fields and factories, pushing back their chairs from their office desks and workbenches and walking out into the light of a living sun that would never set for there could be no setting for the eternal radiance of the Logos. Tears of joy streaming down their cheeks, the illumined billions were turning their eyes at last to the sky and finding there a consolation that they had never dared hope for.

However, Nixon’s weary world ignored the eschatological opportunity I thought my brother’s inspired fiddling with hyperspace had afforded. The world continued grinding forward in its usual less than merry way. There was only one small incident that might subsequently be construed, even within the framework of the schizoid logic that was my bread and butter then, to support my position. Unknown to me, a struggling, overweight SF writer, an idol of mine since my teens, discovered the next day that his house have been broken into, his privacy violated by the Other. How peculiar that on the first day of the new dispensation in my private reformist calendar, he had been burglarized by extraterterrestials the CIA or his own deranged self in an altered state. The torch had been passed, in a weird way the most intense phase of my episode of illumination/delusion ended right where Phil’s began.

This raises some questions:

Can we refer to a delusional system as a folie a' deux, if the deux participants have never met and are practically speaking, unaware of each others’ existence?

Does the delusion of one visionary ecstatic validate the delusion of another? How many deluded, or illuminated ecstatics does it take to make a reality? PKD proved that it only takes one. But two is better.

When my brother looked over the edge in the Amazon and felt the dizziness of things unsaid in March of 1971, he came back with two words bursting from his lips, "May Day! May Day!"—the pilot’s call of extreme emergency.

May Day found me in Berkeley sheltered by friends so concerned about my state of mind that they considered committing me. I was only a few miles from Phil, who was rapidly going nuts too, as his psych admission of 3 May ‘71 attests. It was always like that with PKD and me. We never met but we lived around each other for years. In Berkeley, we both lived on Francisco St. within five blocks and a few years of each other. We both had roots in Sonoma County, in Orange County. How many times were we a table or two away from each other in the Cafe Med? How many times did I hurry past him on the Ave on some stoned errand? Later his homeopathic doctor was my doctor. There is a garbled mention of me (or my brother) on pg. 74 of this book.

Yah, yawn, the world is fuckin’ strange, right bro?

Wrong. Or rather, of course, sure. But that is not the point, the point is that I understand Philip K. Dick. I know that sounds like hubris and if I am wrong I am sorry (as*Phil says somewhere.)

(as* PKD lived at 1126, then a few years later and for six months I lived at 1624.)
But part of the delusional system in which I live contains and adumbrates the notion that I know what happened to the poor dude. We shared an affliction, a mania, sort of like Queequeg and Ishmael. And like one of those whale chasing sailors "I alone escaped to tell thee of it".

Phil wasn’t nuts. Phil was a vortex victim.* Schizophrenia is not a psychological disorder peculiar to human beings. Schizophrenia is not a disease at all but rather a localized traveling discontinuity of the space time matrix itself. It is like a travelling whirl-wind of radical understanding that haunts time. It haunts time in the same way that Alfred North Whitehead said that the color dove grey "haunts time like a ghost."

There is an idea that wants to be born, it has wanted to be born for a very long time.** And sometimes that longing to be born seffles on a person. For no damn good reason. Then you’re "it," you become the cheese, and the cheese stands alone. You are illuminated and maddened and lifted up by something great beyond all telling. It wants to be told. It’s just that this idea is so damn big that it can’t be told, or rather the whole of history is the telling of this idea, the stuttering rambling effort of the sons and daughters of poor old Noah to tell this blinding, reality-shattering, bowel-loosening truth. And Phil had a piece of the action, a major piece of the action.

But I anticipate myself. Those who grasp a piece of the action end up with two things on their plate; the experience and their own idiosyncratic explanation of the experience based on what they have read, seen and been told

__________
* "ZEBRA (VALIS): ‘a vortex of intelligence extending as a supra-temporal field, involving humans but not limited to them, drawing objects & processes into a coherency which it arranges into information. A FLUX of purposeful arrangement of living information, both human & extra-human, tending to grow & incorporate its environment as a unitary complex of subsumations.’"(pg. 72)

** "Okay, fertilization is what takes place: it isn’t a seed such as a plant has, but an egg such as a human woman ovulates, and cosmic spermatika fertilizes it; a zygote is produced." (pg. 22

The experience is private, personal, the best part, and ultimately unspeakable. The more you know the quieter you get. The explanation is another matter and can be attempted. In fact it must be told, for the Logos speaks and we are its tools and its voice. Phil says a lot of things in the Exegesis, he is aware that he says too much, so he keeps trying to boil it down to ten points or twelve parts or whatever. I have my own experience, equally unspeakable, and my explanation, equally prolix. Phil (sometimes) thought he was Christ,* I (sometimes) thought I was an extraterrestrial invader disguised as a meadow mushroom. What matters is the system that eventually emerges, not the fantasies concerning the source of the system. When I compare Phil’s system to mine, my hair stands on end. We were both contacted by the same unspeakable something. Two madmen dancing, not together, but the same dance anyhow.

Truth or madness, you be the judge. What is trying to be expressed is this: The world is not real. Reality is not stranger than you suppose, it is stranger than you can suppose. Time is not what you think it is.** Reality is a hologram.*** Being is a solid state matrix and psychosis is the redemptive process ne plus ultra.**** The real truth is splintered and spread throughout time.

__________
* "1 am a homoplasmate: Zebra acting in syzygy with a human." (pg. 79 but also: "Did I do something? Absolutely. But I don’t know what I did, so I don’t know who (so to speak) I am in the drama." (pg. 42.)

** "If the Logos is outside time, imprinting, then the Holy Spirit stands at the right or far or completed end of time, toward which the field-flow moves (the time flow). It receives time: the negative terminal, so to speak." (pg. 64.) See also "If there is to be immortality, there must be another kind of time: one in which past events (i.e., the past in its entirety) can be retrieved—i.e., brought back. I did experience such a time." (pg. 79.)

*** "It (reality) is a hologram. 1) My augmented sense of space proves it. And 2) the information element; consisting of two parts: set and ground.

"All this points to: hologram. Based on two information-rich signals." (pp. 98-99.)
**** "The Gospels, then, depict a sacred mythic rite outside of time, rather than a historical event.

"Note: This whole process can be regarded as a psychological transformation, that of a redemptive psychosis." (pg. 95.
Appearances are a vast and interlocking lie.* To finally know the Logos truly, if that means anything, is to know it as for, as what Phil called a "unified abstract structure." In a way this was where PKD went wrong. It wasn’t his fault. He saw that the world of 1975 was a fiction and behind that fiction was the world of AD 45. But he lacked an essential concept, lacked it because it really hadn’t been invented yet. Anyhow the man was a SF writer and a scholar of classical philosophy, he could not be expected to stay in touch with arcane discoveries beginning to take place on the frontiers of research mathematics. But he got very close, his intuition was red hot when he reached the conclusion that a unified abstract structure lay behind the shifting always tricky casuistry of appearances. The concept he needed was that of fractals and fractal mathematics. The infinite regress of form built out of forms of itself built out of forms of itself * unto infinity. The principle of self similarity. Phil was right, time is not a linear river. He was right, the Empire never ended. Parallel universes is too simple a concept to encompass what is really going on. The megamacrocosmos is a system of resonances, of levels, of endlessly adumbrated fun-house reflections. PKD really was Thomas and Elijah and all the other precursive concrescences that came together to make the cat-loving fat man who compacted trash into gold. The logic of being that he sought, and largely found, was not an either-or logic but a both-and and and-and kind of logic.

_____________

* "Probably the wisest view is to say: the truth—like the Self—is splintered up over thousands of mile and years; bits are found here and there, then and now, and must be recollected; bits appear in the Greek naturalists, in Pythagoras, in Plato, Parmenides, in Heraclitus, Neo-Platonism, Zoroastrianism, Gnosticism, Taoism, Mani, orthodox Christianity. Judaism, Brahmanism, Buddhism, Orphism, the other mystery religions. Each religion or philosophy or philosopher contains one or more bits, but the total system interweaves it into falsity, so each as a total system must be rejected, and none is to be accepted at the expense of all the others..." (pp. 111-112)
PKD was never more right than when he wrote:

I actually had to develop a love of the disordered & puzzling, viewing reality as a vast riddle to be joyfully tackled, not in fear but with tireless fascination. What has been most needed is reality testing, & a willingness to face the possibility of self-negating experiences: i.e., real contradictions, with something being both true & not true.The enigma is alive, aware of us, & changing. It is partly created by our own minds: we alter it by perceiving it, since we are not outside it. As our views shift, it shifts. In a sense it is not there at all (acosmism). In another sense it is a vast intelligence: in another sense it is total harmonia and structure (how logically can. it be all three? Well, it is). *
One cannot learn these things. One can only be told these things. And it is the Logos that does the telling. The key is in the I Ching, which Phil loved and used but which occupies a disappointingly small fraction of his ruminations in the Exegesis.** Almost as if the counter flow, the occluding intelligence, kept Phil’s eyes diverted from the key element necessary to the universal decipherment that he was attempting. Time is a fractal, or has a fractal structure. All times, moments, months and millennia, have a pattern; the same pattern. This pattern is the structure within which, upon which, events "undergo the formality of actually occurring," as Whitehead used to say. The pattern recurs on every level. A love affair, the fall of an empire, the death agony of a protozoan, all occur within the context of this always the same but ever different pattern. All events are resonances of other events, in other parts of time, and at other scales of time.***

_____________

* (pg.91.)
** "MITHC seems to be a subtle, even delicate questioning of, what is real? As if only the 2 books in it, GRASSHOPPER & the I CHING are really the only actual reality. Strange." (pg. 181.)

*** "Through anamnesis and restoration to the Form realm you have access to several space-time continua based on your universals." (pg. 102.)

The mathematical nature of this pattern can be known.* It can be written as an equation, just like the equations of Schrodinger or Einstein.

The raw material, the Ur text, out of which this mathematical pattern can be drawn is the King Wen sequence of the I Ching. That is where the secret lies. In the world’s oldest book. Of course. Once possessed the pattern can then be discerned everywhere. Of course. It is ubiquitous. One of Phil’s favorite words. I know this because the Logos taught me the pattern and I escaped the black iron prison of the world to tell thee of it. I have published it, I have lectured it and have had it written into software. My books are on the way, some with Phil’s old publisher Bantam. I would bet dollars to donuts that if Phil had lived to see, to feel, and to understand what this PKD-inspired servant of the Logos has managed to drag home from the beach, he would embrace it. This cannot be said without sounding like a madman or a jackass. I am sorry about that. As Phil Dick said,

"What’s got to be gotten over is the false idea that hallucination is a private matter." **
What is important is that the birth of this idea is now very near, has in fact already happened, and PKD showed the way. The answer is found. And this incredible genius, this gentle, long-suffering, beauty-worshipping man showed the way. When it counted he was right. All hail Philip K. Dick.

-Terence McKenna Occidental, California
June 1991

______________

* "The agent of creation (Logos or Forms, whatever called) is at the same time the abstract structure of creation. Although normally unavailable to our cognition and perception, this structure—and hence the agent of creation can be known..." (pg. 125) Also, ". this insubstantial abstract structure is reality properly conceived. But it is not God. Here, multiplicity gives way to unity, to what perhaps can be called a field. The field is self-perturbing; it initiates its own causes internally; it is not acted on from outside". (pg. 127). Also, "‘The agent of creation is its own structure’. This structure must not be confused with the multiplicity of physical objects in space and time governed by causation; the two are entirely different. (The structure is insubstantial, abstract, unitary and initiates its own causes internally, it is not physical and cannot be perceived by the human percept-system sensibly; it is known intelligibly, by what Plato called Noesis, which involves a certain ultimate high-order meta-abstracting.)" (pg. 128). And finally: "1 ... posit ontological primacy to the insubstantial abstract structure, and, moreover, I believe that it fully controls the physical spatiotemporal universe as its basis and cause." (pg. 129)


LeClair:

Hey WK,

As we discussed, I have been in the doldrums lately, and very worried about the future of the human race--pretty much impossible to enjoy things.  Lately, though, my mood has become positive.  I am ready to do some more iahuasca.  I have visitors right now, for the next few days.  Some old friends with interest similar to our own.  I plan to share the Inception mash-up with them--it turns out we saw the movie together, in the theater, so I'm primed for a good time.

Anyhow, just wanted to drop a line to say hi.  I'm also looking forward to the Deathly HALlows mash up.  Jesus man, this has turned out to be an expensive addiction... but worth it.

Pax Owt and Talk Soon

Klaus:

Potter:  timecode for DVD, start* at 0:25.  I'm repeating myself, but it's worth it to view the first time with no subtitles.  

Glad to hear your spirits are improving.  Looking forward to your thoughts.

*Dark Side of the Moon

Exejesus
May 8-9, 2011

Klaus:

Just dropped the dough for the out of print "Selections From The Exegesis".  Good stuff.  Send me some good vibes bro.

LeClair:

Hey WK,

How are you? Sorry to be so long in a reply... I feel encased in stone these days. I have done the Deathly Hal-lows mash up and I was blown away. I don't even know where to start talking about it, except to say that I continued with the experiment into Three plays of the album and I wasn't disappointed. And all without subtitles. You may think that I jest, but to me the film is much better to Floyd than it is on its own. The visual/musical clues are profound. I nearly gasped when the wind blows through the leaves of the small tree next to Harry as he stands in the doorway of his old home. It was a truly magical experience.

I have written very little lately, and am finding it tough to get back into the swing of it.

Like most occult researchers, I am following the connection between Obama/Osama--The Mid West Disaster-The Royal Wedding--The Beatification of Pope John Paul. Events which to my thoughts are One in the Same. I have my own Wrong Way Twist, of course, but I just don't have a heart for it lately, and for some reason, I have developed a Techno-Phobia of late. I have been avoiding my e-mails and such, and watching funny animal videos on YouTubes, in the place of my usual vigorous curiosity.

My god, I may be de-evolving here!

Pax and Comfy Slax

Klaus:

Hey Mark-

Always good to hear from you.  Thanks for checking out the Hallow Floyd, i'm glad you appreciated it.

I hope you have heard encouraging news from over seas, and that the turbulence of the world isn't too much of a strain.  It certainly is a rough sea out there right now.

As I tend to believe, the artists mind must hibernate, must retreat and allow the deeper mind a chance to process before birthing the big ideas and the big pictures.  Rereading your essay on A Serious Man, it's clear to my eyes that there isn't anyone in your league.  I know your next creative season is going to be a monster.

Keep the faith man.

Inception Mash 
May 25, 2011

LeClair:

Hey WK,

I did the Inception Meddle link up and I was blown away. Many ideas. The big one that jumped at me is Cobb's return to the US. Of course, the supreme context of this scene works just exactly because the rest of the mash is so nice. When I watched, the US return at the airport was on par with some of the great "knowledge drops" of my career as a watcher. I have seen Inception in a radically new light. The movie appears to be about the purging of Evil from Cobb's soul as he attempts to cross the threshold that separates himself from "The One". The whole "France is Evil and the U.S. is Good" theme gives it a real War on Terror sort of feel, mixing as it does with the many international travel arrangements and proper documents necessary for Cobb to "get back home" . And recall how the Devil Merovingian in The Matrix was French. And of course Mal is franc-ish for Evil. Inception, seen in this way, is about a mystery system, operating upon Cobb alone, to quite literally whip the Devil out of Him. I also detect a Catholic pedophile priest redemption code in the Fischer subplot. And all of this I somehow missed before the use of your mash up instructions.

I could write about this matter at length, but I am not ready. I feel a need to redefine the nature and message of my work, indeed my life, in a big way. My trip to Japan and recent world events have changed me somehow, and I don't think I have figured out how to represent those changes. Time will tell, I guess, but in the meantime, thanks again for the bitchin' intel and keep in touch.

Pax to the Max

Klaus:

I was wondering when this mash was going to hit.  It's just so completely seamless.  So many things tie together in it, and it continually reveals treasure upon each viewing.    

2001, Kubrick, Wizard of Oz, Floyd, Nolans work, etc.....the tornado/totem/record player, the headphones awakening them to reality, but to work in the cover of the album is stunning ("you say the hill's to steep to climb").   And yes, I completely agree with your read on Cobb's redemption.  Flow, my tears, heavily as I watched that rearrival scene the first time.  Epic.  

I might be repeating myself, but the childrens names in Inception are James and Philippa, clearly an homage to Joyce and Phil K Dick, as the writings of those two must have been huge influences to Nolan.

Again, I HIGHLY recommend the Selections from the Exegesis book...though it is a bit pricey.   The sections where PKD discusses his total body of work and how they are interelated is incredible.  Of course, a solid knowledge of his novels helps.


Good to hear from you as always.  

Helter Skelter Vol. 3

Helter Skelter Vol. 1

Around four years ago, I discovered Christopher Knowles blogspot The Secret Sun.  It was and is a consistently brilliant source of history and insight, and a doorway into the mysteries of our culture.  Thanks to The Secret Sun, I also discovered many other writers in the blogosphere, many of which proved to be just as thought provoking.

I had been an avid reader and student of most of the major names of occult and esoteric field since college, and felt that I had, as Robert Anton Wilson so eloquently put it, constructed a pretty good bullshit detector.  I was confident that these new voices I was reading were no bullshit, and that I was very lucky to have found them.

It was a very lonely journey on the path, but with each new writer I discovered,  I couldn't help feel that I had found "the others".  Slowly, and awkwardly (and sometimes a bit bizarre), I started to not just read the emerging dialogue, I started to also participate in the dialogue.  To be honest, it was probably one of the happiest times of my life.



And then at some point Stanley Kubrick entered the picture.  I don't know the specific article that did it (probably Rob Ager, another brilliant writer and source of endless insight) but I became obsessed.  I had seen most of Kubrick's films, or at least I thought I had, but I had never realized the depth of genius that everyone seemed to be arguing was on display.  I had to know more.  This is where Mark LeClair enters the picture.  No other writer seemed to hint at the Truth (whatever that is) more than Mark.

Over the next few weeks/months, I am going to share the entire e-mail correspondence that occurred between Mark Leclair (The Wrong Way Wizard, Artislav Mel) and myself.  This correspondence reflects the work that ultimately led to the discovery of the Kubrick Transformer.

Unless noted, this will be completely unedited and uncensored.  It is a completely honest account of the research Mark and I shared as we hunted down the mystery.

This first section is a conversation Mark and I had in the comments section at the Wrong Way Wizard blogspot.  I had posted this Top Secret comment in the oldest post at the blog, so that only Mark could read it.  Like I said, awkward, geeky, and a bit mad.  It led to the beginning of the email correspondence that follows.

*I can only speak for myself here, but this correspondence documents an eight month period of intense experimenting and research, and will reflect a process of learning.  At times other people's work will be questioned, and hubris will always be lurking in the shadows.  


From the Comment Section of Angel In The Morning.  I am WK23, and Mark LeClair is Herbie Mimbitz:

March 6-10, 2011

WK23-

I bury this nugget, because anyone on the path should wake to the fact that your blog is a contemporary stepping stone, a brick in the cosmic wall. You do good work. Here is my offering: Inception, pause at 2:03:06. Rewind frame by frame to when the clock hits 2:03:04 exactly. Cue up side one of Meddle and push play on both. Watch. Replay the second time with subtitles. Boo yah. ! .


March 6, 2011 2:38 AM

 Herbie Mimbitz: The Ping Pong Pandava said...

Hey WK23,

I am a Cosmic Class Procrastinator. I have yet to go to the mall which is just across the street, and buy that media. Now I will add Inception to the list. Truth is, doing these Meddle plays has been on my mind non-stop. Why I have delayed allows me to share a bit about my life, in the spirit of our Net Friendship.

I suffer from pretty bad agorapohbia. I don't mind being around others, I have no fear, so to speak, but I can't bring myself to step outside my front door.

The problem started when I was in a bike accident in the summer of 2000. I suffered a head injury and well, I haven't been the same since. For a while things were pretty rough.

Anyhow, I hope this isn't the proverbial "too much information". I don't really feel the need to tell you my life story or anything, but I feel you deserve a comprehensive explanation for why I am so desultory with so much data at the doorstep.

You can count on it that I am very interested in what you may choose to share regarding your own research. I'm am downloading Inception and Meddle right now, and will do the lab tonight.

Pax Owt for Now

Da WWWiz

March 6, 2011 6:02 PM

 WK23 said...

Wiz-

This Meddle/Inception is just a monster, and I am looking forward to hearing your interpretations.

No need to apologize for sharing personal info with me. Too much info is almost impossible these days. Agoraphobia is an awful state of mind. I can imagine how difficult the simple things I take for granted must be. Keep the faith Mark.

March 6, 2011 7:37 PM

 Herbie Mimbitz: The Ping Pong Pandava said...

My Dear WK23,

I have done the Meddle w/ 2001 and The Shining.

Awesome... I mean, what a trip. Jay Weidner proposes the use of "Echoes" over the same 2201 sequence you recommend and all I can say is...score one for WK.

The Shining Meddle is great too, and I spent my day (all of it) looking at it and sliding it over a bit here and there--totally wicked. I have some ideas about the perfect place for it to sit that are a little different than you suggest, and I want to experiment a bit more... but it is all you man. Totally bitchin'.

Haven't done the Incept yet... my download failed.

And what a great album is "Meddle". I had heard only Echoes previously, but I like side one muchos grande.

Thak you, my friend, for the gift of your vision. I might like to do a post on this matter, but will talk more w/you first.

DaWWWiz

Pax Owt for Now

March 9, 2011 2:53 AM

 Herbie Mimbitz: The Ping Pong Pandava said...

WK23,

It is 7 am and I'm still at it.

Boy have I got a find for you, to return the joy as it were. If I am telling you something you have already discovered, then it is a double thank-you from me. Either way, thanks to your Meddle Mash, we both win.

Here are your instructions.

Put your music player on ALL PLAY REPEAT. Very important.

Proceed with the 2001/Meddle Mash according to your discovery. I find it easier to use visual cues, so I line up the first track to begin exactly as the Monolith begins to fade away, at about 2:01:31.

Watch your own discovery unfold before your eyes and prepare yourself for a treat.

When the movie ends, let it (and the music) play on to the final title card which reads THE END.

Here you will need a little volume on the movie track. Listen for the final note of The Blue Danube. When Danube has ended, quickly slide the movie time bar selector all the way back to the beginning of the DVD. The slide should be executed in 1.5 to 2 secs, maximum.

This should take you back to nearly 3 min of black screen (overture) followed by the MGM Title Card, and then the credit sequence and so on. "Echoes" will have been playing for a while by the time the movie proper begins.

Let it play and you will be fucking blown away, my friend.

I'm still watching now, onto the second play of "One of These Days". Up to this point is it really splendid, and I'm gonna stick with it a while longer...

... but up to the end of "Echoes" is fah shizzle most hizzy my nizzy.

Jay Weidner should be so on the money...

Your Meddle Mash is killer.

Pax Owt 4 Now

March 9, 2011 5:36 AM

 Herbie Mimbitz: The Ping Pong Pandava said...

WK

By the end of Danube I mean the end of the phrase. Time code 2:24:25. Slide to the start at this point.

March 9, 2011 6:24 AM

 WK23 said...

Wiz-

Right on. I am excited to take it further with 2001 as you suggest.

Make sure to complete this Meddle Mash with both Inception, and, of course, A Clockwork Orange. ACO doesn't work as a whole as well as the others, but starting at 1:56:00, it delivers some worthy moments. Inception, for me, is really the true fireworks, especially reflecting on the experience of watching it the first time. I really stress taking it in first without subtitles, and second with.

A few notes:

I have been equating the iPhone/iPod with the Monolith for a while now, as I am sure you do as well. In 2001, right before the start of the Meddle Mash, the image of the planets in vertical alignment with the Monolith/iPod completing the Cross resonates with my own completed picture of 2001/Inception/The Shining/ A Clockwork Orange all being projected at once, stacked on top of each other, a cinema totem pole (another Inception image, and a totem)and synched to Meddle. Each film than becomes a planet.

The McCluhan first edition of Understanding Media is eerily similar to the cover of Meddle. The eye on UM, the ear? on Meddle. I forget where I read this but it is dead on.

Weidner's article of the hypersphere is excellent, and ties into the totem image of Inception.

I really believe that the synch of all films together will bring much added value to some of the images.

I actually expect a post from you on this, I don't think there is any one else who can map this out. Just make sure to digest the Inception Mash (one spoiler: Nolan actually works in the image of the album cover).

March 9, 2011 2:05 PM

 WK23 said...

Wiz-

I have a MAJOR work to share with you, probably sometime next week. It connects a lot about what we are discussing in this thread, and I know it will be crystal clear to your critical vision. There are elements that I am happy to broadcast here, buried in this, the first comments section of your blog, but it might be prudent to communicate the initial components of this next discussion via email. I really believe it will be a catalyst to a possible integration of a lot of your ideas.

March 10, 2011 6:56 PM

This series of messages led to the email correspondence that begins here.  The emails are grouped by the title of the email thread.

Back To OZ:  
March 10-15, 2011

Klaus :

My plan was to see if I could synch a film correctly the first time I ever saw it, with out any knowledge of the film.

I think I can carefully go on record as saying that I might be the only person in the world to have experienced this next connection in the theater, and very possibly the only person ever (unless it was executed with intent).  I didn't want to broadcast this one until you have the opportunity to take it in.  Only one other person knows about this, and he's a good guy, also a fan of your work.


I identified my film.  I had a good feeling the film was going to be loaded with imagery conducive to a good synch, but what album?

I had to choose between Meddle and DSOTM, and it became quite obvious which one to use without much thought.

So, I bought a ticket the first week the movie was our, sat in the last row with my iPod, and trusted that I would know when to push play.

Who would have known that it fucking worked.  So well, that I had to leave after one cycle of the album just to process what I had seen (once you see it, you'll also understand that there was almost a built in instruction to leave after one cycle).

I proceeded to go back and watch two cycles, and once again leave the theater.

I returned and finished the film on the third viewing, which took almost three cycles of DSOTM.  I went back a fourth and finally watched the movie without DSOTM.

Just imagine if someone somehow experienced 2001/Meddle the first time they ever saw the film?  Also, to know that the packed audience in front of me was experiencing something completely different--unravelling that dynamic is central to the debate.

Well, I hope you haven't seem the film I'm referring to so you can take it in fresh.

I'm going to see if you can guess the film.

LeClair :

OK, from the hip, I'm gonna guess either No Country or True Grit, but there are a few others that seem possible. The Social Network?


I remember a comment you once made that expressed a mutual interest in the Coen Bros., but I admit I am grabbing at straws. If I am wrong, I'd love a chance at another guess. Give me some kind of a hint. Or if you aren't a fan of such games... please SPILL THE BEANS... you're killin' me here (and I love it).


I am seriously intrigued, and if the flick is still on the big screen, I would love to go and give this a try myslef. I see two or three movies in theater per year, at most, but I can--will--make it happen. For a look at the wonders you have intimated, I would make it happen ASAP. Am I too late?


By the way, now that we are on email and in case you don't already know, my real life name is Mark LeClair.


Pleasure to meet you William Klaus of Yahoo.


Pax Owt and I Await Your Dispatch


You've really got me going. Your title "Back to OZ" makes me think maybe it's Tron Legacy.

Klaus :

The ultimate chaos magick initiation flick for the next generation:  Harry Potter and the Deathly Hallows.

I've seen the previous films, and actually did this same experiment for the previous Potter.  It is quite thrilling to walk into a movietheater and know that you are "sacrificing" it in some way, in essence, altering the director's version, by receiving it through a filtered lens the very first time.  It is taking control of virtual reality, especially when the masses around you are all under the directors spell, while you are fully aware that you are the only person under a different spell.

I had done the first Dark Potter with "The Half Blood Prince" as a kind of media dare: I would not know the plot, the dialogue, new characters names.  I would have to tell myself my own story based on image and soundtrack alone.  It was incredibly entertaining; I have only seen this movie once, that initial time, and will some day revisit it.

It would be two years before I retried this experiment, but this time I KNEW, or rather, expected some definite marriage between the two.

To repeat, I have not read these books, and in regards to the previous movie, I had "remixed" it into my own story.  "Hallows" was the organic sequel to my own Dark Potter vision. (Obviously, we always tell ourselves our own story of reality, but, well, you know what i'm saying here)

There is no doubt that whatever is bubbling beneath the surface of these types of media marriages/synchs/mash/eclipses is in full focus with DSOTM and the Deathly Hallows.

The film comes out on DVD next week.

Til then:  No Country/Side One of Meddle is nice.  Do this at the BEGINNING of the film.

Tron:Legacy with DSOTM was, in hindsight, actually pretty awesome.

After "Deathly Hallows" registered so completely, I pretty much saw all movies with DSOTM, not necessarily for the synchs (which are there) but mostly to divorce soundeffects/dialogue from film, and focus on IMAGE, and to see what story my brain was telling me based on these images alone  These experiments were over a one month period, and all funnel into my initial readings of McCluhan, and all greatly influenced by a lot of your writing.  Heavy stuff bro.  King's Speech, Mega Mind. Narnia, The Fighter, some Russel Crowe movie I walked into late.  Taking in these films this way had a profound effect on me.

That most amazing part of this process,   based on my experiences,  is how this affected my dreams.  I'm thinking that this is major breakthrough type shit, not sure which direction it will take.

Needless to say, there is a lot going on here.

To conclude:  the synchs made way to the process, the process opened up a conscious dream state.  I call it iAhuasca.

LeClair :

You are becoming my hero. iAhuasca indeed! Brilliant.


The Deathly Hallows Mash, eh? I am into to it. I have yet to see the film, so I have a clean slate for the experience. I'll pop you a line when I've got the movie, to receive my instructions.


Have you tried the Meddle/2001 loop around yet. You won't be disappointed.

Klaus :

Re: 2001/Meddle Wrap Around:  Majestic.  Just a beautiful transition and book end to this work.  Thank you for sharing.  The return "ping" when Moonwatcher looks at the bones about killed me.  Plus, I don't think I'll look at that floating pen in the same way ever again.

I equate the line "One of these days I'm going to cut you into little pieces" as this type of editing, something impossible in the 1970's.

Google "Meddle Mash", you should get the lyrics to a song by an aptly named artist.

I think the wrap around ends nicely with San Tropez, around 41:28,  when the photographer (young Kubrick) announces that he is through, so that they can announce Dr. Floyd, who begins his speech.  Let the movie take over from there...perfect balance.

One last note:  starting Echoes at 1:37:52.  Subtitles on.

I'm going to say that starting "Seamus" at 1:35:36, and letting the album play out is the one.  Gotta love the teamwork.

Start Inception at 1:37:21 with Seamus.  The story of Mal.

LeClair :

Your interpretation of the lyrical reference to "cut up" is chilling, and I do not choose this term lightly. I hope I can live up to your standard on this, because right about now, I'm feeling it bro, and I am shaken. Have you seen "The Phantom of the Paradise". There are certain pieces of music that are remarkably similar to those found on "Meddle". There is a reference to "cut up", vis, "...all this cutting up ain't easy and it isn't for the queasy or the weak of heart...". The song, called "Life at Last", is on my blog at the very bottom of "Quiz Show Holocaust". There is a musical riff in "Echoes" that is found quite literally note for note in "Somebody Super Like You".


And my dreams are off-the-hizzy lately.


Life at last.


http://www.youtube.com/watch?v=3mQ0nzo_rU4


Somebody super like you.


http://www.youtube.com/watch?v=l2iHPnmAT0o&feature=related


Something interesting about the initials WK. "Meddle" is 46 minute and 44 seconds long. With track spacing that's about 46:46


Listening to Weidner on RedIce radio.


http://www.youtube.com/watch?v=ssnlbnAGGV0&feature=feedu

Klaus :

Using my iPod, I'm starting Seamus at 1:35:35.5, and I'm just in AWE

Gonna check out that Weidner later tonight.

Owsley Stanley died today, nicknamed Bear.  Amazing guy.

Thoughts on Weidner:

It's always hard to process talk of Satanism, especially the whole pedophile/sex/death cult.  I know that it existed or exists in some form, but it just doesn't seem to register as a cult institution.   It seems essentially a societal mirror, or a psychological moat that one must cross.  No one crosses with the guilt of knowing they create damage in the realms of children, sex, and violence.  It seems like a test of some kind.  The Monarch thing seems somewhat legit as a technology.  I have trouble processing those angles.    

I do think that the most evil thing vampiring the world today is pornography, especially Internet pornography.  Vampire city.

The whole Elite thing is an intellectual trap to me, the final tempation of Christ/Buddha.  Maybe Kubrick was deceived, and is atoning with these embedded confessions.  The creepiest connection to his insider knowledge is the sound of the tennis ball in The Shining, echoes of the bodies hitting concrete on 9/11.  I think I might buy into that angle you suggest, that Kubrick knew of the plan.

  I don't really like that Weidner sells his info, makes DVD's.  There has to be some disinformation going with that.  I have to say your blog always has the authenticity of a true seeker.


Start "Seamus" at 1:37:21 in Inception with subtitles.  For 2001, I'm going with 1:35:35.5.  Shame On Us indeed Stanley.

LeClair :

Yeah, I agree about Weidner... he seems to be holding back as much as he reveals. Good for business, I guess. Nevertheless the Monarch, Pedophilia angle is present in Kubrick, especially in The Shining and EWS.


I basically agree with your idea that it is all "some kind of test". But what a test!!


I keep on digging. I have no doubt you do the same. Perhaps we can really break this wide open. I don't know, but I do know I am committed.

Klaus :

So, starting The Shining with Seamus, to complete through side one, the first pings of Echoes strike when Hal and Charlie appear on the radio.

I'm starting Seamus at 1:36:30.  Over Larry's right shoulder is an ad for "pooch" air fresheners, as well as what appears to be a dog in the cartoon on TV.  The Garage is a male version of the Kitchen.  Dig. It.

There's that Grand Piano behind Jack...

The climax to Echoes in The Shining and 2001 seem to focus on the major conspiracies.  Or not.  But something was orchestrated.

Careful With That Axe You Gene:  
March 16 -18, 2011

Klaus:

Rob Ager's essays have a wealth of insight, but I agree with your opinion that he seems to stop short of piercing certain veils.

I like his cycles of abuse, culminating in the picture of Jacks grandfather at the end.  The abuse/amnesia component works perfectly with "shining".  Sexual and violent abuse is an archaic form of mind control, with healing psychic eruptions, manifested as waking dreams,  paralyze with insight.  But does Kubrick hint at the newer tech, a cleaner form of mindcontrol?  Something not done in shadows, but out in the open? This newer mindcontrol, Kubrick might be suggesting, is escapable as well.  A genetic  "shining", deeper than repressed unconscious "shining", that works with codes rather than simpler forms.  (PKD with his visions).

Ager doesn't seem to make that leap into the non-local weirdness, which is fine, but it shouldn't be ignored.  This must be Kubricks Finnegans Wake, the nighttime  to compliment 2001's  daytime Odyssey.  In space, it is always daytime, the sun always shines.  In the Overlook, it is the son that shines.

LeClair:

I am overwhelmed by events in Japan. My brother and his family live in Tokyo, and he isn't taking it well. My mom has aged 5 years in the last week. I feel , for myself, like I am in suspended animation. I can't seem to think or make decisions. I sleep and listen for updates and nothing else.


Anyway, just wanted to touch base. I have enjoyed your discoveries so much, and hope there is more adventure in the future. Please keep in touch.

Klaus:

Mercy.  Completely understand.  My thoughts go out to you and your family.

LeClair:

I appreciate your thoughts. It's weird. I feel like the world is coming to an end. I want to just forget it and move on, or even revel in it, as I have in past catastrophe, but for some reason this event has heavy hooks in me and I can't shake them.


There are six reactors a Fukushima, each housed in a Cubical Cooling Tower. The two color paint job on the cooling towers are white and pale blue, and looks like sun dappled water. The tower colors are eerily like those on the flag of Israel, which sports the hexagon and in turn the Cube. The Hebrew letter Mem means "water", and the letter form for Mem is described by Kaballists as "cubical". Mem also means "forty". Forty years ago were the events of "Watergate" and not coincidentally, the Fukushima Daiichi Facility goes on line in 1971. The Tepco Logo is devised of Six Rings which harkens both the number Six and also Saturn and its hexagonal polar anomaly. From "tepco" I find "octep" like "octopus" and also "optec" as in "optic".


As silly as is seems, I consider the possibility that Stanley planned all of it.


It is madness, I admit, a divine madness, though.


My thoughts are also with you, WK, whoever you are. Take care of yourself and loved ones in these crazy times... and as it all unfolds, keep in touch.