Praise Delta duh Protector - laugh lead liarclass off DUH stage ASAP
CARESSAGE CRUSH PREVENTS FLOODY FLUSH
IT'S AN ALLTIME 'ULTIEM' INTIMATE RESISTANCE GAME FOR THOSE GOO[e]D ENUFF [shat upon, assaulted with poisons and a presently growthspikin grabbag and labdrag stuffed with dirty tricks] TO TRANSMUTE THEIR HIPNESS INTO GRIPPIENESS
Quote: At the topical-allegorical level, Arrival belongs to a new millennial subgenre of SF films about the role of China on Earth as in outer space or heaven. On this new-milennial map, the datemark in The Martian turns on cooperation with China, the stable partner in outer space also in Gravity. This alliance must be formed prelimary to the onset of degeocentering life on Earth and advancing mankind into the start position for a new metaphyics of outer space. What was said to come from China, the 2020 pandemic, didn’t contradict this forecast but forced open the prospect of planetary unity and, through social distancing and self-isolation, of life on alien planets. The call from the future self to “go to China” in Looper (2012) appears rescinded by the suicide at the end. But the end carries forward a more fundamental requirement, namely that America be made good again.
----- Critique of Fantasy, Vol. 1: Between a Crypt and a Datemark addresses both the style or genre of fantasy and the mental faculty, long the hot property of philosophical ethics. --- Laurence A. Rickels published last year by Punctum Books ::::::::::::::::::::: page 222 Afterword: Go to China ==
Piet:
at this polnt LR goes for a deep dive on this movie and doesn't resurface till pages later ... for decades now, he has managed to dredge the BMovie shallows to make them accesible to monsterships ... first on germany's left coast [california] and since the past decade in various EU-side Hofburgen der 'hotthots' .... i wonder if that makes him an enemy of all that William Bond is on about [matrism surviving in marshes and similarly difficult to access regions, the longest ... check his yt acount 'wbond' or search with 'mermaid'. -
APROPO THE TITLE, IMMEDIATELY INTELLIGIBLE TO 'trouwe lezertjes' only .. and THOSE WHO TAKE THE TROUBLE TO FOLLOW UP ON ME URGING THEM TO READ jOHN D HAMAKER AND RELATED MATERIAL [only]. ---- I'LL UPLOAD MY ENTIRE ARCHIVE OF IT SOON ...
Delta or Indian Variant - Real World Impact? We Now have the DATA! ---- 158K views = Jun 21, 2021 -- 9.9K :: 110 == Ivor Cummins ---- 191K subscribers ------- IF THE YT VID DISAPPEARS, TRY THIS: https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbWt4aE82LUpTSjRVTHlmNDRWaXpDUUJZcXFod3xBQ3Jtc0trcFpTVEozek5xOVNjeDQ1eEVzODdYRGdVV0R4ZzFnVG9zU05SWWZhdDhldFJ5T09hMlZEY2huM0dCek5ST1VEWkUtZ3RYdHdQV0d5d3JCTWtzeGJzbG9LRjZ4RzlsWEltd2FkbEQwYWp0NEhVMGM0NA&q=https%3A%2F%2Fthefatemperor.com%2Fwp-content%2Fuploads%2F2021%2F06%2FDelta-or-Indian-Variant-Scariant-Nonsense-Real-World-Proof-Comp.mp4
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== Please do not see the point of Laurence Rickelsian 'fantaseeing' without immunization with points of peace seen and turned green* [tree culture] via my work ... don't say i didn't warn yall -------------- * = Turns out LR latched on to a different Liu than i did [possibly around the same time ... sigh ... he caught a Cixin, i caught a John] ---------------- ....LR puts celluloid plasters over fantastic wounds .. spiking or softening hard truth with excursions in to the BMovie paralysis .... an American rite for those of his posture/stature and state of being [.. part of an occupation army, a sore point that continues to be inadmissible no matter how many confessions he cleverly ventriloquizes but i keep my hopes up ... he is aware of me and once he limbers (back) up enough there's no telling what will happen]. ------------- He certainly doesn't shy away from more generally .. globally .. .. almost even universally disputed 'psychoregions' and areas of contention [narrating their fallout into art and literature is his bread and butter], for instance how and exactly where fantasee, reality ckekkin n chukkin rub [rubber rumble rubble] up against yar corrosive captivations cobbling cabals of faulty visioning dubbed SF ... see it in the raw at your peril .. which is great in absence of the antedote i happen to have on offer ... otherwise i'd not dare challenge / burden you with precipitous contortions that can be classed as saturnian intelligence ... precision is vital at great heights .. to even the most grounded .... /piet -------------------- CRITIQUE OF PHANTASY p222-END -----== Afterword: Go to China ==------ At the topical-allegorical level, Arrival belongs to a new mil- lennial subgenre of SF films about the role of China on Earth as in outer space or heaven. On this new-milennial map, the datemark in The Martian turns on cooperation with China, the stable partner in outer space also in Gravity. This alliance must be formed prelimary to the onset of degeocentering life on Earth and advancing mankind into the start position for a new metaphyics of outer space. What was said to come from China, the 2020 pandemic, didn’t contradict this forecast but forced open the prospect of planetary unity and, through social distancing and self-isolation, of life on alien planets. The call from the future self to “go to China” in Looper (2012) appears rescinded by the suicide at the end. But the end carries forward a more fundamental requirement, namely that America be made good again. Upon its invention in the future, time travel is immediately outlawed and resolutely used by criminal organizations. The masterminds from fiction in Last Action Hero swept their unidentified victims under the rug of reality. In Looper, the disposal service from the future hides by relocating to the past the executions it orders. Because the target is a body that doesn’t exist at the time, the crime is perfect. The deployment of time travel to make bodies unidentifiable – unidentified with – and thus disposable goes back to the American science-ficitionalization of the malingering-on vampire as zombies to kill in our own defense. Sole survival of the epidemic, by time travel or mutation, as we saw, means that human mourning becomes the vampire. But the times they are a changing for human mourning and at the count of two deaths the zombie fodder falls closer to the truth. No trace of the illegal enterprise of taking out the future’s garbage can remain behind or outside the loop of non-existence. Therefore, the greatest infraction against an agent’s “contract” is to let the loop run, especially if it’s his own dangling loop. Retirement means, as written into the contract, that the loop closes on the looper. The organization zaps back the older self for his younger self to execute. Then the assassin has that span of time ahead of him before the loop closes (again). The run in the loop exceeds reversal of what already happened in time. The older self to the younger self: “My memories are no longer memories, now they are alternate potentialities.” When the loop runs, the looper is at odds with himself, that is, with older and current versions of himself orbiting his loop and each hailing from another possible timeline. His older self was target- ing the child who in the future would create the conditions that claim his wife’s life. But before he fires, the child’s mother steps in front to take the hit, which the current self recognizes is the trauma that will make the child grow up gnarly and dangerous. Grown up, he will attain power and first thing close all the loops. So, the younger self kills himself, which means the older self goes with him. Yes, he protects the greater good for more people than one selfish mourner, but he also accomplishes what the older self wanted all along: the reversal of his Chinese wife’s murder in the future. The conclusion of Looper is a reverb of the maternal conceit in Terminator 2: Judgment Day (1991) and Last Action Hero. By closing his own loop, the time-travel agent preserves the telekinetic child’s maternal bond, which will grow stronger through this close call. According to his older self, the Chinese woman in the future would have been “a great mother” and in fact “saves” their “fucking worthless life.” To heed the call to make America good again, there has to be, in the first place, a shift of investment within the portfolio of identifications and projections that Star Wars capitalized. America cannot bear the inscrutable burden of psychopathiy, the failure of Dick’s empathy test. Consider the finite catharsis of slasher and splatter movies following Hitchcock’s reprisal of the German recent past, its Schauer scene, in the stall of American eros. By the occupational therapy of reparation, the post-war world advances toward the onset of collective mourning. The ready positioning for the merger implicit in the science- fantasy subgenre of datemark China came out of the work of integration, which can be followed in the B-genres, as I tried to demonstrate in Germany: A Science Fiction. As corollary to the collective mourning on the horizon of German reparation and integration is the withdrawal of the US investment in the good war and all the evil that hides out there. Can there be any import of Star Wars in the projected cooperation with China? ---==---- In 2017, Wonder Woman updated the super-heroine’s World War Two setting, to which she is as indelibly tied as are Superman and Batman, by situating her opening struggle outside the island paradise that she calls home, ultimately her duel as “god killer” with Ares, within World War One. The displacement of the datemark is the hallmark of the deregulated fantasy genre’s agenda of global-latinization (the true fantasy of the digital relation looped through the residual charge of Christianization). Germany is losing, but on the eve of Armistice a super gas weapon has been invented, massively produced, and can now be launched to turn it all around (a distinctive “final victory” structure that belongs more to the second war). When Wonder Woman kills Ludendorff, believing him to be the mask of Ares, she’s wrong. The divinity is condemning mankind from a British post of betrayal. This way the human foe is a mixed bag, not just another German, and she rallies on mankind’s behalf in the name of the love that Steve Trevor, this time a British spy with an American accent, offers her before he departs on a suicide mission. Wonder Woman’s love and our love for her are pure – uncompromised by the recent past of a woman’s subterfuge in second-class positions in order to stay by her man’s side. The frisson of her superpowers while Trevor guides her through Europe is more comparable to the exoticism of Tarzan, which meets with approval. Hollywood interests do not readily relinquish the good war that keeps charging “Germany” with cornering the market on evil. That the lead actress was Israeli was subliminally key to acceptance of a post-war affirmation that gets around Death Star Germany, but only by jettisoning history back before National Socialism. The film premiered in Shanghai and broke box office records, scoring by the Chinese history-book view of the Great War as Europe’s civil war, 2 which renders the Armistice not botched, but the onset of the European Union, a benign power on the global map according to China in 2017. Fechner relied on a Chinese contrast to ratchet up the significance of a European tendency to displace upwards: “As long as in China the corpses are only allowed to be buried next to one another, where will we find space for all the living and the dead? In our cemeteries, we overcome this difficulty by burying the dead always deep in the same place in the conviction that the bodies in the grave will not make things difficult for one another.” In The Great Wall (2016), we were invited to look upon with the pragmatic eyes of a new China this upward momentum of global fantasy. Its corollary opponent or opportunity, which Fechner’s “conviction” belies, is zombieism. Toward this end, the bomb planted in range of the all-important mother of the divisions of zomboid monsters could only be detonated from a distance. The suspense builds inside the tower from which the triggering arrow must be shot, while the creatures pile up to stop the archers on top. The interior is illuminated by stained glass windows, and in this light the monsters can be identified as gargoyle demons. The pagan life of these demons, in nuce fitting inside the body of the queen mother, can now be extinguished. The female warrior was free to become the father-general of China while the foreign-body Christians, mercenaries who were reconverted by their mission, could go back home to demonization central. The general didn’t require the happy end of marriage, because the prehistoric/pre-Oedipal mother was gone. We steer with relics not only of Christianity but of Oedipus too. The tower stood for the movie theaters that the Chinese – disenchanted, it was reported, by Hollywood fare – could re-enter en masse now as the stations of a global-latinizing influence that greater China can draw profit from and then subsume or discard. The narrator of Wilde’s novel, who often speaks with the lilt of Lord Henry’s wit, comments on the fantasy trajectory of medievalism: “that vivid life that lurks in all grotesques and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie.” On Earth, the old metaphysics recycling through global Christianity or Mass media must be contained at the border to the fantasy genre. Communist China, the Third World redeemed, plowed through the vertical contrast toward modification of the crypt of European influence. Americans have been working through the crypts of European history to enter the clearing that is underway. The sci-fi corpus of Cixin Liu washes/watches over the borderland of science fiction and fantasy, which it demarcates by the American Cold War canon of conquest with stopovers in the disavowal of contact on the other side. But what strikes the middle of this demarcated or inherited playing field is that the intergalactic expanse of an interminable course of ends of history is just about large enough to integrate the traumatic history of the Cultural Revolution. == In Liu’s The Three-Body Problem, the members of the Frontiers of Science use the abbreviation “SF” to stand in lieu of “science fiction” for two fundamental axioms (“shooter” and “farmer”) about the nature of the laws of the universe. In the fable of the “farmer” hypothesis, one scientific turkey observes after almost a year that it must be a scientific law that food arrives every morning. It’s on the morning of Thanksgiving (which President Lincoln made a national holiday during the American Civil War) that the scientist announces to his fellow turkeys his discovery of the law of the arrival of the food. But on that day their food doesn’t arrive and they’re the food. You wanted the food to arrive each day by law, then be the food on the table each year on the day consecrated by the law of the land. The “shooter” axiom, at the same time, cites one hypothesis about the nature of the contact impressed upon the Earth as a series of enigmatic zones in the Strugatsky Brothers’ Roadside Picnic (the title bears the other inference, that the alien visitors were litter bugs): “[A] good marksman shoots at a target, creating a hole every ten centimeters. Now suppose the surface of the target is inhabited by intelligent, two-dimensional creatures. Their scientists, after observing the universe, discover a great law,” mistaking the result of the shooter’s “whim” for “an unalterable law of the universe.” 5 While it circumvents the horror story of American SF, the hypothetical prospect of a shooter’s whim bounces off the East Block tendency to disavow any possible exchange with alien intelligence, which is tantamount, according to P.K. Dick, to denying that the other exists. Tarkovsky carried the theme of fantasy in science fiction forward, in Stalker (1979) and Solaris (1971), unto mourning. In the final section of Roadside Picnic, when the protagonist Red reaches the wish-granting Golden Sphere, which was possible only by sacrificing his companion to the meat grinder so he alone could pass, he repeats the wish he knew his companion cherished, a wish for happiness on Earth not unlike the vow that almost handed Faust over to the Devil. The titular hero of Stalker, as Tarkovsky writes in his diaries, graduated in the course of revisions to the screenplay from “drug dealer or poacher” “to be a slave, a believer, a pagan of the Zone.” The Stalker guides the Writer and the Professor to the Room, where wishes are granted. But the novel’s sacrifice is displaced, when it looks like the Room’s prowess in fulfillment targets unconscious wishes. This conceit was the unacknowledged concession to psychoanalysis in Solaris, both novel and film. Be careful what you wish for. Not the wish you express but a secret wish is fulfilled. That’s why the Stalker’s mentor killed himself; he wished that his brother might return from the grave but was granted instead wealth, which like the free money of inheritance fulfilled a death wish. And that’s why at the end of the film the Stalker dissuades his wife from entering the Zone to wish upon the Room. In Liu’s “The Wandering Earth,” the Earth as a whole must break orbit and travel toward life-sustaining proximity to a new sun (the old one was scheduled to blink out). Spaceship Earth is powered by a propulsion system that uses rock for fuel. Its main stations are in China and North America. In another story, “Mountains,” contact is made with a gargoyle cosmology of bubbles embedded in rock, as specialized and askew in regard to science since the age of discovery as a Medieval map of the stars. The global population in “The Wandering Earth” undergoes unio mystica (which is communist), while the alchemical transformation of the earth’s bedrock into cosmic fuel exhausts the fantasy throwback and enters the science fiction of survival of the planet. The utilitarianism of sacrifice comes up, but as matter of fact, its pathos of well-being for the majority at the same time dismissed as beside the point. Up against extinction, it’s hard for the protagonist to imagine that anyone could hesitate in choosing the survival of a child over an oldster, of reproduction over sex. The Chinese protagonist meets his Japanese partner on a snowmobile rally across the frozen – endless but direct – connection between Shanghai and New York, where they set up house, marry, and win the highest prize when they draw the lot that bestows the right or duty to reproduce. I daydream a study of Liu Cixin’s work. It is close to the source, the history of science fiction, and to the datemark, the future history of its fantasying.
PIET: SCRAPPED A bmovie DIVE
A highpoint was reached for Schopenhauer with the prospect that more material on ghost sightings in China would make possible at last a truly universal understanding of the continuum of night dreaming and waking dreaming (and paranormal states): “It is to be wished and hoped that we will soon be in receipt of a collection of Chinese ghost stories, in order to see if they, too, are essentially of the same type and character as our own.”
FOOTNOTE: In his treatise on ghost-seeing, Schopenhauer crowns his definitive identification of episodes from The Clairvoyant of Prevorst now as invented, now based on optical illusion, now genuine by an aside trip to China. The cultural differences will add to the confirmation of a shared bottom line in the study of these phenomena. Schopenhauer expects confirmation because in a Chinese novella he did read the ghost appearances although fictional suggest that there are similar concep- tions regarding “dreaming as true.” == Kafka’s story “Great Wall of China” belongs to this trajectory of occultation that starts out in a Europe that is already a foregone conclusion left behind by new goals set in “Amerika.” At the other end, there is China, the Heimat of regional civilizations hailing from the East transformed by White Man’s Burden. We witnessed Lord Henry in The Picture of Dorian Gray pull the afterlife through the portal in the new world to Third World China. This occultation traces in reverse the one-way trek of countless Chinese laborers who razed San Francisco’s inland back country to bottom out a Californian valley for growing the produce for a successful new world. According to Günther, “the attempt to include the only recently discovered American hemisphere as a colony in the epoch of regional civilizations of the eastern hemisphere failed. The process of spiritual or psychic emancipation which science fiction so importantly reveals continues.”
::::::::::::::: This draws the divide between the American New World and the sorry state of colonization that constituted the Third World. China lifted out of there and through communism was as though redeemed. Filtered through Winnicott on acting out as signalling hope, we can understand Paul Mayersberg’s observation in his 1968 study Hollywood: The Haunted House that “Los Angeles and Peking are the most hopeful cities on earth.” 11 At the “Wall of the Pacific,” the frontier spirit that looked forward to outer space also came before the mirror that leads to China. The borderland between fantasy and science fiction, between the digital relation and history, is the place where the two renewal “religions” of global capitalism meet and cross over: Chinese communism and American political correctness. On a class field trip during my stint of teaching at the art school in Karlsruhe, I asked the head of the Freiburg paranormal institute about what appeared to me to be a return of the compact with the Devil in horror entertainment following the filmtherapeutic termination of secular slasher movies. He answered that while European culture never separated horror from the Devil, the distinctions I was making reflected the unique metabolism of US popular culture, in which striking changes seem to occur immediately upon each change in office. During the Obama presidency, a new digital sense of integration dominated the socius, in which every historical episode and figment was returning but outside the former context of its opposition. The Civil Rights movement was returning, the Christian Right was returning; every name and event in history was returning like an entry in the digital archive. This could be followed in a show like True Blood, in which every B-genre fantasy figure pressed for realization or inclusion. The undertow of the integration was a kind of fracking of undiscovered layers or deposits of consumption. Twilight was all about getting preteens for the first time in history to buy books and movie theater tickets for and by themselves, summoning them like consumer ghosts to compensate for the uncountable Chinese adults only awaiting further capitalization of communism to be animated as big spenders. The perfectibility of integration, in the social sense no less than in the sense of shoring up the psyche in mourning’s aftermath, pushes toward the ongoing approximation to a more perfect union in the United States (according to Obama’s Philadelphia speech on race), which can jump the divide between communism and capitalism.
That it cannot be about reversing the historical inequities of the past, which amounts to an imperative of reproDucing them, is the most radical gist of Maoism. Passing through the vale of industrialization is not preliminary to a revolution that makes history. Back in the United States in 2018, I could observe college students preparing to be a workforce – a collective – of one, trying to capitalize on a politically correct agenda, and thus doubling up the ranks of a new order that we think we can share or pretend to share with an increasingly middle-class China. The Americans need a good history for entry upon the experiment of partnership with Chinese capitalists who still visit Lenin’s birthplace on holiday.
Piet: HEADS UP, ONE OF THE QUIPS LARRY is always in search of it seems, coming up .. coming down ... 'sumthin' he is 'VERZOT' OP .. waarie prat op gaat ... op geilt om het plat te zeggen
Nitpicking about the totalitarianism of communism in the past is out of the new order. Sitting before the screens of the digital relation, like the disconnected segments of Kafka’s “Great Wall of China,” we work at a continuity between the renewal religions of capitalism and communism, which is tantamount to what the narrator of Kafka’s story must “imagine”: a central office in which “all human thoughts and wishes revolve in a circle, and all human aims and fulfillments in a circle going in the opposite direction.”
END OF PAGE 233 .. A MONTH AND DAY AFTER DOIN A ROBO-AUD I UPLOAD MY 244P PDF 'NOTES ON VOLUM VOTAN'
... i have a better idea ... why don't you appoint me emperor of teaching to revolve rocks in a cricle .. at least until venus is good enough to the touch to float over ... we got times .. nowhourries ...
posted by piety piet at 10:51 AM
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