Wednesday, 27 November 2019

Laughter is Infectious




 
You've heard of the placebo effect.
But are you aware of the nocebo effect? 
 
 
In which the human body has a negative physical reaction to a suggested harm.
 
This will make you vomit.
This will make you vomit.
This will make you vomit.
 
 Your mind has the power to create its own physical reality.



This will make you vomit.
 


[VOMITING]
[CHEERING IN DISTANCE.]
 



Why do we yawn when we see others yawn? 
 
Throughout history, there have been incidents.
 
The Dancing Plague of 1518 
 
The Tanganyika laughter epidemic.
 
The Hindu milk miracle.
 
Psychologists call it 
conversion disorder.
 


In that the body converts a mental stress to a set of physical symptoms.
 
In this case, a tic, or spasm.
 
And, like any disorder, it can be contagious.
 
This kind of collective behavior is not limited to human beings.
 
What we know is that, in certain communities, under specific circumstances, an involuntary physical symptom developed by one person can become viral.
 
 
And spread, from person to person until the entire community is infected.
 
And so, my question to you is, if the idea of illness can become illness, what else about our reality is actually a disorder? 
 
  



 
ANIMATION: 
Cartoon sequence of animated Victorian photos, at the end of which a large pig descends, fatally, on a portrait of a man.
 
Cut to wartime planning room. Two officers are pushing model pigs across the map. A private enters and salutes.
 
Private
Dobson's bought it, sir.
 
 
Officer
Porker, eh?
Swine.
 
Cut to a suburban house in a rather drab street. 
Zoom into upstairs window. 
Serious documentary music. 
 
Interior of a small room. 
A bent figure (Michael) huddles over a table, writing. 
He is surrounded by bits of paper. 
The camera is situated facing the man as he writes with immense concentration lining his unshaven face.
 
 
Voice Over
This man is Ernest Scribbler... writer of jokes. 
In a few moments, he will have written the funniest joke in The World... and, as a consequence, he will die ... laughing.
 
Ernest stops writing, pauses to look at what he has written... a smile slowly spreads across his face, turning very, very slowly to uncontrolled hysterical laughter... he staggers to his feet and reels across room helpless with mounting mirth and eventually collapses and dies on the floor.
 
Voice Over
It was obvious that this joke was lethal... no one could read it and live ...
 
 
 
 
 
The scribbler's mother (Eric) enters. 
She sees him dead, she gives a little cry of horror and bends over his body, weeping. 
 
Brokenly she notices the piece of paper in his hand and (thinking it is a suicide note - for he has not been doing well for the last thirteen years) picks it up and reads it between her sobs. 
 
Immediately she breaks out into hysterical laughter, leaps three feet into the air, and falls down dead without more ado. 
 
Cut to news type shot of commentator standing in front of the house.
 
Commentator (reverentially) 
This morning, shortly after eleven o'clock, comedy struck this little house in Dibley Road. 
 
Sudden ...violent ... comedy. 
 
Police have sealed off the area, and Scotland Yard's crack inspector is with me now.
 
Inspector
I shall enter the house and attempt to remove The Joke.
 
At this point an upstairs window in the house is flung open and a doctor, with stetoscope, rears his head out, hysterical with laughter, and dies hanging over the window sill. 
 
The commentator and the inspector look up briefly and sadly,
and then continue as if they are used to such sights this morning.
 
Inspector
I shall be aided by the sound of sombre music, played on gramophone records,
and also by the chanting of laments by the men of Q Division ... 
 
(he indicates a little knot of dour-looking policemen standing nearby
 
The atmosphere thus created should protect me in the eventuality of me reading the joke.
 
 
He gives a signal. 
The group of policemen start groaning and chanting biblical laments. 
The Dead March is heard. 
The inspector squares his shoulders and bravely starts walking into the house.
 
Commentator
There goes a brave man.
Whether he comes out alive or not,
this will surely be remembered as one of the most courageous
and gallant acts in police history.
 
 
The inspector suddenly appears at the door, helpless with laughter, holding the joke aloft. He collapses and dies. 
 
Cut to film of army vans driving along dark roads.
 
Voice Over
It was not long before the Army became interested in the military potential of the Killer Joke. 
 
Under top security, The Joke was hurried to a meeting of Allied Commanders at the Ministry of War.
 
Cut to door at Ham House:
Soldier on guard comes to attention as dispatch rider hurries in carrying armoured box. 
 
(Notice on door: 'Conference. No Admittance'.) 
 
Dispatch nider rushes in. 
A door opens for him and closes behind him. 
We hear a mighty roar of laughter....
series of doomphs as the commanders hit the floor or table. 
Soldier outside does not move a muscle.
 
Cut to a pillbox on the Salisbury Plain.
Track in to slit to see moustachioed top brass peering anxiously out.
 
Voice Over
Top brass were impressed. 
Tests on Salisbury Plain confirmed The Joke's devastating effectiveness at a range of up to fifty yards.
 
 
 
Cut to shot looking out of slit in pillbox. 
Zoom through slit to distance where a solitary figure is standing on the windswept plain. 
 
He is a bespectacled, weedy lance-corporal (Terry Jones) looking cold and miserable. 
 
Pan across to fifty yards away where two helmeted soldiers are at their positions beside a blackboard on an easel covered with a cloth.
 
Cut in to corporal's face -
registening complete lack of comprehension as well as stupidity. 
 
Man on top of pillbox waves flag.
The soldiers reveal the joke to the corporal. 
He peers at it, thinks about its meaning, sniggers, and dies. 
 
Two watching generals are very impressed.
 
Generals
Fantastic.
 
 
Cut to a Colonel talking to camera.
 
Colonel
All through the winter of '43 we had translators working, in joke-proof conditions, to try and produce a German version of The Joke.
 
They worked on one word each for greater safety.
 
One of them saw two words of the joke and spent several weeks in hospital.
 
But apart from that things went pretty quickly, and we soon had The Joke by January,
in a form which our troops couldn't understand but which the Germans could.
 
Cut to a trench in the Ardennes.
Members of the joke brigade are crouched holding pieces of paper with the joke on them.
 
Voice Over
So, on July 8th, 1944, the joke was first told to the enemy in the Ardennes...
 
Commanding NCO
Squad! Tell The ... Joke.
 
Joke Brigade (together)
Wenn ist das Nunstruck git und Slotermeyer?
Ja! ... Beiherhund das Oder die Flipperwaldt gersput!
 
Pan out of the British trench across war-torn landscape and come to rest where presumably the German trench is.
There is a pause and then a group of Germans rear up in hysterics.
 
Voice Over
It was a fantastic success.
Over sixty thousand times as powerful as Britain's great pre-war joke ...
 
Cut to a film of Chamberlain brandishing the 'Peace in our time' bit of paper.
 
Voice Over
...and one which Hitler just couldn't match.
 
Film of Hitler rally.
Hitler speaks; subtitles are superimposed. 
 
SUBTITLE
'MY DOG'S GOT NO NOSE'
 
A young soldier responds:
SUBTITLE:
HOW DOES HE SMELL?
 
Hitler speaks:
SUBTITLE:
AWFUL
 
Voice Over
In action it was deadly.
 
Cut to a small squad with rifles making their way through forest.
Suddenly one of them (a member of the joke squad) sees something and gives signal at which they all dive for cover.
From the cover of a tree he reads out Joke.
 
Joke Corporal
Wenn ist das Nunstruck git und Slotermeyer?
Ja! .. Beiherhund das Oder die Flipperwaldt gersput!
 
Sniper falls laughing out of tree.
 
Joke Brigade (charging)
Wenn ist das Nunstruck git und Slotermeyer?
Ja! ... Beiherhund das Oder die Flipperwaldt gersput.
 
They chant the joke.
Germans are put to flight laughing, some dropping to ground.
 
Voice Over
The German casualties were appalling.
 
Cut to a German hospital and a ward full of casualties still laughing hysterically.
 
Cut to Nazi interrogation room.
An officer from the joke brigade has a light shining in his face.
A Gestapo officer is interrogating him;
another (clearly labelled 'A Gestapo Officer') stands behind him.
 
Nazi
Vott is the big joke?
 
Officer
I can only give you name, rank, and why did the chicken cross the road?
 
Nazi
That's not funny!
(slaps him)
I vant to know the joke.
 
 
Officer
All right. How do you make a Nazi cross?
 
Nazi (momentarily fooled)
I don't know ... how do you make a Nazi cross?
 
Officer
Tread on his corns.
(does so; the Nazi hops in pain)
 
Nazi
Gott in Himmel!
That's not funny!
(mimes cuffing him while the other Nazi claps his hands to provide the sound effect)
Now if you don't tell me the joke, I shall hit you properly.
 
Officer
I can stand physical pain, you know.
 
Nazi
Ah ... you're no fun.
All right, Otto.
 
Otto (Graham) starts tickling the officer who starts laughing.
 
Officer
Oh no - anything but that please no, all right I'll tell you.
 
They stop.
 
Nazi
Quick Otto.
The typewriter.
 
Otto goes to the typewriter and they wait expectantly.
The officer produces piece of paper out of his breast pocket and reads.
 
Officer
Wenn ist das Nunstruck git und Slotermeyer? Ja!
... Beiherhund das Oder die Flipperwaldt gersput.
 
Otto at the typewriter explodes with laughter and dies.
 
Nazi
Ach! Zat iss not funny!
 
Bursts into laughter and dies.
A guard (Terry G) bursts in with machine gun, The British officer leaps on the table.
 
Officer (lightning speed)
Wenn ist das Nunstruck git und Slotermeyer?
Ja! ... Beiherhund das Oder die Flipperwaldt gersput.
 
The guard reels back and collapses laughing.
British officer makes his escape.
 
Cut to stock film of German scientists working in laboratories.
Voice Over
But at Peenemunde in the Autumn of '44, the Germans were working on a joke of their own.
 
Cut to interior.
A German general (Terry J) is seated at an imposing desk.
Behind him stands Otto, labelled 'A Different Gestapo Officer'.
Bespectacled German scientist/joke writer enters room.
He clean his throat and reads from card.
 
German Joker
Die ist ein Kinnerhunder und zwei Mackel über und der bitte schön ist den Wunderhaus sprechensie.
'Nein' sprecht der Herren 'Ist aufern borger mit zveitingen'.
 
He finishes and looks hopeful.
 
Otto
We let you know.
 
He shoots him.
More stock film of German scientists.
 
Voice Over
But by December their joke was ready,
and Hitler gave the order for the German V-Joke to be broadcast in English.
 
Cut to 1940's wartime radio set with couple anxiously listening to it.
 
Radio (crackly German voice)
Der ver zwei peanuts, valking down der strasse,
and von vas... assaulted! peanut. Ho-ho-ho-ho.
 
Radio bursts into 'Deutschland Ãœber Alles'.
The couple look at each other and then in blank amazement at the radio.
 
Cut to modern BBC 2 interview.
The commentator in a woodland glade.
 
Commentator
In 1945 Peace broke out.
It was the end of The Joke.
Joke warfare was banned at a special session of the Geneva Convention,
and in 1950 the last remaining copy of the joke was laid to rest here in the Berkshire countryside, never to be told again.
 
He walks away revealing a monument on which is written:
'To the unknown Joke'.
Camera pulls away slowly through idyllic setting.
Patriotic music reaches cresendo.
 
Cut to football referee who blows whistle.
Silence. Blank screen.
CAPTION:
'THE END'
 
The seashore again, with the 'It's' man lying on the beach.






















Tuesday, 26 November 2019

I Can Live With It


Now, since The Real Test for any choice is having to make the same choice again, 
knowing full well what it might cost.... 
I guess I feel pretty good about that choice,
’cause here I am –

At it again.





Syd :
David.
What did you do? 
David? 

LEGION :
It's Me. I didn't want to scare you.


Syd :
I'm not afraid.

LEGION :
For the record, I wasn't bothering anybody.
We just wanted to be left alone.
To find peace.

Syd :
"We".

LEGION :
My People.

Syd :
Your Commune.
You're talking about Your Commune, 
where you seduce teenage girls 
with Daddy Issues.

LEGION :
You jealous? 
I mean, "No, that's not What I Do."
It's about Love.
I help people, open their minds.
I teach them how to care about each other.
You know? Flaws and all.
'Cause people make mistakes.
We make mistakes.
We do things we can't take back, and then we stop loving ourselves.
And if we can't love ourselves --

Syd :
Oh, is that The Problem? 
You stopped Loving Yourself? 

LEGION :
Baby, I am so sorry.

Syd :
No.

LEGION :
I am.

Syd :
"I, I, I".
You have no idea what it's like to be Me.
My Problems, My Life.
You the mind reader.
You Don't See Me.
You never really did.

HE TURNS ON THE LOVE-VISION

Syd :
Don't-don't don't do that! 

LEGION :
Sorry.
Sorry, sorry, sorry, sorry.
I'm just trying to tell you, 
Trying to Show You, 
You are All I See.

It's called Love.

Syd :
Have you ever heard The Saying, 
"Men are afraid women will laugh at them; 
women are afraid men will kill them"

LEGION :
No! That's awful!

Syd :
You need to turn yourself in.


So you can Treat Me? Or Kill Me? 
Like you did yesterday, twice
I saw. She showed me.
The Time Traveler.
She Saved Me from You.


Syd, how could you do that? 
Without a word.
We....

Syd :
Don't say "Love each other".

LEGION :
Lenny said not to come, 
but I had to know.
I had to know.

I am a Good Person.
I Deserve Love.
I Deserve love.

Syd :
You Deserve Love? 

LEGION :
I know, but --

Syd :
You did bad things to me.
You drugged me and had sex with me.

LEGION :
What if I could change that? 
The Timeline.

Syd :
You would still be 
The Man Who Tricked Me.
Who took advantage of me.
I just wouldn't know.

LEGION :
No, no, I-I mean before.
Go back before.
You pick the time --

Syd :
It doesn't matter What You Did.
It's Who You Are, David.
And all of this, your undoing project, 
it's just another trick.

LEGION :
Well, fine.
Then- then let me go.
Disappear.
I won't bother you.
I won't bother anybody.

Syd :
I can't.

LEGION :
Why? If you hate me so much.

Syd :
Because You End The World.







*”DID YOU THINK YOU’D GET AWAY WITH IT....? 

DID YOU THINK •I• WOULDN’T KNOW...?”*


And of course, that is indeed *precisely* what The Shadow (the Jungian-Tibetan Pulp Superhero, The Shadow) *does* say whenever he manifests, in order to drive Evil Men out of their minds and make them utterly destroy themselves




Immediately after he restates for the second time “I *Can* Live with It.” and tries to assume a “relaxed” pose on his couch, the fact of his crossing his legs puts me in mind of The Hanged Man of the Tarot, denoting one with the gift of prophecy and foresight, engaged in an act of self-sacrifice and voluntary suffering for the Greater Good of his tribe and the community.


This is not a natural or comfortable way for a man to sit, and it speaks to  his vulnerability and continuing discomfort.


SISKO: 

At oh eight hundred hours, station time, The Romulan Empire formally declared war against the Dominion. 


They have already struck fifteen bases along the Cardassian border. 

So, this is a huge victory for The Good Guys. 


This may even be the turning point of the entire war. 


There's even a 'Welcome to the Fight' party tonight in the wardroom. 


So I lied, I cheated, I bribed men to cover the crimes of other men. 

I am an accessory to murder. 

But most damning thing of all, 


I think I can live with it. 

And if I had to do it all over again, I would.

Garak was right about one thing. A Guilty Conscience is a small price to pay for the safety of the Alpha Quadrant, so –


I will learn to live with it. 

Because I can live with it. 

I can live with it. 


Computer, erase that entire personal log.

Monday, 25 November 2019

HAMMER

Behold, I have created the smith that bloweth the coals in the fire, and that bringeth forth an instrument for his work; and I have created The Waster to destroy.

Isaiah 54:16


Du mußt Amboß oder Hammer sein 
“You must be Anvil or Hammer”

Oracle:
You are a Bastard.

Smith:
You would know, Mom.

Oracle:
Do what you’re here to do.

Smith:
Yes, ma’am.



Smith is aboard The Hammer




The Mjolnir (AKA the Hammer) is a Zion hovercraft. The ship's named is derived from Mjolnir (crusher), the hammer of the Norse thunder god, Thor. Because of this, most characters refer to the ship as the "Hammer". It is the largest hovercraft in the Zion fleet, thus making it extremely difficult to maneuver around tight spaces.

After the failed EMP wave, the Mjolnir picked up Bane, who appears to be the only survivor of the battle between the Sentinels and the Zion fleet, but has in fact been taken over by Smith and murdered everyone on the Caduceus.

Shortly later they located the crew of the Nebuchadnezzar after their ship is destroyed by a Sentinel tow bomb.

Against Captain Roland's better judgment, Niobe lets Neo and Trinity (and a stowed-away Bane) take the Logos in an attempt to reach the Machine City.


With the remaining crew of the Nebuchadnezzar and the Logos, the Mjolnir races back to Zion, relying on Niobe's piloting skills to steer the ship through the narrow mechanical tunnels. Reaching the city as it is under attack by thousands of Sentinels, and with their communications antenna destroyed, the Mjolnir crash lands in Zion's Dock and sets off its EMP. This destroys the attacking Sentinels, but as an angry Commander Lock warns Roland and Morpheus, they have also crippled the city's defenses against any subsequent attacks.

Except for Roland, all members of the crew have gun-related names: "Maggie" is short for "magazine" or "Magnum"); AK is named after the Kalashnikov series of assault rifles; Colt is related to the famous Colt's Manufacturing Company's guns; Mauser is named after a German arms manufacturer.

The Mjolnir's commissioning plaque reads "Mark XIV No. 62[1] Made in the USA Year 2111".

It is not known how the ship was constructed after the victory of the Machines. Possibly it was constructed in Zion, not USA

References

↑ Mark 14:62 reads "And Jesus said, I am: and ye shall see the Son of man sitting on the right hand of power, and coming in the clouds of heaven."

AXE





Merlin :
 Uther! 

Merlin! 
Merlin, I am The Strongest. 
I am The One. 
The Sword! 
You promised me The Sword! 

Merlin :
And you shall have it!
But to heal, not to hack
Tomorrow... ...a Truce. 
We meet at The River. 

Talk! Talk is for lovers, Merlin. 
I need a Sword to be King. 


Merlin :
 Oh, yes. 
Oh, you learn quickly. That's good. I like that. 

What kind of Man was My Father? 

Merlin :
Oh, he was BRAVE, he was STRONG. 
He was a Great Knight. 

Was he a Great King? 

Merlin :
Well, er — he was rash. 
He never learned how to look into Men's Hearts. 
Least of all his own. 

You loved him? 

Merlin :
Well, it is easy to love folly in a child. 

Merlin, will you help me to be wise, not to be rash? 
Where are you going? 

Merlin :
Where do you think? 
You have a Kingdom to rule. 

But how? 
I don't know how. 

Merlin :
You knew how to draw The Sword from The Stone. 

That was easy.

Merlin :
Was it? 
•I• couldn't have done it. 

You couldn't? 

Merlin :
You're The King, not I. 

Saturday, 23 November 2019

Like an Animal with its Heart on The Outside

Love isn’t Something That Weak People Do.




pathetic (adj.)
1590s, "affecting the emotions, exciting the passions," from Middle French pathétique "moving, stirring, affecting" (16c.), from Late Latin patheticus, from Greek pathetikos "subject to feeling, sensitive, capable of emotion," from pathetos "liable to suffer," verbal adjective of pathein "to suffer" (from PIE root *kwent(h)- "to suffer"). 

Related: Pathetical (1570s); pathetically. Pathetic fallacy (1856, first used by Ruskin) is the attribution of human qualities to inanimate objects.

SYDNEY BARRETT :
You're talking about Mental Illness.

GABRIELLE HALLER,
Mother of LEGION :
Such a clinical name for something so raw.
Like an animal with its Heart on The Outside.


Artificial Souls






Me and my mother and father -
And a grandmother and a grandfather -
Were driving through the desert
At dawn, and a truck load of Indian workers
Had either hit another car, or just -
I don't know what happened -
But there were Indians scattered
All over the highway, bleeding to death

So the car pulls up and stops
That was the first time I tasted fear
I must've been about four -
Like a child is like a flower
His head is just floating in the breeze, man

The reaction I get now thinking about it
Looking back - is that the souls
Or the ghosts, of those dead Indians
Maybe one or two of them
Were just running around freaking out
And just leaped into my soul

And they're still in there

PROVIDENCE


Believing in Jesus Christ —
That’s Easy.


The Real Test is Whether or Not You can Believe in 

Other People.







ORACLE: 
Niobe..... 

NIOBE: 
Do I know you? 

ORACLE: 
You know me, though you just may not recognize me. 

NIOBE: 
Are you telling me that you are The Oracle? 

ORACLE: 
I know this may not be easy for any of you, change never is. 
I wish the face you remember was the face I was still wearing, but that face is gone. 

NIOBE: 
If you are the Oracle, tell me if I believe you are. 

ORACLE: 
You don't right now, but you will. 

NIOBE: 
Are you going to tell me something to make me believe you? 

ORACLE: 
Come on Niobe, you know I can't do that. 

N: 
Why not? 

O: 
Because I cannot make you do anything. 

N: 
At least you sound the same. 

O: 
As I said, you may not recognize the face, but who and what I am underneath remains the same. 

N: 
Can I ask what happened? 

O: 
The Merovingian warned me, that If I made a certain choice it would cost me. 
He is, among other things, a man of his word. 

N: 
What was the choice? 

O: 
The same one you yourself will have to make: 
The choice to help Neo or not. 

N: 
Then Neo is still alive? 

O: 
Yes, he touched the source and seperated his mind from his body. Now he lies trapped in a place between your world and ours. 

N: 
Can we free him? 

O: 
Trinity can, but she will have to fight her way through Hell to do it. 

N: 
Can I help? 

O: 
That's why I called you. 
I cannot tell you what is going to happen. 
All I can do is hope that if given the chance, you will find the courage to do what you can. 

N: 
You once told me you knew everything you needed to. 

O: 
I do. I knew everything from the beginning of this path to the end. 

N: 
I don't understand. 

O: 
Even I can't see beyond the end. 

N: 
The end? 
Are you trying to tell me the world is going to end? 

O: 
Yes. If we cannot save it, it will end. 

N: 
You mean Neo. 

O: 
I mean we. 
The path of the one is made by the many. 
I have a role to play just as you have yours. 

WE SHOOT OURSELVES IN THE BACK



(The Master calls a lift. It is empty.) 
MASTER: 
Right. Come on, then, hop in. 
Straight down. Tardis. 

MISSY: 
Come here. 

MASTER: 
I'm sorry? 

(She plants her parasol in the ground.) 

MISSY: 
Come here, I said. 

MASTER: 
Seriously? 
Are we really going to do this? 

(He embraces her.) 

MISSY: 
I loved being you. 
Every second of it. 
Oh, the way you burn like a sun. 
Like a whole screaming world on fire. 
I remember that feeling, and I always will. 
And I will always miss it. 

MASTER: 
Now that was really very nicely done. 

MISSY: 
Thank you. 

(He has blood on his fingers and she has a stiletto blade, I think.) 

MASTER: 
It's good to know I haven't lost my touch. 

MISSY: 
You deserve my best.

(Missy helps the Master to the lift.) 

MASTER: 
How long do I have? 

MISSY: 
Oh, I was precise. 
You'll be able to make it back to your Tardis, maybe even get a cuppa, although you might leak a little. 

MASTER: 
And then regenerate into you. 

MISSY: 
Welcome to the sisterhood. 

MASTER: Missy? Seriously, why? 

MISSY: 
Oh, because he's right. Because it's time to stand with him. It's where we've always been going, and it's happening now, today. It's time to stand with the Doctor. 

MASTER: No. Never. Missy! I will never stand with the Doctor! 

MISSY: Yes, my dear, you will. 
(So the Master zaps her in the back with his triple barrelled sonic whatever.) 

MASTER: 
Don't bother trying to regenerate. 
You got the full blast. 

(They both laugh.) 

MASTER: 
You see, Missy, this is where we've always been going. 
This is our perfect ending. 
We shoot ourselves in the back. 

(The lift doors close and he descends, still chuckling. Missy dies amongst the greenery.)

BE PRESENT



“How much is required? 

See, we have these concepts.

The Past, The Present, The Future.


The Past I get.

It's everything that happened before.


And The Future is everything that's still to come.


But what is The Present? 


Think about light, about The Speed of Light.


Yeah, no matter how close something is, it still takes time for its image to reach your eye.


My glasses, say.

I show them to you, and it takes time for the image to reach your eye.

And more time for that signal to go from your eye to your brain, and even more time for your brain to process what you're seeing into information your body can react to.

Sure, it's millionths of a second, but still, it's not now.


So, My Theory is there •is• no Present.

There's only Past and Future.”


— Ptonomy, 

A Memory-Man Who is Killed by a Delusion :

Stuck in The Past,

Living Backwards.






PECK

I am but a humble servant who hopes to be useful in some small way to the needs of The Collective and to the wishes of Our Master.

The “S" before "H.
My Beloved, The Master of Disaster —
Her Majesty, Queen Lenore I,
The Breakfast Queen :
Everybody out.
Now.
Nice.
Is that Japanese? 

Switch :
Chinese.

The “S" before "H.
My Beloved, The Master of Disaster —
Her Majesty, Queen Lenore I,
The Breakfast Queen :
Whatever.


So, um David wants you, right now, but don't get any ideas, because I am his major domo.

Got it? This Girl, not you.
With your adorable fashion sense and your superpowers.

I help him more than you ever will.
He needs me.

So, if you want to live here and be part of the commune, you got to remember one thing:

You work for me.

And I work for him.

And that is The Order.

Got it? 








The “S" before "H.
My Beloved, The Master of Disaster —
Her Majesty, Queen Lenore I,
The Breakfast Queen :
I'll take that as a ‘yes.’



Birds—and Territory

My dad and I designed a house for a wren family when I was ten years old. It looked like a Conestoga wagon, and had a front entrance about the size of a quarter. This made it a good house for wrens, who are tiny, and not so good for other, larger birds, who couldn’t get in. My elderly neighbour had a birdhouse, too, which we built for her at the same time, from an old rubber boot. It had an opening large enough for a bird the size of a robin. She was looking forward to the day it was occupied. 

A wren soon discovered our birdhouse, and made himself at home there. We could hear his lengthy, trilling song, repeated over and over, during the early spring. Once he’d built his nest in the covered wagon, however, our new avian tenant started carrying small sticks to our neighbour’s nearby boot. He packed it so full that no other bird, large or small, could possibly get in. Our neighbour was not pleased by this pre-emptive strike, but there was nothing to be done about it. “If we take it down,” said my dad, “clean it up, and put it back in the tree, the wren will just pack it full of sticks again.” Wrens are small, and they’re cute, but they’re merciless. 

I had broken my leg skiing the previous winter—first time down the hill—and had received some money from a school insurance policy designed to reward unfortunate, clumsy children. I purchased a cassette recorder (a high-tech novelty at the time) with the proceeds. My dad suggested that I sit on the back lawn, record the wren’s song, play it back, and watch what happened. So, I went out into the bright spring sunlight and taped a few minutes of the wren laying furious claim to his territory with song. Then I let him hear his own voice. That little bird, one-third the size of a sparrow, began to dive-bomb me and my cassette recorder, swooping back and forth, inches from the speaker. We saw a lot of that sort of behaviour, even in the absence of the tape recorder. If a larger bird ever dared to sit and rest in any of the trees near our birdhouse there was a good chance he would get knocked off his perch by a kamikaze wren. 

Now, wrens and lobsters are very different. Lobsters do not fly, sing or perch in trees. Wrens have feathers, not hard shells. Wrens can’t breathe underwater, and are seldom served with butter. However, they are also similar in important ways. Both are obsessed with status and position, for example, like a great many creatures. The Norwegian zoologist and comparative psychologist Thorlief Schjelderup-Ebbe observed (back in 1921) that even common barnyard chickens establish a “pecking order.” 

The determination of Who’s Who in the chicken world has important implications for each individual bird’s survival, particularly in times of scarcity. The birds that always have priority access to whatever food is sprinkled out in the yard in the morning are the celebrity chickens. After them come the second-stringers, the hangers-on and wannabes. Then the third-rate chickens have their turn, and so on, down to the bedraggled, partially-feathered and badly-pecked wretches who occupy the lowest, untouchable stratum of the chicken hierarchy. 

Chickens, like suburbanites, live communally. Songbirds, such as wrens, do not, but they still inhabit a dominance hierarchy. It’s just spread out over more territory. The wiliest, strongest, healthiest and most fortunate birds occupy prime territory, and defend it. Because of this, they are more likely to attract high-quality mates, and to hatch chicks who survive and thrive. Protection from wind, rain and predators, as well as easy access to superior food, makes for a much less stressed existence. Territory matters, and there is little difference between territorial rights and social status. It is often a matter of life and death. 

If a contagious avian disease sweeps through a neighbourhood of well-stratified songbirds, it is the least dominant and most stressed birds, occupying the lowest rungs of the bird world, who are most likely to sicken and die. This is equally true of human neighbourhoods, when bird flu viruses and other illnesses sweep across the planet. The poor and stressed always die first, and in greater numbers. They are also much more susceptible to non-infectious diseases, such as cancer, diabetes and heart disease. When the aristocracy catches a cold, as it is said, the working class dies of pneumonia. 

 Because territory matters, and because the best locales are always in short supply, territory-seeking among animals produces conflict. Conflict, in turn, produces another problem: how to win or lose without the disagreeing parties incurring too great a cost. This latter point is particularly important. Imagine that two birds engage in a squabble about a desirable nesting area. The interaction can easily degenerate into outright physical combat. Under such circumstances, one bird, usually the largest, will eventually win—but even the victor may be hurt by the fight. That means a third bird, an undamaged, canny bystander, can move in, opportunistically, and defeat the now-crippled victor. That is not at all a good deal for the first two birds.


Conflict—and Territory 

Over the millennia, animals who must co-habit with others in the same territories have in consequence learned many tricks to establish dominance, while risking the least amount of possible damage. A defeated wolf, for example, will roll over on its back, exposing its throat to the victor, who will not then deign to tear it out. The now-dominant wolf may still require a future hunting partner, after all, even one as pathetic as his now-defeated foe. 

Bearded dragons, remarkable social lizards, wave their front legs peaceably at one another to indicate their wish for continued social harmony. Dolphins produce specialized sound pulses while hunting and during other times of high excitement to reduce potential conflict among dominant and subordinate group members. Such behavior is endemic in the community of living things.

Fortress of Solitude





What does it mean, to have a sacred place?
 
JOSEPH CAMPBELL: 
This is a term I like to use now as an absolute necessity for anybody today. 
 

You must have a room, or a certain hour a day or so –
 
Where you do not know what was in the newspapers that morning
 
You don’t know who your friends are,
 
You don’t know what you owe to anybody, 
 
You don’t know what anybody owes to you, 
 
But a place where you can simply experience
and bring forth What You Are
and
What You Might Be. 
 
This is the place of Creative Incubation. 
 
And first you may find that nothing’s happening there, but if you have a sacred place and use it, and take advantage of it, something will happen.
 
BILL MOYERS: 
This place does for you what the plains did for The Hunter…
 
JOSEPH CAMPBELL: 
For them the whole thing was a sacred place, do you see? 
 
But most of our action is economically or socially determined, and does not come out of our life. 
 
I don’t know whether you’ve had the experience I’ve had, but as you get older, the claims of the environment upon you are so great that you hardly know where the hell you are. 
 
What is it you intended? 
 
You’re always doing something that is required of you this minute, that minute, another minute. 
 
Where is your bliss station, you know? 
Try to find it. 
 
Get a phonograph and put on the records,
the music, that you really love. 
 
Even if it’s corny music that nobody else respects,
I mean, the one that you like or the book you want to read,
get it done and have a place in which to do it. 
 
There you get the “thou” feeling of Life. 
 
These people had it for the whole world that they were living in.
 



Switch :
How is this here? 
This Cave? 
 
LEGION:
I made it.
 
http://spikethenews.blogspot.com/2019/11/profiles-in-mentorship-legion-and-switch.html