Helter Skelter Vol. 6: The Delicate Sound of Thunder

2001 Timing
July 25-28, 2011

LeClair

To do it right with DSOTM, you should listen to Also Sprach at the beginning and end of the movie. The rest is all Floyd

Don't forget to all play repeat. I am working on this match-up right now, DSOTM with all three movies. Should have some cool data in 3-4 days. I hope sooner, but it is exhausting--fun, scary and exhausting.

Klaus

True.  After a few days of playthroughs, my mind goes to jello.

This project has become so normal to me, that I almost forget how abnormal it all seemed the first time I played DSOTM to the Wizard of Oz.  I am, however, reminded of it's novelty aspect any time I find an urge to discuss it with someone.

I hope you have the opportunity to do a live Harry Potter synch in the theater.  It's truly an amazing experience.

I have tried to find a good resource concerning Gauss tensor, but I feel as though I need more info/time to truly grok it.  At this point, this is what I can conceive of it: Gauss needed a mathematical equation to measure a seemingly immesurable object (Ceres).  The tensor equation required three points of observation with which to document consistent statistical points. This trio was beyond the normal singular human perspective.  Through the trio and math, Gauss was able to accurately predict the orbit of Ceres.  The extrapolation of this system hints at larger notions about reality.  

LeClair

If you find the time to do my recommended match up DSOTM/2001 you mind may solidify again.  It is fucking amazing.

Here is a final bit of instruction.  When the fourth play of "On the Run" comes around, just before the ancient Dave enters the Monolith, turn up the movie volume to 100%, with the DSOTM sound at about 60%.  The resulting experience is beyond description.

Regarding grokking the tensor, it is only a metaphorical usage I'm applying. Basically, because of the special way I personally stumbled into these three "mother matches" of 2001/DSOTM, TS/Meddle and EWS/The Wall, I have decided to use each album against all three films as a "metaphorical" version of the tensor. The goal is to co-relate the data to within an inch of its life. To measure three events with three different yardsticks. To "cut it up into little pieces" and put it back together again.

In a few days, when I relay my data for DSOTM, I will also relate just how I got into this mess, and discovered the 4:22 2001/DSOTM match-up. It is interesting.

Klaus

Started the final run up of Dark Side/2001 at 1:30:22 (Not sure if this completely accurate).

  Just might be the most sublime of them all.  Seamless.  I'm always amazed at how I'm repeatedly blown away at the beauty and magic within, and how it's like I've never seen it before with a new combination.  How deep is the rabbit hole???

I can't wait to restart from the beginning and take the entire Dark 2001 in.

Bravo, Mark.

LeClair

You must see from the beginning.  It will amaze.  You are eight seconds to the heavy side for this final run up, an effect produced by the slight inaccuracy of song times in aggregate, I suspect. It can be tricky lining up the time from other than the starting point, so I have made a key list for timings which I will send to you when it is completed.  Nevertheless, for this part of "2001" the effect would be extremely similar.

Here seems like a good place to tell you how all of this started for me.  I will be brief.

In the summer of 2001 I worked in isolation in a town on the border of Alaska/Yukon called Beaver Creek.  At this time, I had no knowledge of the kind that we currently discuss, except some trivial detail in he old noggin.  I was, however, a serious movie fan with a penchant for Kubrick.  One afternoon a fellow employee suggested the DSOTM/Oz synch-up.  I had never heard of such a thing, but I was duly intrigued.  The difficulty was that we were in the middle of nowhere and the availability of movies was scarce.  There was a lady in town who collected videos, and we were off to see if she had The Wiz to loan.  I was amazed to learn she did not.

At this exact moment, something incredible happened.  Without thinking or even having time to form a thought I bespoke the following sentence: "Well, we could do it with "2001", because they are basically the same movie".

I have no idea from where this thought emerged.  It was a kind of automatic speaking, like speaking in tongues or something.  To add to the weirdness of it all, the lady did have a copy of "2001" and we borrowed it.  My co-worker wondered how we would set up the timing.  Because I had devoted my life to classical music, I decided that Strauss's Also Sprach should be heard before the album started... mostly because I wanted to hear it myself.  I hit the play button on the attack of the last note of the piece.

Up to this time, I had never heard any Pink Floyd outside of radio play and random occurrence.

Now, I was hearing this amazing album next to my favorite movie, a movie I would have bet my life that I knew something about, and my world was shattered.  It is fair to say that my study of the occult, media, and related material began exactly when that event took place in June of 2001.  Thing is, I barely survived the resulting psychological injury.  My social and professional life was destroyed.  I withdrew into a cone of silence.  It took me about five years to get to where I could make myself understood to others.

Really Bill, you need to see this from the beginning, straight through the intermission to the end, asap.  How deep is the rabbit hole?  Deep.

In a few days I will have completed my correspondence table for the DSOTM part of the tensor.  Another day to write it up and I hope to have it for you to peruse for the weekend.  

Klaus

Gonna spin it today.

What did your co-worker think?  Were you smoking/drinking?
Did you have subtitles?
Did you watch DSOTM and Wizard of Oz soon after?

LeClair

No subtitles.  It was done on a boom box and a TV.  We blended the sound.  My co-worker was astonished.  He may have wondered if I was on the up-and-up... if I had done it before.  We repeated the experiment several times and as I remember it, there were more than a few people who got the gist of it all.  I have not seen or spoken to any of these people since 2001.  It was more than a year later that I finally watched The Wiz/DSOTM.  The result was an article, my first at metaphilm. 

I had started smoking weed some months earlier (at age 34 no less).  I went quickly from a joint or two weekly to an ounce or so monthly.  By Beaver Creek I was kronik, yo.  I had brought about four ounces with me to last the 4 1/2 moth contract, but had burned completely though it in 6 weeks.  I was drinking about 20 oz. of straight whiskey--all day long, just sipping.  Needless to say, I was seriously fucked-up.  It was, without a doubt the highest, wildest and weirdest experience of my life.  I have tried to recreate it, but have yet to touch again so close to the void.

The great part about it is that as unhinged as I was, I doesn't matter in the least to the profundity of what I discovered and have continued to discover.  I have paid a high price, but so far it is worth it--big time. 

Now that I think of it, it wasn't a year between the two synchs... it may have been merely a few weeks.  It was a heady time for me.

Klaus

Is your article about Wiz/DSOTM still up at metaphilm?

LeClair

Yeah, it's up there. And I was right the first time. It was a little more than a year later than the 2001/DSOTM cataclysm of June/Jule 2001.

BTW. When you do get around to the complete 2001/DSOTM, I hope you do it to the end. I am watching it right now and the timings are a gobsmack. Most delightfully, the melody of Ont The Run and Time mixs fin a mindbending way with the closing Also Sprach and Blue Danube. The melodies are so close that I regard this as potentially purposeful.

Here's a link to the article

http://metaphilm.com/index.php/detail/the-wizard-of-ads/

Klaus

I thought that that was the article.
I could tell from the style, sense of humor.

Quick note:  a pink Floyd site references the words on the intercom of On The Run to be " "Get your tickets and your passports at the ready, we make a brief stop at customs and then we begin. Now boarding flight 215 to Rome from Colorado Fields.". Any thoughts to the accuracy?  If so, ridiculous.

I hesitate to bring up this question right now:  the official running time of DSOTM seems to be documented at 42:59.  This does not balance with the time I have calculated on my iPod, which is 42:51.  For the third run through, I advanced according to 42:59, allowing for 1 second of pure silence in between, leaving 2 X 43:00, arriving at 4:22 + 86:00 = 1:30:22.  In my viewing, many transitions were seemingly perfect.  I am going to start from the beginning and go throughout, but was wondering if you have noticed these timing discrepancies.  Thoughts?

LeClair

Yes, I have noticed these discrepancies. I discovered them last week when I tried to cut up EWS with The Wall Timings. There are two main problems. The first is that the individual track titles do not represent a "to the instant" timing, but rather a rounded off amount that is sometimes nearly a complete second off-time. Second is that the replay function does not overlap "to the instant" either. The aggregate of mis-timing can create a pretty big discrepancy when looking at sections of the mash-up. For this reason, the only accurate timing must be considered the "uninterrupted all-play-repeat with the correct start time". In regard to all three films, I am comfortable, even firm, that the start-timings I have "discovered" are accurate to within one-half second. You have seen the wonders of Meddle and The Wall. When you see the DSOTM/2001 mash you oughtta know fer sher about the timing issues.

As I mention, I have developed a master timing key to allow the movies/music to be broken into smaller sections for study. I have finished the list for DSOTM with all three movies. I'll send it to you when I compile the DSOTM part of the tensor.

Yeah, those words from "On the Run" are accurate. I think we can agree this hole is deep as deep can be. The question is, can we hold our breath long enough to get to the bottom.

Klaus

Quick check:  I find that Us and Them ends just as the light show ends, and Any Color You Like starts just as Bowmans eyeball hits the screen.  This cut destroyed me.  Does this jive with your experience?

"Yeah, those words from "On the Run" are accurate. I think we can agree this hole is deep as deep can be. The question is, can we hold our breath long enough to get to the bottom."

This made me laugh out loud.  Great stuff.

In the Wizard of Oz, Professor Marvel's horse is named Sylvester.  The name of the actor who played Heywood Floyd in 2001?  William Sylvester.

LeClair

I find this cut very pleasing... so pleasing that it is troubling, because it is quite a bit off of my timing. I am a little pissed actually, because this cut is so frickin' awesome that I need to go back now and reconsider my timing after two days of work. FUCK!

Oh well, it is all in the game and I want to get it right. It would be alot harder if it wasn't so fun. I must say that as strongly as I feel about 4:22, this particular cut of yours, with the "white flash" preceding, seems a perfect fit for the moment as you see it.

It's not fair that you should get devastated and not me!!

I will now watch the whole damned thing again. Give me a couple few hours.

I just did your eyeball/Any Color match up.  For a second I was nigh on to convinced you had me, but as interesting as one or two synchs are, I think it falls short of the wonders of the 4:22 timing.  The movie is a good 20 sec. behind where it fits best.  When you have reached the end you will hear '...live for today, gone tomorrow..." just as ancient Dave enters the Monolith for the last time--you will know.

I don't want you to think that I don't appreciate your contribution here.  I desire to be challenged on every and any detail you consider worthy.

Do the 4:22 match from start to finito... you won't be disappointed, but you'll probably be pretty tired.

Klaus

Absolutely bro.  Excited to view it in it's entirety.  I'll report back.

LeClair

OK.  At last we have communication.  I think you have made a mistake in identifying the track-name.  The eyeball cut to multi-cubes begins exactly as "Brain Damage" begins.  This is to the lyric "the lunatic is on the grass".  If this is the timing you have found then we are on the same page.

Klaus

Sorry, i got confused.

Here is what I've been working with:

By the exact numbers of my iPod: start at 4:22, plus two complete plays at 42:59, plus 25:45 for Speak>>Money.   This leaves Us and Them starting at 1:56:05, Any Color starting at 2:03:55, and Brain Damage starting at 2:07:20.

LeClair

And therein lies the problem. For some reason, by the numbers, you come in seven or eight secs on the heavy side of the movie. I noticed these discrepancies and corrected them by carefully watching the movie and recording the exact DVD timecode when certain tracks started. It was time consuming, with many errors on my part. However I have checked and re-checked and somehow it comes out according to the following DVD Key. When you do the full version you can check for this yourself... or just trust me. Here is the 2001/DSOTM Time key for start times on the whole album. I'll send you the trachk spacing later, with my data. You'll find these time lines up with the Brain Damage cut just exactly as you describe it.

Play One Starts at 4:22
Play Two Starts at 47:18
Play Three Starts at Just a split second before 1:30:13
Play Four Starts at just a split sec. before 2:13:08

This gives the final play of Any Color at just a split before 2:03:48, which is seven seconds on the light side of your current timing.

Don't forget to turn up the movie for the final play of Also Sprach. A good spot to turn it up is while Dave has his dinner.

Happy Hunting.

Klaus

Awesome, thanks for the input.  Gonna do this in the morning tomorrow.

Talk to you then.

I'm thirty minutes in.  And, well, I mean, it's just...well, you know.  A skull cracker.

The most amazing thing about this is, I was convinced that I had it, that my calculation and mix was THE mix, and after watching it through, according to your guidelines, it is clear that your mix is absolutely precise.  It provides my mind a lot more confidence in the arena of objectivity.

In Finnegans Wake, the thunderclap that recurs throughout the book is the word of God, the changing of aeons.  In 2001/DSOTM, the thunder is clearly heard as the Monolith lands, the astronauts (specifically Floyd) on the Moon(and one of the most haunting moments), as Dave captures Franks dead body, as well as a fourth and final time as man is reborn.

The first time you experienced this back in, not so oddly enough, 2001,  the thunderclap roared long and loud, and I can understand and appreciate the confluence of variables that ushered in a very long and dark night of the soul for you.

Funny, after watching it completely through, all I want to do now is start it up from the beginning.

  Thank you for your patience on this one, a lesser person could have gotten quite agitated concerning my occlusion.

LeClair

Wow... I am more than pleased that you have enjoyed this as much, it would seem, as I do.  There is no need for your apology (as brilliantly written as the whole mail is).  I am certain about my timings and some of my conclusions too, but not married to them.  Your insight is valuable, in spite of a bump or two along the road.  I have sought a partnership of this quality for a long time.

I am glad you noted the "thunderclap" and am more than tickled that it also appears in Joyce as you describe.  I am of the opinion, given my marginal knowledge of Joyce, that Kubrick intended 2001 to pair with Ulysses; EWS with Finnegan and The Shining with The Dead.  I admit that this is mere intuition on my part, although there are a few clues in EWS (Apt. #5A: Harford's Address).

Klaus

"Delicate Sound of Thunder became the first rock album to be played in space, as Soviet cosmonauts took it aboard Soyuz TM-7. They left the cassette box on Earth to save weight. The members of Pink Floyd were present at the launch. The double LP was also the band's only album to be officially released in the Soviet Union by the state-owned label Melodiya."   from Wikipedia

LeClair

I am impressed.  What is the date of this event?  To my sensibility, this is not plain coincidence, nor is it brilliant creative programming.  I am of a mind that it has an occult nature that Kubrick either knew of or programmed himself.  I have so much I want to say right now, but I am holding back until I can present the complete data on my first pass of the DSOTM tensor.  I will finish watching EWS today.  Tomorrow, I will go through "The Shining", which should be easy, as I have done it before with DSOTM.  It is my ardent goal to get my data to you no later than Saturday... I am shooting for Friday night.

As an amuse bouche, here is some deductive reasoning.  I admit this is very thin, and doesn't really have any meaningful bearing on the research at hand, although I suppose it could do.  Rather, it is just a speculation I entertain as to one small part of how this might have gone down.  I have developed this "theory" thanks to the direction given by our partnership thus far.

Young Roger Waters admires Kubrick and maybe even thinks he "gets" it.  Pink Floyd gets alot of early chops writing music for the movies, and score several films by the late 60's.  Waters wants to score a Kubrick film.  According to the Floyd/Kubrick site, Waters's one regret is that he did not score "2001".  There is an implication that he petitions Kubrick for the opportunity to score the movie, and is denied.

I speculate that when Waters finally sees "2001", his regret is amplified.  Not to be completely foiled, Waters decides to score "2001" anyway and the result is '71's "Meddle".  The trouble is that "Meddle" fails to draw the attention and perhaps praise Waters desires, namely, from Kubrick.  It is a matter of subtlety.  "Meddle" simply fails to attract Kubrick's slightest attention.  Waters decides to turn up the heat and DSOTM is the result.  DSOTM contains direct, even explicit reference to the values expressed in "2001".  Polymath Kubrick catches the hint this time, and checks it out.  He may be either pissed or delighted, but he is certainly curious enough to investigate that "Meddle" is a profound soundscape to his film and that DSOTM, perhaps accidentally, gives away many of his carefully encoded secrets.

For myself, I have decided that mastermind Stan is amused by Waters fascinations and decides to recapitulate with "The Shining"/Meddle mash-up.  Meanwhile, Waters is run down.  Drugs, Fame and Booze have weakened him just enough to receive the final download and he at last identifies Kubrick as not just a Great Artist, but as Adversary, Dungeon Master, and Cruel Cosmic Social Programmer.  Waters creates "The Wall" with its Brick pattern cover, as a declaration of the complete realization of Stan's persona as programmer and of his own failure to rise to the Draconian standard of Kubrick's vision.

Stan responds with EWS, in his persona as "bricklayer" Victor Ziegler.  The message is clear.

I am back to work on EWS just now and promise wonders.   

Bored Games 2: Game On!

Skrabbalah

Madonna's favorite!
Not for beginners, this challenging game requires a deep, spiritual focus.  Ages 40 and up.

Bacon Boggle

A fun twist on Six Degrees of Kevin Bacon, this cubehouse stars the most famous faces of Hollywood.  Connect as many as you can in three minutes.  Hours of fun!

PKD&D

When Philip K. Dick and Dungeons and Dragons collide, you and your friends can finally try your hand at building a universe that doesn't fall apart two days later.  Travel through space and time, explore alternate identities and histories, and wrestle through endless transmigrations of spirit and flesh.  Reality is what you make it.  

Helter Skelter Vol. 5: The Damn Bug Is Still In The Jar

Quick Note
July 1, 2011

Klaus:

Obviously I am watching The Shining Wall.  "Mommy, there's an airplane in the sky", the "Twin Towers".   Damn.

LeClair:
There are a few interesting 9/11 references in The Shining.  When Jack first bounces the tennis ball.  There are 4 pencils on the writing table, aimed at the fours "Missile" looking figures on the wall over the fire place.   Jack throws the ball 12 times but the sound of the last throw is muted as the scene cuts.  This leaves 11 audible bounces.  The first nine throws are seen and heard as the camera widens from the typewriter out to the whole room.  There is then a cut to a shot from behind Jack as he makes two more throws before the fade out to exterior.  This gives Nine bounces, and then two more make Eleven.

The Bar Back of the Gold Room also has a 9/11 code.  There are 9 interior "white light" panels and 11 interior panels.  A cash register sits in the two outer sconces.  You are aware of the 9/11 vs 2001:ASO clues--The Millennium Hilton, etc.?  Well IBM made cash registers before they got into computers.  I take the two "registers" as similes for WTC 1 and 2.


TWO THOUSAND WALL
July 1, 2011

Klaus:

I'd like to hear your opinion on the starting of the Wall at 3:32 in 2001.

LeClair:
I'm gonna sit down and do the 3:32 timing in a few minutes, when my roomie leaves for work.  I will also look at The Shining vs. The Wall.  Quite frankly, I could listen to The Wall doing just about anything.  I can't believe it took me this long to get around to hearing it.

I am sorry for my lack of response these last couple of days.  Major anxiety attack.  Spent two whole days undercover--avoiding shadows.

Klaus:

Dude, I completely understand going undercover.  My brain has been rattled quite a bit too.

Looking forward to continued dialogue.

LeClair:
Thanks for saying so.  This is some heady stuff.  Ironically, since we have started this inquiry, I have felt somewhat elevated, as if I was walking a few inches above the ground.  Nevertheless, the overall awesomeness of it all can be a bit much sometimes.

I have just completed your 3:32 timing and I loved it.  Then ending is perfect and here are several points of interest throughout.  The "squeak" on Vera is shocking the first play through.   Do you have an organic justification for this timing or did you experiment to get it right?  My 4:22 is oriented to begin DSOTM just as Also Sprach ends.  I love that piece, and I like to hear it to start the movie.

I'm gonna try to mash Wall vs. The Shining in just a bit after I tuck away a little Soylent Green for lunch..  Any advice on timing?

Klaus:

The best part of the 3:32 timing is the absolute accidental timing caused by a smudge on the DVD that resulted in Thin Ice starting at the end of the Intermission.  It clicked so hard, that I wondered if it would pay dividends from the start.  Well, the "if you don't eat your meat..." kind of sealed it.

I was so high from watching that hit, the fact that the Shining was in tune to the Wall was almost just too much.  I'm not really sure just what is going on here, but I am alternately feeling like we are either cutting edge mystics, or the two guys collecting aphids at the beginning of A Scanner Darkly.  The problem/salvation is that when we wake up the next day, the damn bug is still in the jar.

I think the anxiety results from not knowing if this is the tip of the iceberg, or the end of the road.  Three cheers to finding out!


Timing
July 1-7, 2011

Klaus:

My timing is fucked up.  The key sound that locks in the Pre-Intermission is the screech in Vera by the Monolith, and the tires screeching as the pod turns.  Post Intermission requires starting Thin Ice right before the Spaceship is presented.  This manipulation seems to taint it a little, but it really works well.

LeClair:

The main purpose of the "tensor" is to use three different ruler sticks to measure three different events and thus find links not only in excellent musical synchro's but to come to know very well the timings of each movie and how they match thematically. As such, it is necessary to begin all plays at the same point in each film or conversely with each piece of music at a specific point.

But don't get me wrong here, the unique value of some accidental cut-ups is not to be dismissed. I am gonna do your skewed timing from the intermission tonight.

Klaus: 

Start Thin Ice at 1:29:41.  The year 1941 popped out, and it works really well.

LeClair:

I just completed your selective timing of 2001/Wall.  It clicks on so many levels it is hard to imagine that it is accidental.  It is actually pretty close to the play-out starting at 4:22.  Out about 10-15 secs.  I am beginning to doubt the strictness of my originally planned timings in favor of these more carefully applied results.  I have an idea re: The Shining I want to test out.

Pax for now.

Klaus:

I was rereading your essay on "A Serious Man", and  the connections between Danny, Harold Lloyd, and The Mentaculus (all work, no play) seemed to jump out.  Also, the Dybbuk dies outside in the cold due to a woman protecting her little man.

Klaus:

Rewatching ASM, and wondering at the connections between the Mentaculus of Arthur and The Anti-Mentaculus of Jack Torrance.

Hope all is well with you and yours.

LeClair:

A nice connection, William.  In a sense the two are identical.  Strike that, it more than merely a sense... they are the same work... because God = Saturn/Satan.  Jack and Arthur are each confronting God.  Maybe the difference is that, to my eye, it appears that God is just as interested in Jack as Jack is interested in God.  The same does not seem to be true for Arthur.  Another difference is that Jack's manuscript is like a mantra, and indicates the clearance of thought.  Arthur's work seems like the result of a more fruitful investigation of his creative talent.  I mean, "The Mentaculus" is beautiful.  The transitional scene, which finds Larry under the spell of "The Mentaculus" is my favorite shot in the whole Coen Ouvre.  They actually manage to create, in that quick cut, a sense of "out of body" contemplation.

Here is a quick clue to the hidden cruelty (barely hidden) of the Coen's.  "Mentaculus" is a spoonerized term for "A mental case".

It is interesting you reached out today, as I was gonna drop a line myself a little later.  I am going camping for a week, starting tomorrow and I didn't want to miss returning any mails.

I have a thought re: "The Shining" by way of PKD.  Remember from Valis and Exegesis that Dick reports a "pink" light?  Well, did you happen to notice that, unlike the "yellow/lime" tennis ball bounced by Jack in the Colorado Rm., the ball that rolls into Danny's play area is "pink".

I'll be back in touch when I return mid-month.

Glad to hear from you.

Klaus:

Slowed down, one can see "SGGIH-NOSOB" written in the middle of one of the pages of the Mentaculus, ala "REDRUM".  Both Arthur and Danny are in tune, but just need to tune in a bit clearer, as the messages are coming through backwards.

Why can I not place the pink ball scene offhand?

Enjoy your getaway into Nature, I'm a bit jealous.  Talk to you later Mark.

LeClair:
The scene is right before Danny goes into Rm. 237, as he plays with his dinky toys.

Peace



Deathly Hallowed Pt. 2
July 16-17, 2011

Klaus:

Try to experience this [Dark Side of the Moon + Harry Potter and the Deathly Hallows Part 2] in the theater.  Start DSOTM with "Time" right as the movie opens.  You'll know right away if you've got it locked.

LeClair:
Just got back from the theater... the movie was sold out. It is Stampede Week here in Calgary. The city is swollen to its maximum capacity. Gonna try again with friends next Friday, when the town has cooled down. In the mean time, I have started to work on the "tensor". DSOTM is a lead pipe cinch as a sound track to The Shining, with especial emphasis on the lyrics. This is going to be a big project... I expect to have to complete all nine pairings several times to get the message.

Anyhoo... glad you are well.

Klaus:

The correct timing should have the alarm clock in Time going off as Valdemort's wand lights up the sky.  It's really good.



Obvious
July 21-25, 2011

Klaus:

Start The Wall at 00:28 on the DVD for The Wizard of Oz.  The screen shot says "A Victor Fleming Production".  It's kinda ridiculous.

LeClair:

Wow... I can't wait to try this. I am gonna do it right now.

I have been working very hard on "the tensor" and the results are astonishing. Just to explain, the basic idea is to use the three albums as fixed measurements against each film. The term "tensor" is metaphorical, from Gauss and the "physical tensor", which is a way of triangulating a point in space.

I have alot I want to share with you but the data is voluminous to say the least. I am a slow writer, and I don't want to stop the research just yet. I am at it day and night and I think the first complete pass ought to take me about another two weeks. At that time I will compile what I have and send it to you alone. There may be some kind of writing project in this--I dunno--but for now, I really appreciate your thoughts and the education that informs them, and I would like to continue our partnership into these matters..

I am doing The Wiz on the Wall right fukkin' now.

Klaus:

I do consider myself lucky to be in communication as you tackle this monster.  Let me know if there are any specific viewings that I can offer feedback on.

As I wrote before, I just completed Joe Campbells book Skeleton Key to Finnegans Wake, as well as another reread of Robert Anton Wilsons James Joyce essays, and, my mind is just completely afire.  It's really starting to absorb itself to a new level.  Kubrick has to have been well versed in Joyce, and I am concentrating on this angle right now.

My mind is always open to bounce ideas off of.

LeClair:

Just finished up the Wall on the Wiz.

Many marvelous moments. Funny and profoundly insightful. I am interested in knowing how you settled on this particular time coding.

Here is a corker for you in the field of non-local punnery--and I would have missed it if I had not watched the Wizzing on the Wall.

The Three albums of The Wall, Dsotm and Meddle are natural pairs for the Scarecrow, the Tin man, and the Lion by way of EWS, 2001 and The Shining.

1. The Wall's most famous track is themed around the concept of education. Scarecrow gets a Diploma (kept on The Wall. The connections to EWS are also present in this character, as the film is an education for Bill. There are many themes in EWS that relate to "paper". Money, Wrapping, Newspaper, Rolling Paper, the note from Somerton. Paper, like Scarecrow, is vulnerable to Fire.

2. The main theme of DSOTM and of 2001 is "Time". Many, many lyrics about the passing of Time. Dave gets lost in a Time Warp. HAL is an electronic life from and vulnerable to Water. Like Tin Man, HAL is also a Machine. The alchemical metal associated with Jupiter is exclusively Tin. The rain-rusty Tin Man is given a Watch.

3. Meddle is acknowledged as a play on Medal and Metal. "Fearless" is a key track. The fearless Lion gets a Medal. Metal oxidizes into rust (vulnerable to moist Air). The costumed man/bear/pig from The Shining is remarkably similar in costume to the Coward Lion. There is a Lion on a prominent painting in Danny's room. Wendy (windy?) mentions Air by way of the high altitude.

The use of The Axe by Tin Man somewhat blurs the matter. The Tin Man appears in EWS too, as Szavost. Both he and the Tin Man discuss the Art of Love. I suspect there is much more to this vein of thought.

I am interested in your research. Please don't hesitate to drop some knowledge my way, especially as it pertains to our mutual fascination with Kubrick iHuasca.

Peace Owt for Now.

Klaus:

As to the timing,
I chose the "there's an airplane up in the sky" to coincide with Glenda's bubble.
Everything seemed to fall in place after that.

Klaus:

The dog's name is Toto.  Can be pronounced TwoTwo.  I think 00:22 provides a better starting time for Dark Side of The Oz.  Just in the first ten minutes it has revealed a much tighter fit.

Klaus:

Holy fuckin shit!  There's no denying it. Everyone has been wrong with the timing.  I'm guessing the wrong time was initially given out on purpose.

LeClair:

Looking forward to trying this tonite. The number 22 has specific connotations for me which also directly relate to my experience of DSOTM/2001. I have also decoded Toto as 2-2. We are on a likewise wavelength, I think.

Klaus:

I might have gotten a little overexcited about the new start time for Dark Wizard, but I really believe it's a better fit.

I can't seem to find a fit for Meddle.

LeClair:

Honestly, I think the 22 timing is boss.  I have only watched through the second play of Time (was interrupted by my roomie), but I liked it alot.  In a strictly musical sense it is very strong, and many good lyrical connections

I have a discovery that I think is worth consideration.  I do not know what it means, but it mos def validates matching The Wall to all three Kubrick's of our recent interest, with timings as I have suggested.  Furthermore, it is a strong indicator that there is a Floyd specific code in Kubrick and particularly in these movies.

On four distinct plays of  "Goodbye Blue Sky?" a character or characters are seen emerging from "elevators".

1.  Dr. Bill into his office.  First play.
2.  Dr. Bill stands in front of a single elevator in the Lobby of the Hotel Jason.  Second play.
3.  With 4:22 timing: Floyd emerges from elevator into Space Station customs (seated next to pink flight attendant).  First play.
4.  With 00:13 timing: Ullman, Watson and the Torrances step out of elevator into the Colorado Rm.  First play.

I have found another correspondence in Wall/2001.  Mother plays at roughly the same time as Money from the DSOTM mash-up.  What it interesting is that Mother oscillates between the time sig.  3/4 and 4/4.  Money is mostly 7/4.  In the DSOTM/2001 synch the "cash register" from Money cha-chings just as we see the IBM logo on the ship console.  During The Wall/2001 mash, the IBM logo appears to the lyric "check out".  IBM-Business Machine-Cash Register-Check Out.

BTW, have you watched DSOTM with the 4:22 Timing for 2001?  You will dig it.

Master of Donuts

Reasons for eating donuts:


1.  My "hunger" is very bad right now.


2.  To give me energy.


3.  I can't work without donuts.


4.  I can't stay alert without donuts.


5.  I must be at my best to do what I have to do.


6.  I must show I am MASTER of donuts - free to say either YES or NO.  And I must be perfectly sure by saying YES at the moment.  My refusal at the moment shows weakness, therefore I eat donuts.


7.  In spite of the knowledge of the disadvantages of donuts, I am really not sure whether it isn't better than the other life.  After all, I have an extraordinary control over my emotions through donuts.


8.  It is dangerous to stop eating donuts too suddenly.


9.  I'd better take a small donut now rather than put it off till later; because if I do so, it will disturb my sleep.


10.  It is really very bad for the mind to be constantly preoccupied with the question of donuts.  It is better to take a small donut to rid myself of the obsession.


11.  I am worried about donuts because of my not having any.  If I were to eat one, my mind would clear up immediately, and I should be able to think out good plans for stopping it.


12.  The gods may be leading me to some new experience through eating donuts.


13.  It is quite certainly a mistake putting down all little discomforts as the result of eating donuts. Very likely, all of them are illusions, and simply my own illusions of GUILT.  I am simply scaring myself into saying NO.


14.  I must not be a coward and say NO.


15.  There is no evidence at all that the REASONABLE use of donuts shortens life.  In fact it ENRICHES life, and we all know that HAPPY people live longer than DEPRESSED and SAD people.


16.  I take it because donuts are prohibited.  I decline being treated like a silly schoolboy when I'm a responsible man.


17.  My friend likes me to eat donuts with her.


18.  My ability to eat donuts shows my superiority over other people.


19.  I have given up most vices, donuts allow me to still enjoy life, and that isn't a crime.


20.  So-and-so has eaten donuts for years and is all right.


21.  So-and-so has eaten donuts for years, is still eating them, and is the most remarkable man of his century.


22.  I am feeling very, very rotten, and a very, very small donut would make me feel so very, very good.


23.  We can't stop when it is available EVERYWHERE.  The temptation is too strong.  Plus, we can't just throw donuts away.


24.  Suppose I take all the pains to stop using and then I get cancer or something right away, what a FOOL I would be!

Helter Skelter Vol. 4: I Can't Live Without Fidelio

LL
June 22, 2011

Klaus:

Looks like I'm going to really spend some time with "Metaphor".  The mathematical language is beyond my immediate grasp.  I'm think, for now, I'm going to put it to the side, but I look forward to returning to it.  Some quotes that jumped out at me:

"Thus, we have indicated, the thought-object itself cannot be depicted explicitly within the domain of the communication medium. However, the reference to such a thought-object can be recognized by a hearer whose mind contains the sibling of that same thought-object."

"Otherwise, only if such suitable primary sources are not available, we should rely upon paraphrases which effectively and fairly state the true paradox associated with that original discovery."

"This form of classroom introduction to such original sources has a required order, as the ordering of Euclid's Elements of geometry illustrates, from a formalist standpoint, the notion of a choice of such an order. Secondly, the ordering is determined by the consideration, that mastery of one discovery is virtually prerequisite for the comprehension of a successor in that series. The sound secondary curriculum teaches geometry and the plastic arts, as the domain of visual experience, as, in parallel, the student concurrently learns language, literature, and music—the domain of hearing."

LeClair:

Hey William,

Just chilling this evening. Taking a cut off from the cut up. I have a rare occurrence of responsibilities to manage over the next several days, so I may find little time through the week end... but don't worry. I'll be back at it.

Pax

Klaus:

Good call.  Talk to you soon.

Eyes Walled Shut
June 22-23, 2011

Klaus:

First cycle through.  Speechless.
Did you honestly just discover this Wall/EWS yesterday?  I trust that what you represent is accurate, but it's really, really, really eye opening.

LeClair:

Yes sir.

I speak the truth to you hear, without the slightest distortion. It happened just as I say.

Before last night I had never heard "The Wall" and it has been over two years since I have watched EWS

LeClair:

Hey William,

I noticed the misspelling of "hear/here" in my above email, and I couldn't help myself.  I need to say a little more here, just a word or two.

I'm not one for dramatics, but I give you my word that in our discussion I have never even remotely distorted the truth.  There are alot of e-shennanigans going on out there, but that is not my style, and even if I were likely to engage in such foolery, I think this subject is far too interesting and fragile for anything other than complete and careful honesty.  I do not expect you to trust me as we may continue, but I hope you will.

In spite of my natural tendency to explore frontiers of information, I do not think I would have made this discovery without prompting from you.  Further, I think that there may be a link between you and me, a link with a highly charged potential.  Given the few hits at Floyd/Kubrick site, and adding the ridicule I have had to deal with when I try to broach this subject, I suspect there are not many people who are after the same magic.  I mean... it is scary.  A can of worms.

I am grateful that there is just one person with whom I can express this particular vein of thought in a detail that is not widely appreciated, and who seems to be touched by the same spectral influence.  I will treat this relationship with respect.

I have just completed my second full play of Pink Eyes Wide Shut and it was every bit as powerful the first time around.  One thought that occurred to me is that Kubrick is "another brick in the wall" and that this album is a critique of the underlying cruelty of Kubrick's work.  This may seem like  a stretch, but I have my rationale, which will surely come out in our investigation.

I may have a little time tomorrow to look at "A Pillow of Winds", and if I can I'll send you my thoughts.  Otherwise, I'm  likely out of the game until Monday.  Lot of household chores this weekend.

Talk soon,

Mark    

Quick Reply
June 23-27, 2011

Klaus:

Thematically, Pink Eyes is in tune, and my focus on this connection was monopolized, but there are some literal lyric-to-image synchs that are DEAD ON, too many, just as if K drops a few atomic bombs along the way as a kid randomly lights firecrackers.  The exactness of these connections distracted me, in the sense that it made me recognize that this was THE MASTER WORK of K and Pink.

  PKD uses a term, "enantiodromia", used by Heraclitus, then Jung, to "describe the tendency for the psyche to overcome deepseated psychic resistance by shifting (seemingly suddenly) to the opposite pole of attitude, belief, and emotion".  It's a psychic "2012".  I usually undergo this during hallucinogenic work, or intense marijuana visions (if I haven't smoked in a long time).  But the tandem of Shining and EWS and our dialogues sent me hurtling through an entire pole shift of confidence and meaning.  I kind of expected it, was kind of ready for it.  I expect that you may be very in tune to this phenomonom, judging by your direct response.

This enantiodromia is a kind of vertigo, a distortion, a Mirror image, a conscious nightmare, the content of which remains in the brain more lucidly than a dream.  I needed to banish the residues of those visions by humbly asking you directly about the Pink Eye origins.  I hadn't the strength in that moment to reconstruct the trust that I have in this.  Thanks for understanding.

Trust in my words as well, I present my feedback directly and honestly.

Talk to you Monday.

LeClair:

Cool, bro...

Talk Soon.

LeClair:

Hey WK,

Did you have a good weekend?  I got all my chores done and managed to get in two more complete plays of PEWS, once without the subtitles.  The exhilaration of this "discovery" is just about the finest I've ever felt, and I have had more than a few thrills in my life.  I am excited to get back into our discussion about The Pink Shining.  

Before I get into APOW, I want to sum up some thoughts on OOTD and also address a few vital points you suggest in your mails.

- Water.

The "light blue" book and album colors and the movie credit titles are the idealization of the color of Water.  In The Pink Shining this calls to mind the bathroom and kitchen, and the distorted sound effects that make these rooms different from other household space. Think of "singing in the shower" and therefore "Singing in the Rain".  "Singing in the Rain", a movie about the attempt to bring sound to the movies, I spoonerize as "Reining in the Sing", which describes the enclosure of a space in a wall of sound barrier.  Could it be that prior to the age of sound reproduction and synch, that we lived somehow outside of sound, "outside the wall", in a world of silent psychic imagery, with the music of the spheres as audio track?  Does this idea in any way relate to a period of time in the womb (caul field)?  Pink Eyes has alot to say on this subject.  There is something here about sound "underwater" that links nicely with "Comfortably Numb".  "You are only coming through in waves..." and the like.  But I glean more depth from the conflation of water with light.

Underneath the "blue" title credits, Jack drives the "yellow" VW.  As idealization of the bodily process, water is "blue" going in and "yellow"coming out.  These two colors are also noticed in the theory of an object moving at light speed, which approaches yellow and departs blue.  I could be wrong on the succession, maybe approach is blue and egress is yellow, but I am certain about the coloring.

As we have the "86" and "8/6" reference attached to the same images, I suggest this reinforces my theory that the Japanese detonations serve some sort of "time busting" purpose.  In my earlier mail I suggest the bombs are designed to "outpace the sun", but I would add that maybe this has to do with achieving light-speed tech.  Moreover, because the innate references to sounds cells, this same"'blue/yellow" connection could relate to Moon Landing tech, which is to say, the tech that allows for the possibility of leaving the "echo-drome" that is the Earth's atmosphere.

And together it all seems bound to the emerging Age of Aquarius and the Magick of Dee and Kelley through Crowley, Hubbard and Parsons, all of which is obsessed with the Moon and Sun.  There is a poem by Golden Dawn-er Yeats that suggests the destination of the soul is the Sun, by way of the Moon's orbit.  It is found in the epilogue to his "A Vision".  I intuit something like this: the Moon is the key to a Solar "stargate".  This is theme is present in the first verse of "Echoes", which I'll get to when I look at mirrors in detail.  Because of the anal-pedophila implied in "The Shining", along with data from some other research3 regarding the occult nature of the "stargate", I am stuck on the connection to the Sun as "anus" as expressed by Bataille in his short surrealist essay "The Solar Anus".  It gets into many ideas that gel with our investigation.

This imagery of Water is chilling when considering the McKenna link you sent to me.  Think of the refractive quality of water, which "splits" the image.  Christ bears a pitcher of water.  McKenna says Christ is the demiurgic presence that "splits" the time stream of human history.  Let's say McKenna's interp of his vision is correct.  Could it not be then inferred that Kubrick's work is a competitive technology, designed to give an ominous tone to the chance at reality outside of the BIP?  And if so, could one not simply reverse the whole model to imply that McKenna and his ilk are wolves in sheep's clothes, concealing an unknown danger, attempting to draw as many in as possible with false promises of spiritual transformation, and that Kubrick and others are trying, on the psychic level to sound a warning?  I walk the line on these questions.

 - Nice hit on that sandwich/cunnilingus pairing.  The jam on his cheeks is decidedly lurid.  It reminds me of 69 from "The Book of Lies" which ends with the admonition "...little children, love one another".

- About "Catcher".  It occurs to me that the final image of the book is of Holden (hold-in-caul-field) watching his little sister ride a carousel.  "Carousel" the musical brings "You'll Never Walk Alone".  I consider the title of this song may be a cryptic threat, given by the "all-seeing" demiurge to his malformed creation.  Add to this the notorious rep of "Catcher" as some sort of MKUltra trigger.  The poster in the Overlook games-room reads "Monarch" and "SKI" and shines a bright light into the eyes, in the technique of an interrogator or torturer.  The letters "K" and "I" from SKI are pressed together in such a way that one could read SKI as SK in a stylized font.  The implication of this image is massive, but at the least it seems to indicate the hand of Stanley as practitioner of the Monarch Mind Control program.  As I stated re: Pink Eyes Wide Shut, I think Waters may have "busted" the code and delivered "The Wall" as a critique on Kubrick's skullduggery.  I further posit the possibility that Pink Eyes Wide Shut is Stan's response to that critique.  

- You might be amused to note that the first four blue letters that overlay Jack's VW are RI and CH and the last four are ec and BU which unscramble into CUBERICH.

APOW plays from

00:06:11 to 00:11:22
00:46: 57 to 00:52:55
01:39:39 to 01:44:50

The links seem pretty straight forward, but there are a few interesting subtleties.

- Each play sets the stage for the increasing theme of isolation.  Of being closed in.  This fits in with either the gnostic BIP idea, or the sub-gnostic "lost in space" concept that I favor.  There is a nice parody of reversal in the idea of Summer/Winter.  I think APOW expresses a wintry quality, but lyrically refers to many seasons.  The regular staff of the Overlook will have their summer, their vacation, during the winter, and the Torrances are on vacation of sorts at the empty winter hotel.

- Two plays take place in the caretaker's bedroom, sitting on the bed.  APOW makes reference to sleep and being in bed.  What it interesting is that in different scenes we see the characters in question from opposing perspectives.  The article at Kubrick/Floyd discusses the use of this convention, which is apparent especially in the age of silent art cinema.  This type of image reversal is all over Kubrick.  I am not sure what it means, exactly, but I think it has something to do with the general theory of mirrors I'll present later.  There are mirrors present in all three scenes, and in each case characters are in direct eye-line with the mirror on the set.  The first of these mirrors is the first we see in the film.  Danny at the wash basin.

- The musical modulation from E major to minor is timed to three "darkening" events.  The first finds Ullman beginning to explain the Grady tragedy of '70 to Jack.  The second comes just as Jack says he can't sleep because he has "...too much to do...".  We know where his plans will take him... right along the same path as earlier caretaker Charles Grady.  This play of APOW relates also to the content of the novel, which blurs Charles into Delbert.  The third follows Wendy as she crosses from the well-lighted Colorado room into the dark passage behind Jack's typing desk.  This final modulation relates as well, I think, to Grady in some way.  Wendy will confront Jack soon after.  Jack, who is now operating under the spectral influence of Delbert Grady.  To this I add a sneaking suspicion that that "Grady" is a reference to the Monolith, the Moon or both of these.  Is Apollo 13 is the Tragedy of '70?  Off by a foot pound per second, per second?

There is a scene in the first "Superman" movie that has some cryptic moon/monolith clues, which includes a cop called "Officer Mooney" or "Moon-e".  "Grady" is a homophone for "Grade e".  I think that the letter "e", particularly in lower case, is somehow a symbol of the Moon and/or Monolith.  I find a small conformation for this in the  "Superman" film with Brandon Routh, which finds him lifting the monolithic "black" island into space to the music of Ligeti, also used in the soundtrack to "2001".

- I have found two fairly direct lyrical connections, both related to Wendy.  Wendy, says she'll "...lock the door..." lined up nicely to the same lyric in APOW.  Later, the "golden dawn" lyric comes close to Wendy riffling the novel pages at Jack's desk.  As I pointed out,  in the Italian version these pages read..."...the sun holds the morning in its mouth...".

There are one or two things I am forgetting here... I need more diligence in my note taking.  I hope that your comments will jar some of it loose.

I will start on "Fearless" now, which is where I think that this thing really starts to break free and fly.

Peace Oot for Now.  

Mark  

Klaus:

I too was in the spell of Pink Eyes this weekend and took it in twice more.  It is an incredible find indeed.  It feels as though an avalanche hit my brain last week.

I've can't get my thoughts down right now, expect a message tomorrow.

Demiurge Overkill
June 28, 2011

Klaus:

I wanted to take a little time to gather my thoughts, because I don't want to fall into the trap of "forcing" it, offering connections in bulk in an attempt to keep up with your insights.  I want to only report what is there.  The key to this work is some sense of objectivity amidst this swirling subjective tsunami of cinema.  Ulitmately, the goal is to cut this mother into enough pieces to reveal the truth, what ever that is.  I am trying to prevent myself from muddying the waters.

To remark one more time, it really is exactly like the commentary of Joyce scholars with Finnegans Wake, which is my cue to jump into the POW notes:

**I appreciate your concern for clarity, but I think your worry is unnecessary.  So far, your comments have been intelligent and restrained, and have helped me to see many things I had heretofore missed out.  For my end, I am never more satisfied than to be proven wrong on a favorite theory--but I will fight for a good idea until it is surely dead.  Indeed, I must be proven wrong in some way before the thrill of new discovery becomes to life.  My attitude toward this material is the product of a 30 year obsession with "2001".  The basis for this obsession is nothing more than the desire to "make sense" of the movie.  I will not settle for a merely self-satisfying result.  Our endeavor is the natural expansion of the same principle.  We differ here from attributed scholars because we do not seek external validation to our findings.  Throw in everything you've got, complete with any scathing critique, and in the spirit of mutual trust, the truth will rise to the top. 

1st Play

-first mention of 1907- tied to McKenna, but Tunguska happened in 1908, not 1907.  McKenna is usually right on with his facts.

**This slight discrepancy does not deter my interest here.  I think McKenna's "theory" is key.  The hotel is built from '07 to '09.  Indian (alien?) attacks are repelled during construction.  Because of the conflation of Bear/Russia and clues from "Dr. Strangelove", the Tunguska event fits in with my theory that the nuclear events of the 1940's had a reverse "ripple in time effect", precipitating anomalies in the past time stream.

-cruel winters, description of the Caretaker:  why do they not hire TWO families to take care of the Overlook, recognizing the isolation? $$$

**There must be "one family" as a model of the "Nuclear" nature of events at The Overlook.   Jacques Lacan talks about the "algebraic" shuffling of human emotions from one person, family or community onto outside groupings, to allow that certain traumatic facts of life are not dragged into daylight.  The Overlook experience is designed to counteract the false influence of "the other" upon the family unit.

-not physically demanding, psychological:  much like the psychedelic experience, or death.

**It is a fun fact that it is Wendy doing all of the maintenance while Jack writes.

-Charles/Delbert: stacked neatly in the West Wing

-"before I turn you over to Bill" coincides with "Golden Dawn"

**This is interesting.  The symbol of "The Golden Dawn" is the is the ascending blue and descending red triangles you describe that take place near the second playing of "Golden Dawn".  What a great clue.  Nice one bro.  In the "Golden Dawn" symbol there is a sun in the center of the image.  I am also interested in this bit of dialogue "...turn you over to Bill...".  Could it be that Ullman and Watson somehow represent the opposing sides of a One Dollar US Bill?  Turning over as US gives SU--Stuart Ullman.

Second Play

Problems with "reception" Wendy goes into the aurifice.  She contacts the US. Misses torrents?

**I like the "torrents" pun.  "Jack Torrents" seems especially profound.  Could Danny be "DNA Torrents"?  There seem to be more than a few computer related puns hidden in Kubrick at large.  This whole issue of contact wit the forestry service seems related to Moon Vehicle to Earth communication.  The tree on the US Forestry Placard is a rocket rising above plumes of exhaust.  There is a similar image of a tree on the wall at Zeigler's house party in EWS.  The rocket appears to be aimed at the Sun.  This is another clue to some thoughts I have about the use of mirrors as related to some lyrics in "Echoes" ("...no one flies around the sun...").  I'll open this vein when I get into "Fearless".

Wendy-yellow top, blue bottom

**Wendy's yellow top times to match the VW from play One of OOTD.

Language on the radio: they say "OVER" to note a stop in communication because they can't LOOK at each other.

Danny: cognitive hallucination of two girls, wearing red, white, blue

Danny-when he talks to Tony, they can't LOOK at each other.  This is back to your theme of listening without looking, with Adults using phones, radio, TV, the Child either: utilizing the organic, original media, or recreating this media based communication through mental disturbance ( imaginary friend).  The key here is content.

-42:  1st play, Danny has 42 on his sweater, looking in mirror:  tv like reflection.  2nd play, Summer of 42 on the TV.
The day is Monday, Moonday.  The woman wants to give the boy $$$ for his service.
He refuses, will take coffee and marvelous doughnuts instead.  There's a fantastic transition between the Summer of 42 dialogue to Danny and Wendy speaking.  The kid in '42 switches roles and asks the woman if he can get his firetruck.  Follow the scene on the TV as if the subtitles are strictly for that.

**Oedipus Wrecks.  I love your notion of interplay between the TV and reality in this scene.  Which one is real?  Who made who?

- books surround the apartment, but very few are seen at the Overlook.
TV is central.

Third Play

Right back where we started from, Daddy away "working", Danny abused, and actually wearing the brown fur of the Teddy bear (robe), watching TV over breakfast with red and white tablecloth.

Halloran asks Wendy if she is a Winnie, and their is a Winnie the Pooh Bear next to the baseball bat.  Wendy is a Winnie, and will protect her honey (she calls Danny "hon").

Promises of time/obligations of time: Five minutes, five months.  Lotsa fives.

The visual of Wendy over the manuscript in the box  reveals a  descending blue and ascending red triangle on the ceiling.

Wendy understands her husband to be the blind creator/demiurge of gnostic theology.  A false god who imprisons.

Re:Water/Waters:  Roger Waters split the image in two and reveals the audio, the radio frequency of Tony, who delivers accurate content.

**Here is a corker!  What if "Tony" is also "Tone e".  Such would fit with your idea of "accurate" (in tune?) audio content.  Many of the songs are in the key of E and/or contain the note "e" as a part of the triad of the key signature.

I want to send some additional commentary on your notes.  I agree "Fearless" is where this elevates.

**Over all, an excellent batch of clues in your discovery.  I look forward to your upcoming commentary.  I am gonna start on "Fearless" now.

For now,

BK

Outside the Wall
June 28, 2011

Klaus:

"Could it be that prior to the age of sound reproduction and synch, that we lived somehow outside of sound, "outside the wall", in a world of silent psychic imagery,with the music of the spheres as audio track?"--LeClair

This made me think of the bicameral brain, and the supposed "wall" between the two.  This union of media might reflect the union we experienced consciously.  This might have had the effect of isolation instead of liberation, where instead of a wall dividing, there is a wall enclosing.

Roger Waters concerts for the Berlin Wall falling down might have been a misguided celebration.

Klaus:

There are 86 metals in the modern periodic table.
Germany is divided into two provinces, Upper Germany and Lower Germany, year 86 AD.

LeClair:

Dear William,

Before I give some thoughts** I want to report another beautiful discovery.  I am off and running the "tensor", measuring three Kubrick's against three separate Floyd's.  I was simply astounded with the first control, found by mashing "2001" with "The Wall".  It is awesome.  I propose the gentleman's wager that if you perform this first experiment, completing the tensor will immediately self validate.  The time code is 00:04:22 on the movie.  All Play Repeat on the albums as always.  The start codes are standard for each film, 4;22 for "2001" and as already practiced for "EWS" and "The Shining".

I plan to carry out the complete tensor as follows for what I hope is maximum tension.

Act One:
2001 vs. The Wall
The Shining vs. DSTOM
EWS vs. Meddle

Act Two:
EWS vs. DSOTM
2001 vs. Meddle
The Shining vs. The Wall

Act Three:
The Shining vs. Meddle
EWS vs. The Wall
2001 vs. DSOTM

**Notes from this email threaded into email above

Klaus:

http://nndmt.com/audio/McKenna/

If you'd like to hear the rest of the lecture that follows the bifurcation rap, go to "Rites of Spring 1-B" in the above link.  This picks up in mid story and continues.  Good stuff.

2001/Wall
June 28, 2011

"Isn't this where we came in?"

Digging it.

How could I never connect the stewardess in pink sitting next to Floyd!!!

LeClair:

Still working on "Fearless" and juggling my so-called "normal life".  Should be a mail later today.  I am glad you did the 2o01/Wall mash.  Pretty nice, huh?  The ending is particularly smashing.

I just want to say that it is really rewarding to find someone out there like yourself, not only for your excellent insight, but for your energy and good humor.  I am grateful to have you to talk with--about these mysteries so scintillating.

Have a good one...

Klaus:

Second turn of the wall through 2001.  Might be my aesthetic favorite.

Felix Culpa
June 30, 2011

Klaus:

My DVD malfunctioned, so that the second track The Thin Ice played for it's second time right at the end of the Intermission.  This played perfectly to my eyes and ears.  Will have to replay with a nonsmudgy DVD to compare.