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…
