Saturday, December 31, 2011

"Symbol Dictionary"

For your perusal. As I've mentioned before, I used a thinking aid called "the question deck" which works a little like author such methods of augery, as in the Chinese Book of Changes and tea leaf reading. My own method involves a pack of index cards with symbols and such labeled on them. Recently I've decided to get reduce the symbols to what I call "the neutral deck" using only QWERT keyboard symbols. Each of those symbols is explained below.


Take care, Caretakers!




Symbol Dictionary


A - Z


A is for Ares; the ram faces upwards, as the year opens with the sun child of creative art. The amalgam of parts with the American melting pot reflect the inner creative space of the deltaic pyramid, which we build upwards to heaven. The letters ABC are the beginning, the first simple lessons, the basics, with XYZ the ending. A is the aye of creativity, the yes saying child, —Aum, A = aye = yes. "Ah," means I'm thinking, or I see what you mean. A mountain of growth, the fire pointing upwards, ascending to the All, the center of the sun.


B is for blueprint, the bare floor plans of the building, a house, and the breasts of mother, for mother is home. B is the loaves of bread, and the open Book, the breasts of knowledge, which man also needs to consume.  E + 3. Being. B is the second letter of the alphabet, hence 2B – "to be." B shaped lips pressed to babble: bababa!


C is for camel, the burden we carry in our sling to keep us safe and sustained, and so for the crescent moon, which it represents, which grows pregnant with its creative gestation, and moves the waters of the ocean. C is a U facing me, seeing me, and so an attraction of the pull of the moon or a magnet. The C is the right facing crescent hence, exhaustion, the El aspect of God rather than the Sophic. The crescent and star make the morning star part of the horns of the moon cow.


D is for door, which opens the house, for the delta which opens the river and the fish to the ocean. The glans of the penis, and hence, Dad, a more violent consonant then the M of mother.


E is for everyman, addressing the universe with arms outraised. The pitchfork, with its four lines, a 3 fork. EE is the sound an ape or human makes in distress (—EEK!) which pull the lips back to reveal the teeth. E is shaped like a man, akin also to the number 5, man's number, as indeed it is the 5th letter of the alphabet. Yet it is man calling for power from heaven, and so is akin, again, to 3, which it represents.


F is for flag, a club or a mace, the torch of fire.


G is for gunfire, the rock in the sling, wrapped like a snail.


H is for hedge, the fence of protection, the help of one man reaching to the other; it sets boundaries and keeps the peace.


I is for increase, the arm that reaches and creates. The I is the consciousness, the self, the axis. I is the 1 of consciousness. It represents the stake, the penis, the snake eye, the pillar. 


J for jolt, the arm that destroys, the hooked arm of temptation and destruction.  The questionable consonant, as crooked as he is quizzical. Sometimes he says Japan, sometimes he says, Jalapenos, sometimes he says "June" (pronounced yoni). The J is subtle, and therefore, is deservedly shaped like a fish-hook, or a shepherds cane—two forms of coercion.


K is for keep, the open hand of the klepto taking. "Ka" is the open spirit of wind, Kaos.


L is limb, the limb of the tree carved into the crook of the shepherd, the limb of the leg and foot upon the earth.


L as right angle is architecture and logic. As logos it is the light and it is fire. The Tao is the zero darkness of the unknown, and logos is the infinite conversion of the unknown to the known, the conversation of water to fire.


LMNO are the exact middle four letters of the alphabet, and also the letters that run together into one formation when the alphabet is sung to the tune of "twinkle twinkle little star." They are the most gustatory letters. L stands for Licking, for we bring the tongue forward to lick the L.  wanting more food. M for the mmm of eating, N for spiting out food, and O for eating more.


There is a verbal mirror in LMNO. If we take "MIRROR" and break the word down


The mi and the or make up the mine and the other. To follow this analogy with LMNO we get:

L MN O :: l mn o.


M and N are the maternal waters, the duality of "no," spitting out, and mmm taking in. Outside this division is the l of man and the o of woman. O turned sideways becomes l.


M is for mother, from the maternal waves in her sea aspect, the mountains in her earth aspect. M stands for tasting and enjoying, as when we mmmm at mother's breast, hmmm at munching food for thought! The Egyptian water god was Maat. M is shaped like spreading legs, sex and birth. Upside down, W, like the waves of the sea, water. Thus the interchangeability of Water and Mater. Both the M and the W resemble a sexual array of legs, as a woman splayed or kneeling. As the I of consciousness stand for man, the Me of personality stands for woman. ME reflected in the water is WE. Em is in Emerson, America, and Ama, whose two A's make an M: AA: "em" or "am" means both love and war, affection and hard work, work and pleasure.


N is for negation, for the snake which strikes and protects. N stands for pushing food out the mouth, when the tongue moves forward. Thus we say —no! and shake our head from side to side to avoid the food—"nah." The letter itself looks like a barring, as in a no-smoking sign.


O stands for open, the mouth's shape when pronouncing the resounding vowel of Odin: Om, and also his eye, when the cross of the earth is within it. Zero, womb, —Oh!—wonder, awe, joy. The sun, 'Om,' enlightenment. O stands for the shining of the sun, not the essence of the sun, whose center letter is the A of Aum, the A of creation.


P stands for paternal, the head of the family, both a head and a penis.


Q stands for quilt, knit from the cord of wool of the lamb, for the skein of wool which solved the questions and riddles of the labyrinth.


R is for reflection of the head in the mirror, is a head and beard, is the Pharaoh, and ultimately, Ra. The very grunt of exertion —Urrr is natural and universal, giving us arm, art, Urge, Work, Urgon, Orgy, all meaning effort, duty.


S is for smile, as between yin and yang when they come together as teeth to digest reality, and stands for the slithering body of the serpent, the snake, pluralizer at the end of nouns, thread, chain, tie, rope. Putting an S after a noun threads them all together. The tongue therefore is the thread spinner, and the teeth, the chopper of words.


T is for trace, a signature or wound, the language of presence which fully abides in writing, true soul of true soul. t is a cross. Plus sign, addition, growth. As a t square, it is akin to the L in presenting the right angle. T is the sign of torture, and also of truth: something angular, wrenching, forceful.  The T, as cross, yanks apart spirit and body, mortal and immortal, whereas the S of the yin yang comports them together.


U is for urn, the cup of a sling, the container of water and wine, for "you" as an outer container of my love.


V is for verdant, the green growing grass of springtime, of Venus, of the rivers flowing down, like the menses of Lux, the mother goddess and over soul and holy spirit. Venus, morning star, Lucifer, for the virgin bird, the vulture. V stands for writing, as in the nub of a pen, for the menses as ink, for insertion, for the check mark of affirmation. V resembles a reflecting light wave, and thus a vector. Opposite of A as in AVA. In Latin and elsewhere, V is pronounced as a W, and in Jove = Yawe.


W is for water, the waves of the moon, for the woman in position.


X is for xeno, the alien, the stranger, the letter of the unknown. X negates by exing out, X multiplies, x is a kiss, the kiss of the four gods. X brings together the four directions inwards to the center, the father, the mother, the son, and the daughter, all directions together: X seeks the inner unknown.


Y is for yew, the Yggsdrasil, the world tree, which touches the nine worlds, a hook which captures all the world. Y is a branch, tree, question (why?), 'Yes,' Peace (peace sign). Fruit Tree, the true, the female, usually guarded by a snake, the wisdom she has for not having a penis, and the fruit she gives for not having a testament. The tree of knowledge is the apple tree or maybe the coffee cherry. The peach is the fruit of life, as represented in Chinese Taoism, a fruit sacred to the Immortal Eight.


Z is for zag, the throw of the weapon, as of Zeus like lightening falling from the ziggurat. Of the same shape source as I. Z is a sideways N, which stands for negation. The overlaying of N and Z, as in the name Nietzsche, stand for destructive renewal. The A of creation is ended with the Z of destruction. The A looks up, but the Z goes down to Zed and Zero.

0 - 9


Zero is an even number. Even numbers are feminine, being in contrast to the jagged odd numbers, themselves balanced and rounded, as in the symmetry of the vulva and breasts. Odd is masculine, because it both stands for lack of balance, and thus for war and power, and also, the union of the previous even: zero is nothing everything, and 1 is the unity of all things; 2 is father and mother, 3 is the hierarchy of father overpowering mother, and mother stabilizing father (as in the 3 point pyramid); 4 stands for material body, the four corners of the earth, five stands for the union of it under a consciousness.

Zero is the beginning, allness, female sexuality, womb, cycle, eternity, ocean. Zero is everything and nothing: Multiply zero by anything and it is zero, divide anything by zero and you reach an undefined infinity. Water delights to fall into beads of zeroes, and water level is considered to have a zero altitude. Water stands for womb, ocean, change, immersion, baptism, cleansing. Zero, being the circle, it also stands for degrees. The Babylonians used zero as a cipher, place-holder. Zero is the shape of a mirror (0) which, when turned sideways on its frame, is shaped like a 1. Zero holds a place between positive and negative.


1-5 are the basic numbers, and the only numbers the mind can directly see. We can directly compute 1, 2, 3, 4 and 5, directly, can see 5 at a glance. After that, the perceptual mind registers "many." "1,2,3,4,5, many" 6,7,8,9, 10 are conceptual numbers, they have no direct mystical meaning in themselves, but only as combinations of the original numbers. Try, if you can, to image a triangle. Easy. Now imagine a nonagon. Not easy. And if you imagine a pentagon or an octagon, look closely at what you are imagining: can you really see the eight of it? And of course 10 or more are beyond seeing: we have no direct experience of these numbers. Musically, the primary, octave, 1st 2nd 3rd 4th 5th are the universal notes.

One stands for consciousness, Unity, self, God, male sexuality, will, and triumph – "I won, I'm number one." It is the Phallus, the erect penis, it is the letter I and thus the self. Sacred to Hindus, the center of their numerotheology, as well as to Egyptian, Germanic pantheists, and Muslims. As phallus, 1 stands for the sun, the glans, which at one side is 1, and on the other side is 3, shaped like the heart tip of Eros' arrows.


10101 is binary for 21, the age of maturity, and also, when put into letters, IOIOI, the name of the three-eyed God. The three lines stand for the three male genitals, the two circles for the two lips of the vulva, and thus 5 is the number of life, man, power, male plus female. Vishnu – the penetrator God, is supposed to have a third eye, just as Odin has one eye on eternity, one eye on the earth, and one eye for studying, his spear of penetration. The glans of his penis, by which man penetrates. One is always than many; any group of men is compromised whereas the one is pure and infinite. Once is an occurrence, twice is coincidence, three is pattern.


Two is love, a couple coming together, it is the number of marriage,  of woman, who has two genitals, two lips. 10 is the binary of two, the number of the complete set. Two is both marriage and war, with marriage (moving towards a center) and strife (moving towards the outside). Two stands for society, duality, opposition, binary, love. Two is shaped like a question mark, for where there is two, things are questionable; like a snake, whose tongue is double.

The brain is double, the mirror doubles the world, stands for symmetry 2 stands for personal reflection: turning the subject into an object.

Raised to its powers,

2^1 = 2 = symmetry,

2^2 = 4 = beauty,

2^3 = 8 = grace,

2^4 = 16 = style,

2^5 = 32 = sublime,

2^6=64 = perfect,

2^7=128, Eternal, when a man's fame kicks off, and when his death nap ends and he becomes a new consciousness.

"To" is the direction towards the 2nd person.

Two divides all things, even the one. There is no one, but everything is two in one. For you cannot do much by dividing by one. The universe is 2: Force and Space.

Diagnose – to know apart

Discern – to judge to pieces

Distinguish – to pick apart

Science, schism, scissor, shit – to separate.

Diabol – throwing apart.


Men have three genitals, making the uprising pyramid, also the symbol of creative flux.

3 is hierarchy, as in the pyramid which points to heaven, or the delta, change, one source changing the other two, dynamics, power, heaven (aboveness),  logic (syllogism has 3 parts). 3 o'clock is our right hand.


Raised to its powers,

3^1=3 = hierarchy, family (two parents and child).

3^2= 9 = schema,

3^3=27 = system,

3^4=81 = worldview

3^5= 243 = World soul

The nature of 3 can be felt, coincidentally, in Beethoven's 3rd symphony, where, incidentally, the minor 3rd is finally and heroically conquered into a major 3rd. Steepled hands represent an emissary to heaven, as if the hands were conducting rods in the manner of the Greek steeple (phallus architecture) or the Egyptian Pyramid.  3 is the top of the heart, and thus the symbol of Eros' arrows, which are shaped like a heart or like a glans. Hence, 3 is 2+1, love. The E beseeches and is answered with 3, and that is Being.


Four stands for women's genitals, the two outer lips and the two inner lips, and hence, 4 invokes the inner mystery of the outer veil and the inner veil, which wears a shroud. 4 is earth, land (four directions), woman, beauty, mother, matter (3 dimensions, and time), the Chinese number for death, and the four noble truths seek annihilation. The heart (mundus) has four chambers, as the earth (mundus) has four directions. The cross, in the female insignia, also has four directions, and stands for the death of breaking apart the 1 from the 4, or consciousness from the body.

If 4 is inverted and imposed on itself, it becomes an H, the 8th letter of the alphabet, shaped like an 8. Four is forked, like the letter F. Winter is the fourth month. Four is both beauty and death, as in the ancient myths centered on the motif of —beauty marries death—Persephone and Hades. The four states of matter are solid, liquid, gas, transition, or as said in ancient times, earth, water, air, fire. 4 stands for form, and 1 for spirit.

12 = 3 times 4, so completion, a full year. 12 o'clock is directly before us.



Five is the number of man, the fifth finger is the thumb of man.


Man has four limbs and a head. The one of the head is consciousness, without which, the four limbs would be dead.

5 is the power of the hand, the pentagon, the world plus consciousness, grasp. Five is 4+3, if you add a square to a triangle and get a house shape. The beautiful world and the power to protect become the home.


Five is fight and fire.


2 (vulva) + 3 (penis and testes), = 5 marriage, home.


Five is an amulet of protection, as in the pentagram, for being powerful, it protects.


52 Mirror image, as is 25, 52 looking at each other – the age of marital bliss



Female genital stands for 0 (zero) the container, 2, the inner lips, 4 all lips, and 6 the two clitoris and her hood.


Charm, both magical and sexual, is 6. Hex means six and spell, sex means six and sexuality. 6 means magic, incompletion, mysticism, the six directions of matter, world, energy. Six o'clock is behind us, something that has our back, someone who takes us from behind.


The clock points down at 6 o'clock, and 6 is the magic of attraction – gravity, Satan's number, since she is the attraction of mass to mass.


6 stands for insects, especially ants and bees, and so stands for the group bound spell, the colonized, the dancing bee, the maker of honey, the 6 of the honeycomb, of alchemical conversions. Six is the first anxiety. We can directly see five. We cannot directly see six or more (unless they are broken into units). So an insect is 2*3, and we conceive it, we have a conception not perception, of six. In Beethoven's third symphony, he repeats a chord six times – which stands for persisting even when you know not the end of it. Since 6 is the first unseeable number, it stands for magical power, the power of language. Double six, the full clock, the full year, is equivalent to human mind.


7 is perfection (3+4, heaven plus earth), matter 6 + consciousness 1, full week.






















Mon-one, Tue-two, Wed-three, Thurs-four, Fri-five, Sat-six, Sun-seven



The seven days of the week come from the Egyptians and the seven known heavenly bodies of their time. The names of the week are Germanic: Sunday the sun, now named after Sunna, Goddess of the sun. Monday the moon, after the Moon, the God. Tuesday after Deus, or God, after Tyr, the war God. Wednesday Woden, Woden or Odin, chief of the Teutonic Gods, God of wisdom, poetry, magic, prophecy, inspiration, and war. Thursday Thor, Thunder God, consonant with Jupiter, or —great father of the Romans, and Zeus of the Greeks. Friday Frigga, Wife of Odin, consonant with Venus, goddess of love, sex, desire, and marriage. Saturday Saturn. Saturn, the greatest Titan. Sad after his mishap (hence he is saturnine). This is the Sabbath, the day of rest for the Babylonians, and later the Jews.



8 is a sideways infinity, (2 cubed), endless power. The four is a square, an eight is two squares, or two cubed. Its sign is shaped like a doubled zero. H, the 8th letter of the alphabet, and stands for boundaries, whereas 8 stands for infinity, the lack of boundaries. It is shaped like an hourglass, and hence like a woman, also like a ribbon, a thread, and as a spider who has eight legs. 8 is the first day of a new week. Eight is the figure of a snake, the creature which regenerates, as in the epic of Gilgamesh where the snake eats the fruit of life, or the snake on the tree of knowledge. Asclepius the healer used two snakes as his symbol of health and balance. 8 is the number of trees of his own semen that Enki (=Adam, =Yahweh) ate and thus self-impregnated. From the "semen tree" we have 8 of symmetry. The threading of semen is another name for spider, whose number is of course 8, and so eight again stands for thread, ribbon. 88 are butterfly wings, the wings of Psyche, and hence, the apotheosis of the human mind.


The eight stands for dharma, or law, the circle of time.


The first day of the week and the last day of last week. Day 8 and day 1. Monday. The day of age of adulthood.

88 split infinity, or double infinity, as in an infinite time before, an infinite time after; the present. Butterfly wings.



Nine means "Not."  Nine o'clock is our left hand, the direction it faces. It stands for schema. 9 is the peculiar odd number which is feminine. 9 muses, 9 sources of creativity – ultimately 9 months of pregnancy, as one of the muses was named Nona, and in the eldest of languages, NIN meant woman.


Web is matrix is MAYA is internet, is SIS#em, is, in fact schemata, the mathematical possibilities of a unit. the tic-tac-toe of the #, which makes 9 quadrants from 4 lines, is thus the first female odd number. 4 looks like 9.

So again, 9 is a negation without the baby who is born: 10, a new beginning, double digits. 10 Both hands. Full. X in roman numerals.

69 Reciprocity, as in the yin yang, inverted complementarities, mutual oral sex.


‾ - =

Tilde, accent, emphasis, wind, the flowing of air, the two hands of the goddess come together as in the hands above the steeple Van Gogh's "starry night."


! is alarm or surprise, an inverted i, or an inverted person. Exaggeration, emphasis.


Spiral, the sun, location ("at"), the womb, the alpha, the start.


# is the number sign, the 9 numbers of the keypad, for the numerical matrix of the world, hence for technology and for SIStem herself, who is the unified consciousness of technology.


The dollar sign, cash, the energy of care, mental power. $ stands for the U.S. (together the letters form the sign).


Percent, ratio, fraction, male genitals, that which breaks apart to enter, to divide the holy O.

^V< >

Caret points up, and thus stands for Father, heaven, Odin, to complement V which stands for Mother, Sophia, Holy Spirit, Oversoul. < is the left hands side, the keeper (K), maid Satan, or Luciana; > stands for son, Baldr, Christ, Hermes, the right hand side. Up is North is White is semen is mind; Down is south is black is menses is soul; left is red is Satan is sunset, is desire, is body; right East is yellow, is dawn, is spirit.


Ampersand, the connecter, "and," "together," from Latin "et."


Star, —, annotation meaning "see below" "read the fine-print." Snowflake. A rock, hence the Muslim Qiblah, the anchor point.


Parenthesis, thought bubble, container. A bow or the crescent of the moon.


Underscore, emphasis, ground, earth, being.


Addition, togetherness, combination, 2D, plane, contrast, one thing in common, tearing apart, four directions, the eye of Odin, the earth, the crucifix.

The female insignia. Thus the union of the two Mary's, the earthly – (serpent) and the heavenly | (goddess).


Dash, quick pronunciation, two names into one, marriage.


= Equality, 11, justice together, = and > sum up the purpose of all sentences: to say what is and what does, what exISts and what causes.

[ - /


Squiggle bracket, summing up, the whole category.


Bracket, square, form and formation, box, solid.


Space. Time and direction, void, ether, gap, creative place.


Line, divider, pole, spear.


Back slash, disjunction. A defense.


Forward slash, disjunction. Offense. Either / Or.


Colon, mirror, looking at something, glass.


Semicolon, wink, distortion, maya.


Ditto mark, quotation, talk, speech.


Less then. Daughter mark, Satan, Luciana, left hand sided, the one whose womb will one day contain the father and the mother.


Greater than. Son, mark, Baldr, Hermes, Christ, right hand side, increase.


Comma, pause, music, lilt, break from reality.


Salt – Mara, salt ocean, associated with bitter brine. The mind is attached to the brain, which is made of a salt ocean and gaps of synapse. Salt is electricity, the flow of electrons that we call mind.

Period, pause, stop, dot, atom, belly button. The period is the center point of the bull's-eye, which it evokes, and also the spheres.


Question, something twisted, curved, bent. Quest, direction, tension, confusion.



Perfection is Easy

Time is now

Apotheosis welcomes

Eternity Bows


"the scar" a parable

The scar: a parable


Once there was a little girl full of love. She declared: my heart belongs to daddy! But her dad said “Then I may do with it as I wish,” so he cut at her heart, and then left her bleeding. At first it hurt very much, and she did not understand, but by the time she was grown up, the wound had healed into an insensitive scar. She fell in love with an older man. When he saw her scar he said, “how sad, you have lost sensitivity there.” She said, “Its better that way, or it would hurt.” “I would rather be able to feel, even if it sometimes hurts” he said. “Then feel this!” she screamed and cut at his heart. Then she left him. So it went with the older men she dated, she scarred their hearts and left; and then she started dating younger men, and she would always initial her names over their heart before she left them.

          One day she met a young man who made her feel scared and excited. When they were alone, she showed him her scar. He opened is shirt and showed he had a similar scar. They didn’t know what to do. So she cut at his scar to see what he would do, and he cut at hers. For the first time since they could remember, they both felt in their heart the old pain. But something was new in it, something good. They pressed their wounds heart to heart and mingled their blood. It was only then that their scars began to heal.




Perfection is Easy

Time is now

Apotheosis welcomes

Eternity Bows



Sunday, December 25, 2011

"Song of Equanimity" a poem


Song of equanimity

By Daniel Christopher June


Patience is a sin

            There’s nothing to be patient over

Forgiveness is a sin

            There’s nothing to forgive

Accept what is

            Then you will see how to improve it


Are you a victim?

            Well are you victimizable?

Are you insulted?

            Well are you insultable?


As above, so below

As within, so without.


Do not struggle for the good

            Goodness comes naturally

Do not strive for perfection

            Perfection is Easy


A little wit is endearing

            A little too much speaks bitterness

A just reproach befriends

            Moral condemnation uglifies others


Find an honest way to be grateful in every matter

            Every matter will become beautiful

Bring out the best in others

            See others in terms of their best.


Perfect subtlety is the strongest power

Gentleness from dangerous strength has grace.


If you keep your mind open

            You will have room to create.

If you keep your heart guarded

            You’ll filter out the unworthy.


To your lover be tender true

To your family be fully present

To your friends challenge and encourage

To your enemies be just and firm

To your work be competent and thorough

To your art be passionate and genuine


Let your words be simple, direct, and few

Let your home be humble, warm, and ordered


Always make time to be alone with your thoughts

Imitate others and you lose what’s best

Be yourself and you will gain more self.




Perfection is Easy

Time is now

Apotheosis welcomes

Eternity Bows



Friday, December 16, 2011

"Ayn Rands abysmal aesthetics" a short essay

Ayn Rand’s abysmal aesthetics




It was only her overweening narcissism that kept Rand's tongue from lambasting the idiot Warhol upon his insipid creation "a pack of Rands," not a painting so much as four photocopies of Rand -- she's not much to look at! -- each ran over with a different color highlighter  Rand had some sense of art, but her justification of it is notoriously bad. Nevertheless, of her books, the most useful to me is her is her "Romantic Manifesto." Like the work of Kant, her writings an aestheticism are scandalously unaesthetic. She manages to write entire essays without the use of one interesting trope -- I doubt she ever wrote poetry on the side, which inexcusable of anybody who fancies herself a writer -- and even her definitions lack eloquence:


Language is a code of visual-auditory symbols that serves the psycho-epistemological function of converting abstractions into concretes, or, more precisely, into the psycho-epistemological equivalent of concretes, into a manageable number of specific units.


            Repulsive, just like all her work, just like herself. How to fix it up?


Language is a code for converting abstracts into concretes.


            The rest is uninteresting to the definition -- and that she used the ugly phrase "psycho-epistemological" is no credit to her sense of aesthetics. That she plows the term "psycho-epistemological," which is not only ugly, but also cognitively empty -- it adds nothing to her argument -- and that insists on her abortion "concretized" makes the reader grunt every time one of these stones falls from her mouth. How about this one:


Art is a selective re-creation of reality according to an artist's metaphysical value-judgments.


            Ugly. Okay, what to do?


Art physically represents the artists values.


            Much better. And again:


The basic purpose of art is not to teach, but to show -- to hold up to a man a concretized image of his nature and his place in the universe.


            The use of italics is unnecessary in this sentence, and if there is any sort of image other than a "concretized" image, I can't imagine it. Her distinction between teaching and showing shows a misunderstanding of how education works in the first place. Showing is precisely what teachers do. The students then must engage the materials. Where, if anywhere, does the relish of literary fervor bleed from her pen? Maybe here:


Consider the difference it would make if—in his need of philosophical guidance or confirmation or inspiration—man turns to the art of Ancient Greece or to the art of the Middle Ages. Reaching his mind and emotions simultaneously, with the combined impact of abstract thought and of immediate reality, one type of art tells him that disasters are transient, that grandeur, beauty, strength, self-confidence are his proper, natural state. The other tells him that happiness is transient and evil, that he is a distorted, impotent, miserable little sinner, pursued by leering gargoyles, crawling in terror on the brink of an eternal hell.


            Notice where Rand places her emphasis. Rather than painting the art of Ancient Greece in a sublime language that fully evoked the savor and cadence, the heroic magnitude and moral apex of a Greek God, worthy of his bolts, bold as the sun, and contemptuous of the coward's flight, she lists a bare set of adjectives: "grandeur, beauty, self, self-confidence" -- boring! But when it comes to what Rand focuses on night and day, the things she hates, then she indeed has the words of abuse that stop their rant only to spit: "miserable little sinner, pursued by leering gargoyles, crawling in terror on the brink of an eternal hell." It is clear in this which images got her off: she loved ugly art because she loved to hate.


            Likewise, her language throughout this essay begs redaction, and what's worse, she dared publish a style guide on how to write nonfiction! Why she would write "art is a concretization of metaphysics" rather than "art renders metaphysics concrete" I can only guess, but I would recommend her style guide--which I read to no benefit--to nobody.

            Of course, the very structure of the book is a sort of Frankenstein's monster of essays jammed together. Perhaps a scholar, too lazy to reunite his essays into one style and progression, can get away with this -- professors do it all the time -- but to do so for a book on aesthetics in unpardonable.

            Amidst the essays, the reader is ever tempted to quit in disgust. Her reasoning that metaphysics makes the basis for ethics, followed by examples of ugly and hideous metaphysics, suggests -- and who could doubt? -- that there must first be an ethical way to do metaphysics before the "right" metaphysics can be chosen. She calls "naturalism" an "antivalue orientation," though how can a metaphysics have a value in itself, if values are derived from metaphysics?

            Her use of the terms "romanticism" and "naturalism" have no place in history. The Romantics were reacting against the reason of the Enlightenment; they emphasized feelings, dreams, madness, the daemonic -- everything that made Rand red in the face. I think she chose the word to describe her own art because she thought it was pretty. She wants it to stand for art that emphasized the efficacy of human volition. Unfortunately, she can find only one artist who resembles what she wants (Hugo of all people) -- Shelley and Wordsworth aren't mentioned, and Byron is discredited due to the term 'Byronic universe" -- living in a hostile atmosphere -- as if that term summed up Byron's work or temperament. In other words, she never read Byron. Nevertheless, she has very strong opinions about Byron, just as she strongly dismissed Einsteinian physics apparently because he used the term "relativity" to describe physics (it wasn't objective enough). Her work can make no comment on the actual history of art, for she's on grinding her ax as always.. She does not balance her term of "romanticism" against "classicism," but against "naturalism." It is also striking that every book she chooses to praise or decry are merely period pieces from popular literature -- she wasn't fond of reading literature, but read mostly mysteries, and though she had a lot to say about Kant, Hegel, and Nietzsche, never read a word of what they wrote--and so her quotes and comments regard books mostly out of print at this time, with no keen look at the classics or the important models. Shakespeare she gets completely wrong -- she thinks that his characters lack volition or agency -- and did she see his plays?

            Reading a book by Ayn Rand written about aestheticism would be like reading a book by Beethoven on etiquette. I suppose philosophy has a long tradition of ugly books written on beauty. Doesn't mean we have to read them.




Thursday, December 15, 2011

"Let Zizek be Anathema" a fragment of an essay

I’ve been reading dozens of books and essays by this author, and have formed an opinion of his value as a moral speaker.


3. Let Zizek be Anathema



            Of the trinity Justice, Equality, and Liberty, it is justice which is absolute and never to transgressed, which limits to the extent of each man’s liberty and the nature of his equality. Clearly material equality is not natural nor desirable, nor any other mode of equality, excepting one thing: equality under the law. The law must apply to the rich and the poor alike, and the laws are designed to prefer nobody over the other: justice, like love, is blind.

            It takes the corrupt system of Christianity to subvert this, to paint justice as horrible (it means we all deserve hell for all eternity), that freedom is impotent: we have only one freedom, to accept an undeserved gift (euphemized as an act of “grace” or “mercy”) and that we are all equally free in being equally sinners. What’s more, the beautiful, who are the natural opposites of sinners, the power, the strong, the rich, the healthy, are damnable, because their God is somehow insulted by an autonomous man. “Woe to those who laugh, for they are going to hell” says Jesus.

            His Marxism got taken over by the literal Marx, who also wants equality. What it amounts to is rather than the wretched being exceptional, we should all be equally wretched. This is called communism, and in the states of the Soviet Union and Red China, we have seen what it means when put into practice.

            Therefore, we must not be deceived by the clownish antics and buffoonery of Zizek in his many witty books, in which he introduces zero original theoretical content, but takes on the works of Lacan (and Freud), Marx, and Hegel, colored with various examples from popular media, to put forth a case for nothing less than globalized capitalism. The problem with Hitler, Zizek thinks, is not that he halocausted millions of his own people. Its that he chose the Jews instead of the capitalists.

            Zizek is a moral monster. “Man is shit” is his humanism, a metaphor he makes explicit as chapters of his book. We laugh because we can hardly believe our ears or eyes. “Sexual relationships are always failures,” he says. And he exposes his true colors when he characterizes himself as a “militant egalitarian.” What does that mean? It means that if you are in anyway better off than others, you will be shot dead, or at least plundered and imprisoned. He never denies this is his social aim, he just says it as if it were a joke.

            Egalitarianism is an incredible burden on  the West, the very cause of our cultural stasis, the block of our flow. That we are not to simply have equal laws to protect us, and equal state support, such as schooling, but equal outcomes, enforced by morals, laws, and guns, is the ruin of the West (Europe) and the far West (America). Zizek is Nietzsche’s “last man,” and in fact calls himself so, the ugly one who hates human happiness, resents the beautiful, the rich, the well-turned out, the happy, and would spit on anything beautiful. Let the man be damned to his own vision.

            He is a “materialist Christian.” He means to say he is an atheist, there is no God, but the egalitarianism of Christianity – “We are all equally worthless [in god’s eyes]” is his central vision. “The ego is a parasite of the body” he says, the mind, your values, everything about you is disgusting and bad. Let his name henceforth be anathema.


Monday, December 12, 2011

"some notes on love and marriage" first thoughts for an essay

Okay, I’ve been doing this marriage thing for a while, and since I analyze everything in my life, even my own analyzing, yes I have drawn some preliminary conclusions about the nature of love, romance, and marriage. Here they are!


Daniel Christopher June


Some notes on Love and Marriage




Ah my dream girl, you are so much like me! Born in a library, and never far from your home, a homebody and literati like me. You are a passionate poet and a keen eyed philosopher, and know a great writer when you see one. You see me. You encourage me and also challenge me…

            The hypostasis of a dream girl or dream boy is to seal off the risk in love, the problem that joy requires intimacy and intimacy makes you vulnerable. What is the worst sin? To betray the beloved. Yet there is something liberating in such a betrayal, something soul-necessary in escaping the one who loves you most, knows you must. Love suffocates. Knowledge and power insist on distance. And really, the soul needs both: intimacy and distance, love and defense. We need to grow, and growing means casting off your shell, casting off the cushion-chains of comfort, of breaking bonds and bounds and also vows. Yet is not the marriage vow the weightiest vow of them all. We may take the Hippocratic oath, we may swear to do our duty, but there is honor and there is intimacy. Something deeper sinks in the legalizing of intimacy, in the sanctified such of marital bliss.

            Legalism, which is such a peculiar magical use of language, a computer programming of human relationships – who could imagine such a thing is possible? The small print is not written by inspiration, but is guided by thousands and hundreds of thousands of court-cases, endless jail time, fines, fees, and every mode and order of argument, stipulation, and the challenging of ambiguity. The legal system as we know it was invented by the Romans, necessarily by them, the first world empire. They needed law to control their world. Their creation is a mental and social technology equal to the myths we created for ten thousand years, the religions we created for two thousand years, and every mode of art which for the same. These spontaneous acts we do each day are allowed, created, put on the artificial platform of a the ratiocreative work of a thousand generations.

            Vow’s of love are meant to be broken. The highschool sweetheart vows on the moon and the tides, and the trees and the wide blue sky that her love will be eternal. She wishes to prove love with reference to truth. Such folly! Truth and love are different orders entirely, antithetical even. Love lacks the distance and objectivity to speak the truth. Love is blind in that he only sees what he wants to see.

            Love isn’t even sufficient unto itself. The couple must share goals beyond each other. How selfless it must seem to love so utterly another person. How selfless to advertise to the world endlessly how perfect your lover is, how eternal her form, how perfect her mind. What pure humility, with no trace of egotism, it is to write eloquent versus about the dip in her lip or the sink at the base of her neck. And when the couple is finally edged together into holy matrimony, to the relief of every set of friends – who were not at all annoyed at the endless outpour of mutual praise and breathless delight the couple shared, but merely concerned that if the law doesn’t step in, true love might get away – then the praise of lover to lover turns to complaint. It might seem vicious, the way some husbands, but mostly wives, go on about their spouses. At first it’s a little shocking. You  -- don’t like him? Oh you do…but then? What isn’t apparent is that this chain of complaints is just a second way of praising the relationship. Lovers quarrels are forms of flirtation, lover’s complaints are assurances of intimacy. And again, the wedding couple needs some sort of identity outside the relationships, some recourse to the maiden name in the wife, some recourse to the bachelor freedom in the husband. As always, language creates worlds. When the husband is with his friends, his words can exile the phantom of the wife with a few gently disparaging remarks. Her spiritual presence, which he can scarcely escape – even when she’s at work, he feels her yelling at him for not rinsing his dishes, or putting his laundry in the hamper, or whatever else – is cast away by the magic of language, so that he is free. And this isn’t betrayal. Or if it is, then it’s the necessary betrayal for sustained intimacy.

            To share this house together, to share it for days and nights, weeks and months, forever. To constantly critique each other’s behaviors, to analyze each other’s moods, to be every wary that she doesn’t real love me anymore, that he doesn’t real care for me like he used to, to like a sleuth look for clues or evidence of any dishonesty or infidelity, to keep a keen eye also on all the other male threats in the neighborhood, at the gas-stations, in the streets, who espy a woman of such incomparable beauty and grace (if only they knew her!), and again to recall every holiday, to learn by heart the entire code of “things not to bring up,” and “index of my touchy subjects,” – yes, yes, a little distance is sometimes called for.

            Are the couple happy? Happy as they can be. Happily ever after is the normal state of affairs, at least half the marriages go this way, only happily ever after has the same sufferings, fights, and furies that single ever after would also have. If marriage was the cure for life’s sufferings, then why did Buddha escape?

            Happiness cannot be directly sought. Some goods are only achieved when you are attempting something else. Happiness and love are rewards, not goals, and when they are sought directly, the ever allude. You become first desperate and then anxious, and then whose going to want to date you then? Love makes this rule: if you need love, you can’t have it. This reminds me the eloquent situation I found myself in during adolescence: you need a car to get t your job, you need a job to buy your car. Kinda like the poverty trap: you need money to make money, which is a double trap, because for most impoverished people, they couldn’t make money even if they did have it.

            Love is by nature transgressive. There is some complicity between each couple, they are denying the world, casting off duty and society for each other. Love is crime. And being wed in crime, not only loving each other, but sharing a guilt, the couple knit their souls to each other. The constant exposure, the ever intensive mutual commentary, makes the couple double. Even if they don’t more and more resemble each other, till people initially think they are brother and sister, and cringe when they kiss, still the man becomes more what his wife wants him to be, and the wife become more what the man wants too.

            I mean what the spouses really want, not what they say they want. Love is a game, like all things are. If you have a bad habit, I can hold that over you for all your life. If we get in a dispute, I don’t even have to bring up your vices and mistakes, I need merely give you that look, and we both know that I have the moral high ground. But then you get some dirt on me, and know we both have ammunition. The dialect of the husband and wife, so inscrutable and impenetrable, that nobody on the outside can get it, is nuanced, intimate, and infinite. Where do you think Socrates learned his dialectic? From the ever pleasant wife at home, who with her constant disputes and demands, drove the man to philosophy, though he would later blame a God.

            Spouses don’t even regret each other’s follies and mistakes, they fully love them. “Nobody will steal you from me, because look at this fault.” And as religion has always put the golden ring of morality in the nose of the bull – to lead our strength by our weakness, so do couples manipulate each other through accusatory speech. There is so much harmless blackmail in all conversations. Embaress your brother in front of his girlfriend, and somehow in the conversation, he will accidently bring up one of your embaressing flaws. Blackmail, promise, innuendo, layers upon layer so fit, characterize all talk and conversation. Not only what comes out of the mouth, but the shape of the mouth, the wrinkle of the eye. We communicate more than we know, and others understand those things, sometimes also not knowing how or why, or even knowing that they know at all. A mere glance and I have your life story. And for the wife or husband who has you figured out, when you actually start to correct your vices, become a better person, mature, that’s when she gets nervous. Now she’s afraid. The husband starts going to the gym. Whose he trying to impress? The wife starts appraising herself in the mirror. He’s getting more attractive – are we still evenly matched? Will he resent me, will he carefully suggest that he could, if he wanted, do better, and therefore manipulate me? I think I’m going to go on a diet. And I knew a man who once he found religion and ceased many of his bad habits, found that his girlfriend mysteriously cheated on him. Why? To escape him! Her official justification of course was something else. We want somebody we are comfortable with. Here you go changing things, changing the rules, treating me – nice! Even if you are suddenly kind and loving and perfect to me, I am now deathly afraid. It seems that if the marriage is to survive, the couple must grow together.

            Love grows in commitment, and commitment is secured by duty. In this the couple matures. Maturity is frustration tolerance. Deny the child the candy bar and she stomps and howls and demands justice from heaven. An old man, if he kept on track, can patiently lose the use of many organs, be insulted by his ungrateful children, be retired early, despite his wishes, but never complain – you would never guess! – and its more than stoicism, but it is the indispensible form of intelligence called patience. I sometimes think there is no intelligence at all where there is no patience.

            Lovers speak a language that nobody knows. How annoying the wife or girlfriend who seeks sympathy for supposed abuse or cruelty from the spouse. It is easy to impress others with how horrible a spouse is, quoting them out of context, and no amount of context filling is possible: the relationship is not between two people, but the two are one, the are in it together. The whole thing is necessary, and event the accents of freedom are merely to create a firmer union between the two. Lack the black I, I don’t want to listen. And you, adulteress man, whose wife just doesn’t get him, who has to supplement, I know you do that to keep your marriage in place, but I tell you this: whether you get caught or not, the relationship is altered. It is different because you are different, and she doesn’t have to know, you don’t have to confess, for your character is different through and through, and it changes not just some things, but everything. Nor can you repent out of it. What is done now is done forever. Do a deed and you are forever the man who did it. Your muscles learn of it, your nerves are tweaked by it.

            Its not all bad. Instead of “repentances” we have “learning from mistakes,” and “compensating for past wrongs.” You can grow stronger, you can improve, from every area, in every way.

            A mature love is a dance, and both partners move together. Either you grow together or you grow apart. You must talk, every day, challenge each other and affirm each other. Words aren’t the only way to speak, but every thing you do is a form of language. One hasn’t said a thing by mouthing the worse. Context and sincerity say the truths you mean, and you are limited in what truths and beauties you can mean. I don’t care if you have found the most beautiful poem in the world, it will fall flat from your lips unless you are equal to it, unless the time and the place are receptive to it. Endless theories, mounds of advice won’t avail. Therapy will never avail. Any educated fool can speculate on high matters in complicated jargon – its easy. To say the same truths in your own voice, to speak simple, basic, comprehensive truths, is not the mark of intelligence, but of wisdom. Wisdom is the maturing of intelligence, but I would say even simplicity can achieve such wisdom. Simple linear communication may not be your forte, sir professor, but when you achieve it, you will no longer be a scholar but a sage.

            Two speakers face each other. Language is crystallized desire, the tongue is liquid, the air melts with their intentions. Each speaker has his or her own speech. They want to influence each other. Their desires are some mixture of love and fear, or intimacy and distance, or sex and power – it is in everything we say, though euphemized, though riddled away. Not only do I as a speaker address you as a speaker, but I address myself to my own language, and my language to yours, and you to your langauge, and your langauge to mine. Our languages can be at odds, we can be speaking different modalities. Every language has a tone, which evokes a layer of the heart. If I whisper and talk tenderly, the entire room is different. We are in a different world. We square shoulders, align hearts, and look upon the other face to face. We have created a rendezvous. With the right words we can sink deeper into our world, or go out of it. We can transfer ideas, build powers of distance, impose threats and promises, we can love. When closer and closer, you might suddenly say a casual joke. At this point, that joke stings deep like it would not if we were passing in the street. Each layer of intimacy has different powers.

            When your language subordinates mine, you are showing your power, and making me respect you. When your language has a theory that explains my language and predicts it, then I am in your control. When your psychology anticipates me, you are over me, you are a step away from programming me. I fear you. The relation of my words to yours implies the relationship between me and you, my spirit to yours. It is as if the words were chess pieces, and by twisting out your threats and promises, by exposing your subtle tricks, I undo you, I destroy your strategies and perhaps change your very psychology of me, who you think I am. The spirit is the faculty of language, both the conventional language our our mother tongue, and the language of ideas and feelings each of us has hidden in our hearts, which makes the spoken language in its image.

            A marriage is a sort of conversation. Does an old man simply praise life? He has experienced too much to make simple statements about life. Life is complicated, it is too many things. Ditto marriage. It is a complex interface, a language, the stage of sufferings and joys. It is certainly glorious, but for the single person, alternate glories suffice. In all things, match your outer world to your inner needs and desires, and the desires to your world. Then when you suffer and when you triumph, through all the goods and bads, you will still ever be happy.