What is “blue velvet” in david Lynch’s Blue Velvet (1986)?

Rev., Jun 28, 2019.

I have hesitated to write on david Lynch’s Blue Velvet (1986) because it does not seem to match up with the more advanced and all-permeating dream theory he made use of in movies on the other side of Mulholland dr (2001). But, for that, it is also true that this makes Blue Velvet Lynch dream theory 101, and, moreover, a simpler version of dream theory which accords more often with how we think of things in the positivist, material-rational world, where everything else is crowded out to the margins, at the edges of a protected world. For that, then, Blue Velvet corresponds to, in fact, how I think consciousness exists in the city I happen to live in now, Lincoln, NE, a big small city very much like Lumberton, where everyone seems to live in a nice center, but, then, there are evils, but they are all around the edges. Indeed, this week I am following the Sydney Loofe murder case, and the way in which her murderers seemed to stalk her at work and then hang around on 27th street til it was time to pick her up, and even shopped for tools to use to chop her up, that all sounds very Blue Velvet to me. So, the question is, where, hypnagogically, does Blue Velvet (1994) take place?

The movie starts off with some postcard views of a lovely little town, classic white picket fence America

1normal life, crossing kids

2then a few highly artificial shots, in the nature of 80s MTV video artifice, of supernormality.

3the white picket fence, as a trope, is one of the very oldest tropes of the in-group circling of the wagons routine against any intrusive outsiders. Inside the fence, you are in, outside of it, you are out, it is the protective boundary of our community of America. And in the period between 1945 and 1985, let’s say, in movies too, this was decidedly a suburban vision of life, which was supported by redlining etc., to include mostly professional families, who were white but of many ethnicities of white (it was all Anglo prior to 1945).

4this is a conscious world, in the world, but the use of the fence to set up a barrier of assumptions about what you require for membership in that world acts in an almost entirely unconscious way, people are not aware of it, they just act as they do by way of triggers of inside safe or outside danger based on how one stands vis a vis the white picket fence. Since Lynch is making so much of this, so early, it is clear he imagined this world as not only central, but all encompassing of normalcy, leaving everything else outside of it at the margins.


then, anything not in the circle, is outside it, the fence now instrumentalized as an apotropaic device to mark the boundary, and keep outsiders out, marginalizing them, and, by that, denigrating and even “neutralizing” them.


this, of course, leaves Lynch very little wiggle room outside of normal space to work, and in keeping with this simplistic theory, he then proposes that, somehow, now and then, some aspect of the margin breaks in upon the normalcy of everyday life, to attack, in an accidental manner, but somehow fueled by fritzes of energy inside the fence. So, KM’s dad is watering the grass, or his neighbor.

7but then the wife, I think, is just sitting inside, having a cup of coffee, watching TV

8it is to be noted that her intimacy, that is, her under the lamp space, is marked by a red lamp, symbolic of death, or, at least, awareness that past the membrane of safety death exists, then, it is an Orientalizing conquested image of an Aztec princess, perhaps, symbolizing her uncritical sense of normalcy power, then one of those tourist dolls you pick up in a foreign country which you take home to remember with superiority your better position in the world than those you visited (we had a few of these too, which I have written about in connection with disconnected (1984).

9but she is not watching, as my mom would’ve, a soap opera, but an old film noir, with the close-up of a gun on the screen. I will comment on why this old movie trope is on the tv in a bit, but it is, in movie time, 1990, but mom is watching a 1950s movie in the middle of the afternoon.

10but then it is suggested that this sends a shiver of negativity crackling invisibly through the normalcy space, inside the white picket, to then cause a knot or problem in the somewhat more ambient space, in the form of the hose, an ambient object more toward the perimeter of the fencing.

11this then leads to some sort of problem with the waterer, he has an attack, and dies.

12then Lynch plays the dead eyes of the world trope in a more physical form of a toddler coming to see what is the problem, not knowing what, so a quote of Godfather, then a dog just taking advantage of the new disposition of the hose in a reachable position, to drink from it

13as such

14much in the manner of the way I worked how Lizzie Borden ritualized her trapped life in the 1972 version of the story, finding now crawlspaces adjunct or adjacent to the spaces, so she simply carved by behavior or nudity a wiggle room inside the locked box and opaque world of the in-space, so, here, an ambient fritz goes negative, sends a bad vibe by way of the wife onto the husband for something in his routine to go bad and knock him splat out and down, to, I think, kill him, and that is how evil comes into this world, by a lightning strike of negative ambient power.


This is, by the way, why the early part of the movie looks like it does, so ritualized, so much about “our” mediation of reality in suburban America, this sort of wiggle room inside the body of a coherent, fixed, solid state of assumed reality, can only be got to or at least memorized enough to make headway with by way of ritualization.

But, now, Lynch goes further, in a way that innocent souls might still wish to call “surreal.” After he follows the fallen hero of the lawn-watering, he gets into the grass underneath

16then like in some sort of insect invasion movie, he moves the camera through that small subspace of space

17and when he gets down into that space, in shots reminiscent of the chase scene in Most dangerous Game (1931), he goes, I think, underground

0where monsters, ie beetles, battle

0 1and this is where Lynch places “evil” in this conceptualization of the world of the white picket fence, a locked out, locked in, cartel-box of a solid state reality, with margins, then troubles peppering the margin, but darkest below. Where is this?

In my treatment of Blood delirium (1987) it is posited that the shot of the reptiles above were the faint attempt by an unconscious mind to conceptualize the horror that is occurring “above her” to her body, while she is being raped, above.

22I conceptualized this space as being not unlike the Under The Bed place in the Night Mirror formulation of dreaming type, see my treatment of Suspiria (2018), but lower, in a separation of fabric or membrane just under the splat to nightmare, and the slide into REM, there is this small slipstream space, literally, as stated, a kind of plenum, but not, and I call it the Redoubt, I think, here too, we are in the Redoubt, of a sort (this past week I experienced a conscious example of a redoubt getting a tooth pulled, resting below everything happening above me, out there in the world).


then Lynch tunnels out under the splat space at the bottom of hypnagogy, as one slips into REM dream, and in doing so I think moves toward the Black Out, or Chthon, the ambient-sentient space lying outside normalcy, beyond the margin.

This is then picked geographically in the town by having KM walk to work or into town by way of an empty lot at the perimeter of his world, an in-between ambient space.

24Typical of small city life (here I make the distinction in Lincoln between mainstream front door Lincoln life, then the life of the alleys and backyards, dream spaces in Lincoln’s Beard, he is even beyond Lincoln’s Beard). If this is a place of normalcy but on the margins where he finds out a bit more about life then it serves as what psychogeographers call his wild space, an imaginative membrane at the edge of the world, where he can play at being connected to the real world.


but, there, he finds an ear, which starts the ball rolling, it is a human ear, real, something to do with some sort of crime (the cutting off of the ear)

26then, a bit later, with ambient noise, and another dive pictorially into some deep, dark reality, Lynch goes close-up and ambient again, this time with a more acoustic element, delving into the ear, and the function of the ear, and the nature of what the ear takes in, ambient noise, for that whole world to now come into consciousness.

27he goes down the spiral in (ie the whoosh)

28then deep in, to where all is blackness, and evil, bouncing out into the black out zone, Chthon.

29This spiral is, even if not technically aligned with it, clearly meant to be seen as relative to the previous spin in the grass, to this time go even deeper into internal organ world, and so I place this beyond the wild space, Lynch’s hesistant foray into Sentient space, which he will vastly expand upon in his later work, here imagined as simply what psychogeographers know as the unsafe place beyond one’s safe place.


that, then, into the night

31this, then, sets up the highly polarized spatial dichotomy of the movie, the nice, normal, everyday life of every day, in which they both live, and, then, the world beyond, which is all around them, at the margins, and it is in the discovery of the margins, and delving into the margins, that they live most of the movie in the wild space, or in the black out; but it is also where they fall in love, and everything else. But they absorb the reality of the fact that there is another space beyond their space, an evil world past the white picket fence with typical suburban-kid culture shock, what I used to call ghetto fever, the knowledge of poverty outside the limits of the community, and it is when knowledge of that casts its pall over the normalcy world that they exclaim on the “strange world’ they live in, and the strange world is simply their normal world, become vaguely aware of evils without it.


thus, KM begins his investigation in what’s what in that strange world, the strangest thing about it is, just as here in my situation in Lincoln, that strange stuff can be taking place in a building right close, right around the corner.

33he gets to the place by way of ambient crawls up the side etc, but I will not make anything of it, except to say, here too, this sort of peripheral approach is typical of having splat to nightmare, then, getting one’s bearing, following the Narrow Path, to the door of truth, and the Cursed door, and the door of the Seven deadly sins, and that is here too.

34there is an excellent management of his encounter with Dorothy, the singer, dreamlike, it is like the encounter with his father’s ghost in Zefferelli’s Hamlet (1991), of that time. All this, then, to accentuate to us, on film, in watching, that this is not just a scene, this is him intruding into her life with an ulterior purpose, and he is very excited to be doing it, notice how she just stands aside waiting, sitting on the tv, old style.

36the TV, as it was earlier, is a mediated clue of where we are headed. This is not just what it is, but part of his plot. But, moreso, this is a place, her life is a place of danger, there is trouble, she is trouble, he is flirting with danger. This becomes all too apparent when he decides, crazily, to go back, now actively intruding into her life. It is fitting that he does not hear dern’s signal of a car honk telling him that she is coming up, because he is rather cockily going to the bathroom in her apartment, here, then, in the dark, in a backroom, between a houseplant, and a bathroom mirror, that is, trouble, and a monster coming up behind him.

35so he has to hide, in the closet, in front, and, just from the point of view of a peeper, he gets lucky, she is one of those movie women who do, indeed, strip the minute they get in the door, to make themselves more comfortable, and she is right away, dress off, down to the panties

37but, then, there is a phone call, and he witnesses some plot, some drama, which is not just she, she is a person in trouble, in the middle of something, beleaguered, upset

38the lamp in this case is one of those hollow scenic lamps that they made in the 50s in the drag behind a taste in former generations for Tiffany lamps. I connect to them because I had one next to my bed in my childhood bedroom, sort of a Chinese landscape with drifting islands on what looked like banana peels. This is typical, but a bit more original. The only other one I know of in movies is in Price’s The Tingler, where he lies on the couch, then to get attacked by an occult force

39and it means pretty much the same thing here, intimacy, inside the lamp, under the lamp, the very private things of very private life, but, all of it under siege, in danger, it is a compound trope, then, painting and lamp.

40then, even more remarkably, for a peeper, he gets an insight into her very privatest terrors, she strangely, after the call, is so forlorn that she gets down on her knees, in her underwear, to kneel on the floor and pull a picture from under the couch, where she has it hidden, so, it is assumed, someone else who enters into her private life cannot see it, this is ritualized behavior, that is, she feels most strongly about the picture when she has to get it from under the couch, and look at it that way.

41then, a third degree of intimacy, of privacy violated, beyond seeing her in her panties and bra, beyond eavesdropping on a very personal call and her pain, beyond witnessing a private ritual of pain, she now has a breakdown of sorts, on the carpet, place of utter abjection, so he witnesses her, very quickly, entirely bottom out. This is a lot of “intense” (and in the sense that objectification is meant to go the other way, to take the body out of the woman, to make her just an abstract thing, which one can then control, this makes her a very heavy, problem-beset person, rather more than most men would want to willingly get involved in, if not for love).

42then, Lynch begins his spin, the spins that made this movie so provocative when it first came out, and so nonplussed me when I first saw it, back then, likely at the Angelika in NYC, Soho. He casts far into the background, at the end of the hall, the “money shot” of such peeping. If as a peeper you see a woman in her bra and panties what you next want of the peeping is for her to remove her bra and panties and you see her in the nude. This is what Lynch gives us, of Rossellini’s nudity, back of the back, backside, panties down the legs, all standard shots, but cast into the background, in the far place at the end of the hall.

43this is a shot you would see much more foregrounded in genre movies.

44but, here, she is smaller on screen, in her nudity, than the lamp, spelling trouble in her intimacy. But, then, she does not take a shower, she just puts on her robe, to walk about her apartment, and, then, the scene ratchets up into scenario two, he is discovered, she is mad, or at least, extremely emotionally distraught, she cannot deal with him, so deals with him by being aggressively fed up with all men through him and taking it out on him, so she has HIM strip nude, it is implied here, in a scenario that might skirt too close to a pornographic its-not-my-fault scenario, she performs some sort of hand job on him, pleasing him, if in a tortuous situation.

45then she wants more of him, or of it, as pure physical-carnal escapism from her problems, so takes him to the couch, things (for him, in the average male mind fantasizing on it) getting pretty good, she wants to have sex with him, why not?

46but, then, the scene gets crazier, there is a knock on the door, she has to hide him, it is Frank Booth, the mobster who is holding her husband and child, dennis hopper in what at the time seemed one of his most demented roles, but by today’s standards is fairly standard fare, in the sense that he is a sadist with some very particular sexual fetishes that must be worked out in a particular way. He is upset that, she supposed by expecting him, and preparing for him, she has left the lamp on, and not lit the candle, because everything in the scenario must be just so for it to work.

47then this scenario goes bonkers when Booth needs to inhale a gas to get high enough to feel what he needs to feel in order for her simple display of her body to him, like she is servicing him like a prostitute, to get him off.

48his thing is he, sniffing that gas, must then look intently at her sex, she opens her robe and spreads her legs, when he hits her to the floor, we see some bush, and that will get him off, no removal of clothing, no sex, per se, but a sadomasochistic form of it, 1980s style.

50then he is done with her so he leaves, then KM comes back in to comfort her, all thought of sex is over, she has been traumatized by a bizarre sexual routine as part of some blackmail plot by which her husband and son are being held captive.

51then she goes back, he notices that there is a swatch of fabric cut out of the bottom of her robe, this is the swatch that Frank has to put into the mouth of his victim’s to keep the displaced fantasy of bottoming from the top (as described of Ralph in The Sopranos) to get him to come, per se, why?

52he then figures a few things out, then leaves, then has a dream of an abstract sort, dwelling on it

53which ends in fire, searing, with sound effect, as if a carrier of the ambient acoustic of it

54Then he wakes, reaches up, to a dreamcratcher type thing

55It is a monster of some sort, this is a common thing in terms of placement and content, a dream limiter in terms of nightmare content.

56it is a mouth

57then things proceed, with one other trope coming up, related to her place, always an open window, and a blowing curtain.

58So, hypnagogically, where are we? First, we are in hypnagogy at this point, mainly because of the nature of the apartment, dowdy, ugly, then that lamp, then by the fact that after gaining entry into it he witnessed and partly experienced an evening that went way, way past his comfort zone, for him to see a perfect peeping scenario, then that interrupted by witnessing her private hell, then that interrupted by her discovering him then wanting to take out of her emotional pain on him, sexually; then that interrupted by Frank showing up and engaging in his perverted sexual ritual with her; then that leaving her drained and emptied out, beyond his hope at the moment. Where are we? is, again, the question. It is important that at the beginning of the movie we get a waft of blue curtain, it looks like, but, now, if you have been paying attention, you know it is her robe.

59and we only see that robe when it covers her nudity, then when it serves as her costume when she attacks him, and she is in turn attacked by Booth, then, that it has become a fetish object because he has cut a swatch from its hem to make of it a mouth-stuffing her his victims, in his scenarios of ritualized gas-inhalation sex. This happens to KM in the cement factory scene later. So, it is blue velvet, but it symbolizes here her intolerable intimacy, her threatened, abused intimacy, it is a vaginal imagery, but in the negative, an image of fear and pain.

Indeed, though, the movie struggles a bit with representing that pain. Later, as the highlight of their relationship, they have sex

61the flame is lit, but it is only lit, she is not feeling it

62because she has become so corrupted by her serving her tormentors (or, it is just her thing) that she too now needs pain in order to feel sexual pleasure, she has become a sadomasochist too, he rejects that, he won’t

64but she provokes him, so he then in fact hits her, sending her flying back, in the nude, but, in the logic of it, kind of naked to him, a victim of his service to her need

65but that gives her pleasure, we get the open mouth shot

66the flame turns into a raging oil fire, searing her, but with pleasure (this is, then, how Lynch symbolizes visually pain that causes pleasure, that is, intimate reality, it is visually related to the ripple of the blue robe.

67now they can proceed to have sex, because she has been hit, it’s her fetish

68their relationship culminates, and ends, when, later, in front of Sandy, Rosellini shows up in a nervous breakdown state, nude, on her front lawn. It is not exactly clear how this would’ve happened, how she would’ve known how to get there, what she is looking for, why she is nude, and sweaty and dirty, it is not at all clear, so, she is a more a symbol of entire abjectness, here, the ultimate symbol of her breakdown from trauma.

69but, where, then, did the movie take us, and what is blue velvet? I think I know. The answer is also hypnagogic, though not quite, maybe vigilogogic. But, there is a place in the brain as imagined from the internal eye or the entoptic eye, where one is thrown when in pain, real plus-seven level pain. In such states–and I went through an entire toothache-extraction cycle between when I saw this and thought of this–where one feels the pain, and if one feels it, and closes one eyes, to get away from it, you will see a formation of fissures in the entoptic zone, I place this in vigilogogy.


what you “see” are shooters, as it were, as if lightning strikes in the entoptic zone, all closing in on a central pressing-place where they hit, and that I call, now, The Blue Room (linked to the deep amygdala)


it is not far from the High Light, but it is an intense place, entirely taking into it, disturbed and made to ripple from it, in a wobble formation, all of it, whatever is visualized in it, receding, in a grainy silent movie way, and that is the Blue Room. In this movie,the blue room, room-wise, is her apartment,but the blue room formation, in terms of where it is visualized symbolically, hypnagogically in the movie, is her robe, and what is below the robe, and the folded and soft form below, the vulva, it is her, in her pain, and his having to deal with it, having stuck his nose into her business. I think there is that open window, with that blowing curtain, to symbolize the communication between her as the blue room, in her blue robe, and the room and the space of the world beyond

72surely, Frank can get the fetish ritual going even with others present in the front seat of a car with her with her blue velvet robe on showing her tits to him, it is on the road

73This is expressed in the scene when Rosellini shows up on the lawn nude by the reaction of the persons in other plots, interrupted by this event. The old boyfriend has just come to, teen movie style, fight with KM because he stole dern from him, but as soon as he sees Rosellini, and, instantly, realizes that she is in serious trouble, he backs off, and offers help, deep down, he is still a good kid; then, too, when dern realizes from overhearing Rosellini talk to KM and press her nudity up to him, and it is odd that no one offers to cover her nudity until she gets inside, dern makes that peanut upside down frown for which she was so famous then, but she, too, quickly realizes it was only a situation KM was trying to deal with, so it does not ruin their relationship.

Thus, ultimately, in my reading, blue velvet is the deep, personal pain beyond awareness of others, the intimacy beyond (or below) intimacy, that people carry with them, that KM discovers she lives with, that blights her life, that buries her in Frank’s sadistic scenarios, that uses and abuses her, where she is trapped, and makes everything so dangerous; and to set up the movie as a hypnagogic encounter with that place of pure pain outside the purview of normal life, when that is not to be discussed, Lynch set it up as Rosselini’s apartment, her blue velvet robe, and her body, her sex, and her sickness, symbol of the pain come in on him to burst open KM’s simple notion of what life is, now he knows some truth, aka “blue velvet”.

Joker (2019) as “Blue Boy” in the etiology of a demon, part 2.

rev., Jan 13, 2020.

In this regard, picking up on blue, I argue that the Blue Boy theme, petitioning for his own exoneration, comes through by a blue color-shift that runs through the whole movie, and repeatedly seems to relate to the issue of his guilt or innocence. The blue color-shift also seems to host his rehearsal of his crimes, and the string of terrible things that happened to him, in such a number, 14, that, really, it seems completely unbelievable, and implausible, that all that could happen to one person.

So, just to go through them, the blue-shift starts with the fact that for the whole first half of the movie he lives, really, in the blue of an old tv screen

0 0 1and may I say that it is almost as if his fantasy is fighting back, against him, because no sooner does he begin his story, than a passing car wipes it out.

0 0 2then we see him on the stair, it is always dusk, end of a long day, another one

0 0 3he climbs into his mother’s bed, in the blue zone, which is an old trope, to watch more tv, here too with the reinforcement of the virgin mother’s maphorion enwrapping him (the blue zone as a trope, from people in their houses watching tv in the dark, is an old trope, suggesting not paying attention to real problems, immediately picked up on as somewhat haunting when this viewing habit began to infest American homes in the 50s and 60s).

0 0 4on tv, it is his late night show, also a trope (see Five Easy Pieces), here Murrray comes out of a curtain that is as if a peacock coat of colors, but the center is the blue curtain, he is Arthur’s ideal projection of himself, his eidol, with a intercessional opening, a gateway out

0 0 5in the accidental gun firing incident in the living room, this is also played along with the tv

0 0 6then, he has his fantasy of the neighbor asking him a question, the hallway is also blue

0 0 7he gets the firing phone call at a booth again in the blue dust, this the third strike against him

0 0 8then he preps to go onstage, it is in the blue, his bombing is the fifth strike (the fourth being the losing of the funding for his social service)

0 0 9six, then he reads his mother’s delusional letter to Wayne, which is the sixth strike, it is in the tv blue

0 0 10the seventh thing that goes wrong with him is the visit to wayne manor; the eighth is when his mother gets sick, the hospital is all the same turquoise tone of blue

0 0 11while his mother is in a hospital bed he assumes a position watching the tv opposite here where he hears his hero make a laughingstock of him, this is the ninth strike

0 0 12though there are some positive affirmations from the mob violence, in a scenario a lot like travis bickle a generation ago, but it ends up with him in I think another fantasy of a tell off, when Wayne punches him, that’s ten strikes, in a row.

0 0 13then, in a very, very important shot, though it would seem to insist upon the reality of the first image, to make a dissolve to the second make sense, but he poses, bereft, angry, after the punch, and dismissal

0 0 15and this cuts to an exact overlay shot to his kitchen, where it is all blue light, as before

0 0 16then he does something very odd, opposite his mother’s apron, which formally looks like a guitar, he opens up the fridge, and I have written several times of the trope of Events Happening at the Open Fridge, it is a haunting place, in a haunted house, see Cthulhu Mansion, he looks in, as if looking for something to eat at a late hour. But, he is looking for more than food

0 0 17he begins to reach in, with exertion, and it would be fair enough to wonder, what takes all that effort, foodwise?

0 0 18but he is emptying out all the shelves, he is disabling the refrigerator, but the fact he can do it so quickly, without much food tossing, indicates how barren it is.

0 0 19then he crawls in, to comfort himself, or kill himself, it is hard to say (as a trope, sometimes vampires were hidden in large freezers; kids in movies have also been known to have got trapped in such refrigerators, and suffocate; but this is a still functioning refrigerator, meaning that it is cold, and he is going in without a shirt on, and one wonders (apart from this being another typical way in which younger people often self-dramatize their depression) what is he doing?

0 0 20even more so, in a shot that very much reminds me of the vacant through-shot at the beginning of Midsommar (2019), when dani is crying over her family’s annihilation, and the camera goes out the window into the dark winter night

0 0 21it lingers there, as if to see if he is coming out, he is not

0 0 22to explain this, we jump forward, past his getting the call about appearing on the Murray show, a good thing happening to him which in fact is going to backfire, because of his mixed feelings about Murray, we jump ahead to the hospital, where he steals his mother’s old files, and sees the truth of his life, she was delusional, an unfit mother, an abuser, who let him be abused by her boyfriends, the whole nightmare, always, of course, saying “he was always such a happy boy.” But in the bottom of the file, which he has to steal, then run down two incredibly long halls, then a stairwell, where he looks, another trope spot, the spiral staircase down, in the bottom of her file he sees clips, she made the paper, HE made the paper

0 0 23he lived in a “house of terror” (it is feasible, given the blue boy theme, that he, having watched a lot of movies, is manufacturing this memory, and in his mind has manufactured this “proof” that she was to blame for everything, it does seem pat, comic book—is this movie a comic book deconstruction after all?)

0 0 24then we see him, imagining himself into the past, over the shoulder of a lawyer who is talking to her about her crimes, she a young woman, so, moviewise, this is a fantasy, he has inserted himself into a scene in the past

0 0 25his eyes fix

0 0 26again opening up to the reading that all of this is just alibi form fantasy to exonerate him

0 0 27then we see him back in the stairwell in the present, crying, screaming, laughing, all all at once, we see the top of his inside mouth, it is the palate shot, a trope, signifying he will die (only a persona will)

0 0 28but then formally we go further down into the picture zone deeper in the file, and there we see, as if formally bouncing off the view of his teeth, screaming, the slats of a crib, then, even worse, and the very ur-device of his horror, the fact that he was tied by his mother to a working radiator, that no doubt burned him, as it was just an old fashioned metal one with its slatted exterior frontage

0 0 29it is the truth shot at the bottom of his personal horror story, the echo form of the blue ukulele, but, then, the opposite form

0 0 30of a method he had obviously devised in this battered childhood to counter the burning or heat of being tied up to the radiator, which would be to crawl into the refrigerator, for comfort of the cold, and to hide, and it is in this refrigerator that he was made over into the blue boy

0 0 31this shot, way in the files, is his blue boy picture

0 0 32it almost reminds me of pictures of the crying boy mythos in England, which I looked into during screening time with Velvet buzzsaw last year (possible real world ground for the Blue Boy mythos)

0 0 0

it is then, NOW, that in shock at his day, revealing the truth of his horrible life, that he then stumbles home then gets into his neighbor’s apartment, and we see the blue ukulele, which I think, for this reason, because of how it shows up, and where it shows up, to reveal that his relationship with her is a delusion, and that his life is a delusion, with a strong Pied Piper ethos in his fantasy to be a performer, as a way to escape it, we see the blue boy ukulele

0 0 33then the static tv screen but white out as if beyond him seeking refuge in the refrigerator, now he seeks the refuge here.

0 0 34back in his place, it all goes blue, he just laughs

0 0 3512 is when he murders his mother, with a blue light reflection glare painting his face

0 0 36this all happens in an entirely blue hospital, all in that same blue (weird too how this tonally corresponds to the use of HoJo blue in The Irishman), so he now stands, free, in the light, out of the blue, free of his mother and care for her

0 0 37but, again, a possibly sly montage by Phillips, notice the curtains, it remains a stage; this shot of him then trying to take power from the sun switches instantly to a blur on the tv screen, this time on tape rewind so distorted with an emphasis on the blue, he is watching how a typical star makes an entrance.

0 0 38I will also note in passing, a blue bag nearby

0 0 39abstract, it enters into him

0 0 40he is now dressed, as if by an epiphany instrumented by the household gods, into his model, which he now imitates strictly.

0 0 41this is where blue boy emerges, again, most lit, as if leaving his old self behind, as he walks off the impromptu blue boy stage.

0 0 42but note again, the sunlight, as at the hospital, has turned blue boy into a golden boy

0 0 43and as we see him for the last time in his household prison, with blue pillows, shortly after a scene in which a pillow played the part of a murder weapon, the pillows are blue

0 0 44even as he finishes his make-up, it is in his mother’s boudoir mirror, the bedspread is blue, under the lamp, the tv is turned off, he sits in the sun

0 0 45but, then, another truth shot, reflecting back, by way of the refrigerator-to-radiator reaction, this time seeing his mother as a young woman with her cheap red dyed hair,

0 0 46he looks at a picture of her as a young woman, always a provocative thing for a man to look at, a picture of one’s mom when she was young and sexy, it is possible, I claim it at present, pending, that he went green with the hair not only because his hair was green at the job he got fired from, as indicated by the effigy of the clown mask from work which he has hung on that mirror, but with blind spot eyes, he went green, to as if opposite, to BE his mother, erase his mother in his new being of himself without-her-influence-on-him, which is, of course, impossible.

0 0 47the picture, this time in the shade

0 0 48then he takes care of the red part in his thirteenth horror event, leading to his complete breakup, when he kills the guy who gave him the gun

0 0 49then, THEN, which shows you how shallowly people read movies, when they are read simply as eidolic exercises to offer you role models for giving memeing to your life, but he has his coming out dance, after thirteen horrible things happening to him in the string of a week, a very complicated, entirely, in fact, implausible series of events, earlier him saying all I have is negative thoughts, the progress of the movie showing that in his life all he has is negative events, so this is his victory coming out. The thirteen collapses of self, resulting, then, in digging down in to truthtelling, then the repair of self away from the kid who was burnt by the radiator he was chained to (notice the fire escapes lining the triumphant stairway, he is dancing on the edge of the universe on fire), then, that not being enough, after all his delusions, an inherited disease, end, he BECOMES his mother, by killing her, and replacing her, as Joker (so a Psycho (1960) plot too, but a bit less gothic).

0 0 50back in October, when I was working on the sequencing of the approach of a Conjure figure, I argued that, as it comes in on you, it might well reverse itself. This would announce the arrival of the Conjure Figure, who now comes in on you. What to name this phase, when everything turns? This is what I came up with (this from my entry on Victor Willing’s MS paintings).

But, then, it turns out, in Zosimos’s visions, he called a little attacking homunculi an ANTHROPARION. And that is what I will call this conjure figure demon, little, but obviously there, attacking. Zosimos particularly speaks of a priest who turned into the opposite of himself, so there is an enantiodromic quality, and I referred to this too recently with regard to the Joker stairs,

0 0 51

and the pictures.

0 0 52


0 0 53

but, relating to the Exorcist would be perfect too, he has exorcised his old demon, by taking a new demon into him

0 0 54

an opposite of oneself, likely also relating to Girard’s notion of the substitute victim being the monster double.

Thus, it is strongly suggested by the trope of the steps itself, that coming down as if another person or demon is part of the enantiodromic aspect of the long stairs as a trope in movies, going back some ways (my guess, American in Paris).

It continues, then, the blue gate opens to Murray, but, now, the new demon, he continues his posturing, going through it

0 0 55then in the middle of his comedy, he goes steely, almost evil gay guy stereotype evil (sorry to point this out, but true), his eyebrow and bags under his eyes, in anger and scary face conveyed by, his evil eye conveyed by a framing of…..blue! to shoot Murray, to then enter into his career as Joker.

0 0 56But, now, one more trick. In a youtube video I watched, it claimed that you could read the movie in whole as a long retelling of his life story to a new social worker in his hospital stay, that would explain the overloaded blame everyone-else plot, but then that would also make this sign off signal of the old days the crescendo sequence, from the refrigerator, to the tricephalic boudoir, to the stairs, this then becomes how he is, his old self as checked out, is off the air, a new self is a “native” or a “primitive,” the indian chief who used to close down tv in the 60s

0 0 57how could one construe this, as this war bonetted chief, as symbol of the Joker, the new Arthur, composite of former fragments of selves?

0 0 58first, we have seen him split into three beings, this started at the boudoir mirror, in a trope shot of such age I hardly need tell it, it is all but a cliché, if it were not for the fact that no one ever consciously reads it, but he splits into three, (the repeated underscoring his rib cage from behind might also indicate a desire to sprout wings, to be a new evil self, in this case, going down, a Cerberus figure.

0 0 59then he is crowned, or war bonneted, as if by the sun god he worshipped at the hospital, to be forged into a new being, the fire escapes, in this entry, going down shot, into the valley of death, as it were, signifies his trial by fire having in fact forged him into a new evil being.

0 0 60all his movements as if choreographed by the fire escapes.

0 0 61also a well known trope of escape from one’s circumstances, in movies

0 0 62then in triumph, he assumes a position of adoration to the new god, the sun of Joker, Apollo Far Shooter (this is getting quite midsommary), with smoke signals, so formally too, it is as if he assumes cryptically the mantel of the bonneted chief, the demon of the sign off, Chief Sign Off (I call this trope, and it is a trope pre-1980; but for that reason shows up in The Amityville Horror (2005) remake too) to become a night life self.

0 0 63it is also true that the new social worker, also a black woman, as, no doubt, and in experience, most are, she has very strange eyes, looking at him, but doubting him, amused, or sad about him, I can’t make out the look, she is a very sympathetic looking person, but is she disbelieving his bullshit, is that why she is killed? because she is killed, and while African American and Native American audiences might be insulted by such a cooptation of their being, this is after all the normal way with evil white persons in psycho movies seeking exoneration for their sins (though he is Irish Catholic?), they not only blame their mothers for their horrible lives, they then have to find some scapegoats, and that always has to be, according to Girard, someone they perceive to be socially weaker than themselves, to that the “scapegoat mechanism” can click in, difference itself always being the exploiting factor, ergo, minorities, strangely, cryptically, the movie slipped her in at the end, to further make of him a kind of Legion demon with many selves now soddered by the sun into a new evil being of vengeance (some men just want to see the world burn, the Heath Ledger version said, where, we have shown here how this sign off from real life Vulcan was forged).

0 0 64so, it is not simply, if this larger reading of the whole movie as a fantasy exoneration telling of his life to a social worker who is not buying it, and will be killed for her skepticism, her four eyes, two piercing, two reflecting the white of the table, in a clinical atmosphere, it is not simply that in this telling he did not kill Wayne and wife, he was out of it, in a crash, in another fantasy scenario.

0 0 65it is that the whole thing is an alibi formation, a lie, typical of the psycho. But this also means that, with all this, he is the ultimate Blue Boy, IN HIS MINd, like in Black Christmas (1974), there is a psychokiller loose in the world, just like Keir dullea, he has an issue with a person involved in the defense against the psychokiller, thus implicating himself as the killer to the cops; then that person, but in this case, it is himself, kills him, to solve her problem with him, and the police believe it, he is the Wrongful Scapegoat, well, Joker sees himself as the scapegoat, but he also sees himself as the Wrongful Scapegoat, that is, he sees himself, regardless of whether or not the world does, as being not guilty, as everybody else is to blame for him turning out this way, as, in fact, the Blue Boy (the rationalist mind is stuck, in so many cases of shooters in recent times, unable to discern a “motive,” but the motive is in the activation of the “scapegoat mechanism,” at some point, he gets so out there, he bottoms out, fills up with blackness, and will take other with him in suicide, only, in this case, a comic book case, he went the other way, to develop a powerful new, entirely evil persona).

For all of this, then, it is quite surprising. The art directors sought ways to convey the idea that this movie is happening in old times, so they likely knew of the trope, then put Blue boy and Pinkie front and center of the psychosis of the family situation Arthur was caught in, to then work it out on its regular trope level, but then in the blue shift of deeper energies, then as a nexus which contributes to delusion as well, to provide a pathway to his Joker persona shift. It is surprisingly well done (and my guess is that a movie like this gets nominated for Best Picture precisely because it triggers from cinematic moments that are hard to explain, mixed or conflicted emotions that stir one up).


One final note.

In the middle of watching the movie, I came across this show by Win McCarthy.

0 0 66

turns out it was all about an evil clown. I asked Gen if she remembered when we saw the Big Apple Circus down south in Prospect Park one night, she vaguely did. But the far shot is of Grandma, a clown, a featured act, but later found to be a pedophile.

0 0 67

I remember him, the news is weird

0 0 68

when my daughter asked about why clowns are so scary, I gave her a bit of migration theory, I wrote on message, “passive-aggressive provocation to laughter which even in my childhood began to feel like bullying, like mean tickling, been scary now for over 50 years. Good summary. That is, the sense of humor of pre1960 was coarser, simpler, rougher, likely due to coarsening as a result of two world wars, it had this evil laugh element. Joker was born as a creation in that era, the beginning of flipping the clown to a negative thing, because it just began to feel, when sensibilities softened after 1970, mean, then scary, and thus we get to King’s It, which I also want to watch. In any case, this year, child abuse has emerged as the secret behind The Shining, I suspect it in The Exorcist, then there is the catholic church, there is the Qanon theory that there is a whole ring of child abusing sex traffickers lead by Clinton, so then the crowd in this movie all but replaces the guy fawkes face of ambient out of control anarchic populist force, and suggests equally a kind of Qanon or Clown conspiracy theory, as to the basic ills of American culture. It makes me wonder.

Joker (2019) as “Blue Boy” in the etiology of a demon, Part 1.

, Prev., Jan 13, 2020.

Watching Joker (2019), as a result of Phoenix winning the Golden Globe, I came across a stunningly overt use of a trope that I have up to now thought was pretty tacit and obscure. In Penny Fleck’s apartment, where she lives with her son, there is a familiar painting on the wall facing her, as she sits there, her whole life, watching tv. At first, I did not see it.

0 1but, then later, when he dances with his mother, there is, I think profiling Penny Fleck, Pinkie, Thomas Lawrence’s 18th century painting, Pinkie, which is a trope in horror movies of long standing.

0 2then, as he spins out, there is the pair, the Blue Boy, the ultimate icon of my trope searching, another deep-seated trope, Blue Boy, profiling Arthur

0 3then the both of them, having a family moment, except that it is sunk in lies, both the Blue Boy and Pinkie, though in this shot Pinkie is superimposed upon by glare from a lamp which signifies that she can get away with her Pinkie pose only within the intimate confines of her homeboundedness, even as she keeps writing Thomas Wayne to get them out.

0 4then after she is waltzed off to bed, and he reads a letter she wrote to Wayne which seems to say that he is Wayne’s son, though this is delusional, apparently, he is profiled again, with a saint between them, by Blue Boy

0 5(by the way, the fact that she has a corner shrine in a glass aedicule for the virgin, then flanked by almost restaurant-level wall sconces, though we have already seen religious pictures in her bedroom, says that she is not only a catholic, but a devout old catholic (as, for example, the lady who lived downstairs from us on First Place, Mary, when I helped her take in an air conditioner, and put it on the floor in her bedroom between a four foot saint’s statue in the corner and the window, she said, “not in front of the saints” (this from roughly 1994)). This means that her home has become a kind of shrine site, a place of observance of her cult in reflection of the virgin, not so much a votary, as an imitation/exoneration self-cult of madness, her as a version of the virgin, erasing all bad memory. This presence, in short, graduates the presence of Blue Boy and Pinkie to another level, they are by no means placed there, in the movie, diegetically, incidentally, they mean something not only specific, but quite important to her, since they frame what she watches every day of the world on tv.

0 6this also, much later, signifies that Arthur also devoted to tv, and to being on the Murray Franklin show, played by di Niro doing a reverse roleplay from Pupkin.

0 7but what is happening now is, he is, in fact, just in embryo with his transformation into Joker, then he gets a call from the studio, since his routine, which Franklin mocked, devastating him, just before he killed his mother, he is invited to come on the show. As a result, Blue boy pings, to come into the picture.

0 8then in a very Rupert Pupkin way, he makes a stageset of the place in front of the tv, so extracting out of the media a real place to undertake his transformation in, both Blue Boy and Pinkie are there to watch. He even runs backs tape to copy the gestures of a young star he admired, coming out)

0 9but it is odd, it is as if, in the daylight, the reflection off the window, makes it look like Blue Boy is wearing a gold jacket.

0 10this is almost like a premonition or comment on the potential of this moment as he is in transition, putting on a new outfit, for a new persona. The spotlight of the sun, as he comes out, even shines on him more, almost in the manner of sunlight magically touching images in Egyptian tombs, to mean something

0 11then he comes out to do his fantasy audition, all perfect, clever, smart funny (I also will point out at this point that the blue boy and pinkie seems to be hung over a locked doorway, which has reverted to being just a wall, blocking access to a room that is no longer opened, so they have an extra intraapartment guardian of secrets diversion mode too.

0 12then he is satisfied by his audition, the light comes back into Blue Boy, he is going to do it.

0 13then he goes back to put the green in his hair, completing the change

0 14it is after this self-audition in his private universe of an apartment life, that he then makes his famous declarative statement to the world, coming out, as it were, as Joker, a new persona overriding the old victim Arthur, and thus Joker is by this dancing gestation born, the stairway as if a womb and birth canal dropping him onto the world (a mental distress that is solved by a superpositioning consolidation into a new persona above all the fragments of the former self, is, in my view, an exploitational self, a self-exploitational self, in which one turns oneself into the golem or whatever of one’s inner desires. This is the opposite of what I term mental illness, which is when the universe tears you apart, which is what was happening to him, indeed, it might be remarked that in this movie he has too many beat-down moments, at least a dozen before he breaks-upward, and all the dancing too, but I think Phillips took this path to make the transformation plausible. Whether mentally ill people ever, in fact, go this direction is another question).

0 15then, of course, the real thing happens

0 16but he just hijacks the show to make a statement of his arrival on the scene as Joker, with a very large houseplant spelling trouble

0 17Now, this is what I wrote on my FB page

0 18

these are themes that I have not considered as relevant to the Blue Boy/Pinkie twinning until recently. Though I have acknowledged the trope formally for a number of years, it was simple, Blue Boy acted like a Mary Shelley picture, with particular focus of the boy of the house, that he was in trouble; and Pinkie basically overrode the Mary Shelley picture as another way to say the same thing, girl in the house in trouble.

But, in Black Christmas (1974), which does not have either a Blue Boy or a Pinkie picture, really, in a recent screening, I had a thought. Keir dullea is clearly murdered by Olivia Hussey who knew full well that she was killing him in the basement at the end, but she stages it in a pieta pose and her playing mad so that the police think, yep, he was the killer, she got in, cased closed, but….she was guilty. She exploited the fight over abortion that she and Peter were having at the time, the argument in a phone call even coming over the wiretap to implicate Peter in the police’s mind in the investigation, she exploited the mass murder situation to get rid of Peter, by casting blame on him, then carrying out so that everyone thinks he was the one. So, he was a red herring, really, but she took that red herring and exploited it so that it turned out that the red herring turns out suffering for the crime, and believed to have been guilty of the crime, he become, then, the Wrongful Scapegoat. That is, he is a scapegoat, as Hussey used him as a a repository of her malice, to get rid of him, he did not commit the crimes, he was innocent, but he gets it, and gets blamed by the movie. The Wrongful Scapegoat, I then argue, is, precisely, the blue boy. The blue Boy is not just a symbol of a boy in the house in trouble, he is also the symbol of a victim being exploited to become, when he is innocent, the scapegoat of the crime situation, to then also take the blame too. It is a thankless role.

It would seem to work out this way in Joker because though Joker is a criminal, and does terrible things, there is enough prelude of horror done to him to blame the society or his mother on his situation. He is, in the big scheme of things, “not guilty,” but he became, by the action of life, the killer, then the fool king, to become the not-guilty scapegoat, who then begins a life of crime. He is triply wronged by his mother because he is taking care of her thinking she is his biological mother, when he is really adopted; and he has no idea that she thinks he is the son of Thomas Wayne; or that she is delusional; and she let a boyfriend of hers abuse him. This almost feels like a nightmare formation, in life experience. He is not guilty of any of this, but all of this falls on his shoulders, all adding up to factors which make it easier to make him the scapegoat.

Then there is Pinkie. She is, in fact, a haunted painting, Sarah Moulton, who died between sitting for it and it premiering, but then there were, I researched, not other deaths in the family for generations, so my guess is a baleful curse painting began to morph into a good luck charm painting. But she is the red herring, and she is the red herring here in so far as we learn how very crazy she was, and is, when, for the most part, in the home scenes, all that is hidden (though it was a bit overly intimate that he bathes her, without coverage of herself). She the “rightful” red herring, not in the sense that yes, she is the red herring, but as a play on words opposite of Wrongful with regard to blue boy, she is rightful, in the sense that, yes, she is NOT the red herring, she, in fact, is implicated in all this criminality, her mothering brought this on.

At the very least, then, the inclusion of Blue boy and Pinkie in the dance sequence then signals to us that neither of them on screen then and there are anything like half of what they really are, that this is all illusion, and what you see is not what you are getting. Just seeing them, I should’ve been wary of thinking, where’s this going? The paintings also serve the more practical function of stage setting, so in his rehearsal sequence, a prelude to his transformation into his alter ego, or real ego, the sun momentarily re-bedecks him in his new robes, validation, so Blue Boy is also a person who transforms himself to get what he wants as well.

I was reinforced in my belief in the newer three-dimensions of the Blue Boy Pinkie trope by the fact that they showed up in a prominent place in Clownhouse (1989), which I screened recently. In this one, a young boy, third in the sibling pecking order, is chafing under the control over him of his brother. He suffers, that is, in his current state. It is likely that his troubles in the pecking order have offset for him to develop, as a reactive function, a phobia of clowns. But, now, as the movie begins, a poster from a circus that is coming to town flies up splat against his bedroom window, to scare. This is a classic conjure sequence, also that it is paper that flies up at him, ambiently.

0 20so he sits up in bed, scared, almost as if there are vampire batwings beating against the window.

0 21at this point, in his underwear, he comes out, to go to the bathroom, to start his day, and, right outside his door? a Pinkie

0 22then right as a pair with that, as he proceeds. This means, possibly, that he is, in the movie, both the Wrongful Scapegoat and the Rightful Red Herring. And it turns out that it is mainly trouble with his big brother who causes him the most problems, in making him vulnerable to the escaped mental patient clowns. Since he is the one that ends up being stalked the most, he is the scapegoat; but he is wrongfully targeted because, one, as the youngest he takes the brunt of the clown attack; then, two, he is all but killed as the scapegoat. But, then, Pinkie is there because he does not end up that way. And that is why the movie figured out its one Pinkie figure, red herring, but rightful, meaning that, he didn’t kill his brother, but his brother was killed in the process, greatly relieving himself of a sibling problem. It is implicated that somehow he made this all happen just so.

0 23but, of course, we know that it is scripts that do this. And, then, too, onset limits. In the onset background world of this shot is a picture of the director of his movie in real life sexually abusing this young male actor on set after hours. It then happened that the director went to prison for his crimes, but then was let out to make more horror movies after. In any case, his victimage went real, then became real. He became a Blue Boy, vis a vis the movie, because it suggests he is most blameworthy, then in the movie making he is the most set upon. He becomes the Pinkie because his actions allowed for the elimination of his nemesis older brother diegetically, then his submission to sexual abuse eventually lead to the director going to jail. So, a complicated little twist with the real.

So, for this, Joker has many threshold moments, when you expect Arthur to break, and become Joker. It takes a very step-by-step process, to get there. But the presence of Blue Boy and Pinkie tell us, guilt and innocence are not, in fact, allotted as you see laid down in the movie. In fact, it may be that it is too complicated. The moral politics of the movie are very twisted. as I note

0 24

there is no way to align the politics of the movie with the present moment. Indeed, I can’t tell what’s what, and why, for example, in documented evidence, the Joker dance on the stairs became a thing in September, for people to celebrate their coming out into a truer self. I was especially nonplussed by the fact that Thomas Wayne, in spite of his backstory with Penny, was depicted as a sort of Trumpian character, whom Joker comes up against, in animosity. But, wait a minute, he is Bruce Wayne’s father, and Bruce Wayne is Batman, so now we are on the side of Joker, rooting against Batman? Moreso, after his arrest for murder, he gets free, and seeing the crowd, mostly of clowns, like some sort of demented guy fawkes faux revolution, he becomes the leader of the people, against the tyranny of the Waynes of this world. It was populism, but, wait, it was left populism against right wing Trumpery? This is confusing, a weird twist.

But, I think, my mistake is in trying to sort it. It might well be that a “story” in a movie is, in fact, entirely, a wriggling of opposites, a syzgyism, as it winds its way from one unexpected development to another. It may well be that the 101 of scriptwriting is keeping it real, and this is done by the trick of inverting and perverting the current discourse in the political culture in a way that does not align, and in fact takes prisoners from both or all sides. This is represented in this movie in his dancing, which, from pretty early on, moreso than his neurological-based condition laughter, symbolizes the some confused mashup of motives and fears in him, trying to break out into a coherent form. He does a little playacting with his gun, to accidentally fire it

0 25he dances as part of his act, at the hospital, with the unfortunate result that a gun drops out of his pocket.

0 26then he commits the murders on the subway, he then poses and dances to mark his achievement, finally, a release, something he always wanted to do to the bullies of this world

0 27then he appears at the club, he poses and postures

0 28then, the most central of his dances, and the one with the most deceit, presided over by Blue Boy

0 29he postures as a clown with Bruce Wayne

0 30then his victory dance, as he comes out, remade

0 31then his posturing on the show

0 32then his elevation by the crowd

0 33he is basically dancing through the whole movie, and I would argue that this represents him wriggling through the confusion of his life out to a position from which he can take a stand and move forward whether for good or evil. As a wriggler, then, there is no bipolar stands, there is no binary, he is in transition, this is translated as “real” as opposed to posturing for one POV or another, and it seems to me that in so far as there are complications in this with regard to guilt or innocence this means that this whole dimension of his struggle is represented by the Blue Boy/Pinkie twinning, spinning at the center of the movie. Indeed, as if to signify, back in the Batman universe, though this movie was filmed with such Midnight Cowboy realism about what never pretends to be anything else than New York city, is that when Wayne and wife, with Bruce come out of a movie, at a movie theater down by the deuce, where a movie is playing, in this under the marquee place

0 34they are followed

0 35then shot, this the crime that makes Bruce Wayne into Batman, but in this version it is NOT Joker who shoots Wayne, it is just some guy, part of the crowd (and, as with Once Upon a Time In Hollywood (2019), we have another classic, iconic scene, altered)

0 36as Joker is still back at the crashed cop car scene, trying to pull himself together. So, he is cast into an alibi formation, a quandry, he has been for a good long while the killer, but now we see that as he becomes society’s Blue Boy, he also becomes the universe’s Pinkie.

0 37This then, Blue Boy/Pinkie nexus, or, really, “noxom”, is my word for horizontal shuttles, is yet another level at which the deceptiveness, the slipperiness of the movie works. But, there is one final area where it works too.

At one point, he is upset, so he steps into the next door neighbor’s apartment. A young black mother with her daughter, she is shocked, what are you doing in here. He then simply imitates what she did on he elevator, the one time he saw her

0 38but as he comes in to sit there is on the couch a blue ukulele

0 39in my view, this is a symbol, because of its blueness, I made a similar remark about a symbolic spike in a work of art today.

0 40

also called this innocent, Inri, which is a device I have used, as a who-me? Blue Boy picture, in the midst of an exhibition about the importance of the devil

0 41

the reference

0 42

but, then, we get the shock. Earlier, I had harrumphed at movie’s phoniness, as he takes up a relationship with the black woman next door. Being of the Arthur sort in terms of where I’m at at present, I scoffed at him stalking her at work (though thought of my time in temp down in these strange side streets too). (this scene also vibes on what I recollect as my main interest at the time, hating being at work, you long for home; everything in local commerce however is entirely flattened out, to accommodate the afterthought needs of too-busy working people. Thus, a lot of card and silly Valentine gift shops etc, all of which becomes afterthought incidentiality, which, for their incidentiality, seem so insincere, and marginal, and so in my view only this view also contributes to a suspicion that there is nothing there, that this is delusion).

0 43then I thought it was just crazy, that she stops by, to ask him if he was following her; then that kind of turns her on, so they arrange a date; then when he has another emotional day he just impulsively knocks on her door and goes in and it just so happens she’s not doing anything so they kiss and I presume make love; and then when he auditions it starts bad, but then it picks up, and she is there rooting for him, and it goes well; and then they have a nice date; and then when the mother gets sick, has a stroke, she is there with him, to comfort him, to get coffee for him, it all was like, oh brother, even a total loser like him, even HE gets the girl, drives one crazy (because in real life, no, this does not happen).

0 44but then we find out, based on her response to him as an almost stranger, as the guy who lives next door, who is “in the wrong apartment,” that it was all not just a fantasy, but a delusion. There was not only no one at the door, he nonetheless went to the door to play out the delusion.

0 45there was no one at the hospital with him

0 46he saw her once, in the elevator, she made one remark to him, from that, he spun an entire delusional world of their relationship. This suggests a much more intense level of Blue Boy troping. What can it be?

0 47delusion is here portrayed as a looking into the mirror of life, seeing something that is not there. That is, you are standing at the mirror, and going through the motion of the event, meaning he probably was out on that date, he was at the club, he was at the hospital, but in any cases, as you reflected on it, she was not there. This is a complete irruption of consciousness, to seeing invisibility. The movie makes extensive use of the tv static trope, one of the oldest tropes of movies, it represents the blanked out mind. But in his case it represents the empty space in his mind between what he sees and what he lives.

0 48if the Blue Boy is a deceptive posture vis a vis innocence and guilt and Pinkie is also a deceptive posture, but going by another loop, between innocence and guilt, the space between them represents a spin so intense that it can only implode to the Static Out, the braindeath state.

Just to pause to consider the gradations of this conjure state, from tv watching obsessively, to the static snow, the dance begins before the final credits, in the afterzone of the movie, an adjunct if productional space, but, in their hypnagogy, a haunting space

0 49then in the hospital, the tv in the room, which is further out from norm, and object of torture (I recollect the tv in dr zoda’s office, blaring loud for hours, driving me out of my mind), this is direct address to him, he sees himself on tv, but as a laughingstock.

0 50then the whole plug is pulled on his life by the static, and the reveal of the delusion

0 51but, then, now, out through the wormhole, I think, in the sentient zone, he surreally gets on tv, but then kills the host, so the movie black outs, to the Indian off the air or offline symbol that spoke to harshly to us after sign off time on tv in my youth, this also a trope of absolute brain death, bizarrely with an Indian symbol, then that four-square symbol, the Carfax effect, if you will, the quarter carne curse, to all the four corners, which has to be at the sentient, and that’s that, his old life is over, he’s now his new self, Joker.

0 52I guess I work this out as such (then, out at the off air point, I am going to have to figure out how the above translates into a graph, perhaps the chief is some “demon” beyond psallictus, Auchthon?, will have to work this out, from the four-square approach first broached in Midsommar, see entry).

0 53

In my recent studies I have argued that the Blue Shift is part of an entoptic colorwheel spin through things, which, when differentiated from other colors in the spin (see my treatment of Annabelle Comes Home) can spin one out on a flat ambient zone, where blue things bespeak the state of mind of the haunting. Since blue things in Annabelle seemed, relative to the other colors, icy and hard, I imagine that the blue zone is a haunting place where hard, not nice conjuring figures come in on.

0 54

this also posits that in the blue shift zone, a conjure vector, out to the sentient through the ambient, as if calling in a ghost, or conjure figure, there is also a Blue Well, and it is down the well that you can use a talisman to then take you by a wormhole to the far exozone, where it is as if your farthest ideas exist as the far atmosphere of your mind. This, then, an escape magic path created by a talisman. But, then, back in the blue shift conjure zone, there is the Blue Clock, at the border, which brings in another time-sense, and then at the core, the Blue Room, which is the room of intense pain, where one dissolves. So, weirdly, a whole blue topology develops. And I believe that as my talisman is the Responsion, which consists at its core of two mirrors face to face reflecting nothing but one’s invisibility, but it is framed by a Blue Boy, that the Blue Boy/Pinkie noxom formation is there to guide the talismanic power into the right channel, and if it falls out, or implodes, or reverses, or negates, it turns into invisibility itself, then delusion, and then death.

I ambled over a show by Jeanne Silverthorne at Marc Strauss, NYC, this week, and she has talismanic arrangements, in a rather too storied way for my taste, but they are said to sit upon boxes which apparently have old work in them, but remain as if Schrodinger’s Cat, in a superposition state between life and death, inside the box, which you will never see.

0 0I tend to see the Cat box as up in the “Instititium” of the vampire squid world, but it is suggested here as a trope equivalent to the Static TV Screen trope, meaning emptying out of all prior meaning, to scorch earth the mind to go mad. And, of course, it is at this level of breakdown, that true, horrifying mental illness, takes over. (well, I could have written this out better).

This Blue Boy/Pinkie together have an extra role as, in the blue shift zone of entoptic movement in hypnagogy, creating a vector plane whereon a conjuring can be created and come in on one, they are the guardians to hold and ensure that the energy of the crossover forms into a talisman, that then can zap its energy to an exozone level of perception, to make sense of life. And if they fumble things, maybe because they are in conflict, as the Wrongful Scapegoat and the Rightful Red Herring, then that messes things up so much that the talisman falls to materialize or “work” and one drops down the blue well into the deadzone of Tv static and mindless mindgoneness.

But, then, too, some think that this shift from reality to fantasy carries over to the entire movie. In this case, this would result in a movie where, as I posted today, this, the blue Ukelele on the neighbor’s couch, is the truth shot of the movie, opening up the whole fantasy dimension of the movie.

0 55

the picture

0 56now, from this, this means that the whole movie is wrapped up in the Blue Boy, and blue boy symbolism. But, again, recall, as I go through, I now believe that the Blue Boy is the Wrongful Scapegoat, that is, he has become a scapegoat, but it is a wrongful charge, he is, in some terms, innocent. From this POV, it is plausible, as explained on one youtube video I saw, that the entire movie is an extension of an ESPOV, an extreme situation point of view, that he remains throughout in a hospital, banging his head on the walls, and this is simply the visualization of another rant, he is like, what do you expect? I had this, and this, and this, and this, and this happen to me? you made me a psycho, it’s your fault, I’m innocent. And then he lists. This, suddenly, seems like a plausible plotline, it explains the mainline of the plot (though not the reveals). End of Part one.

Victor Willing’s MS visions: were they Charles Bonnet Syndrome, or simply Famulus and Anthroparion Forms of Haunted Hypnagogy?


rev., Oct 28, 2019.

Note: This is a POV thoughtpiece not a review. With mention of  don’t Be Afraid of the dark (1973).

The paintings of Victor Willing (1928-1988) seem to be being given a second look, with three exhibitions in the UK this Fall, likely attributable the search to find a new grounding for abstract painting, other than it has had in recent times. The story is that Willing was a painter, but, then, at 40, was diagnosed with Multiple Sclerosis. For a while, he had not been painting, then, he had time to, so he would see in a room for hours, it is said, staring at a wall of an arrangement of objects, and then he would have a “vision”.


the result was painting like Swing (1978).


this is intriguing because it seems like a still life, an assemblage of objects, that is, laundry, but, then, somehow, it grew sharper, and he had a vision, that told him to paint it. What was the vision part? It would seem to me that the process was, he would look at the arrangement; then, at some point, something in his eyes would cause it to “boil” or rather animate, so that it seemed to come alive; and when it came to that point, that is all it took, it instantly stepped forward with a distinct and shocking sharpness into his zone, so scared him, or enchanted him, so, he painted it. The part of this picture that I think became animated, and caused his mind to skip and scare, is the white stocking on the left, it seems as if it is coming back to life, or is rather a leg, trying to take a step


it is that little startle effect that brings the whole thing to life, that makes him see the whole ensemble as if a vision, coming alive, so that is what he paints. He tried it again with a few others, in each case, what almost looks like a still life assemblage, but, then, something is off, something is moving, or coming alive, it is bumping in the dark like things do, and that’s what prompts him to paint.


here it is, again, I think, the movement in the upper left hand corner that activates, which then, scaring him, or seeming to be uncanny, it causes him to record it in paint. In both cases I have shown it is the upper left hand corner, which would be a curse not to look back on, but he does.


maybe he was in a state of sleep paralysis when he saw these animations of inanimate things. It is also clear that he tried to rationalize them by explaining things to himself, this seems more cubistic, so this is, rather, not him recording a vision, but him thinking about a vision he had, a difference.


Then too it seems with this one he also rationalized by trying to find why these visions were so interesting to him, by looking at the interior work by dichirico, which, of course, I am very interesting in of late. He was thinking, here, what I am seeing, it looks a lot like a deChirico interior.


but the problem above is that the animation is “imagined” in the mind and not a direct recording of the vision event; it is also true that this arrangement seems more premeditated, and not random, altogether this is much more studied picture, really him wondering what’s up, rather than recording what actually is.

But, I know this spot in the mind that he has ended up in. does MS put you in it, if you sit for long enough? is this in any way comparable to my sleep paralysis episodes when I was younger? But, in my system, the sudden, and simple and minimal, animation of the inanimate is a form that aconjure figure takes, coming in on one. I wrote about this with Tala Madani, The sleeper

8to classify it, I wrote

then it scares you a bit by coming in on you, when it crosses from pure ambience, the zone of nonfigurative spin, it latches onto an entoptic staple and thus becomes a Figment, that is, a pareidol in whatever element it takes form in, in my treatment of Bacon and Whistle it was newspaper blowing; then, as it moves closer in to the glass onion stage, it latches onto a more solid object, closer to the materiality as it would be of the thing you suspect it now of being, and in that it also becomes distinctly and clearly animated, so, now more question now, it is there, a kind of ghost, that is, named after the familiar of witches, a Famulus; finally, as it at last comes in on you, to scare you, to cause you to bounce up, that is a Configure, There is also the problem that, if you are like the professor in Whistle, and set up a model of prefrontal rationality to give form to the mind, with no allowance for the fluidity created by surfacings in vigilogogy of hypnagogic effects, then you might be startled awake by the upclose nature of the Configure, for it to then be pulled up with you, to, then, in vigilogy, come out, or crawl out, or come alive, as the bedsheet in the bed next over did to the professor, to, then, disbelieving it, he already being on the edge, drive him mad”.


this then being the best example


so, since blank wall is an entoptic surface, as per davinci’s explanation of how to stimulate the imagination, that would be a figment, if Willing did indeed envision the whole thing become animated before his eyes; but, if, rather, there was set up in the room already, an arrangement of objects, that did not take shape in his imagination until his eyes as they were with MS saw this inanimate ensemble suddenly animate, and, like in a horror movie, or as I mentioned with regard to the bedsheet in reality in Whistle and I’ll Come to You, that would be a Famulus. This means that what Willing painted were conjure figures, and, in particularly, built on entoptic and glass onion formations in light sleep, or a state of vigilogogy made by disease a lot like hypnagogy, figments or famuli.


But, then, the question is, why did he have this problem? It turns out that there has been work done to identify what kind of eye problem issue MS sufferers had. It seems they have decided Charles Bonnet syndrome is one. These are some examples of CBS visions. A couch will grow grass


this is interesting because it is so much like what Aster thinks dani would’ve seen while high on shrooms or a juice in Midsommar (2019), grass growing out of her hand

13then, later, grass taking over her feet.

14In both cases, she was as if sinking into nature. There is a visual similarity. Then, there was a lady on a youtube video who described a vision, things remained framewise as they are, a scaffold, a shelf, but, then, the shelf was covered in mud, which was glowing pink and blue

15another example

16these look like that CBS lets you see Famuli, that is, things, objects, inanimate in the world suddenly animate along the line of the thing, and makes it come alive in a new way. As such, then, I do place these at the glass onion level, a symbol created by an inanimate object made animate, just the very first bit of it. So, the reason Swing by Willing has such an effect is that it is studiously painted as a still life, but, at one point, with the mind pushing the objects around, as it does in a glass onion fugue state, or a situation of STICHOMYTHIA, a fuguelike back and forth, part of it, suddenly, becomes animated


the sharpness of it is what makes it, the definitiveness, the, if you will, indexicality of it. That is, one senses an immediacy in it, that puts it on a whole other level of seriousness from Willing’s other work, it seems to have latched onto something, and what that is, and what attracts people, is that it has visual wisdom, this kind of thing really does happen with real eyes, and, then, as such, this attracts people with its sense of authenticity and reality, it connects.

For me, it is of interest because it allows me to make use of some science of hallucinations, to situate precisely where in hypnagogy, a certain type of formation exists, and what it is called. This is all part of my search for visual wisdom as a grounding factor of art that is real, and not just conceits of the idle imagination. So, that is why Willing is of interest.

But, there is, another related topic. A second aspect of CBS is that, in that scaffold, people see little people, at the interstices, just like diane saw them in her apartment in Mulholland drive (2001).


some of the entries feel like exaggerations, but there is this sense that across the scaffold of things, at the intersections of them, as it were, those joints, as it were, were also separately animated, and in a more figural form, as little imps, or fairies, or the like, one author called them homunculi.


this, in my hierarchy of forms coming in is a Configure figure; and, then, if it comes close in, in to the face, as it did with diane, at that point enlarging, and then chasing her, that circle around from the under the bed, where it was instrumentalized as a figure, then that is a straight up demon. But, I didn’t know what to call them.



but in looking into it, looking at homunculus, there is a secondary meaning, and that is that, while some homunculi are small, there is also a usage of homunculi, which I make use of, which makes it the same size as life size. But, then, it turns out, in Zosimos’s visions, he called a little attacking homunculi an ANTHROPARION. And that is what I will call this conjure figure demon, little, but obviously there, attacking. Zosimos particularly speaks of a priest who turned into the opposite of himself, so there is an enantiodromic quality, and I referred to this too recently with regard to the Joker stairs,


and the pictures.



but, that would be perfect


an opposite of oneself, likely also relating to Girard’s notion of the substitute victim being the monster double. So, anthroparion it is. But, then, the question is where do these rise up? As I map it out more scenically, the lattice forms a lattice.


this then brings little faces into it, as part of the ensemble of possible images that one might see in the CBS hallucinations of Lewy’s bodies, or MS, and maybe even MSA (my now-lapsed diagnosis)? But, then, that is of interest. In Green Tea Le Fanu postulates that behind the prefrontal was an inner eye that gazed into the workings of the body and kept things under supervision. But then, when, upon drinking green tea, or being haunted, the eye flipped, so that whatever one saw inside the eye, flipped out to be seen outside the eye. The issue here is, then, overlay of the entoptic onto the lattice, Willing possibly also painted some things he saw with his eyes closed, gazing into the entoptic. This portrait of him at 70, which he made when he was 60–he did not get to 70–represents, then, a kind of death mask of self-imagining, but, notice, it is on a blue field, then, it is floating, and rough edged, as if just emerging out of its ground, it also has no ground in the eyes; where the eyes are are holes that look back into the blue ground again, which means that it is a mask, and, I think, typical of something you would see on the entoptic field with one’s eyes closed, an accurate picture of a visualization in that field.


but, then, when you close your eyes, and look , it is a weblike maze, so it would be amenable to just slipping in under the lattice, for one to also see the imposition on it of lattice form anthroparion figures, or homunculi.


in fact, as I stated in my post, I do in fact now and then have an entoptic field issue, which I call punks. Somehow, on those fissures, things overboil, possibly resulting from idle churn, body energy that will not normally burn off, so that I see little videos or movies, or scenes, and figures like Russian dolls dissolve into other figures, then become something completely other, it might be the origin of shape shifting, as a phenomenon in fiction, because that’s what happens; but, then, so, now, I see these as intrusive anthroparion, onto the entoptic field, or homunculi. (I also learned the other day that the word for a display in a dutch still life is a pronk, so I will call these, rather, pronks).


In this research period, homunculus, in terms of popular culture, which for Wiki is the only culture, referred me to don’t be afraid of the dark (1973), which became for an afternoon the movie I most wanted to see. I wont pay 3$ for it, so watched a few clips. And in the shower scene, glimpses of Kim darby in the entoptic field of the shower curtain, oddly arranged off to the side.


contrast with the surprise appearance of homunculi, they in the abstract use a hangar to turn off the light


then something comes out


then it is contrasted with, frankly, the homuncular display of her body


then she sees, like Willing might have, an unexplainable how did that get there, a Not Still Life trope, that is, an object that somehow got up and walked there, the inanimate animate.


then it turns out it is them, anthroparia


they freak her out worse than mice


when husband doubts her, it is by a predicament painting, spelling out their problem, they are all in the white area, but then, at the margin, there is a conjure figure, class homuncular

37their possible presence as coming out of the very woodwork was suggested at the opening titles, when they crawl up a figurative snake post.

38to then block the house behind the post

39then there are alibi statues about to let them be blamed

40another almost Marini inside too


causing the eye to start, from across the room



43then she first saw them nervous at a dinner party, in the flowers

44then in the napkin, pulling it off

45then at the end

46they pull her away

47all of this, these anthroparia, are hallucinations of a CBS sort of homunculi on the lattice joints of an overcast of an entoptic field on it, so are distantly related to Willing’s pictures as well. Willing did have more lively animated moments, a bird


then, even, nude dancers


but it does look like all anybody is interesting in looking at right now are paintings that were made as a result of his visions. And this is because as visions, and a symptom of MS, they are not facilely imagined by the prefrontal, trying to imagine what the mind is up to, but actually spontaneous creations of the full brain itself, therefore more grounded, and, for me, with more agency, each vision being a cult moment of keeping alive, in a dying situation, as well maybe to ward off death, and all seem precisely to be images created in CBS by an eye attuned to the entoptic overlay of the lattice formation resulting in Famulus forms that now and then could, by a sharpening of the scaffold, and its joints, stir up some anthroparion sightings too, to haunt him (at some point, I will research as to his response to them). All in all, then, another front in the struggle to document all the phases of visual wisdom in hypnagogy, so that painters can become better navigators of the inner visualizing realm, and make art that is directly connected to agency.

Midsommar (2019) and its haunted ambient hypnagogy, part 4.

rev., Oct 2019.

Please note: nudity ahead. This is part 4 of a 4 part treatment.

At this point, in Midsommar (2019), the May Queen is just got out of the way,

77while the other side of the formal event ensues.

78what this position of hers means, looking sexier here than before, is that the loaf form goddess up for consumption at the table was a mannequin or voodoo doll for her and that by all their eating they were taking her into them for them then by their energy make her entirely alive, and fertile, to take in a single shot of seed, for it to impregnate her first time in (so this is a sacred sex, in a magical universe). It is also an inversion as while the old girlfriend gets crown of flowers, the new one gets a bed of flowers.

79this is ancient sexual rite, of course, so the place between her legs is a magic place, he is in it, he is caught, that’s that

80she opens wide for him (I kept Amazon direction marks on it to indicate his stoppage seeing an “ugly” old naked body, but then as she opens wide, it is go back go forward ten seconds on each leg, so it is an opening indeed).

81the horrific part of this is, barring interest in orgies, in modern civilization, sex is supposed to be a private thing, even if in fun, no more than a threesome, but in this case they have witnesses. This would appear to be, for any modern person, a turn off, increasing exponentially the performance anxiety with which the moment is already fraught. Adding fright to the fraught is that the observing, encouraging ambient circle, witches circle of bodies, nude women, nude in observance of sacred sex, are of various ages, and whilst in this view there are two young bodies in the middle, that might, in fact, in modern life, again, distract him, detumescing, two of these bodies are older, and as we know from Rosemary’s Baby and from Aster’s own Hereditary and the seeing of the old nude people in the attic, there is nothing more horrifying to agist-ablist modern health civilization than an old nude body, which, in fact, are pretty often only naked, impossible to become nude, that is, sexual.

82it is, of course, is a multiplication of sexual energy that, not seeing hers, we see a circle of cunts aka vulvas all about her too

83penetration is emphasized by the aerial

84she goes upside down into a dream zone, as per trope.

86there is one woman who thinks maybe it is not working so well so, called in for help, she gets right into the clinch, singing (in a moment that made me cringe, but for reminding me of the ending of Suspiria (2018))

87then she gets the full feeling, full upside down, with deer in headlights eyes, here it seems to report that the temperature is rising, I’m coming, he’s coming, it is happening, we are rising up to it.

88then the midwife helpers, by sympathetic magic, get more into it, as the pounding accelerates and escalates to orgasm, they get more excited, and beat the drum by grasping and stroking and massaging their breasts (I did not see anyone reach down to a crotch to “masturbate” to this, that would be a taking away of energy, not a giving to), at one point one comes round his backside to push his buttocks more deeply into her, to make it work.

89again, as per the tropes of body horror, all viewers under 35 today are supposed to be horrified, wondering how on earth a body that looks like this, a “mature” body, all heavy and weighted down by life, all concave more than convex, all fleshy and not light or lite, and those hands, it is all but orgrish, how would that help? but, still, he’s young, he keeps pumping away.

90(and, by the way, if you do not think gerontophobia with regard to old bodies exists in the culture, today, Suzanne Sommers, of Three’s Company, which is STILL parodied in pornographic skits, instagrammed a picture of herself at 73, and the twitterers went crazy, negative).


now, there is a very strange shot that breaks up the sex, it goes back to the resident of this hall, Rudi. Again, he is an inbred, purposely bred to have a stunted prefrontal so that he can be close to the godly vibes of pure hippocampal brain imaging. But, he lies and listens to the whole thing, he seems to know what’s happening, and it seems to make him sad, as if to think that a healthy new king is to be made from this act, and I was a side effect of a ritual act of a similar nature.

93even stranger, more so because I have found vertical-mouth vagina dissolves in Suspiria (2018) and elsewhere (see that note), but the camera close-ups on Rudi then the mouth in the view actually comes to all but rest over his buttocks to then by implication of the shadow below suggest his penetration of her, that darkness representing her penetrated vulva, then too the eye on the woman, all ambient presence to encircle him and make it all a nightmare

95so, on screen, we basically get a full penetration shot, her being entirely split open by the rite, but it is superimposed upon by the oracle’s mouth, I think this suggests that, in fact, this is another coition orchestrated to produce another inbred, it is hard to say.

96Anyways, modern sex act, alone, with a couple, for “fun” versus sacred sex, specifically for the immediate purpose of fecundation, to a fertile woman at her time; with high performance anxiety; then reinforcing erotic energy magically imputed into him by old women encircling him ambiently. Completely different, thus the ew effect

98I have also noted that in terms of the seats of the table, her winning, whatever, there is even in the actions of the characters on the stage of this ritual a certain bad tv drama element in the acting out. By far the most “accidental” but on purpose event is when after blessing the crops dani comes back to the sex house and through a doorknob more or less sees him as he has orgasm and impregnates her, so she runs out, devastated.

99but this is all ritual too, mapped out

100her group of handmaidens even, in cult way, take on her pain, to drown it out, to make it part of it, in effect, finishing the break with him, that will allow her to rule as full May Queen

102it is at this point that Aster shows us one of the drawings again, this time right at the moment when it seems to be happening

103the goddess enthroned, while the men, in baby form, cast out, no longer of any use, they’ve done their job, now, that’s that, done

105again, another shot of an event happening right in front of the painting that more or less captures it; then, too, yet a second shot of the balcony, vacant again, signifying the higher powers that are controlling this.

106then we come in under the eaves as deep in that body clutch where, upon coming, the bodies do emerge, and perhaps here the endless volumes of Rubi’s bible signifying all the seed now spurting out of Christian up into her awaiting uterus

107he comes, she takes it into her, holds his head, done, but, in THAT moment, a moment of bodily fusion that might feel like intimacy to her, making the magic of it stronger

108she all but kicks him off, then goes into a bicycle spin of the legs up to as if “set” the sperm, to make it travel down into her uterus, or up into it, for the handmaiden by affirmation to as it were–also note the open hands by the cunts above–to take it in, to guarantee by sympathetic body magic that it has worked, insemination has happened (of course, the exactly the opposite of what most moderns want to see or think of in 99% of their sex acts in life).

109he, then, is immediately cast out, maybe the ghost of the body in back is meant to revert her to being just awful and naked and not sexy, while he realizes he was nothing but a stud forced by black magic to have sex of a procreative sort that horrifies him, so he bolts

110another return to reality from the magic shot, in the wrinkly fat ass of another horrifying old naked woman, another behind her on the far right, Rosemary Baby’s type horror (these are not my views of bodies, I am bespeaking the tropes)

111so he runs, bare assed naked, completely cast out

112it is at this point that he looks into the eyes of pollarded Simon, sunflower eyes, but he sees that in his reduction to a “stud object” his humanity has also been compromised, so he feels like a thing; now he looks at other things they make, in this case, what I call on the scale coming in of a conjure figure a Figment, and this is more or less his initiation into him also getting this treatment, now that he can be disposed of

113poof, some magic sleep dust, blown into his face, and that is the end of his conscious life on earth

114then there is the charade of the selection of the final two people for sacrifice, they sacrifice nine, she too has been made into a Figment, all enthroned as if a walking throne in flower, borne down, reduced to it

115Christian now in a wheel chair, because she is filled with an immediate he-cheated-on-me irrational feeling, being exploited in that, chooses him.

116so, like the others, he must be altered into a Figment, so that their sacrifice will be algamata, not only pleasing to the gods, but targeted for them, for them to get the message, and accept it, and that entails a certain GPS measure of where they think the god in all of reality resides, for them, far-shooter is high up, so not to be too intrusive they need to tailor their offerings into a conjure figure form so that the god can pick them up in that mode in his eye for him or her to see and accept

117the pick is made she is as much a prisoner as him, but she picks

118we see all the easily carriable portable herm figures made from them set in place, of a status of physicality tailored to be algamata (this I think more a Famulus, though).

119with the best saved for the king. The height of a sacrifice being algamata was that it was the most valuable or powerful thing they had to offer. That is, it had stature, and that stature, measured by its status in their cult as a symbol, then too by the status in their cult for what it did for them in the ritual, how it performed its role, that would all make an algamata even more pleasing to the gods. So, to just pull in Pelle, for example, and even Ingemar is not such a great gift, would be ok, because, of course, a human is the most valuable being that can be sacrificed; but Christian, the very father of the cult’s new baby to be, the main counter participant in the ritual, the May King, as it were, the dying reviving god, he would be a very valuable offering. More, then, too, the bear is the symbol of the god, the bear in fire their metaphor for the sacrifice as a whole, so getting a real bear, then gutting it, then, as if a survival tactic in the pioneer woods, to place Christian in the cavity, that stuffs the bear itself with a double depth of algamata, so that’s how it goes, he ends up stunned, alive, but ensconced ceremonially inside a bear’s body.

120even more so, the bear, in fact, as it were, represents the chief predator in their world, it is, then, their bogeyman, so, this part of the ceremony, the Christian part, more so because he is unclean for having had sex, he now represents the unholy

121his sacrifice therefore is an apompic, banishing act, this is an exorcism as well as an offering to the sun, and the way they talk about the depths makes one think they talk about the heights equally that way, in abstract terms of distance from them (in Greek life, the distance from Olympia to earth was however long it went ten days falling after being cast out of a heaven, hell was similarly ten days fall from earth to where it was, after a casting out)

122so they torch it, in a classic Anglo Saxon believing of the power of fire to purge

123but, then, oddly, in another case of shock, dani wants to get up and do another one of her scampering I have to get out of her walkaways; only this time, she is, like Kirsten dunst in the wedding dress in von Trier’s Melancholia (2011),

124as per Kirsen dunst


so stalls, and watches, appalled

126while once again for the cult this is a purgation, a catharsis, it helps them get out all the negativity, so that things can “return to normal” and they can live in peace inside decent human activity without any mania or evil.

127but, then, for this being also a Wicker Man ending, there is another dissolve, as if to say here, as Pugh took the cremation of the attestupa victims into her, now she is taking, as the earthly representative of the goddess in this rite on earth, the negativity and horror of the burnt offerings into her

128as the fire burns down the A frame, it also wipes the horror off her face, she reverts into a strange calmness, even apathy, resignation

129and at last she breaks into a smile. she ends the movie with a smile

130a big, broad smile.

131now, the audience is filled with young men and women in contemporary society. Most will likely read this strictly on the level at which the movie established things early, Christian and dani in love, a relationship on the rocks, then the adventure tears them apart, he cheats on her, the dog, get him, they get him, he gets punished and now she is happy, revenge! he is killed for his infraction against her. I suppose that is there. But, the movie did not take all its time to set up a ritual life on the ancient model just to give dani some revenge, she, too, was a victim of the process. So, what does that smile really mean?

It is possible it means different things because, like in Hereditary, Aster populated the final scenario of the movie with compound agencies, and ritual actions. That is, in addition to their being an attestupa nightmare shaped sacrifice, which causes trauma; there is an ecstatic dance, which in its shape is a spin of psalliction, whereby the old dani, at the margins of the ambient, is, by dissolving over the border, torn apart by the universe, to be reconstituted in an impersonal twin; there is a mating ritual, which is framed in an ambient magic, that is, the encircling witches, then I suppose intercourse would be a kind of a whoosh, but not quite; and, finally, there is a sacrifice, nine pollarded anathemata sent as burnt offerings to the sky, I suppose from the glass onion symbolism level, the fire, though, also being a reverse metaphor of the central core, but in this ambient displacement. It is too much for one dream, it consists of at least the form of two nightmares, on top of the three-nightmare formation previously discussed, but this compound way is how Aster does it, movie-wise, I think it works. But it also means this is a smile that is only gained at the end of a long drawn passage of hypnagogy into nightmare and back again.

So, given the multivalency of the rites, the smile could mean a few things. My guesses. There is a possibility it could mean the “universe is laughing at me” laugh, which one then has to laugh at, because it is just too absurd. In fact, in the Night Visitor (1968), when after an exhaustive effort to sneak out of then back into his prison cell to get away with murders in a small Norwegian town, when it turns out that the coat he grabbed at the last house where he killed someone happened to have the runaway parrot in its pocket

132and it appears when the inspector inspects his cell, to finger him as guilty, very much in the way of the black cat in Poe’s The Black cat, at first he is in shock, upset

133but in the end, he can only laugh, how could you not, it is too absurd

134the most famous the universe is laughing at me laugh is when after getting all dolled up as a youthful looking 50 Bogard in death in Venice (1973) chases Tadzio through the dark streets of Venice only to at one point have something of a heart attack so has to rest all sweaty and out of sorts at a fountain in a square so he slumps to the ground bereft, but, then, there too, he cannot help but laugh, he hears the universe laughing at him, so he laughs along (I experienced this laugh from my mother, when she was lying on a hallway floor, after “I dropped her” reaching to get her her coat, taking her to Easter Mass, I was shocked, omigodly, and knelt to get her back up, but all she could do was laugh). It is a philosophical laugh. Is this dani’s laugh? I am not sure, I tend not to think so.

There is, then, another laugh. As Rene Girard works out in Violence and the Sacred (1972), taking a model that I think Burkert kind of adapted, he argues that something goes wrong in village life, there is a crisis, in that crisis everybody starts killing each other, or acting criminal against one another, they all turn on each other, it is a disaster of mayhem. But, then a sacrifice is carried out so that by the mutual experience of a searing thing, blood, and killing, they can all get back together, renew their oath to the Mannerbund, and by the catharsis of sacrificial violence, turn their violent impulses back away from each other, but to circle their wagons, to turn it all back out to where it ought to be, on outsiders, enemies etc. He argues (and I am still working on my understanding) that it is a crisis in the sacrificial mechanism, so it stops working for a while, that prompts some sort of change in the rituals. dani is not only mad at a boyfriend who cheated on her, if that is what he did (really, he was being manipulated), she is also mad at a relationship that really isn’t working for her anymore; she is also, much more importantly, recovering from a grief, she is a suicide survivor, that is, her sister murdered her parents then committed suicide, so family annihilation is in there too, she is in a major trigger situation, fraught with triggers. But, now, she smiles, and she smiles because, surprise, for her, as May Queen, the sacrifice worked, if she is the earthly representative of the goddess, she accepts, it got all her negativity out of her, she now is released to move on and live life in spite of the challenges she has faced the previous year. This is a much deeper, age-old smile, deeply established in the logic of sacrificial religion, and, given the text of this movie, the much more likely meaning of dani’s smile.

In commentary, Martin Scorsese recently caused a little dustup when he said that the Marvel movies are not cinema. What did he mean? I know what he means for me. Having set up a way of thinking in which I have found so many visual technical parallels that I am convinced that the visual devices of most modern movies are based on hypnagogy inside the head, I now argue that when a movie works hard with its shots to recreate authentic hypnagogic moments or events it has what I call visual wisdom. This can consist of things like trope shots, or the truth shot, or shots which trace out in a visual way the dynamics of dream or nightmare, given various levels of hypnagogy. If a movie actualizes visually these things, it has visual wisdom, and it is, for that, cinema. A movie that only follows clichéd or conventional visual formula got from other movies without any evidence of their being any thought given to how this should work vis a vis the current plot or movie, then it is just movies. It is, while misread in the press as a snobby elitist thing to say, a basic distinction for me, for this, Ari Aster, simply because I can write so much about him (and, really, don’t feel I have scratched the surface), is definitely making horror cinema* of the highest caliber, it makes me smile to see it in these days.

*and it remains the most blatant genre bigotry, always favoring the “message” drama film, that Hereditary (2018) was completely ignored by the Academy Awards, as Midsommar (2019) is sure to, also, be.

Midsommar (2019) and its haunted ambient hypnagogy, part 3.

Rev., Oct 15, 2019.

Continuing with Midsommar (2019), on the final day of the event, I think, things are now in full festival action. The group is worried because some of them have gone missing, then, they are even more directly drawn into the ritualized processing of the spell, without even knowing it, or it even seeming to happen on camera. Thus one can only assume that the love spell calls for the to-be-jilted lover to cook the pie in which the red head has put her charm, her pubic hair, I also strongly suspect these are meat pies, so a Sweeney Todd vibe, with meat of the missing others in them

1they then have a very strained lunch, but Christian finds a hair in his pie, they are all grossed out, worse that Mark thinks it is a pube, which is really gross.

2this kind of grossness is “normal.” Indeed, I made light of it on FB, as this fact exploded when I saw it, thinking of other movies, about the coincidence of upon the opening of MOMA the one thing that NF wanted to write about was a hair in Starry Night, and I commented.


the hair


then, in Surpisia (2018), there is a cult portrait in the kunstkammer that Sarah finds in which it seems that the cult support of Markos and Blanc

5is reinforced by the inosculation of hairs from every memory of the coven in it, to, by that magic, as if magically deepen the cult power of this aegis (aegis being a goat skin, so that it is here made of hair from all the women of the coven relates).

6I then could not resist thinking that Starry Night was given a strange partner in Rousseau’s lion, and suggested that by the virality of this urban legend sprung up in the instance of a moment’s thought at a press preview, it might develop in time that somehow the hair is of a lion, or something like that.

7then, even more exploding in my head, the pubic hair in your pie moment made me think of a far more famous pubic hair in a line in The Exorcist (1973), which launched a new phase of my meta conspiracy theory about that movie, also in Facebook.


Like most Americans who deal with food urban legends, chefs are getting hairs in food all the time, so

9but the inference from the response in the movie is that all of them simply thought of this incidentally as just a symptom of bad unhygenic country cooking, and not an intentional insertion for the sake of local voodoo

10the alien pubic hair in the drink of dennings (“I think there is an alien pubic hair in my gin, I can’t imagine how it got there”), in The Exorcist (1973), remains equally problematic. The Lady in Black is a character I have studied, of late, weaving a conspiracy theory about her, by her Fr dyer on the piano–a real priest in real life later accused of abuse of high school boys–might’ve been implicated in some sort of attack on Regan.

11she also sits to listen to Chris ask about the church over the way

12I have also entertained the idea, since he died after he found a way to get with Regan alone in that room, then obviously offended her, to be thrown by satan out the window, that dennings himself earlier during the party went up to the room to abuse her, and by way of oral sex got a pubic hair on his lip that then made it way into his gin (this being written later, dec 5, I now also think some of the less narrative elements of The Irishman  (2019) rely on an inference of sexual abuse of the girls in the movie, in some way; the movie as a whole not unlike, in fact, Midsommar, in mapping out a crime covering its tracks at every point, to explain its sinister nature more thoroughly).

13dennings’ predilection for sexual infraction that might even be reported these days is, in fact, shown, when, drunkenly, he, leaving, takes advantage of the moment to grab way too much of Chris than she clearly wants, this perhaps a backwards inference of his guilt with regard to her daughter.

14here, though, it is confirmed, more so, later with the mistress in charge, when she says “sounds about right”, to his complaint that he thinks he ate one of the girl’s pubic hairs, being told that the red haired one is a perfect match for him to mate with

15dani seems to recognize what it means, however, or that it is part of……something that is going on

16so that spell is going. But, now, time for the climax, so we ratchet things up. Aster gets entoptic, making a screenwipe of the toxic hallucinogen tea, to prep dani to win the May dance

17in the lodge Christian is served glass onion level symbolism, the bear burned by fire, whatever that means (but it, of course, signals that the candidates to be that bear in the rite are interviewed here, there is also a nude girl lower left there)

18there is one undercurent of what appears to be a completely cryptic level of glass onion symbolism in the movie, there seems to be graphs for magic flowers on the walls of the room Christian is given his talking to

19they are a regalia bouquet, if you will, of the flowers, displays of magic

21then, when Christian comes out, to look across the long lot to where the far off May Queen circle is, there is a small tree

22the trees were there earlier, but given no mention

23after taking the tea, dani feels like a plant too, again seeing her feet turn into vegetation

24these planted trees are instrumentalized later, as if part of the day

25later still, after Christian has fullfilled his procreative duty, he is cast out, as it were, as the cult has no use for fathers, it as a group to raise families, so he runs about now abjectly naked, and begins to see that parts of his friends have ended up planted, as if in an urge by magic to bring nature to a more fertile level, Josh’s leg in the garden

26then he runs into a shed, and sees Simon all strung up like a garnished gourmet item, flowers all over and in him

27then his insides are as if lifted up out of him to make him a magic man-plant, a kind of mandrake. This could also be a reference to the “blood eagle” manner of execution said to have been practised by the vikings, as raised in the tv series five years ago. Is it true?


scholarship argues


this from Smithsonian magazine


this could be the blood eagle, or, at least, related

33Like Attestupa, it appears that the blood eagle is also an urban legend horror story invented by sensationalizing historians of a later time, and not real. But, of course, this is horror’s wheelhouse, may it ever feel free to spin the lore another time. If, however, it is meant to be a blood eagle, then it signifies that his pleasure was in the killing, and the power in it too; and that creating a kind of pollard of vegetation-animal is not quite the purpose. A moment, for this, when we see the rest. But, the important point is, we are first seeing them, now, here, at the point of fertilization, before we get to the final sacrifice; between the procreation and death, as if to create an in-between place (all of this related to a chain of being of terms I have developed to describe recent developments in Euro body sculpture, with, even today, with a Norwegian artist).

Since I first had an inkling of what the forces of insomnia leading to nightmare were by finding it in the symbolism of Van Gogh’s sunflowers in movies, signifying being caught up in the bright uncaring world–there is also a sunflower painting on the landing in the house where The Exorcist (1973) takes place–the fact that Simon seems to have sunflowers in his eyes signifies dead eyes as well.

36and his appearance can be explained as meat was part of the simple peasant way to bless the land

37this would suggest a simple vegetative culture chain of being view of nature in which it was thought that in order to ensure that the lower order of vegetation be fruitful it had to be fused with charms from the higher order of meat, and that if that fusion creates a hybrid higher up on the scale, a mandrake conjure figure, then that would make sense as basic peasant magic…..which brings me back to the beginning.

I started out wondering why they pollarded figures back to an object state, in preparation for sacrifice. In these two, they effectively cut back on their humanity, to make of them herms, apotropaic boundary marking figures.

38My basic outline for the shelf-life of a conjure figure is this


the Presence (or Throbber) is the first form the conjure figure takes at one’s far periphery, in the entoptic ambient zone; then, second, half way coming in, its coming in makes you see it as an animated presence, a herm-conjure figure, or Figment, with somewhat human shape, but still inanimate, crossing the boundary of one’s alarm zone; when, then, the conjure figure passes in from the ambient zone back to the hypnagogy zone, to become, at that crossing, an immediate threat to you, it becomes the Herm-Mannequin, or Famulus, which is, a lifelike figure of you or another, in a half human half object way, that symbolizes the surfacing or the closing into the dream; then it sinks, and as a Symbolic Herm , or Conjure Figure, it is recognized in horror as human, which causes it to manifest as algamata sacrifice, in the whoosh, with the leap, imagined as pleasing to the god. The question of why the god is here like this is here. In my view, hypnagogically, the focus on the sun and the brightness and midnight sunniness of it all means that their god is the High Sky of eternal blinding brightness. They, in calculation of rite, secretly practice murder to recruit the sacrificant anathemata, but the conjure figure only gets there because way out at the edge of the ambient, looking back from that point, its gaze back up to the High Sky god, is their measure of how far the god is from them, and what is required to symbolize and thereby overcome that distance. Who this god is, is an issue, but, for me, the Greek version is Apollo Far-Shooter, as he it is who navigates the movement of a conjure figure from far out, for it to then in terror come zooming in on you, thus Apollo Hecaergus, with Apollo Ismenus presiding over Apollo Ambias, the one who crosses over on in. As above, I argue that this pollarding is attributable to communicating across a perceived distance between them and the gods. But, now, some context.

The whole hypnagogic of the movie is about opening them up to the wide space of the high sky, making them submit to its glare, Apollo Agletus (or Norse equivalent, Sunna?), of the sun, then a series of ambient-sent diversions to carry it off without any confrontational complaint.

But, the amazing thing to me here is that in Hereditary (2018), Aster’s first movie, without premeditation (meaning, I did not look back until now), I ALSO found a tripartite eldritch nightmare formation (first nightmare, leap out to more hypnagogy; second nightmare, sleep walking, bounce out to waking; third nightmare, peering down into hidden truth), but, again, in a slightly externalized form in the third approach to truth-seeing. Then, it keeps going. And though I find the bounce of this movie to be somewhat harder than the latter, in the sense that she bounced out to Ambient space, beyond “the trap” in which she gets caught up in her own house in Hereditary, the movement is more or less the same, and the Aster signature seems to be to continue on exploring the exploitation space of the horror after most horror movies would’ve stopped, at the end of the nightmare. I wrote:

But, here, where is she? dreamwise, she has splatted, that is, been shocked out of herself, by what is going on, we THINK she is just now continuing on her journey to discover and defeat the evil; but, no, she has splatted off to the side, that’s what happens when a search for Ophthchtony (seeing through the darkness), dream truth, fails, and she splats off to be situated in an adjunct space which in this movie they keep within the confines of the hypnagogic. In my system thus far if you splat right into a black out you are in Chthon (darkness), if right into a white-out to Ophthon (seeing), but since she splats to the world of both, a conjuring world where SHE is now as if going through the motions of moving the conjuring forward, without knowing it, I place her as going into a kind of trap, which I will just call, combining binary prefixes, Chthonophthon (darkness with apparent seeing), a splat lateral space, WITHIN the confines of the hypnagogic, but, locked in deception, controlled by a demon, she thinks she is moving forward and out to the saving, but a lot like Captain Howey in a movie I have compared this movie to, the Wicker Man (1973), she is unwittingly moving up and into the cult


Chthonophthon is a silo of deception, moving upward back through the adjunct spaces, through the nexus space, to find, at the verge of reentry into a new life in vigilogogy, the final secret. Since it is bracketed, and not in parenthesis, it seems best that I call this particular version of it, Pseudochthonphthon, that is, a false place, controlled and exploited by ambient or sentient demons. It is, in this, also characterized by the extra stress of, say, gravity, in that, oddly, the movie starts having her and everyone else move upward. This zone then is more packed in, blinded, less wiggly-roomish. In fact, it is pulled upon by an Ambient and perhaps even Sentient force, which flattens out its levels so that plus-minus, good-bad fade into one. The Ambient pressure is now exerted because the observation of the ritual has begun, the cult has invaded and taken over the house, everyone in the house from this point on is a pawn, being “turned’, as it were, as a spy is, in the house. This is represented by the emergence of the old nude people, closing in on the space, and, in a shot later, see below, even surrounding the house and the walkway up to it, signifying that it is in their control. Furthermore, there was the voice used at school, the cult members crying from across the street, “I expel thee,” and the odd fact that Charlie and then Peter both hear this tongue-clicking noise behind their ears (Charlie makes the noise, Peters hears it from Charlie’s spirit, I think). This places Paimon somewhere out in the outer darkness, beyond the movie (since most of the movie is situated inside the hypnagogic zone). It is the “pull” on the whole intermediate, adjunct, rare, upward trajectory space of Pseudochthonophthon (fake darkness, trying to see in) that makes it, at least in my thinking, a new space, and a space that very, very few horror movies have ever gone (again, I think of The Wicker Man). It is this pull that results in the delirious almost unpredictable zero to sixty spins in Annie’s character, as, shockingly, after she played the part of the mother putting up the good fight to ward off evil, she is taken in too, and completely reverses herself by actually being the agent of the cult in destroying what is left of her family and delivering Peter to the cult (she ends up as well with her head cut off, to signify that she had lost her selfhood).

And the triple loop symbol in Hereditary (2018) seems to map out a triple loop that nonetheless stayed put within hypnagogy in the house, and did not go ambient. Whereas here, I am saying that, while the same formation is present, in Midsommar it bounced out into the pure Ophthon space of the white out. This is my map of the world where Collette went in Hereditary, stylized to accord with the attic symbol


but, in Midsommar, already out in ambient space, it is a matter of the demonic aspect, that is, the exploitation by external controllers, to involve more intense, more diversional, more complete and final rites, to fulfill their ritual with these two sacrificial lambs. What spaces are these?

First, I have to address the hypnagogy of the double rite itself, the dance in which dani wins May Queen, and the ceremony of fertilization where Christian is the seed donor for the cult to get a new baby this year. The dance, first, is set as if in a nexus cross-communicating with the fertility rite. In the dance the woman and Christian will be distracted, whilst the red head goes off to strip to get ready for Christian to fuck her.

42the fact that Christian is as if surrounded, trapped, by their social pressure exerting him to make the correct move, is part of it.

43Pugh, throughout the movie giving as good a face-making-based acting performance as Cushing might of, looks at him, kind of lost, bereft, she seems to realize something has begun to happen which has pulled them apart, for good.

44the really interesting thing is how Aster films her in the dance, he uses a kind of dissolve in which previous frames are locked, for the next frame to spin out from it, etc, so that there is a sense that while the dance is going at its pace, she is somehow, mentally, lagging behind; or, in fact, losing herself, in a blur, in a whoosh.

45this also posits her mind being split off from her body, her body is going through the motions, but her mind projects a “what am I doing?” worry

47the fact that both overlays get very pastel also interjects an element of entopty into it, as if to say all of this is happening inside herself, but inside a self knowing something is happening

48it is quite good

49in the process she loses herself to just become a machine, in the cult, following along, moving on, automatically

50then, something weird happens, another light seems to rise up into the shot (perhaps to signify a great deal of time passing), she now looks entirely out of herself exhausted.

51at this point, she gets entirely lost in the blur of the dance itself, she is reduced as if to a conjure figure to herself, her vacated, emptied out psyche, barely able to see where she is.

53then into full white out, or glow out, the sun.

54which becomes the blindspot, in the High Sky

55then, whatever that does to her, she then comes out the other side, remade, something else, as if here in a frame of lavender.

56this, in effect, on the other side of the spell, prematurely crowns her May Queen, the winner, which is highly improbable, that a newcomer come in to then win it, so it is fix, part of the ulterior motive plot. Where do I place this? Previously, I argued that, with the Attestupa, even though the “Utrillo Town” set up was already in place, the movie then transferred over in whole an echo of the central core for it to then in the Ambient zone mineralize into a cliff face from which a nightmare could be enacted as an external ritual event, then recreating in it a nightmare fall to splat, and then the aftermath (Note, dec 20, 2019: my explanation here shockingly similar to Girard’s explanation in The Scapegoat (1983) of why scripture put a magic cliff in Gerasa where Jesus encounters the demon, Legion). This was allowable because it was part of a larger three-part nightmare sequence too. Now, there is another sequence, even nearer the climax, and she is lost in it in a way not seen before.

Though I have not previously done so, I have often written about how the Ambient spin can accelerate, whence it passes over into the Sentient dark zone beyond, so that it becomes a quicker spinning that can psallict one, that is, by psalliction, tear one apart. This tearing apart can be literal, or mental. If mental, then that results in mental illness, which I define as lying out in precincts of brain action where the mind is pulled apart. In that pulling apart then, there is ego death, and once a thing is torn apart, in sentient space, it becomes a psallictioid, a being which hath been torn to pieces by the universe. Though I want to keep it that the splat at the bottom of a nightmare whoosh is the worst psyche-related thing that can happen to someone, obviously, if one can leap or bounce out so easily, it is not. By far, far worse is the spin that spins out of control, after the nightmare, after the bounce out, after the ambient-spin, after all that, and, in far sentient space, tears you apart. I believe the dance more or less tore dani apart, when she won May Queen was when she lost herself. Aster has used the classic dissolve in an intense way to convey the idea that beyond the nightmare, there is what the universe has waiting for you.


now, totally stunned, after having 48 hours before been a total stranger, she is now the center of attention of the whole cult, and she is so torn out of herself she cannot even resist, or suspect the calculation in all this fixing. There is, however, one moment where she seems to recognize the outrageous impossible hypnagogy of it all. Out of the crowd of congratulators she sees her mother

58who wafts right through (just like Pelle’s twin sister earlier)

59she just is like, “Mom? Mom?”

61This is her “truth shot,” but got to by a very circuitous route. The way in which living and dead mix, now, in this zone, is creepy. It also makes me think that this spin spun far or deep enough to spin down into Geithum, or the land of the dead, and, below the sentient, that would be, I think, what I have lately called Galooth.


she is now treated as if a mannequin, put up on a platform, that is carried, like an ancient queen, but, also, going directly to the table, like a roast pig ready for consumption at the banquet in celebration.

63the disturbing thing about the banquet is that it seems to be serving up some roast from the blood eagling of the others, it appears there is a suggestion that at this point, in the land of the dead, it is cannibalism that keeps things together

64she is aligned

65there is no attempt to describe what’s for dinner, but it sure looks like some sort of meatloaf in a mummy form, with the feet up facing up, and then notice that the crown of the other one covers over her crotch in the view (which reminds me that Patricia in Suspiria (2018) was afraid that the witches were “trying to eat my cunt”).

66This aerial shot confirms my suspicion, it is a formed “pie” not unlike in the shop in The Wicker Man (1973)

67it is almost as if she is being eaten in

68then there is a part of it, or whatever, laid out, all along the table, this remains something of a mystery; but a Eucharistic no doubt, eating of her, then eating of him. This view is aerial as it shows that under the radar of her coronation there is the reverse trajectory in the nexus wherein Christian is coming in to take his one empty seat at the table, and it is halfway down next to the centerpiece.

69as before, she is startled that her throne is a living thing, it moves to her touch, she is still entirely stoned

71then Christian takes his place

73but when the redhead leaves

74she calls him in, with the aegis of the head priestess on her head. Now begins the more solemn part of the ceremony. To be continued

Midsommar (2019) and its haunted ambient hypnagogy, Part 2.

rev., Oct 14, 2019.

But, now, in Midsommar (2019), there are two dynamics. We are in, essentially, a Village of dreams, but by my reckoning at the adjunct level of the whoosh, meaning that while things are dreamy, they are deceptive. They are right out in the open, but in a way to hide what is actually happening, That means that this is an exploitation space too, controlled by the powers that be, that lie beyond and above. There are two dynamics: 1) being exposed to the elements of the festival without proper explanation, to shock; 2) secretive carrying out of the festival second purpose event, behind their backs, but, again, out in the open. We see things, but we do not know what they mean. There might be a third level of secret activity, as, for example, I do not understand why Pelle introduces his twin sister, then, after she says goodbye, she goes off

0 0 1the camera keeps its eye on her going all the way across the main yard

0 0 2even into the far distance

0 0 3this is, basically, a village of dreams, in a veneer, it seems benign, but it is, for the primitive nature of the festival, on this sort of fair grounds, not. The array of agencies in the zone are deeper, and at the bottom of the whoosh, so closer to nightmare; the two major sacrifices transfer the center core of hypnagogy to a cliff for the attestupa horror; then the main cult event, in the bonfire disguised as a cult temple, is human sacrifice. So the form is benign, but the agency is far from it

0 0 4

this is also, to shift to my other graph form, a counterspace reversed by habit or desire of cult to make a dream real, rendered in a reverse agency form as pervertedly real, and in a way the acting out of the agency of which backbuilds into prototype space preexistent to the modern era, wherein we live in mediated rationality, suspended as it were, in our laws and habits, so it goes natural

0 0 5

this is, as far as I know, the first movie to take the White Out and populate it with a town that looks like the Village of dreams, but is really one of nightmares. But, it is important that it exists in the spinning exterior space of dream, in a prototype space, close to life itself. And, again, it is the everpresence of the High Sky, the force that flipped real life into an inversion of it in hypnagogy, then shines through dream to make all of it as if nightmare, or at least tending in that direction, it is a complicated Ambient formation of dysfunctions in the lightly dreaming mind.

0 0 6

so, once we get into that circle, the movie becomes, as it were, a game of three card monte, or a Ouija board, push-pulling from side to side and site to site in the festival complex. One is at all times of two minds, watching it, then wondering what is going on, when watching it.

For example, the lady of the place begins the festivities ceremonially early, but we are not aware (first time watching) that with the appearance of the two elders, we have already commenced the process that will lead to the attestupa. She is basically telling them, you’re life is over, be satisfied. That is, of course, the primary plot of the next half hour of the movie.

1but, then, there is a second plot playing out, as if the reverse side of the extinction of the old, the begetting of the new, the young gothically gauntly beautiful redhead knows that she has been given the byxmindiglast, that is, pants licence, meaning it is her role in the festival to get fucked and get pregnant from it.

2the rune symbol on the door of the bathroom, or whatever, means that she lives now inside the magic of another rune spell, go for it.

3she then also gets right into it, in a dance, the primary spinning ambient energy creator that manages the speed and energy level of the proceedings.

4and in typical peasant girl traditional village way, she kicks Christian as she passes him by, to let him know, I choose you, he is immediately activated

5which, of course, weirds dani out, so that drama has come back to life

6then I guess Pelle’s job, on the flipside of that, is to begin to indoctrinate dani so that she is acclimated to the concept of becoming the May Queen.

7which means it is time for another “no, no, no, no” by her, which all but clears out any suspicion of motve from the push-pull of the quartered acceleration, already! of the process. So we are caught, visually, by thinking we are still getting broken in, that nothing of importance has happened, but, in reality, it has. The “no,no,no,no” is all but dani’s spell to bring us back to the blank slate of wait and see innocent observance of the empirical world, without any cause for concern, it is, of course, one of the favorite postures of rationalization

8so, we are literally in the middle of an intense agentic array modelled on sacrifice ceremonies performed a million times by human beings in times past, the apotropaic casting away of old age, the contrary cultic rebirthing of new life; the initiation of dani as May Queen to (then there is an extra wrinkle) take her eye off the recruitment of Christian for the father, then, recoiling from that, he being the offering to the cult. It is all there, and the movie moves around the bases as it were of the agentic array. But, at present, the movie is cast over by a pall of rationalism, and rationalization, and out of politeness, or curiosity, or just being out of it still in PTSd, all dani can do is apologize away her failure to see the reality of any of it, so this is the No No No No Fourcorner curse that sinks her, and them, in the end. It is all here.


Then Aster gets into a radical dissemblance, as in movie theory if you do not forecast the weapon of destruction at the end of the movie with foreshadows earlier on, that is cheating, a deus ex machina, well, it isn’t here, because I think Simon just walks by and says in such classic mumblecore hipster nontalk, so we’re not even going to acknowledge the bear in the cage?

10but then Connie, I think her name is, wants to see a woman’s mural, so they go over and take a look, the camera in fact pans across it backwards, so we cannot read its sequence, there is also no comment by her or anyone, but to replay it from left to right it is a simple map of a love spell by which to steal another woman’s man, the girl has lovesick eyes, then she talks it over with the witch, the witch tells her

11I need some of your menstrual blood, then I will under the rune make a mix. then you have to go into the bathroom, or do it in front of me, cut off some of your pubic hair (70s style completely unshaven, meaning all around); then under the runes of the next morning, and like-to-like magic with the black feathers of the morning rooster, I will mix it and cook it

12then, well, now I see it seems to be about woman-to-woman attraction, she will eat the pie, then she will love you

13your energy will flow into her, you will be a couple

14now, this is pretty much the whole gameplan of the spell to get Christian involved with the other girl, by distracting dani, then having dani make a pie, it being the magic pie with pubic hair put in it, have Christian eat some of that pie and hair at a luncheon where they don’t even know that they are the main event; then he is recruited into sex; then, after bolting naked, is the primary victim sacrificed I suppose so that the group not a father can be the parent. It’s all right there, and we just pass it by.

In any case, to translate this strategy back to my other more scenic graphs, it now looks like to me that the agentic array overcasting the festival ground really creates four parenthetic passages extending out from each agency, and drama, and in each case in microview of the A-A I have, it is like how I have viewed adjunct space in hypnagogic zones out of the central core, but now formalize more as a crook or turn of A to A to A, etc, and that is, as it if in a gown prowl in a haunted house, you are negotiating your gaze through a bewegigungsapparat (plausibility enhancing device) that makes it believable or ok for the moment so you go on, and then an alibi formation for, if you are mistaken, explaining your mistake away, and just like in a haunted house horror movie you get deeper and deeper in until you are caught or surprised by a real agency to break through this adjunction process, to snap. Since this seems such a well mapped out “white out” space, and I have never, in fact, mapped this out before, I might concede some of this ambient space lateral to the whoosh, to also include “lighter” areas in the third level lattice, in which case it can be called Utrillo Town, which I have mentioned, but not previously mapped out. So, this particular array is an example on film of a Utrillo town.


then, we quickly accelerate into business.

Notice in this shot as the two sacrificants, who seem to have slept in the A frame overnight (and I of course love that it is an A frame, sign of Agency), notice that the crops have been harvested and laid out as offering to the god, then they come through that, perhaps imbued with crop power, to then drink and swear

16this last drink is something of a libation, swearing in, as it were, but that they also partake of ritualized gasping, again, again, this year in art, equating the metaphor of looking over the fence between life and death with gasping (as in aphyxiphilia).

17as they gasp

18the new mother to be is completing the carving of her love spell rune, which suggests a transference of last life to a new rune to bring new life from it, by transmigration

19then they carry them on chairs up the mountain for the attestupa. This sequence was, for me, the most imposing of the movie. It, like other acts I have looked at this summer, and look for in art today, it is a moment of schocking intrusion of primitive rite through the veil or veneer of rationality and civilizedness that we lay so calmly over life. On the one hand, this is deeply regressive, so that would suggest that Nordic paganism was more brutal, and hung on longer, because both the Egyptians and the Greeks, in their ancient eras, were proud to have weened themselves from human sacrifice, only resorting to it, such as in Iphigenia in Aulis, in dire emergency, to please the god. Because this is the scene which also echoes the most off of The Wicker Man (1973) it shocks for once again being about human sacrifice madly carried out by modern living people who nonetheless believe in the ancient exonarratives of expiation to the gods.

20the fact that this involves high cliffs, and that Aster does not skimp on the cliffs, adds greatly to the drama. Cars crashing over cliffs in California movies are common; suicide ideation over the cliffs of Cornwall are a staple in British horror; even Olivier’s Hamlet gazed on the sea over a cliff edge; I, of course, psychogeographically relate as I grew up in my wild space on the bluffs overlooking Lake Michigan. But, it is the imposing “natural theatre” of this, as if the site is begging for some sort of brutality, that makes the scene. Equally exciting is that this is also a blood sacrifice, to symbolize that, there is a rune, bespeaking what exactly I do not know, but one assumes death

21then the hand is cut

22and given to the stone as if editing or completing the rune of the two runes on the sides, with bloody handprints

23and this was the best of the posters for the movie


then we see the whole formation, an imposing natural outcrop

25we see also from all the stones up there, that this has been being performed since ancient times, I count 24, that goes back to 400 b.c., straight, without a gap (which again might be a Nordic thing).

27and the rock is just a beautiful fulfillment of the horror of the idea, the set direction did not skimp on it.

29the form also resonates far and wide, all but “exploding” in the head (exploding is a word I use when an image or trope is used in such a new immediate way that nonetheles remains vibing on all previous sources of a great number that one doesn’t know where to go first to ground it in association, last felt this about Kara Walker’s Monument in the Tate Britain, which I will get to), it made me think, first, look up Attestupa, turns out that this was an urban legend in folklore invented to demonize the ancient nordics in the seventeenth century literature. This view, then, competes with a corpus of images, like this


this the Ättestupa in Västergötland as depicted by Willem Swidde in Erik Dahlbergh, Suecia antiqua et hodierna (1705).

and this

31but then the more immediate reference, because we know that this was true, whereas attestupa is a myth, Rome’s Tarpeiian rock, which, I have to say, appeals to me in a weird way, we know criminals of certain sort were in fact thrown off the Tarpeiian rock, a sacred sight due to the mythos of Tarpeii, daugher of a Sabine who one way or another, however the story is told, despaired at the rape of the Sabine women

32apparently, the rock, though built on, still exists in Rome

33but then, there is also a tradition in landscape painting to center things on a single outcrop peak that stands apart from everything else, and that makes for a great view, at least to the Victorians. I believe this is, in, for example, this Palmer, whatever mountain it is in reality, but as a trope in a picture, it is the mound of creation, it serves as a ground, the index, the most grounded and real place, the homeland of auchthonomous me, which makes you feel connected to the world.

34and it is worth noting, in Thomas Cole’s Empire series, the single form that stays put through the ages, through all the four paintings of the series, is, precisely, the same sort of distinctive mountain outcrop that in this context most clearly serves as the grounding element which makes of the picture a cult picture of one’s longing to be connected to the earth and to a mound of creation.


this, of course, also coming into movies in the form of the Mound of Creation shot, which is the show of the one single nipple, only shown once, in the context of a love making session which, this communicates, really hits home, and grounds her, so that she falls in love for real, in a movie in which she otherwise shows not one bit of nudity, this is a common modernist trope, signifying grounding, translated from mountains (this, Jacqueline Bisset, from The Mephisto Waltz (1973)).

36now, the really great part of this scene is that Pugh, having, remember, suffered a sister suicide who took in murder her parents with her, she suddenly cannot look, because, in horror, she knows what’s coming, a senicide, a suicide survivor being exposed to it.

40then in breathtaking shot, almost like on a high dive, he walks into position, and you cannot believe that this is what is going to happen

41its mad delirious ritualism conveyed by this vertigo shot of her or him and the target rock below, then all the spectators reduced to ants off to the side.

42the modern mad delusiveness of it is, I think, hinted at by comparison of that shot with the classic and common shot of the high diver from his board, gazing down, it is vertiginous

43he makes a gesture, then he goes, skydiving, but into rock, a suicide by our terms (though I prefer to call voluntary senicide by one’s own will “quietus”), to kill her

44then almost unbelievably, with Baconesque brutality, but with a hint of Jesus too, on golgotha, we watch her bounce off, her face having been torn by impact away

45this, I think, Baconesque, eviscerating the skin, showing the blood


(the curious thing here is that the sphinx was imagined by the Romans at least as being up on a tough to get at mountain; but also, I am trying to work out where in vigil- or hypnagogy Bacon has situated his paintings, and at present I find myself not far from the populated white out or Ophthon space of the Utrillo Town that Aster has cultivated here)


and Jesus always pictured as on that rock in the garden too


another interesting detail, when the body hit, it upset nature, the birds scattered. I had to go out to a clinic the other day, took the bus home, coming in on the steps, the wind was gusting, causing the birds to chorus all around my building in a crazy cacophony, and they were also all circling round, darting from tree to tree, just really upset, and this echoes that (I took it as an omen of loss, now I am told it was a seasonal hackenberry feeding frenzy).

48we even see the effacement, which, again, is, in terms of who shows this, Baconesque

50now the first time it happens, dani is upset to the point of shock, it is, obviously, triggering, for her to have exposed herself to this, or them to let her be exposed to it, given that in the previous six months she had lost her parents to a murder-suicide conducted by her sister (and, like the person in so many horror movies, a suicide survivor trying to avoid the strange pull it has on the living), she is in shock.

53but then Aster pulls out to the total Thomas Cole landscape scale, because it happens again

55then, worse, this time the fall does not kill him, so the crowd must partake in participative keening, or screaming to drown out his scream, or to join his scream so that until he is dead he knows they are with him.

56then, they have a solution for that, a guy with a big mallet comes and comes and finishes the job

57in full effacing brutality

58this is too much for dani, the camera therefore goes to close-up on her green eyes, this shot as a trope indicates that a person is in shock, that it has all gone inside the eye and is wrecing havoc on the soul, but, also, as if dissociative, blocking it out, it is not the easiest shot to read.

60so, for the second time, she runs

61one of the things that I like about Aster is that he loves the dissolve, an old modern technique, used often, almost as one of the ABCs of filmmaking, then discarded for a while, but now he makes dreamy use of it. Here they gather about for the cremation, dani skips that, but the shot more or less cremates part of her too: something has happened, has this shock shaken her out of her funk, that is, has it acted as theory as to the purpose of sacrifice, from Burkert on, say it does, though she is not part of the Mannerbund, has it, like with a Mannerbund, in its visceral shock, knocked her out of her crisis, to live again? (see also Girard on ritual violence).

63but, this continues (I will address the overall hypnagogy of this scene in a bit), with a dream that night, except for us it is a waking, so this would be, scenographically, part two of a nightmare sequence, she seems to be awake, or is awoken by a noise, so she gets up

64she is shocked to see, from in front of the dorm, the car sweep around from ambient left, in a spin, all of her friends are in it, they are leaving me behind!

65the creepiest part of this is that Mark grins out at her like an imp, as if this was a purposeful ditching her, which would touch of a torrent of whys? in her, he grins almost in the manner of echoing her sighting of Pan

66she is maginalized in the spin, almost as if SHE is the one now being turned into the conjure figure on the periphery

67then he gives her a no question impish grin, we’re leaving you behind

68I connect this shot to a previous shot of her seeing Pan behind her in the outhouse mirror

69and then forward to the strange cretin who looks down on Christian in the sex house

70which means to me that this dream of hers also was whispering a secret inside it, recording her nervous sense that, in fact, Mark was the one who that night was going to go missing, not her. But she cries out, but is stopped from, again breath, again gasping, I guess suggesting what happened to her breathing as a result of being symbolically cremated in that dissolve, it is just smoke, no voice

71then that shape, or effacement of her, in calling for help, makes her see the effacement earlier (which though she did not witness this way)

72that then makes her think of her mother, again, at the end of the hall

73making a strange gesture of communication

74then the mallet metaphorized as a symbol of time and fate erasing us

75then strangely enough, the face reforms itself after the blow, the action of her wish in memory upon her mother

76then an image of her mother in her bed gasping for air, so her mind imagining her dying but blocking out the part about the murder with hoses, it was just a breathing problem, this related to the earliest gestures of the attestupa rite

77with the explicit connection between the prologue of the movie, the trigger she is trying to disarm, but what her mind really saw, today (though perhaps there could’ve been a less obvious way of showing this connection, because we felt it in the eyes already)

78now, usually, this would be the shock shot that wakes her up, in nine of ten horror movies, this is the realization of connection that shocks the inner mind, waking her up. Since the leap itself was the first nightmare (a moment, please), then her shock and dream is the second nightmare, which leaps her up to waking, this is what is expected. But, then, in a sequence of truth-telling, getting to ophthchthony, getting up thinking one is awake but really it is sleep paralysis so that you experience the third shock which allows you to see through to the shot. But, in this case, dani does not wake up, this nightmare did not wake her up (suggesting that she already made the connection in consciousness, so it was not shocking enough in a dream prophecy to wake her up)

79but then the camera walks around the edge of her bed, bypassing her “under the bed” space, the ur spot where the pathway to the Far Place is undertaken, then it crosses the room, across an open area, like in the movie Necromancy.

80it continues to pan over to where we find the girl with red hair, charged to mate with Christian, that is, her correspondent, sitting, awake, watching her

81which is a sort of metaphor for the High Sky, and she is sitting there for a time, holding the love spell rune that she must make and use, so I guess holding it out is part of the spell

83she then crawls, in an under the bed posture, like a creature of the under the bed

85transversing the space between them

87and putting it under her bed

88then, while Josh sees her do it, and so takes it up, next morning, to then ask Pelle what it means, to get the info about the byxmindiglast, there is a very strange shot the morning after. It is a theater or puppet show shot, that is, showing the dorm as if a little stage upon which the tiny people in Attack of the Puppet People stood on, since Aster worked with models in Hereditary, he seems to be working that again, for what purpose.

90what I think he shows is that everyone but dani is awake, all the beds empty except hers

91this reasserts a shot earlier from over her bed

92all of these shots of the amazing art on the walls in the dorm are all over the movie, but earlier we saw special attention given to the above shot above dani’s bed as Pelle and Josh trade comments about the attestupa coming up the next day, dani clueless; and it would seem that in some way, a central figure, with something above, then six maids either side, that this is a kind of dream catcher placed there above her bed to signify some spell upon her, that she will wake up into, or maybe the suggestion is stay sleep walking ever after in that spell, after that (I have not at present a clear picture of this activiated spell picture over her, but right now I claim it is about her being the may queen).

94I can only assume that the loft, not seen before, above her, with what look like three trunks, have materials for something related to the rite, looked after by one person, of unclear sex

95so, three scenes, together, a nightmarish waking scenario, shocking her; then her dream of abandonment, and connecting the scene to the death of her parents, especially her mother; then a third sequence in which, surprisingly, she sleeps, while a rune is put under her bed. In my previous mapping of the space as a white out Ophthchon space in ambient zone, I gave shape to it by asking theory for the right to make a transfer of an echo of the central core out into the terrain too


what I meant was that the place was shaped as well by the central core nightmare formation. That is, there was in their ritual domain a place where the body could spin down vertiginously to go splat against the ground of a nightmare, but, then, not exactly to leap out, but the observer in shock could. That, then, would be the first nightmare. Then, asleep, one has a second nightmare, that one hits harder, in this case, dani goes deeper on the shock, connecting it to her parent’s death, that then would cause the second leap up, for one to them, sweating is the symbol, be awake. But, then, it turns out, in sleep paralysis, to then gaze down with ophthchthony to the truth, only in this case this gaze was coopted by the girl setting a spell on her, this part of it being to keep her off, while she makes a move on her man, and she does so by the peripheral way in fact of the second nightmare, the camera going round the under the bed to fetch her, to then place the rune amulet under her bed, to hex her. So, it IS the eldritch formation, but there is the twist of the third truth-telling peering down in, it is stolen by the camp to use against her.

97it is here, no question about it (now I am also thinking Aster sabotaged the formation in Hereditary too), but the difference is, the truth part was stolen from her, she was left under the spell, she wakes but she will, for not having woken with truth-telling, remain as if in sleep paralysis, in a waking dream state; more so then it is perfect that this all takes place in a bounced out white out space in the ambient zone.

In any case, on the open field, the clueless Americans, welcomed with explanation the day before, are now called on cultural infractions, the infractions then serving as alibi formations to allow the angry cultists to kill them, it gives them an excuse (as Burkert is always saying, they always need an excuse to kill).

98immediately thereafter there is the odd event of Simon now disappearing,

100then Josh learns a few things about the bible, it is in a cabin which is a chapel to it, it sits on a pedestal, earlier we saw the face of a mutant person, that is, a person with a serious disability, and he was drawing as if eyewitness drawings of the events he was seeing, at one point, he was drawing on a desk that seemed to be made of cloud,

it is now explained that these drawings are the source of the oracle. He is the oracle because purposely inbred so that he does not have an excess of prefrontal cortex rationality to get between him and the source, as such, then, because he is simple minded, he is closer to the source, in a more direct way, he lives entirely by intuition, so his drawings are in fact the oracle, then the elders interpret them; he keeps drawing, they keep interpreting, and as the shelves show, it is an unending book, it goes on forever (like my single vast chronicle), and that is that.

102why this might seem outrageous and ablist to mainstream modern rational culture, it is entirely undestandable given study of traditional culture. It is precisely the same model made use of at delphi in ancient greece; I used to think the oracle was somehow marginal to the culture, but Pausanias makes quite clear that consultation with the oracle was a central event in quite a number of historical events, so much so that you could almost argue that Greek history was run by the oracle, and maybe even perished by the oracle. But instead of an inbred, they had a woman who was drugged on gases, uttering nonsensicals, which the rational men, at loggerheads with each other, had to then defer to, because coming from a higher power, until at last they made a reading which everyone agreed on, because of the nature of the coincidence or symbol, was it, and they acted on that (this praise of mine for the oracle, which I suppose was wrong as often as it was right, and may have accounted for the short-lived nature of Greek supremacy) worries me, as it looks like in the past year the current President, with the jettisoning of the press briefing, taking it over with chopper talk, then his endless tweetstorming, every word of which is listened to, then for the day after that all the rationals try to make sense of what he meant, the Kurds didn’t help us in WW2!? it rreally does sound like an oracle situation, our fate in the hands of a pure cingulate-minded deflecting ego-protecting intellligence, and not rationality; the problem is, the intuitive nature of things attracts the people, and, I am sorry to even mention this parallel, it worries me as to how it is accepted by others). But then after that, Josh cannot resist his own nighttime adventure, he tries to get some bootleg pictures of the bible, so gets killed for it, Mark strangely cretinzied, a fact which suggests their creation of the inverted look is not just a birth thing, but a thing they do, frankensteinlike

103the camp now nicely accumulating its mannequins for the sacrifice. Which is covered in Part 3.