Appendix A: The Men Who Stared At Kotze

                                                                                            dhyou read me HAL?

The Men Who Stare At Notes

What happens when you snap out of the black and white iron prison?

Not extra-terrestrial intelligence 

Extra-environmental intelligence 

The Internet As Seen From Space 

Gardens are machines, all environments are machines

Confinement speeds up mutations 

The two largest organs in the human body have an endo-skeleton 

The third largest has an exo-skeleton 

Only one has taken over the planet 

All environments must be considered in psychic-somatic terms

All man made environments speed up processes 

All electronic environments are an extension of human consciousness 

Water flows into any available space

Mechanical Bride meets

Medium is the Massage

The Russians were knocked out of film by color

They couldn’t handle the distortion of photographic media

Kubrick: black and white - Paths of Glory,  Lolita and Strangelove 

Kubrick Color - Spartacus, 2001(?), A Clockwork Orange (?)

I'm not a director 

🌈 🌈  🌈

I'm Stanley Kubrick

"I always thought music looked nice on paper" 

Frank Zappa

Planets are non submersible 

World religions are non submersible

Masks are non-submersible

😷 cough

: Finnegans Wake Monomyth :

: Bible Monotheism :

: 2001 Monolith :

Thunder Words : Finnegans Wake Sacraments : Bible

Non-Submersible Units : 2001

Sacraments of Initiation in 2001

Baptism : Holy Water

Confirmation : Monolith

Eucharist: Holy Blood

Sacraments of Healing in 2001

Penance: the pod confessional

Anointing of the Sick : retrieval of the body

Sacraments of Service in 2001

Holy Orders : The Jupiter Mission

Matrimony : The Starchild

The 200I Ching: A Space-Time Odyssey

“The I Ching is a nonverbal experience; out of two hours and nineteen minutes of Timewave Zero, there are only a little less than forty minutes of dialog. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content. To convolute McKenna, the message is the medium.  I intended the timewave to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does...You're free to speculate as you wish about the philosophical and allegorical meaning of it...but I don't want to spell out a verbal road map for the I Ching that every viewer will feel obligated to pursue or else fear that he's missed the point."

A Work In Progress

Broken Line: last page first page

Unbroken Line:  first page last page

200I Ching: A Space-Time Odyssey

Broken Line: Book/ManuScript

Unbroken Line: Film

The Mutation of the Nightmare of History into Day Light

Broken Line: Old Testament/New Testament

Unbroken Line: The Bible

The origin of the glyph is uncertain. It is usually suggested to have originally depicted either a sewing needle, specifically the eye of a needle (Hebrew קוף and Aramaic קופא both refer to the eye of a needle), or the back of a head and neck (qāf in Arabic meant “nape”).  

According to an older suggestion, it may also have been a picture of a monkey and its tail (the Hebrew קוף means "monkey")

😷qoph 😷 

QOPH

Written with a Q

Spoken with a K

Conspiracy of print

Magick of speech

KopH?

K is 11

H is 8

2001 to 2020 - 19 years

cough 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷 😷😷 😷 😷 

How is the Mass?

“The Hermetic Corpus was a B/W version (pre-Moses) of something written in Color (post-Christ)

2001 is a colorized version (post-Christ) of something photographed in black and white (pre-Moses).”

We are shifting from the Iconic Space of Tarot

To the Acoustic Time of I Ching.  

S🐻 

🕌  VR is non-submersible : VR is a thunder word  🕌

VR is a sacrament

The Flood will not be televised

A Counter-Clockwork Orange, man

Horselover Cat

Sent from my iPhone

---

   

Back of the head

BK

Serenity, Lies, and Videotape

Ann Bishop Seinfeld lives in New York. She is unhappily married to Jerry,
a successful comedian.  They live in a Manhattan apartment.  Ann has a personal complaint about intimacy she expresses to her sister: she has never experienced an orgasm.  She is in therapy.

George Costanza is an old college friend of Jerry.  He is now seemingly a drifter with some money saved up.  Nineteen years after college, George returns to visit and perhaps live in New York.

George arrives at Jerry's apartment to find Ann home by herself.  After some small talk, Ann learns that Jerry has invited George to stay with them until he finds an apartment.  

When Jerry arrives home, George's demeanor becomes remarkably more guarded, 

due in large part to Jerry's subtle disapproval of George's bohemian persona.  

The men leave the apartment to have coffee and catch up.  

George eventually explains what happened to his ex-girlfriend Susan. 

Jerry is cheating on Ann with her sister, Elaine, a free-spirited and friendly personal assistant.  He rationalizes it by blaming Ann's frigidity.  Jerry frequently leaves his apartment mid-day to meet for trysts with Elaine, instructing his neighbor Cosmo to entertain and distract Ann.

Ann ends up helping George look for an apartment. After George finds a place, Ann makes an impromptu visit to George's apartment.  While visiting she notices stacks of camcorder videotapes, all with women's names on them around the television.  When pressed, George explains that he interviews women about their lives, sexual experiences, and fantasies, and records them on videotape.  After hearing George, Ann is suddenly overcome with shock and confusion, and quickly leaves his apartment. 

Within a day, Ann's outgoing sister Elaine appears, uninvited, at George's apartment and introduces herself.  Elaine presses George to explain what incident "spooked" Ann the preceding day.  George briefly and reluctantly explains the sexual interview videotapes, and admits to Elaine his sexual dysfunction: that he is impotent when in the presence of another person, and that he achieves gratification by watching these videos in private.  George propositions Elaine to make an interview tape, assuring her that no other person is allowed to see the tapes.  She believes him, and agrees.  

Elaine tells Ann that she recorded a videotape with George. 

Ann is horrified.  

Elaine also tells Jerry about her videotape with George.

He is also horrified. 

Cleaning her home the next day,  Ann discovers Elaine's pearl earring in her bedroom (she knows the earring belongs to her sister, since she had mentioned that she had lost it) while vacuuming.  Ann is then furious.  She heads over to George's apartment with the intention of making a videotape.  George objects, telling her making a videotape is something she would not do in a normal frame of mind.  Ann insists on making a videotape, and George relents. 

Afterward at home, Ann angrily demands a divorce from Jerry.  In the ensuing shouting argument, Jerry quickly learns that Ann has been to George's, and that she made a sexual video.  Jerry rushes to George's apartment, suddenly hits him and then locks him out of the house.  Jerry then watches Ann's tape. 

In the video, Ann says she has never felt any kind of 'satisfaction' from sex.  After George asks if she ever thinks of having sex with other men, she admits she has thought of George.  Ann later turns the camera on George, who resists, but she persists.  George confesses that he is haunted by Susan, and that his motivation in returning to New York is an attempt to achieve some closure.  George explains that he was a pathological liar, which destroyed an otherwise rewarding relationship with Susan.  He also explains that he has gone to great lengths to incorporate his love of food into sex in hopes of reversing his impotence.  Ann disappears into the kitchen, and returns with a sandwich.  She then starts touching and kissing George; George turns off the camera; it is implied that the two have sex. 

A chastened Jerry joins George on the front porch and, with obvious pleasure, confesses to having sex with Susan while she and George were a couple.  Jerry helps George to see his ex Susan in a more realistic way.  He states, "She was no saint. She was good in bed, and as Cosmo likes to say, she could really lick an envelope. That's all I can say about her." Jerry then leaves.  This statement makes George furious and he goes into a rage and destroys all of the videotapes, as well as his video camera. 

The next day, Jerry is summoned to Cosmo’s apartment.  Cosmo implies that he is about to be fired due to his frequent cancellations of meetings with important Kramerica clients while Jerry sneaks off to meet Elaine.  Jerry explains to Cosmo that Kramerica doesn't really exist.

In the next scene, Ann and Elaine reconcile at Monk’s Diner. 

Ann then goes to George's parent’s house and joins George 

at the dinner table, as they 

appear to be a couple. 

Wikipedia:  Sex, Lies, and Videotape

The Aeon: We Were All Bound Together

Westworld Season 2, Episode 8 "Kiksuya"
+
Kanye West Yeezus + KIDS SEE GHOSTS

Reduce the color on your TV screen so that it is in B/W

Push play at the end of the opening credits

This was an invasion of my psyche by absolute knowledge.  It bore no relation to what I had up to that moment believed, wrongly believed.  There was not even a sense of insight, of satori: it was pure knowledge, like a sort of seeing: a vision of the situation as it actually was.  And it was primarily a moral seeing.  Absolute moral rectitude occurred in me.  It simply took place.  All at once it was.  I guess I saw it as K saw it.  And how different that was!  And absolute!  It was not a viewpoint.  It was knowing.

What I have been calling “the meta-abstraction” is in fact knowledge—the act of knowing—as God knows (i.e., knows what is, i.e., world).  In 2-74 and more fully later in 3-74 I saw as God sees and understood as God understands, that is, absolutely and a priori, in which what is known is exactly the same as what is; they are assimilated to each other.  That the mind of God was at that time in my mind—I experienced that as Valis in my mind.  All that I saw (Christian apocalyptic world, the plasmate, set to ground, the prison, the secret Christians, the abolition of time—i.e., coaxial reality and the conception/perception of eternal constants)—this is how God sees; I did not see this or understand this; God saw and understood this, and, as I say, I saw and understood because he bloomed in my mind like cold white light (hence I experienced an infinitude of space).  I realize this due to Sunday night when the same absolute knowing by God in me induced a realization of my practical and moral jeopardy.  Again there was certitude—total, unconditioned knowing—but what I knew this time was dreadful and lethal to me practically and spiritually.  Once again the unitary fusion of knowing and doing occurred because for God there is no distinction between what he knows and what he does. Ratiocination—logic itself, thinking itself—does not occur because it is not required; God does not figure out; he does not reason because he does not need to reason.

It was - both times - as if my mind expanded into infinity (conceived as spatial infinity). The sense one gets is that one’s mind contains all reality, and this is because all reality is known a priori and absolutely, not sensibly and contingently.

I guess for a moment I was plunged into hell and discovered what it consists of: one is given absolute moral insight into one’s own sinful nature, and there is no way it can be rectified; it is now too late; hence hell is eternal. This is clearly and obviously the just punishment and the logical punishment: absolutely (by the knowledge of God’s own mind) to see what one has done, illuminated by the divine light that reveals all. This is total knowledge of the situation and of oneself. It can be awful. By this divine illumination one’s cognition/perception condemns one; this is absolute self-condemnation not based on arbitrary rules but on total comprehension of what, really, is structural and how one has fitted into this structure and changed it by one’s deeds. The harmony and order of the cosmos are disrupted by what one has done. It was not guilt that I experienced; it was understanding. This is more terrible than any guilt. Guilt admits of degree; this was boundless.

PKD, EXEGESIS 1982

Ego is the First Form of Synchronicity

"I was very interested in synchronicity in my youth.  That’s sort of what got me started reading Jung.  But the more time I spent reading philosophy and especially philosophy of science related to time, I came to realize that synchronicity as presented by Jung is not an explanation of anything.  It’s the name of a phenomenon, but it is no explanation. In fact, it tells you there is no explanation.  The explanation is there is no explanation, it’s simply synchronicity. 

You have to be able to perceive almost schizophrenically.  What happened to Phillip K. Dick was that the resonance became stronger than the reality, or, it became equal in strength to reality, so that by squinting he could see 2nd Century Rome.  Everybody changed into people wearing togas and people speaking Demotic Greek and everything.  That was the resonance of where he was at.

But when the resonance comes forward with such strength that the foreground is displaced, they have a name for that: buggo. 

You know, you gotta watch that. 

On the other hand, if you can control it, it’s a source of great richness and inner amusement."

Terence McKenna

In this particular scene I was playing the score for Joaquin in the room because, we had Hildur Guðnadóttir who is our composer.  I had her write music before we shot the movie, which isn’t done very often.  She wrote it based on the screenplay, and I wanted that because I wanted the music to really affect and infect this set in a way.  I wanted the camera operators, the set dressers, the wardrobe, everybody to feel this music. 

If I remember correctly, we were playing her score when we were shooting this, and all of a sudden as Joaquin is struggling with Arthur’s smile, and his frown, and figuring out again if his life is a comedy or a tragedy, this little tear appears.  And we just had the scene and we moved on.

Todd Phillips

Ego is the First Form of Synchronicity - Notes/Rough Draft

How does this work again?  Off the top of my head (no internet search)

Todd Phillips new film The Joker was released this week.  His first film was Hated in the Nation about GG Allin. 

From what I have seen in the previews, The Joker stars Joaquin Phoenix as a traumatized and possibly mentally ill man who strives for acceptance through performing on stage.

Phoenix is famous for an elaborate joke, I’m Still Here, in which he “retired” from Hollywood, and pursued a dream of becoming a rapper on stage.

GG Allin and Phoenix ( or is it "the character" Phoenix plays in ISH) represent two individuals who achieved success in the polished game of fame, before turning on and dropping out, and then sharing their descent into madness. 

Again, I am only assuning from what I have seen in the previews, The Joker seems to be Phillips and Phoenix attempt to tell the story about the dark side of chasing fame, of the people who go into the pursuit with unavoidably tragic baggage.  People who have lost so much, and have somehow been led to believe that ascension into the world of fame is a form of salvation.

In trying to select an album to listen to when taking in this new movie, I look for puzzle pieces of fact that fit together.

I immediately seized upon The Glowing Man by Swans.

A.  They are both two hours long

B.  Robert DeNiro’s character is named Murray Franklin/The Glowing Man has a song called Frankie M.

C.  Robert DeNiro is starring in a new film called The Irishman/I am Irish

D.  The Clown makeup of The Joker represents a type of “glowing man”, a person whose face is lit up and amplified

E.  Michael Gira’s early performances in the 80’s remind me of a more stable GG Allin, in the sense that Gira laid waste to his ego in the most savage and vulnerable of ways. 

F.  The two opening songs “Cloud of Unknowing”/”Cloud of Forgetting” represent a striving to be released from the imprisonment of some type of trauma, or a dark and uneasy past.  This is something that can be achieved gracefully, or perversely.  I feel that this film will show the dark side, the perverse side of salvation that arises in hopeless situations.

G.  The final song on the album is called “Finally, Peace”, which is something that I believe the character of The Joker is ultimately searching for.

For me, these are enough puzzle pieces for my mind to twist and turn and piece together into what I can only describe as a metaphysical lens through which to see, hear.

iAhuasca: an arrangement of interdependent correspondences designed to transcend perspective so completely it triggers a niagra of coincidence that, once believed, projects pre-cognitive synchronicities into the foreground.

I have only seen previews of The Joker.  I have not read any movie reviews.  I have looked up character names and the time of the movie on Wikipedia.

I do not know the plot of this film, but I feel like I know what it is about,.  I feel like I have heard it already in the music of The Glowing Man;  this is simply a chance to see a film version of that music. 

Will the marriage of this album and this film be interesting? 

Of course.  Any chance to sit and listen to The Glowing Man from start to finish is going to be an interesting meditation.

Will there be synchronicity?

Of course.  Even a stopped clock is right twice a day. 

But what happens when a stopped clock is right three times a day? 

Or four, or five times a day?  These sparks are the kindling for the type of experience I am looking for. 

I am going to the theater in about an hour.  I plan to take a few notes, and then I hope to polish these notes into another final synthesis of what this blog is all about.