Showing posts with label Kafka. Show all posts
Showing posts with label Kafka. Show all posts

Thursday 11 February 2021

Isomorphism



Before The Law, 
There Stands A Guard


BEFORE THE LAW :

Before The Law, 
There stands A Guard. 

A Man comes from The Country, 
begging admittance to The Law. 

But The Guard cannot admit him. 

May he hope to enter at a later time? 
That is possible, said The Guard. 

The Man tries to peer through The Entrance. 
He'd been taught that The Law was to be accessible 
to every Man. 

"Do not attempt to enter without My Permission", 
says The Guard. 

"I am very Powerful. 
Yet I am The Least of all The Guards. 

From Hall to Hall, 
Door after Door, 
Each Guard is more Powerful 
than The Last.”

By The Guard's Permission
The Man sits by The Side of The Door
and there he waits

For YEARS, He waits. 

Everything He has
He gives away in The Hope of bribing 
The Guard, who never fails to Say to Him : 
“I Take What You Give Me, 
only so that You Will Not Feel 
that You Left Something Un-Done." 

Keeping His Watch during the long years, 
The Man has come to know 
even The Fleas on The Guard's fur collar. 

Growing childish in old age, 
He begs the fleas to persuade The Guard 
to change His Mind and Allow Him to Enter. 

His Sight has dimmed, but in The Darkness 
He perceives a radiance streaming immortally 
from The Door of The Law. 

And now, before He dies
all He's experienced condenses into one Question, 
A Question He's never asked

He beckons The Guard. 

Says The Guard, 
"You are insatiable
What is it now?" 

Says The Man, 
"Every Man strives to attain The Law. 
How is it then that in all these years
no one else has ever come here, 
seeking admittance?" 

His Hearing has failed
so The Guard YELLS into His Ear :

"Nobody Else but You 
could EVER have 
obtained admittance. 

No-one else could 
Enter This Door!" 

"This Door," He Says,
"was intended,  
ONLY for YOU

And, Now — 
I'm going to close it." 

This Tale is Told during 
The Story called 
"The Trial". 

It's been said that 
The Logic of This Story 
is The Logic of a Dream... 
Or a Nightmare.





BOUC :
Poirot. I need your help, my friend. 
You have to find who did this. 
Please, I implore you, on behalf 
of The Orient Express. 

When The Police arrive, 
we can present them 
with the case closed. 

You are the only one who can Save Me. 

Hercule Poirot :
Your Faith touches me, mon cher. 
But I must have this rest. 

BOUC :
Well, think of it as a little 
beachside puzzle. 

That's nothing to your mind! 

You look up the antecedents 
of the passengers. 

You establish their bona fides
Then you do What You Do. 

You... You... You... 
You sit in a chair and you eat your cake... 
and you think until the solution presents itself. 

What else are you going to do 
while we sit here in the snow? 

Without constant stimulation
your little gray cells will 
starve and die. 

Hercule Poirot :
You think that is what I do? 

I sit in a chair and I have a little piece of cake, 
and then I come up with a great idea? 

BOUC :
I don't know what you do. 

Hercule Poirot :
I have my Dickens. 

BOUC :
Damn your Dickens! 
If we leave this to The Police, 
they will choose a culprit, 
Right or Wrong
and they will hang him

Most probably Mr. Marquez, 
for no other reason than 
his name is 'Marquez'. 

Or Dr. Arbuthnot for the colour of his skin. 
You are the only one who 
can bring Justice. 

Hercule Poirot :
.....let me have a map of this coach. 

BOUC :
Of course. 

Hercule Poirot :
Every passport. 

BOUC :
Anything. 

Hercule Poirot :
Interviews arranged with 
all of our passengers. 

Evidence, Order and Method, 
until one culprit emerges

I do not approve of Murder, my friend. 

Every day, we meet people The World 
could do better without 
yet We Do Not Kill Them. 

We must be better than The Beasts. 

So let us find this Killer. 


Jordan Peterson pulls Christianity out of Sam Harris' reductionist hat



"Because -- a Forgery that is materially the same as a great masterpiece, is essentially worthless."


No. It's Priceless. Because you cannot sell it. It's worth a very great deal, indeed.





Miss Debenham :
It's freezing! 
Are we stuck? 
You asked for me? 
Another interrogation? 

Hercule Poirot :
Oh, no. I enjoy your company. 
Merci, Bouc. 

Uh, please. I have a list of 10 Questions 
I am no nearer to answering, 
and the train is about to leave. 

You have a clear mind, and I thought that you might produce an insight. Please

Miss Debenham :
Hmm. 

"The Handkerchief." 

"The Pipe Cleaner."

"The Scarlet Kimono." 

"The Uniform." 

"The time on The Watch." 

"Was he murdered then?" 

"Earlier or later?" 

"By one person or more?" 

"Which of them?" 

Sorry, I can't help you. 



Hercule Poirot :
Uh... Merci. 

Miss Debenham :
Perhaps there is 
An Eleventh Question 
you don't know to ask yet 
that will give you 
The Answer to the rest.

WHY AREN'T YOU DEAD, YET? 

Hercule Poirot :
Perhaps. I could point an easy finger 
at the, uh, Countess Andrenyi. 
I discovered she was 
Sonia Armstrong's sister. 

Are you certain? 

Hercule Poirot :
Yes. I suspect she may perhaps 
be innocent. Perhaps. 

But so many people have lied to me on this train and do not seem to mind. 

You yourself did so effortlessly

Me? 

Hercule Poirot :
You told me you had 
never been to America. 
You also concealed the fact that 
at the time of The Tragedy, you 
were living in The Armstrong Household 
as Governess to Their Daughter. 
And you know this. 

I have my living to get. 
A Girl detained in connection 
to a murder case, no decent 
class family would engage me. 

Miss Debenham, you planned 
Ratchett's murder. 
And then you sent for 
The Countess to witness it. 
If she saw him dead, 
the Helena you knew might return. 

You waited for your roommate to sleep, 
but she did not. You drugged her. 
But the barbital only gave her a headache. 
She begged for an aspirin when The Train
stopped, when The Conductor 
was on The Station, when the coast w
as clear at last, when you were 
allowed to enter 
Ratchett's compartment, unseen. 
You loved Daisy Armstrong. 
You killed Cassetti. 

Miss Debenham :
Cassetti was a pig
He deserved to die. 



You read The Bible, Ringo? 

Not regularly, no. 

Well, there's this passage I got memorized. 
Ezekiel 25:17. 

"The Path of The Righteous Man 
is beset on all sides 
by the inequities of The Selfish 
and The Tyranny of Evil Men. 

Blessed is he, who in the name 
of Charity and Good Will, 
shepherds The Weak 
through The Valley of Darkness, 
for he is truly His Brother's Keeper 
and The Finder of Lost Children.

And I will strike down upon thee with great Vengeance and furious anger those who attempt to poison and destroy my brothers. 

And you will know I am the Lord... 
when I lay my vengeance upon you." 

Now, I been sayin' that shit for years — 
and if you heard it, that meant your ass. 

I never gave much thought 
to what it meant

I just thought it was some coldblooded shit to say to a motherfucker before I popped a cap in his ass. 

But I saw some shit this morning 
made me think twice. 

See, now I'm thinkin' maybe it means... 

You're The Evil Man, and 
I'm The Righteous Man, 
and Mr. 9-millimeter here
he's The Shepherd, protecting 
my righteous ass in 
The Valley of Darkness. 

Or it could mean... 

You're The Righteous Man
and I'm The Shepherd, 
and it's The World that's 
Evil and Selfish.

Yeah, I'd like that. 
But that shit ain't The Truth

The Truth, is —
YOU’RE The Weak... 
and I'm The Tyranny, 
of Evil Men. 

But I'm tryin', Ringo. 

I'm tryin' real hard... 
To be The Shepherd. 


Go. 





It appears there are no end to the lies manufactured just for me.

-- Hercule Poirot

Wednesday 29 July 2020

The Anti-Subtle Humour of Clowning




The only halfway effective strategy I’ve come up with for exploring Kafka’s funniness in class involves suggesting to students that much of his humor is actually sort of unsubtle — or rather anti•-subtle. 







“All I need to make a comedy is a park, a policeman and a pretty girl.”

Charlie Chaplin,
My Autobiography (1964), Ch. 10



Multiple Selves and Information Systems
by Robert Anton Wilson

Between 1910 and 1939, Charlie Chaplin always played the same character in all his films — the beloved little Tramp that became world-famous. 

In 1939, Chaplin wrote, directed and starred in The Great Dictator, in which the little Tramp did not appear. Instead, Chaplin played two charac-ters — a tyrant, based on Hitler, and a Jewish tailor, one of Hitler's victims. 

Audiences all over The World (except Germany, where the authorities banned the film) complained, mournfully and angrily, that they missed The Little Tramp. 

Chaplin, however, having gotten rid of The Tramp once, never did bring that persona back. 

In later films, he played many characters (a serial killer, a kindly old vaudevillian, a deposed king), but never the Tramp. People still com-plained that they wanted to see the Tramp again, but Chaplin went on creating new characters. 

(We will leave it to Jungians to explain why Chaplin had to become two opposite characters before he could personally escape the Archetype of the Tramp...

Many actors have had equally hard battles in getting detached from, if not a specific character, a specific type. Humphrey Bogart remained stuck in villain roles, usually gangsters, for nearly a decade before he got to play his first hero.

 Cary Grant never did escape from the hero type — either the romantic hero or the comic hero; when Alfred Hitchcock persuaded him to play a murderer, in Suspicion, the studio over-ruled both of them and tacked on a sur-prise ending in which the Grant character did not commit the murder, after all. Etc.

Back in "the real world," if a member of a family changes suddenly, the whole family suddenly appears agitated and disturbed. 

Family counselors have learned to expect this, even when the change consists of something everybody considers desirable — e.g., an alcoholic who suddenly stops drinking can "destabilize" the family to the extent that another member becomes clinically depressed, or develops psychosomatic symptoms, or even starts drink-ing heavily (as if the family "needed" an alcoholic). 

It seems that we not only speak and think in sentences like "John is an old grouch" but become disoriented and frightened if John suddenly starts acting friendly and generous. 



(Audiences rejected the previously "lovable" Chaplin most vehement-ly when he played the multiple wife-killer in Monsieur Verdoux. Probably, audiences would not have felt upset if the role had gone to the actor who originally wrote it for himself and sold it to Chaplin when the Hollywood moguls blacklisted him — Orson Welles.

If Dickens’ Scrooge had changed, in actuality, as he changed in the book, several people in his social field would have suddenly developed bizarre behaviors they had never shown before... 

Chaplin, amusingly, once made a comedy about the chaos created by a man who conspicuously does not exhibit the "isness" or "essence" our subject-predicate language programs us to expect, City Lights


In this film, The Little Tramp encounters a millionaire with two entirely different personalities: a generous and compassionate drunk, and a greedy, somewhat paranoid sober man. 

The Tramp and all the other characters soon exhibit behaviors that would look like clinical insanity to the audience, if we did not know the secret none of the characters guess: namely that each "personality" in the rich man appears when brain chemistry changes. 

The Russian mystic Gurdjieff claimed that we all contain multiple personalities. Many researchers in psychology and neuroscience now share that startling view. As Gurdjieff indicated, the "I" who toils at a job does not seem the same "I" who makes love with joy and passion, and the third "I" who occasionally gets angry for no evident reason seems a third personality, etc. There does not appear anything metaphysical about this; it even appears, measurably, on electroencephalograms. 

Dr. Frank Putnam of the National Institute of Health found that extreme cases of multiple personality — the only ones that ortho-dox psychiatry recognizes — show quite distinct brain waves for each "personality" almost as if the researchers had taken the electrodes off of one subject and attached them to another. (O'Regan. op. cit.) Dr. Rossi defines these separate personalities as "state specific information systems." 

Not only do we show different personalities when drunk and when sober, like Chaplin's emblematic millionaire, but we have different information banks ("memories") in these states. 

Thus, most people have noted that something that happened to them while drunk appears totally forgotten, until they get intoxicated again, and then the memory "miraculously" re-appears. 

This observation of state-specific information occurs even more frequently with LSD; nobody really remembers the richness of an LSD voyage until they take another dose. Emotional states seem part of a circular-causal loop with brain chemistry — it seems impossible, for science in 1990, to say that one part of the circle "causes" the other parts. 

Thus, we can now understand a phenomenon mentioned earlier, namely that we tend to remember happy experiences when happy and sad experiences when sad. The separate "personalities" or information systems within a typical human seem to fall into four main groups, with four additional groups appearing only in minorities who have engaged in one form or another of neurological self-research (metaprogramming).








“ The Gospel of Thomas is not in our canon for several reasons.

The Gospel of Thomas has become very famous, though, in the last part of the twentieth century because it was rediscovered and published and created something of a sensation.

According to the tradition, according to the Gospel of Thomas, Jesus had a Twin Brother and his name was Didymus Judas Thomas. 

Now, Didymus is simply the Greek word for "Twin," it's also used as the Greek word for "testicles" for obvious reasons; there are usually two of them. 

Didymus is the Greek word for "Twin" and Thomas is from a Semitic word, either Hebrew or Aramaic, or Syriac, which are all three similar languages, "Thomas" would look like in "Twin" in those. 

The guy's name is Judas, the Hebrew version would be Judah, the Greek word would be Judas, and the English version is Jude, so you sometimes see it in English translations Didymus Jude Thomas but it's the same word, Judah or Judas. 

His real name is Judah or Judas and Didymus, and Thomas are his nicknames, one Greek and one Semitic or Aramaic. 

He was The Twin Brother of Jesus, according to early Christian tradition, now just one strand of early Christian tradition that is Thomasine Christianity, the forms of Christianity, popular especially in Syria and the east which traced their existence back to the Apostle Thomas. 

There really was an Apostle Thomas among the 12 of Jesus' disciples and having the nickname "Twin." 

Traditional orthodox Christians don't believe he was •Jesus'• Twin Brother, they just believe that he had the •nickname• “Twin” because he was Somebody Else's Twin Brother. 

But in Thomasine Christianity he was connected to Jesus himself as Jesus' Twin.

According to some forms of eastern Christianity therefore, especially the early forms in Syria, Mesopotamia, and India--and yes there was very, very early forms of Christianity in the west coast of India. 

And if you meet an Indian person who's from that part of India and who considers themselves Christian, and they've been Christian for generations they will tell you, “Yes, Thomas was the apostle who brought The Gospel to India the first time.”

There are ancient traditions about this and modern Indian Christians still trace their church back to the Apostle Thomas.

There are all kinds of Thomas literature from the ancient world. It's not all alike, it doesn't all represent one kind of Christianity or one church, or even one region. 

Besides the Gospel of Thomas we know of The Infancy Gospel of Thomas, this is a wonderful documentary if you took my historical Jesus class you get to read the fragments of The Infancy Gospel of Thomas that we still have. 

It shows Jesus--everybody wonders, well what was Jesus like as a kid? 

What games did he play? 
Did he play cops and robbers? 
Did he play with dolls? 

What did Jesus do as a kid? 

Well Thomas tells you, it tells you for example, that he made a bunch of clay pigeons, and when this Jew--it's kind of anti-Jewish document, this Jew comes up and says, “You’re not supposed to be doing that on the Sabbath”, so Jesus claps his hands and the pigeons all fly off, the clay pigeons fly off. 

Or when one of his buddies get--when he gets mad at one of his buddies so he strikes the kid dead and then has to raise the kid up again. 

When one of his teachers criticizes him, he says, ‘What do you know you bimbo?’ and strikes the teacher dumb and blind or something. 

Jesus as a Little Kid in The Infancy Gospel of Thomas, is kind of a little rat but that's the way people imagined him as a child.”




“ My point is not that his wit is too subtle for US students. In fact, the only halfway effective strategy I’ve come up with for exploring Kafka’s funniness in class involves suggesting to students that much of his humor is actually sort of unsubtle — or rather •anti•-subtle. 

The claim is that Kafka’s funniness depends on some kind of radical literalization of Truths we tend to treat as metaphorical. I opine to them that some of our most profound collective intuitions seem to be expressible only as figures of speech, that that’s why we call these figures of speech expressions

With respect to “The Metamorphosis,” then, I might invite students to consider what is really being expressed when we refer to someone as ‘creepy’ or ‘gross’ or say that he is forced to ‘take shit’ as part of his job. 

Or to reread “In the Penal Colony” in light of expressions like ‘tongue-lashing’ or ‘tore him a new asshole’ or the gnomic “By middle age, everyone gets the face they deserve.” 

Or to approach “A Hunger Artist” in terms of tropes like ‘starved for attention’ or ‘love-starved’ or the double entendre in the term ‘self-denial’, or even as innocent a factoid as that the etymological root of ‘anorexia’ happens to be the Greek word for ‘longing’.”


SOME REMARKS ON KAFKA’S FUNNINESS FROM WHICH PROBABLY NOT ENOUGH HAS BEEN REMOVED,
by David Foster Wallace

Sunday 26 July 2020

The Engineers' Plot



Alas,” said The Mouse, 
The World is growing smaller every day. 
At the beginning it was so big that I was afraid, I kept running and running, and I was glad when at last I saw walls far away to the right and left, but these long walls have narrowed so quickly that I am in the last chamber already, and there in the corner stands the trap that I must run into.” 

You only need to change your direction,” 
said The Cat, and ate it up. “

For me, a signal frustration in trying to read Kafka with college students is that it is next to impossible to get them to see that Kafka is funny

Nor to appreciate the way funniness is bound up with the power of his stories. Because, of course, great short stories and great jokes have a lot in common. Both depend on what communications theorists sometimes call exformation, which is a certain quantity of vital information removed from but evoked by a communication in such a way as to cause a kind of explosion of associative connections within the recipient. 

This is probably why the effect of both short stories and jokes often feels sudden and percussive, like the venting of a long-stuck valve. It’s not for nothing that Kafka spoke of literature as “a hatchet with which we chop at the frozen seas inside us.” Nor is it an accident that the technical achievement of great short stories is often called compression—for both the pressure and the release are already inside the reader. What Kafka seems able to do better than just about anyone else is to orchestrate the pressure’s increase in such a way that it becomes intolerable at the precise instant it is released. 

The psychology of jokes helps account for part of the problem in teaching Kafka. We all know that there is no quicker way to empty a joke of its peculiar magic than to try to explain it—to point out, for example, that Lou Costello is mistaking the proper name Who for the interrogative pronoun who, and so on. And we all know the weird antipathy such explanations arouse in us, a feeling of not so much boredom as offense, as if something has been blasphemed. 

This is a lot like the teacher’s feelings at running a Kafka story through the gears of your standard undergrad critical analysis—plot to chart, symbols to decode, themes to exfoliate, etc. Kafka, of course, would be in a unique position to appreciate the irony of submitting his short stories to this kind of high-efficiency critical machine, the literary equivalent of tearing the petals off and grinding them up and running the goo through a spectrometer to explain why a rose smells so pretty. Franz Kafka, after all, is the story writer whose “Poseidon” imagines a sea god so overwhelmed with administrative paperwork that he never gets to sail or swim, and whose “In the Penal Colony” conceives description as punishment and torture as edification and the ultimate critic as a needled harrow whose coup de grâce is a spike through the forehead.

Another handicap, even for gifted students, is that—unlike, say, those of Joyce or Pound—the exformative associations that Kafka’s work creates are not intertextual or even historical. Kafka’s evocations are, rather, unconscious and almost sort of sub-archetypal, the primordial little-kid stuff from which myths derive; this is why we tend to call even his weirdest stories ‘nightmarish’ rather than ‘surreal’. The exformative associations in Kafka are also both simple and extremely rich, often just about impossible to be discursive about: imagine, for instance, asking a student to unpack and organize the various signification networks behind mouse, world, running, walls, narrowed, chamber, trap, cat, and cat eats mouse.












“Those That Ran The Soviet Union believed that they could plan, and manage 
A New Kind of Socialist Society.

They had discovered that it was impossible to control and predict everything — 
and The Plan had run out of control.

But rather than reveal that reveal this, The Technocrats decided to pretend that everything was still going according to The Plan.

And what emerged instead was 
Fake Version of The Society.

The Soviet Union became a Society where EVERYONE knew what their leaders said was   
Not-Real, because everyone could see with their own eyes that The Economy was falling apart —

But Everybody Had to Play Along, 
and pretend that it was Real — Because No-One Could Imagine an Alternative.

One Soviet writer called it HYPERNORMALISATION —You were so much a part of The System that it became impossible to see beyond it :

The Fakeness was HyperNormal


The Engineers' Plot

This episode details how the Bolshevik revolutionaries who came into power in 1917 attempted to industrialize and control the Soviet Union with rational scientific methods. 

The Bolsheviks wanted to turn the Soviet people into scientific beings.

Aleksei Gastev used Social Engineering, including a 
Social Engineering Machine, to make people more rational. 

Gastev founded the Central Institute of Labour (TsIT), Soviet think tank dedicated to the improvement of industrial efficiency.

But Bolshevik politicians and bourgeois engineers came into conflict. Lenin said: 
"The Communists are not directing anything, they are being directed." 

Stalin arrested 2000 engineers in 1930, eight of whom were convicted in the Industrial Party show trial. 
Engineering schools gave those loyal to the party only limited training in engineering, to minimize their potential political influence. 
Industrialized America was used as a template to develop the Soviet Union. 
Magnitogorsk was built to closely replicate the steel mill city Gary, Indiana. A former worker describes how they went so far as to create metal trees since trees could not grow on the steppe.

By the late 1930s, Stalin faithful engineers like Leonid Brezhnev, Alexei Kosygin and Nikita Khrushchev grew in influence, due to Stalin eliminating many earlier Bolshevik engineers. They aimed to use engineering in line with Stalin's policies to plan the entire country. At Gosplan, the head institution of central planning, engineers predicted future rational needs. 

Vitalii Semyonovich Lelchuk, from the USSR Academy of Sciences, describes the level of detail as absurd: 
"Even the KGB was told the quota of arrests to be made and the prisons to be used. The demand for coffins, novels and movies was all planned." 

The seemingly rational benchmarks began to have unexpected results. When the plan measured tonnes carried per kilometers, trains went long distances just to meet the quota. Sofas and chandeliers increased in size to meet measurements of material usage.

When Nikita Khrushchev took over after Stalin he tried to make improvements, including considering prices in the plan. 
The Head of the USSR State Committee for Organization and Methodology of Price Creation is shown with a tall stack of price logbooks declaring that 
"This shows quite clearly that The System is Rational." 

Academician Victor Glushkov proposed the use of cybernetics to control people as a remedy for the problems of planning. 

In the 60s computers began being used to process economic data. Consumer demand was calculated by computers from data gathered by surveys. But the time delay in the system meant that items were no longer in demand by the time they had been produced.

When Leonid Brezhnev and Alexei Kosygin took over in the mid 60s, the economy of the Soviet Union was stagnating. By 1978 the country was in full economic crisis. Production had devolved to "pointless, elaborate ritual" and endeavours to improve the plan had been abandoned. 

"What had begun as a grand moral attempt to build a Rational Society ended by creating a bizarre, bewildering existence for millions of Soviet people".

Sunday 14 June 2020

Bugger Kafka

David Foster Wallace: Remarks on Kafka

“And it is this, I think, that makes Kafka’s wit inaccessible to children whom our culture has trained to see jokes as entertainment and entertainment as reassurance.

It’s not that students don’t “get” Kafka’s Humour but that we’ve taught them to see humour as something you get the same way we’ve taught them that a self is something you just have. 

No wonder they cannot appreciate the really central Kafka joke : that the horrific struggle to establish a human self results in a self whose humanity is inseparable from that horrific struggle. That our endless and impossible journey toward Home is in fact our home.


It’s hard to put into words, up at the blackboard, believe me. You can tell them that maybe it’s good they don’t “get” Kafka. You can ask them to imagine his stories as all about a kind of door. To envision us approaching and pounding on this door, increasingly hard, pounding and pounding, not just wanting admission but needing it; we don’t know what it is but we can feel it, this total desperation to enter, pounding and ramming and kicking. That, finally, the door opens … and it opens outward—we’ve been inside what we wanted all along. Das ist komisch.”


1999
"There is nothing up there."

STANTZ :
Hey, where do these stairs go....?

[ Venkman strides purposefully the ruins  of the obliterated corner-penthouse apartment, conducts a visual inspection of the newly-manifested architectural feature and pronounces his finding on the structure. ]

VENKMAN :
They Go Up.

[ And so they do. ]

Thursday 28 May 2020

IT’S A WONDERFULL LIFE




The more I looked into it, the more I began to see 
that we have these mutants living 
among us, right now

The people from the 21st century; 
from the end of the 21st century are here

But there is no context for them. 

If, on the other hand, you look at these people, who are the mutants… and what do they call it? 

Multiple Personality Disorder.


This is what lies beyond the personality; the “I”; the bullshit.
Because if you take “I” to the limit

What would happen if we decided to abandon the personality, and replace it with a multiple personality complex? 






Dahmer strongly identified with evil and corrupt characters from both The Exorcist III and Return of the Jedi - particularly the level of power held by these characters. 

Expounding on the significance of these movies on Dahmer’s psyche and many of the murders committed at the Oxford Apartments, Dietz explained that Dahmer occasionally viewed scenes from these films before searching for a victim.

Dietz diagnosed Dahmer with substance-use disorder, paraphilia, and schizotypal personality disorder.

If you go WAY down into the structure of The Current Culture Wars, what you see is that at The Very Base of it -

There's Two Things that the Postmodern NeoMarxists are full-scale assaulting :

One is Categorisation, because They believe that 
The Only Function of Categorisation is Power.

The other is,
There's a War on Competence -

Because, if you admit that there are hierarchical structures that are predicated upon Competence, 
then you have to grapple with the issue of Competence, 
and you have to grapple with the issue of Valid Hierarchy.


If All Hierarchy is Power
and
All Power is Corrupt
and
All Corrupt Power is Tyranny

then, you can't admit to Competence.

But the downside is, there's a terrible price to be paid for that, because 
Every Value System Produces a Hierarchy.

So if you dispense with the hierarchy, 
You dispense with The Value Systems.











“Say, for instance… most of us here are mostly pretty counter-culture types – 
Y’know, we like our drugs, 
We like this and that; 
We like breaking a few rules. 

But we don’t like The Police, in general. 
Who here loves The Police? Hands up.

Nice one! 
Coz I’m gonna teach you to love The Police.

Why do we hate The Police? 
If we want to change things – everyone in here, let’s go down to the local precinct and join up. 

Are we gonna do it? 
Who here’s gonna do it with me? 
Coz I’m not gonna do it..

And why? 
Why are we not doing that?

["Coz they're dumb!"]






Right. So we’re hating these guys who’ve taken on this thing… we’ve chosen the biggest lunkheads in society to protect ourselves from the fuckers in Rikers Island! 

Because we are scared of them!
Y’know, we are scared of them. 

We are middle-class, libertarian liberals who are shit-scared of being raped in prison.

So we create The Police
And we get these lunkheads… 
Who will obey what we tell them do to. 
They’ll actually obey us; those fuckers will do what we tell them.

And we say to them: 
“Protect us from those real fuckers; those bikers, and those black guys, and all those awful guys who are gonna come and fuck us up and kill us and steal all our stuff.”

We put The Police there. Right? 
We put them there. 

And we don’t want to go there, because we are Smart People; 
We are Cool People. 
We don’t want to go and hit anyone. 

We don’t want to go and enforce The Law – 
because we don’t really believe in it. 
But we know some poor bastard has to enforce it.

Why do we hate those guys when we put them there?
Why do we hate ourselves for creating this society?

Why are so many people in America obsessed with Marilyn Manson; corpses; dead people; misery; John Wayne Gacy…

John Wayne Gacy’s a fucking prick. 
Y’know, he killed a few people and did some shitty paintings. 
What’s that? Why should we be engaged with that? 

And yet that has become.. what, “apocalypse culture“?
Where do we go from there, that isn’t that? 
Where do we go that isn’t playing with our own shite?

The Answer… 
Back to The Individual.

If The Individual doesn’t work – 
If Patrick McGoohan was wrong; 
Number 6 was wrong to stand on that beach screaming 
“I am not a number, I am a free man!” 

– what do we have left?

Because ultimately the guy who’s not a number and not a free man experiences neurosis, the longer he goes down that path. 

I’m sure there’s a bunch of people here, like me, who eventually… 
You’ve worked your way through this stuff; 
You’ve read the books, you’ve done this shit;
 You’ve taken the drugs; you’ve been there, you’ve seen it. 

We’ve all experienced enlightenment in little bits. 

You know it’s out there; you know this stuff is true: 
The consensus doesn’t explain our lives. 

But what does?

Imagine getting rid of 
The Individual. 

Imagine getting rid of that scaffolding. 

What do we have left? 
And here’s what I’m about to offer:
The more I looked into it, the more I began to see that we have these mutants living among us, right now. 

The people from the 21st century; from the end of the 21st century are here. But there is no context for them. 


In the same way that – y’know, if you lived in… Tunguska two hundred years ago, and you were an epileptic, you would be a shaman. 

There was a context for you. 

In this society, you’re an epileptic. 

It’s quite simple; it’s a disease, and nothing you say is of any worth because it’s considered pathology.
If, on the other hand, you look at these people, who are the mutants… and what do they call it? 
Multiple Personality Disorder.

This is what lies beyond the personality; the “I”; the bullshit.
Because if you take “I” to the limit – and like I said, I’m sure a lot of us here have done this – it becomes… all that happens is that self questions self. Endlessly; repetitively. “Am I doing this right? Is this the right way? Should I think about these people like this? Should I approach them this way; should I involve them this way?” 

Self questions self, endlessly, and it reaches a peak… it goes nowhere.


On the national scale, that same thing – self questions self; self encounters not-self; equals borders, war, destruction.. that’s where it goes. 
That’s where it ends. That thing ends in disaster.
It ends in neurosis on a personal level. 
And it ends in war on the national level.

So I began to think: 
“What could we replace that with?” 
And I was looking at these poor MPD fuckers. And I realised they just don’t have a context.



What would happen if we decided to abandon the personality, and replace it with a multiple personality complex? Because as we all know – everyone in here, I’m sure.. I mean, I feel as if I can say this for certain, knowing human beings as they are: sometimes you do things that you don’t want to do. Sometimes you do things that are contradictory to what you think. Sometimes you fuck yourself up.

Why? Because there’s not one person in here; there’s hundreds.

And if you start giving them names, and you start shuffling them about; if you start playing with them, you become a bigger human being. Because you’ve no longer allowed yourself to stop at your boundaries.

Imagine the personality as… let’s choose Windows, even though that’s a contentious one. 

Imagine the personality as Windows. Instead of the personality.. there’s so many people, I’m sure you’ve met them.. you talk to them, and they say “No, this is the way I am. I’ve worked on this. This is me. And I won’t change. And you’ll just have to work with that. This is me; this is important; this is what I’ve come to, and this is what I’ve Made Of Myself.

Bullshit. It’s a trap. They don’t go anywhere; they’re stuck there.

What if those same people were then given Personality 2000? Which is an upgrade, and an add-on? And here’s a bit of your personality that likes hip hop? Here’s a bit to your personality that likes ballet? And because we’ve all got them. And we’ve got the fucker.. we’ve got the serial killer inside; we’ve got the wonderful new-age bastard… we’ve got whatever we like. We’ve got James Bond in there. We’ve got Pussy Galore in there. They’re all there.

So what I’m suggesting is that we start working with that. Abandon the personality; abandon the individual; abandon the “I” because it’s a lie, and it has held us down; it’s been like a weight round our necks. It was useful for the last two thousand years of history, because it created this out of the chaos that was – and this is more coherent; more useful; more meaningful. It has its problems; everything does; every system has – but we’re getting better.

And I think what we should do is walk away from the crap of the 21st century, and start thinking about what we’ve been experiencing.

My feeling about the 20th century, and about World War II and about Auschwitz and all of that stuff is that we had to go through it. We had to do it. That was humanity’s dark night of the soul, and it will never, ever happen again. But it had to happen.

Every single nightmare image, every image of hell that we have in our minds happened. 

Everything you can think of; people were flayed, brutalised, gassed, tortured, cut into pieces, turned into pigs – everything you can imagine happened. The world was a wasteland. There were cities completely annihilated. We went through it.

Why did we do that?

Stanislav Grof has a conception of the ‘perinatal matrices‘, which was one of the big influences on the film The Matrix. You might recognise some of this. He says that things that happen to us around birth are really profound, and they have all kinds of weird effects. They effect society, they effect the self; they effect everything. They have reverberations.

And he claims that there are several states, that he calls “Basic Perinatal Matrices”.

The first state is oceanic bliss – which we’re all familiar with, I’m sure. Oceanic fuckin’ bliss, mate. And that is the state of the baby in the womb, untouched – everything is provided for; everthing is there; everything you need will turn up out of the blue.

Basic Perinatal Matrix 2 is a different thing. It’s when the womb starts to turn a little toxic, and begins to suggest we’re about to be expelled. And, y’know, we don’t remember this stuff – what happened? What was the feeling of that fetus in there who suddenly thinks: “My entire universe has been overturned and I’m about to be shit out”? Does he know where he’s going? “What the fuck’s this? Y’know, I was happy there. It was cool; I was getting everything I wanted.”

And so on into BPM 4 – which is kind of a release from tension; which is the birth process.
So I’m beginning to think.. as a society – and returning to the idea of ontogeny as history.. phylogeny, or whatever the fuck the word is.. what we’re looking at now is humanity’s process through Grofian matrices.

And what we went through is actually a Stanislav Grof Basic Perinatal Matrix 3 experience.
Every image that he talks about: death camps, control, the idea of people.. babies trapped in tubes.. you’ll recognise all this from The Matrix, as I said.

Oil, mechanisms, machines that hate us; destructive technology.. it all happened.

What if this little baby that is the universe; this little larvae that’s approaching culmination, has had to go through these stages? Because everything does. If you want to get rid of war, how do you get rid of war? You inoculate yourself against war by having the worst fuckin’ war you’ve ever had in your life. And everything after that’s just an aftershock. We’ve done nothing worse than what we did in those few years. Humanity’s never come close to anything like it. We’ve tried; there’s been a few lunatics who’ve tried. But nothing on that scale.

So what if we choose to imagine that humanity has passed through that stage?

We’ve reached the 21st century, and we’re now approaching Basic Perinatal Matrix 4. Which is: victory after war. Which is: the struggle is over. Which is: we’re all here; what do we do next?
There was no apocalypse; there was no Christ. There was no rapture. There is nothing. All this stuff is shit.

There is only us. And we’ve still got another thousand years, and maybe another thousand beyond that, and maybe another twenty thousand beyond that.

What are we gonna do?

Who are we?

Are we gonna stick to these personalities; these bounded, territorial things?

Are we gonna expand ourselves; make ourselves bigger? So that if you happen to like.. [say] ‘world music’ and I don’t, I can tap into your love of ‘world music’, and experience it – and it means something.

So all I’m suggesting here is that we all take up magic. Because basically it works. We can change the world. It’s quite simple; the technology’s there. The Buddhists have been telling us.. as I said, people have been telling us this for so long. And in the last two hundred years, it’s been driven underground and we’ve forgotten.

And people like us are here today to try and recover something of that. And the way to recover it, is to do it. Do the techniques. Go buy an Aleister Crowley book; [or] buy one by Phil Hine or Peter Carroll that’s a bit more up to date, and you don’t have to bother with that 18th century fucking language. But do the shit, and you will find it works.

And we stand here now. This is the counterculture. We are the counterculture.. this is like, this shit. I went to this thing in, like, 1987 and it was Robert Anton Wilson and the whole deal – and I remember sitting in the audience thinking “fuck, rave is dead”. Because it was that kind of thing; that version of it’s dead. The hippy version of it’s dead.

We stand here. And we’re looking ahead. What are we gonna do?

Abandon the personality is what I suggest.

Get rid of the sense of self. Get rid of the sense of “I”, and make yourself something bigger. 
Imagine that every time you want to learn something new, it’s a new computer program; you can buy the operating system; the update. You can learn to fly a plane in seven days according to Neuro-Linguistic Programming – so why not? Let’s do it.

Do we want to change things? Or are we just sitting here talking?

No answer.

Are we talking at all? Do we want to change things? Yeah! Right – that’s why we’re fucking here, man. That is why we’re here!

So what are we gonna do?

If you want to change things, the first thing you have to change is yourself.

Because if you don’t change yourself, you will take on the world as if it is yourself – and fuck up. You will really fuck up, because you don’t understand your own dark side. If you don’t understand your own weird, shitty side.. if you don’t understand the fact that there’s someone in there who will kill your mother, if need be – if you can’t take that on; if you can’t take that on board and realise that Charles Manson and me and you are not much different; that John Wayne Gacy and me and you are not much different – except that he did it. Y’know, there’s those days when I’m gonna kill that motherfucker over there – but we don’t do it.

But it’s in us, and it’s there. And so much of this is denial. That we have no dark side. You know: the hippies, and those lovely people in the rave era who were all on ecstasy – they tried to pretend we have no dark side. And what happened was they got fucked up by their own dark side. As will always happen.

So let’s kiss our dark sides; let’s fuck our dark sides. Get him down there where he belongs. And he can tell us stuff. Y’know, that thing’s useful.


But above all: let’s become plex-creatures. Complex, superplex – be able to take on new personality traits; able to take on new ideas; able to adapt; able to extend our boundaries into what was previously the ‘enemy territory’ – until the point where we become what was once our enemy, and they are us, and there is no distinction."


And they’ll be watching, going: 
“Man, that guy’s getting fucked; I wish I was.”
And they want in. They want in on this. 

So let’s, like Doug said, 

Invite them in. 
Let’s take them in. 

Let’s be like the diseased prion that destroys its host, and CJD.
Let’s go in there and give them something they cannot digest. 

Something they cannot process. Something so toxic, so dangerous, so powerful.. that it will breed, and destroy them utterly.
Not destroy them – turn them into us. 

Because that’s what we want. We want everybody to be cool. We don’t want to go in and think: 

“That guy over there’s gonna kill me; that guy hates me; that guy’s got some fucking weird agenda.”

Don’t we just wanna talk? And let it all go, and just say: 

“Hey, I’m interested in you; what have you got to tell me?”

That’s what it’s all about, isn’t it? We communicate; we join up; we make networks; we make things happen.

And there are some people in the world who don’t wanna do that.
So let us infect them.

Infect them to the point where they become us.
Where there’s nothing left in this world, but us.
And then some kid’ll come up and fuck that as well.
And that’ll be exactly what we need at the time.
And that’s me finished, so thank you very much.







"So here’s my version of what happens :

Doing the comic, I set up these characters – the whole thing was set up as an adventure story, where there are some bad guys who live in another dimension, who want to enslave us all. And there’s some good guys who live in another dimension, who want us all to have a good time. In the middle, there is us. And we are obviously trying to have a good time; everybody wants to have a good time, y’know? Hitler wanted to have a good time. And, uh..

We all want to have a good time. So we’ve got to understand that, as a starter.

The more I set up these dualities – the more I set these people against the opposition – the more it started to seem like a complete crock, and that we’ve been sold this nonsense of opposition. And I began to find that the closer I got to the end of the series, the whole ‘opposition’ element of it was the least meaningful, least important part of it. And that we’ve actually been deluding ourselves in a lot of ways.

Beyond that, I found we’ve actually been deluding ourselves in the worst way of all by believing in the individual.

Stay with me on this.

Kafka, Orwell, Patrick McGoohan in The Prisoner.. everyone told us The Individual was the most important thing we could be.

Everyone is fucking ‘quirky’ these days; every shit in their window of MTV is ‘quirky’. Everyone’s cool; everyone’s smart… it’s not true.

What if the individual was the fake? What if the individual’s the crock? And we’ve actually been sold that by “them”; by the man, the establishment.. whatever you want.

Because what occurred to me is that when you talk about the individual, and you deal with the individual, you find that the end of the individual is neurosis. To be individual means that there is “self” and “not self”. Okay?

So where I stop.. the boundaries of “me”, right, this physical body; the boundaries of me that stretch out.. things I believe in.. I’m sure we’d all be friends if we talked – but would we be friends with Newt Gingrich? No.

But that’s the point: I stop, where Newt Gingrich starts. Why is that? Why do I stop there? Why does *he* define my self-sense? And I can’t absorb him?

Why do these fuckers.. why does the Skull And Bones Society, or the CIA.. why do the 33º Masons – why are they different from us?

They’re not – they want to explain things. They want an answer. They’ve found an answer that seems to suit them – which seems kind of uncool and cruel to me, because it involves exploiting other people. But they’re looking for an answer.

We’re all looking for the same thing: 

Why. 
Are. 
We. 

Here?

Why *are* we here? What are you doing here today? What do you expect? What do you expect to take home with you?

Can anyone answer? Can one person tell me what you expect to take home from all of this? Come on, put your hand up.

Yeah?

["Experience!"]

Exactly. Because that is all we have. And that is all I can offer you, is experience. Of having done this shit, tested it, put it in the crucible to see what happens – and it works.

So I began to think more and more about the individual, and I looked into what that actually meant. And what it was, was a structure that was pretty much created… the ego structure was created out of what Julian Jaynes calls the “bicameral mind” becoming one mind.

And apparently – according to him – he says that back in the old days of the Greeks, and the earliest writing of the world, people didn’t have self-consciousness in the way that we have. They didn’t have egos. They didn’t understand themselves as “I” in the same way that we do. Because the corpus callosum – that connects the two hemispheres of the brain – wasn’t connected.

So if you heard a voice, that voice was God

And Homer, and all those guys, you’ve got plenty of examples of people hearing the voice of God, and acting on that. Alexander constantly acted on the voice of God.

Julian Jaynes suggests that it wasn’t the voice of God – it was the voice of the left hemisphere of the brain communicating with the right hemisphere of the brain, interpreted as a god.

So okay: now we’ve got the two things joined together. We’ve got this beautiful bridge in the middle that links the two. But we have the ego structure – which was created when those things linked.

Suddenly we’re like: 
“Oh fuck.
 I am I. 
I am the I Am. 
This is my.. my god is this. 
I am separate; I am one.”

We made this idea that we’re somehow separated from nature.

No we’re not. 

Bullshit!

Again, I read New Scientist last month, right – and they’re talking about nature: “We must control nature; we must do this. How do we deal with our relationship with nature?”

We *are* fucking nature! 
There’s nothing on this planet that is not “nature”. 

Power stations are nature; 
atom bombs are nature. 

Because nature made us to make those things. 

Either you trust nature, 
or you don’t trust nature – 

and I trust nature.

So we have to ask: 
what is nature getting at here?

If we ignore this crap that we’re somehow isolated from nature; that we somehow have to tame nature… nature knows exactly what it’s doing.

The planet is not in danger.
We are.

The planet’ll survive. 
The planet’s been through, like, ammonia atmospheres and impossible-to-live-on, and everything dead – and it gets its way back out of it.

We’re in danger. Or so we think, because our hubris tells us that we are in danger. 
Our hubris tells us that we’re about to destroy the world; we’re gonna destroy the planet; 
we’ll fuck the atmosphere.

No. We’ll fuck *our* atmosphere. 
But some trilobites’ll come along and live in anything we create.

So that is not the problem.

The problem is we’re standing here at the 21st century, stuck with individuality. 

Because we’ve believed in it so much; it *seemed* so important that we should all be distinct. 

What happens if we stop being distinct?

And what happens if we think about individuality as something that was actually just scaffolding for where we are now?

So if you create a skyscraper, you put up your scaffolding, you build the building – and what’s happened here is that we’ve overlooked the building, and focussed on the scaffolding.

Y’know – why aren’t we taking the scaffolding down?

Let’s do it today: take the scaffolding down.

Because the individual was a way to get us to this point. 

And what I really think.. and basically why I’m here is to try and punt this notion.

After doing this comic book for six years; after thinking about this stuff for six years; after proving that it works for six years, I’m left with this notion: we’ve been fooled, and we’ve fooled ourselves, and we continue to fool ourselves – and, like Doug said: there is no “us” and no “them” – there’s just us. And somehow we’re trying to make this thing work. And it *does* work.
Say, for instance… most of us here are mostly pretty counter-culture types – y’know, we like our drugs, we like this and that; we like breaking a few rules. But we don’t like the police, in general.