Tuesday, 10 September 2019

Midichlorians







"Everything that had ever lived was a twig off the same tree, a finger on the same hand. Add time, and it became blindingly obvious that the entire tree of life on Earth was alive and physically connected, even after three and a half billion years. Not in any metaphysical way but literally, materially, back through all time toward the root.The same primordial mitochondrial cell that began its eternal self-cloning process in the primordial ocean was and is still dividing inside each and every one of us.

Could mitochondria be science’s secret word for “soul”? Could the presence of an asexual immortal organism in the depths of our physical being be responsible in any way for the sensation we have of some indwelling, undying, and infinitely wise and fulfilled essence? Had my entire experience been some kind of dialogue with my own cellular structure? Was it some literal understanding of the Hermetic axiom “As above, so below”? Was I really just a cell, in the body of the earth’s sole life-form? Was my relationship to this primordial consciousness like that of a helper T cell to a human body, for instance? Were soldiers hunter-killer cells?”

Excerpt From: Morrison, Grant. “Supergods.”






The Morrison Manifesto






The Morrison Manifesto

Having just read through every X-MEN trade paperback available to humanity, I think I have a pretty clear idea of what works in this book and what doesn't. Here's what I think would be the most effective strategy for keeping old readers and, more importantly, for attracting a new contemporary audience.

1. In my opinion, and probably everyone else's too, the best work done on the book, the work which transformed the New X-MEN into Marvel's primary franchise was done by Chris Claremont and John Byrne between '77 and '80. Long after I'd ditched my comic book collection and started a punk rock band THIS was the one book I still followed because it was COOL. It's been fashionable to knock both creators in the intervening years and often with some justification but I defy anyone to read this run of X-MEN and not be impressed by the bravado and invention. Not only were both creators so far ahead of their game they were defining the rules of a whole NEW game (early Alan Moore is PURE Claremont and the reverberations of 'Days of Future Past' - with its depictions of the twilight days of the superheroes - are still echoing in too many books to mention) they had the freedom to create new material, reconceptualise the old stuff which still worked and ignoring the outmoded elements which had sapped the original X-MEN series of its vitality.

2. In the last decade or so, the tendency at Marvel has been intensely conservative; comics like the X-MEN have gone from freewheeling, overdriven pop to cautious, dodgy retro. What was dynamic becomes static - dead characters always return, nothing that happens really matters ultimately. The stage is never cleared for new creations to develop and grow. The comic has turned inwards and gone septic like a toenail. The only people reading are fan boys who don't count. The X-MEN, for all it was still Marvel's bestseller, had become a watchword for undiluted geekery before the movie gave us another electroshock jolt. And in the last decade, sales fell from millions to hundreds of thousands.

3. In the way that Claremont and Byrne did in the 80s and Jim Lee in the 90s we need to make the book COOL again. The movie has already done most of the work for us and there are MILLIONS of new potential readers out there for the taking: including the women who slavered over Hugh Jackman and who should be able to pick up THIS book and get the same sexy thrills from the comic book character (so no more blue and yellow spandex and Batman helmet. Why does Wolverine wear a helmet in the the same shape as his hair anyway? It just looks safdsff stupid now) We have to stop talking to the shrinking fan audience and re-engage the attention of the mainstream. Longtime fans will read the book and safdsff about it NO MATTER WHAT. We don't need to attract them, we need to make the book accessible to the real world audience. We need to get X-MEN and Marvel Comics in the news again, in the cool magazines and on TV. We need to recapture the college and the hipster audience because that audience is bigger than ever thanks to the movies and games, and thanks to things like 'Buffy' and 'The Matrix', the entire mainstream is pumped and primed to consume super-hero stories.

To make the X-MEN feel fresh once more, we need to take a closer, harsher look at what's not working in this book and the comics field in general. The recent X-MEN stuff has been written in an old-fashioned, overdense style for one, and we need to update, streamline and demystify the storytelling techniques considerably to appeal to modern sensibilities.

4. I think everyone agrees that we can no longer afford to be bogged down by 40 years of the most convoluted continuity in comics. This isn't the Ultimate line, however, and we have to find a way be faithful to the sprawling X-MEN mythos without being shackled by events in stories written thirty years ago, for a different world and a very different audience. My intention is to use the rich history of the X-MEN more as background window dressing and as a treasure trove of material we can recut for a new eager audience (in the same way Claremont and Byrne sifted out the best stuff from the original series and combined it with new material). Elements like the Savage Land or the Shi'Ar Empire will be reappraised, re-introduced and woven into the larger scale science fiction universe of the X-MEN in such a way that it will seem as though we're seeing these concepts for the first time). The movie wisely went sci-fi instead of trying to appease the superhero crowd and I think we must do the same. The X-MEN is not a story about superheroes but a story about the ongoing evolutionary struggle between good/new and bad/old. The X-MEN are every rebel teenager wanting to change the world and make it better. Humanity is every adult, clinging to the past, trying to destroy the future even as he places all his hopes there. The superhero aspect should be seen as only a small element in the vast potential of this franchise.

These stories will be accessible, punchy and modern. Each story arc should be like a movie or a TV miniseries depending on the focus - beginning middle and end, character development and resolution. Every time we start a new arc, every time we start a new issue in fact, we start fresh as if someone is picking up the book for the first time. The movie has made the characters familiar which helps us immensely. From here on in we shall strive to limit the cast to a handful of easily-recognisable figures.

5. If there are any really major outstanding questions left unanswered about our characters, let me know and I'll figure out a way to resolve them in future stories but for now, let's start with a fresh storyline, a completely different feel and allow people a chance to get to know the cast on the run again. That's how we play 'continuity' as we gently lay it to rest and replace it with er... 'superconsistency'. Everything you need to know will be explained in ANY given issue but long-time fans will be rewarded with extended character development and soap opera backstories. Think of the modular, accessible nature of storylines from the Buffy mythos which also have extended developmental arcs for longterm fans to follow. Same goes for the X-Files etc. The longer storylines in XMEN would play out over a year at most. No more decades-long unrevealed secrets. And no more need be said about Logan's origins.

6. We have to get back the kick-ass anything can happen feeling that made the Claremont/Byrne issues so monumental. This is a POP book, as essential as the new Eminem release or the latest Keanu movie. We can rejoin the culture here and the only way to do it is to drop '80s and '90s notions of who our audience should be. The only way to get back in there is to deliver the stuff the movies and the games CAN'T. And what the mainstream audience wants from us (and I've asked a lot of 'em) is raw imagination, ready-made characters, outrageous spectacle, storming angst and emotional drama. Beautiful people with incredible powers doing startling, diverting things!

7. GET RID OF THE COSTUMES. Let's ditch the spandex for the new century and get our heroes into something that wouldn't make you look like a safdsff if you wore it in the street. The movie had it almost right: I think we should go for hardcore bike style exo-rubber uniforms, maybe military pants and wrestling style boots. Whatever. A UNIFORM again. Youth culture looks are going uniform anyway. The look's brutalist and military and I think the X-MEN should reflect that to stay on the cutting edge of cool. Long leather coats with a big X on the back as our heroes get smarter, prouder and louder. Cyclops wearing ruby quartz contacts. I'd like to see some yellow in panelling or detailing on the costumes - if only to avoid the dull black leather look of every film superhero - but it should be pop art dayglo yellow, the kind cyclists and bikers wear to be seen. Let's discuss a new look. X-MEN is a soap opera about super-people in the same way that Dallas was a soap about oil people. The oil only provided window-dressing and an excuse to look great.

8. Let's aim for the big audiences. Let's push books we can be proud of on every level. Books that kids will dig for their sheer gee-whizz, kinetic strut, which college kids will buy for the rebel irony and adults will love for the distraction, just like the movies and the TV shows - just like when Stan was doin' it!!! I believe we have a rare opportunity to bust some self-imposed barriers and run screaming through the streets if we just cut loose a little and do work aimed at the mainstream, media-literate audience of kids, teenagers and adults with disposable income. Trust me. It’ll feel like nothing ever seen before but I intend to deliver the best, most faithful-to-the-concept X-MEN you could hope to imagine ….

9. And, a propos of nothing – I just read that the most enthusiastic supporters of Darwin’s evolutionary theory were a group of English scientists of the 1800’s who called themselves …. The X Club




Monday, 9 September 2019

The Fall and Rise of Barry Allen

An Unknown Force just Reverse-Engineered me to life out of a Blizzard of Faster-Than-Light Particles.

I'm sorry I seem a little abstract.





I: Have you found any prophecies which would be prophetic to us at this point?

RAW: Let’s see, the major theme of FW is the fall and the rise.  On the first page you’ve got the Wall Street stock market crashing and the fall of the Roman empire and Adam and Eve falling because of the forbidden fruit, and Humpty Dumpty falling off the wall, and Tim Finnegan falling off the wall, and the old Irish drinking song from which the book takes its title, and the dream of falling asleep to the collective unconscious of the species, and below that into the non-local consciousness of the entire cosmos, and all this falling is followed by a rising at the end in which the river turns into air molecules.  The river turns becomes one with the sea, and the Irish sea, and the Irish sea becomes air molecules which become clouds which float over the Wicklow Hills, and they come down as rain, and you’re back at the beginning of the book where this rain is the river Liffey forming in the hills to flow from Dublin and go out to the sea.  So you’ve got this cyclical rise-and-fall.  And I find more and more that the symbolism of the thing suggests the fall of DNA to this planet, which is Fred Hoyle’s cosmological theory, that DNA didn’t happen by accident, it was propagated throughout the galaxy by higher intelligences.  You’ve got the DNA falling on this planet, and FW has all these metamorphoses, you’ve got the four stages of the insect: the egg, the chrysalis, the larva, the adult, I’ve got them slightly out of order I think; I’m not an entomologist.  And then you’ve got the lords of the four quarters: Matt Gregory, Marcus Lyons, Luke Tar-pey, and Johnny MacDougal, which are Matthew, Mark, Luke, and John, plus the bed that I lie on, an old children’s prayer, but it’s also the four chambers of the human heart, the four kings of the tarot deck, the four provinces of Ireland, but it’s this basic four part cycle there which Joyce calls their weatherings and their marryings and their buryings and their natural selection, which refers to all these insect and mammalian patterns, the parallels that Joyce keeps drawing.  He manages to combine the evolution of plants, insects, and mammals into this structure, and it’s all part of - the deepest part of the collective unconscious that Joyce is exploring in FW.  And there’s this cycle of the DNA being spread through the galaxy, falling onto the Earth, going through these primitive stages of evolution, and then rising up from the Earth at the end to return to union with the rest of the galaxy.  I think Joyce is prophesying the space age that we are now entering.





I: Well, RC Jung also has a theory which is a cosmological, unifying theory saying the same thing.  What kept coming to me is the foreignness that you were talking about, and it also reminded me of the Shakespeare-Bacon controversy; there’s a whole lot of overlap going on between everybody right now.  Talk about synchronicity!  Maybe it’s because Joyce is coming into his time, because I hear this same rap in many different situations, and I don’t know that we can all say it comes from Joyce, or whether he just has brought on the time of this birthing of Sog (?). 

RAW: Brian O’Nolan is supposed to have said in the 1950’s, when they first thought of celebrating Bloomsday in Dublin, he said, “sure, we’re wrong, we’re all living in Joyce’s head”.  Now it seems it’s not just Dublin, it’s a contagion spreading all over the world.  The Bacon-Shakespeare thing you mentioned, then Joyce, Bacon, and Shakespeare are another model of the twin thing.  Bacon is the rationalist, Shakespeare is the poet, but some people think they’re one, and so the two become three, in unity, and that makes them isomorphic with the three sons of Noah, who are Joyce’s basic archetype of threeness - Sham, Jafid, and Ham - and the thing fits together because Ham and Bacon make a pun linking the two trios together.  The whole thing makes a hidden unity because Shakespeare’s coat of arms had a boar’s head on it, and so you’ve got the boar, the ham, and the bacon, which has the Adonis theme in it.  In FW everything refers back to the dying and resurrected god, and Adonis is one of the dying and resurrected gods, along with Christ, Tim Finnegan, and Osiris, and so on.





I: Well, when we think of FW now, do we have sort of a trend that we can follow in terms of getting one line?  There are so many ways to go, so many different aspects and streams that we can follow.  Is there sort of a beginning, middle, and end that we can find, or a trend, a theme, besides all of these things?  Can we take - we have a storyline, we know it’s one day, we know FW goes through one night.  Joseph Campbell said he thought it was one of a trilogy which would end with a dream sequence that was even more of an other world that James Joyce was planning to write after FW.  Do you have any feeling about that?

RAW: In his last two years, Joyce didn’t seem to know what to do.  Having done Ulysses and FW, he was puzzled what to try next.  It’s a fascinating thought to think of what he might have tried next if he had lived.




I’d already made my mind up to accept complete surrender to a process of transformation, an ego-dissolving ordeal that I felt sure would give me new things to write about, new things to say, and a new way to see the world.

Growing up, I’d immersed myself in the life stories of Byron and Shelley, Rimbaud and Verlaine, and the Beats, and knew by heart the biographies of the sixties psychonauts like Kesey, Timothy Leary, and John Lilly. They were my perhaps dubious role models in my project of reinvention. I set about debugging my glitchy personality with Robert Anton Wilson’s Quantum Psychology, NLP, acting classes, tae kwon do lessons, and yoga sessions. The Arkham Asylum royalties gave me an opportunity to play the part of “writer” to the hilt. I pictured myself lolling with “floppy, frilled cuffs like Thomas Chatterton, suicidal and glamorous on a chaise, quaffing absinthe and laudanum as I dipped a peacock quill into luminous green ink and scrawled feverish fantasies by black candlelight. Insensate on the South Seas, scandalous in the Forum. I longed to experience the full freedom and scale of the archetypal writer’s world and made up my mind to leave a biography as good as the ones I was consuming so avidly.

I’d already contrived to meet Animal Man in his own environment, creating with the help of artist Chaz Truog what I came to call a “fiction suit.” This was a way of “descending,” as I saw it, into the 2-D world, where I could interact directly with the inhabitants of the DC universe on their own terms, in the form of a drawing.

I wanted to take that direct contact idea further, to explore the interface between fact and fiction in a more personally involving way. I wondered if I could arrange an exchange that would affect my “life and real world as profoundly as it would the paper world.”

Excerpt From
Supergods
Grant Morrison



An Unknown Force just Reverse-Engineered me to life out of a Blizzard of Faster-Than-Light Particles.

I'm sorry I seem a little abstract.

Sunday, 8 September 2019

We All Make Mistakes in Life, Children





It Was Meant to Be.

Don’t Be So Stupid, Grandpa Hit Him with The Car!

We All Make Mistakes in Life, Children.



And You, Young Skywalker —
We Shall Watch Your Career With Great Interest!

Saturday, 7 September 2019

Snoke is a Joke : The Tool of The Fates














In this Galaxy, you gotta get The Ancient Scrolls.

Then when you get The Ancient Scrolls, you get The Power. 

Then, when you get The Power, then you get The Criminal Empire of Followers.


And you can do anything you want.








EPISTEMOLOGY 
“One of the central concerns of philosophy is to investigate how we know what we know, if there is such a thing as certain knowledge, and, if so, how it is attained.

This is a topic of concern to the Tantra as well, and it is explored in depth by the scholar-sages Utpala Deva and Abhinava Gupta. The difficult and abstruse nature of these discussions invite us to focus on a simpler formulation offered by the second author in his Essence of the Tantras. 

There Abhinava tells us that the process of creative contemplation or holistic meditative inquiry (bhāvanā-krama) that leads to experiential knowing of reality is based on these three supports: 

sound and careful reflection on your experience (sat-tarka) 

❖ the guidance of a great teacher (sad-guru) who is skilled in meditative enquiry and has attained its fruit 

❖ the wisdom of the scriptures (sad-āgama

When these three come together in agreement, Abhinava suggests, we know we have arrived at truth. 

One or two of them is insufficient for certainty. In fact, allowing ourselves to abide in uncertainty about anything not supported by all three keeps us open and in a process of learning that closes down if we prematurely decide that we know. Usually in Indian philosophy, the first two valid means of knowledge that are argued for are direct perception and valid inference; here they are combined into sat-tarka, which means the process of drawing sound conclusions based on one’s experience. 

In logic (both Western and Indian), a conclusion is “sound” when the premises are true and the structure of thought leading to the conclusion is valid. 

To give a slightly modified version of the standard Indian example of a logical argument: 

Premise 1: Where there is smoke, there is fire (axiom based on the aggregate of one’s experiences). 

Premise 2: There is smoke on the mountain over there (direct observation). 

Conclusion: Therefore, there is fire on the mountain. 

He’s No Jedi.



The argument is called valid structurally because if the premises are true, the conclusion must also be true. 

But it is only sound (= correct) if the premises are in fact true. And this particular argument is an example of inference because there is no way to be one hundred per cent sure that there is always fire whenever and wherever there is smoke. 





The standard argument in the Indian system of logic is not deduction, which seeks to establish irrefutable certainty, but inference. Unlike in Western philosophy, in the Indian system you never decide that you know for sure, and so you never completely close yourself to unguessed possibilities. 





Thus the sense of wonder and openness that is the foundation of all philosophy is maintained. The problem of direct experience as a means of knowledge is that people often draw conclusions based on their experience that are logically invalid. They don’t realize they are doing so because their assumptions and the process by which they draw their conclusions usually go unexamined. 

Even more basically, they are often unable to separate their experience from their interpretation. 

People can get ruffled when their interpretation of their experience is questioned, saying, “But that’s my experience!” 

In fact, anything you can say in words about your experience is an interpretation, not the experience itself. On the path of inquiry into truth, we never devalue or dispense with reflection on our personal experience (note that Abhinava mentions it first), yet since we cannot be one hundred per cent certain about the conclusions we draw or how universally applicable they are, we soften our iron grip on our apparently safe and comfortable sense of certainty and seek to corroborate it with trusted authorities: the teacher and sacred scripture. 

To some Westerners, having the spiritual teacher and scripture as the other two legs of the tripod seems redundant. But this system of checks and balances is well worked out. 



Scripture exists as a representative document of a whole community; because even if a given scripture was written by just one person, it is transmitted (copied and recopied) for centuries if and only if some of its contents are effective for a wider group of people. As a document of collective wisdom perpetuated by community, scripture protects you from an aberrant teacher who preaches his own idiosyncratic experience as if it were universal, thereby potentially leading you astray. Of course, for this setup to work, you must read a scripture with your own judgment, not solely on the basis of the teacher’s interpretation of it. 

On the other hand, though scriptures are presumed to have been written by an awakened master, a healthy skepticism is maintained by requiring their wisdom to be corroborated by the other two sources of knowledge. 

Further, the requirement of the living teacher means that you are protected from an off-the-wall interpretation of scripture you arrived at in your own head. Such an interpretation might make sense to you, might even feel good, but is seen by the teacher with clear long-term view to be one that will eventually take you off track. 

Such a teacher will rarely say, “You’re wrong,” but will more likely challenge you to contemplate deeper, beyond your conditioned mind. 

This system of double corroboration for valid knowledge allows us to come up with seeds of wisdom that we can count on and build a spiritual life on. But the process is not completed until these seeds come to life as living, vibrating wisdom within us. 

That is, in the Tantra, we seek not just to know wisdom but to fully embody it. The evidence that you have done so is that you no longer need the external form of the teaching (the words or concepts); it has simply blossomed into living experience, unsupported by any reminders. 

When this happens, then no matter how beautiful the words of the teaching are, they seem to be flat or pale or inadequate in comparison with the actual experience. 
Hate is just Love with it’s directional polarity inverted.

The Unified Force of Emotion is called Care — TRUE CARE

Whenever you hate someone, you are caring about them, intensely.










“I Don’t Want to Fight You.”

“I Don’t Care.”

LIAR — You Do Nothing Else — ALL YOU DO is Care















< A door opens and Vincent enters>

MICHAEL 
(rises and walks over to Vincent)
You look pale. Bad news. 
Tell me right away

VINCENT
It's not just a bad banking deal. 
These guys are butchers.

MICHAEL
What guys?

VINCENT
Lucchesi. 
He controls all of them -- 
Altobello, the Archbishop, other people higher up, P2* maybe, secret unknown. 
They're running things. 

[*Propaganda Due. This is a reference to a (real-life) Masonic lodge, based in Rome, and alleged(known?) to be comprised of only the highest echelon of elite power players including Italy's major political and corporate figures, high-ranking Vatican clergy, and of course Mafiosi. There are a number of conspiracy theories connected with this group. (Thanks to "Don Rico" for this info).]

MICHAEL
I'm in their way?

VINCENT
He's hired a professional assassin to kill you. 
He's Sicilian. I don't know his name. 
They say he never fails.

MICHAEL
Then no one is safe. 
Even the Pope is in danger.

VINCENT
No. We still have time. 
We can prevent this.

MICHAEL
I tried Vincent. I tried, to keep everything from coming to this. 

But it's not possible. 
Not in This World.


VINCENT
Give me the order.




MICHAEL
You won't be able to go back. You'll be like me.

VINCENT
Good.

MICHAEL
All my life I wanted out. 
I wanted The Family, out.



VINCENT
Well I don't want out. 

I want the power to preserve The Family.

(then)

I'm asking for The Order.

<Michael doesn’t say anything, but it’s apparent he’s given The Order. The door opens and Connie enters.>

VINCENT (to Connie)
It's done.

MICHAEL

Because I can't do it any more.

CONNIE

It doesn't matter. Vincent knows what to do. 
Come on outside. Take a rest and -- and don't think about it.

MICHAEL

All I do is think about it.

VINCENT

I am your son. 
Command me on all things.




MICHAEL
Give up my daughter. 
That's the price you pay, for the life you choose.

<Vincent nods. Michael goes to the door and motions for Calo, Al Neri and Armand to come in.>

MICHAEL (to Vincent)
Nephew, from this moment on, call yourself Vincent Corleone.

<Vincent kisses Michael's hand. Michael motions for him to sit down as Calo, Al Neri and Armand acknowledge their new Don.>

CALO (kissing Vincent's hand)
Vincenzo.

VINCENT
Grazie, Calo.

AL NERI (kissing Vincent's hand)
Don Corleone.

ARMAND (kissing Vincent's hand)
Don Vincenzo Corleone.

<Michael, watching, turns away and leaves with Connie, the door closes.>




Tuesday, 3 September 2019

Kings and Emperors

No one controls my mind, Shadow!
There's a New World Order coming,
and I'm gonna be a King.
A King!




We are victorious!
And as victors, we will collect the spoils of war.
I will remember each of you...
particularly my special servant...
the only American with genius enough...
to join me of his own free will...

Who saw himself a King in My Kingdom.

King? Did I say King?
Maybe not the best choice of words.


No, it wasn't.

Because actually, I was thinking prince, tops.
Not even, necessarily. Duke? Baron?
Your choice, of course.


Get Dr. Lane. Assemble the bomb.


Of course.
In The Name of The New Kha Khan!
The Power of God on Earth!
The Emperor of Mankind!




You know, I look at you.
I watch you.
You're never drunk.
Oh, that's...
That's real control.
Control is power.
That's power.
Is that why they fear us?
We have the fucking power to
kill, that's why they fear us.
They fear us because we have
the power to kill arbitrarily.
A man commits a crime,
he should know better.
We have him killed, and we
feel pretty good about it.
Or we kill him ourselves
and we feel even better.
That's not power, though.
That's justice.
It's different than power.
Power is when we have
every justification to kill,
and we don't.
You think that's power?
That's what the emperors had.
A man stole something,
he's brought in
before the emperor,
he throws himseIf down on
the ground, he begs for mercy.
He knows he's going to die.
And the emperor pardons him.
This worthless man.
He lets him go.
I think you are drunk.
That's power, Amon.
That is power.
Amon the Good.
I pardon you.

Read more: https://www.springfieldspringfield.co.uk/movie_script.php?movie=schindlers-list