NEMANJA: SMIRENOUMLJE

srijeda, 28.02.2007.

IGRA ili SECOND LIFE

Odgovor na raspravu o srpskoj krivnji za genocid u BiH

IGRA

Igra živi u Njemačkoj.
Čujemo se gotovo svakodnevno, tj. razgovaramo na Skpyeu.
Igra je briljatnan dečko, mada je u zadnje vrijeme malo odmrmorio; kao Stevanov lektor on tvrdi da je ispravno 'omvrmurio', u što uopće ne vjerujem ali i ne sumnjam.

Igra se javio jednog pospanog jutra sljedećim pismom:

mozda je dobro to shto nisi u zoru novije balkanske pizdarije otperjao stricheku u ameriku; mozda bi prosao kao bos po ruzinom trnju nalik Karlu Rossmanu, chija odiseja ni danas ne vide kraja - a verovatno nikad i nece. osim toga, verujem da te na veliku svoju zalost ne bi nikada upoznao, a mozda ni tada.

dragi moj X****, chisto fizioloshki bi mi mogao biti otac i stoga ti u obliku poslovnog cv-a o sebi imam bedno malo reci. mozda bi ti neshto vishe u mene mogla posvetiti jedna pesma - slobodna interpretacija hoelderinovog "hyperiona" a koju mozesh naci na mom blogu (treci-chetvrti post spreda).

rodjen sam u srbiji januara meseca 1976. odrastao uz oca ****** i majku ******. rano se odmetnuo u moj mali svet utvrdjen zaboravom i potiskivanjem onog comment ce'est.
preuzeo ocheve priatelje otprilike onda kada ih je on ispustio zgrozen nad chitavim svetom, a ponukan vladavinom srpskih pasa lazaca na javnim polozajima. nikada ga nisam razumeo, niti sa njim uspeo porazgovarati. jednom je ridao na rubu mog dechachkog kreveta, i to je sve.
u beogradu vreme provodio sa underdogsima i komunistichkim klovnovima, ipak divnim ljudima koji su igrom sluchaja ili po diktatu providjenja svi mrtvi - bacanje kocaka, to je to - kao kad brizna baba baci machice u nabujalu reku i od njenog zamaha, gustine vazduha, strujanja vode i mnogih drugih znanih i neznanih uzroka ovisi koje ce preziveti da bi onda bilo usvojeno, izgladnelo ili, jednostavno pozdrano. ti ih verovatno i poznajesh-navodim ovde pechara, margitu i milana.
negde u 24., emocionalno nacheti adolescent, ne mogavshi vishe izdrzati godinama potiskivanu srpsku glupost i nesklad (neko bi rekao sklad nesklad, ali ja se pisham na takvu jvevtinu sortu optimizma) koja je namah isplivala na povrshinu oplodjena trentnom ludoschu porodjenu vrlo preciznim bombama da bi se fino razvila u kolateralnu shtetu (damaged ungoods) bezim u manastir iz kojega me pod loshim izgovorom i credom izbacuju. u to vreme student muzike- kompozicije.
onda ilegalno prispece u evropu (bez rechi, novca ili utochishta) odmah nakon utihnulih borbenih mera humanitarnog bombardovanja, boravak kod X****** sina Y**** i izvesne modelsice iz srbije u parizu- lektira prousta i kino do granica iscrpljenosti- red chetvrti, ako moze. odrednice - ljudske glave koje u kinu ispred sebe ne volim videti.
poseta nemachkoj i sudbonosno zadrzavanje u obliku zene zbog koje sam umislio da je jedino zena ta koja mushkarca moze da osvesti i uchini da ovaj otelotvori svoje potencijale, kako kad dobro skrivene u donjem stomaku. ne kazem da mozda u nachelu tako i nije; ali, avaj, puno nesrece i jedno divno stvorenje koje mi otkriva chari dobrote i pouchava da je covek razumom odredjena zivotinja - animal morales, moralno obdareno bice. bez obzira na lektiru, okolinu i princip zla.

snimio sam par kratkih experimentalnih filmova koji se bave uglavnom psihoestetskim proporcijama, poltichkim strukturama moci i nesvesnom sa njima u vezi, shizofreniji kao retkom preostalom obliku autentichnosti i revolucionarni element u okviru kapitalistichkog poretka i sistema.ono do chega mi je sada stalo je poshtovanje chovekovog bica, ne dostojanstva ili demokratskih pizdarija. i nikako artificijelnog (umjetnog) svrsishodnog i racionalnog kulturnog nasledja.

pogledao sam nedavno jedan jovanovicev film iz 1971. "mlad i zdrav kao ruza"- prosto nisam mogao da verujem ochima kao je bilo moguce snimti takav film u sfrj, znajuci da se radilo o zlatnom kavezu (mislim u odnosu na tvrdji sovjetski kurs). prisetio sam ga se chisto radi naslova, ali mogu ti reci da sam zahvaljuci njemu unekoliko shvatio kako je od srbije nastalo to shto jeste. chak mu se ni estetski nema mnogo toga zameriti. (jovanovic je recimo snimio "pejzaze u magli", film kojeg odavno nisam pogledao ali mi se u mladosti chinio bahato trivijalnim, pa i vulgranim)

chudi me da nisi pomenuo griffitha ili pabsta, recimo - ali shvatam te potpuno. u tom okeanu otrova mashte brodolomnik obichno zaboravlja svaki metar ostavljen za sobom.(hehe).

ja cu ti reci shta sam danas povrshno pogledao, ometan od gungule katolichkih nevernika - koji kao da se stide i pomisli o verniku. full bad, kako su to ranije moji zagrebachki prijatelji primecivali. da li je josh u opticaju ovaj obrt?
"touch of evil" -wells je ovaj film snimio ali ne i montirao. naime, bossovi su reklida ne dolazi u obzir da njegova takva verzija ode u sale, na shta je ovaj popizdia, odmah seo za mashinu i napisao 30. memoranduma rada na filmu i kako ga on zamishlja.
carravagio dereka jarmana- rekonstrukcije scena kakve ih je carravagio mogao i postavljao jako su mi se dojmile. poetsko-naratorski pristup i reshenje takodje(h)r.

pomenucu i cheha schwenkmeiera i njegov film "lunacy" koji sam nedavno pogledao. od srca ti ga preporuchujem. kipi od de sada, lacana i nepodobshtina.
sada moram shtrajkovati jer mi se jadna ledja povijjaju preko pupka.

pozdravljam te,
sei mir gesund und bleib stark wie du bist,
moralno-intelektualna gromado

Ehnaton je bio dovoljan razlog za sljedeće pismo:

nedvoj(e)beno (ovo je zaista nastalo iz sluchajnog tipfelera) znash za onu prichu da ako djavo govori i jedan jezik, to mora da je madjarski (?ili jeste).

ali, predjimo sada na prichu u kojoj i uzburkanog preinachavanja od ljudi djavolu nema mesta.

naime, danas sam imao neopisano zadovoljstvo da delimichno prozmem prichu o Mozesu (mojsiju nashem -(egipatski: dete) i po prvi put. ali i da zamislim bice koje bi imalo natprirodne sposobnosti a u vidu chulnog dozivljaja vida titravozelene aure isparenja otrova koje svakim danom unosimo u sebe, shto ljudi peruci se , recimo, samo prividno sa sebe otklanjaju. ali, chuj ! nekima je i to dovoljno.
ne bih zeleo da ova nasha jednokratna prepiska postane suvishe imtimna; istovremeno nalazim to za "luckasto", kako bi to rekle drazesno rekle tete sa televizije. (oprosticesh mi ovu malu sigresiju)
mislim da sam, takodje, shvatio zashto (upravo, ne zashto vec sam uglavnom sprechen da pishem ili to radim sasvim nespretno - pishem vodeci pero kao bambi svoje glatka kopitima po ledu. u skladu sa time imam valjda i veliku tremu; na drugoj strani, uvideo sam da sam u, potpuno banalnom i svakodnevnom, umgangu sa svetom i u njemu vrlo vicakst -recitovao sam recimo: alle meine repliken, scheißen auf die weinachten!, govorio stvari koje su sagovornike, na moje snebivanje, ponukale na duboke uvide- shto im se, rekao bih, im se retko deshava.
kao shto vidiish, danas je pala dobra ispasha na beskrajnim livadama saznanja.

prijatelju sa kojim igram muziku (divno je muzicirati jer je to uzvishena igra, i uglavnom nakon svirke dolazi do plodonosnih uvida)- koji inache takodje radi za televiziju, pravi filmove sa jednim tako autentichno-brbljivim chovekom-performansom) filmske kolaze etc.-
pricao o tebi. on mi je rekao da imam srece da me uopshte bilo ko chita, pritom josh oshtrooki chitach. klimnuo je glavom. i inache su chitachi sumnjivi (verdächtig), dodade, naslucujuci tek koliko samo istine ima u njegovim rechima, dakle ne znajuci pravi razlog shto je tako, ali na chudan nachin delimchno istinito, shto je i vishe nego dovoljno na svetu koji je istina idavno napustila, ako je ikad bila tu. otputavala vozom, odletela ...sugestivno primetih: als Pulverfässer (doslovno - kao burad baruta). on se hotimichno i po inerciji slozio.
ako si tu trenutno , rado cu ti pisati o mojsiju, jednoboshtvu, egiptolozima i o jednom kojeg sam sreo i upoznao u vozu, faraonu ehatonu i egiptu i, za pochetak, na kraju o tome da li je zapadna civilazacija (das Abendland) na prekretnici i raskrscu izmedju - budizma, konfucieve vera u Mudrost i Opushtenost, ionske i helenske misli (chiji su se akteri barem kasapili podstaknuti politichkim pitanjama moci), sjaja i chistoce egipatskog Panteona u ochima grka i rimaljana ... izabrala onu ropsku i opasnu stranputicu u vidu monoteizma? valjda zbog religioznog genija jevreja, autentichnosti njihove nacionalne pobune i vaskrsnog ostvarenja tako alegorichno slikovitog ponovnog rodjenja sa sve prolaska kroz more (simbol radjanja) i prelaska Ocu pod mrachnosvechanim nebeskim svodom shto se pruza u daljine i kakvog poznajemo sa slika vrcavim religioznim nijansama)... njegovog duha u egzistencijalnom grchu negde na pola puta izmedju neba i zemlje, zemlje i neba... zbog njihove upornosti valjda, da prognani i pokorni, ropski ustraju u mrznji prema egiptu i grubom nastojanju da ne zaborave odakle dolaze... zbog pisane Svete Rechi, koja se danas zahavljujuci velikom broju nezgodno i tiho pritiskajucih arheoloshkih pojavljuje kao strogim cvecem okicenu i ulepshana pricha o istoriji starog izraela - gorki uvid (za po nekoga) u to da su glavni radovi na starom zavetu usledili tek u 4-5. veku pre hrista. pisci biblije prekrili su koprenom retrojekcije sopstvenih snova o nadmoci svoje zemlju izraela kao super sile., koja je strpljivo i dosledno vekovima tkana, od strane svrgnutih i porobljenih- sada shvatam neitscheova pozivanja na ropski mentalitet na chijem se tlu, kao korov i paradoxalno, dobro prima pelcer vlasti, teznje ka moci. ponizenje i uvreda su u nacionalnom kao chvorsihta u neuralgijskom nervnom kostimu naroda...narativna inverzija, preokretanje priche . ... . dogadjaji u stvarnosti su u tori jako izoblicheni ili mozda potpuno
preokrenuti; Hiksosi (ljudi sa istoka, dakle,prajevreji) su kao prvi svirepo osvojili i porobili egipat, u kojem su palili gradove, skrnavili svetilishta, i uopshte se vrlo neprijateljski ophodili prema stanovnishtvu, nedge u 17. veku BC; isti oni potomci hiskosa, sada gonichi stoke i beduini koji mora da su poneli izvesna secanja na 108-godishnju uspeshnu opsadu egipta proterani u pustinju, uzimali nekih 16. stoleca kasnije uchescha u duhovnom zivotu osvajacha iz egipta. egipat je bio uzvisheno lice civilazacije, izvor mudrosti...
narativna inverzija: u tori su ove tri etape potuno izokrenute : hebrejci su pojavaljuju kao prinudni radnici,, zive u ropstvu na nilu, pre nego shto mojesije povede narod u velichanstveno oslobodjenje.
da privedem kraju: shta me je posvetilo u ovu prichu ? indirektno i posredno pricha o Ehatonu, najtajnovitijem faraonu, pretechi legendarnog is srditog mojsija u stavri jednoboshtva - izgleda da su jevreji i hrishcani sve do sada uspeshno precutkivali, uz manje vishe ometanja od recimo freuda i josh par nauchnika, chinjenicu da su ljubomorno chuvanu licencu na monoteizam preuzeli od omrazenih ih im egipcana, zaparavo prevratnog faraona echatona, 18. dinastije, koji je utro put jednobosthvu nasilnom racijom sprovevshi Firmament (nebesku tvrdjavu) - kralj se klanjao samo jednom bogu, bestelesnog Atona, predstavljenog u vidu zrachece, bleshtave suncheve ploche - bog svetlosti i sunchevih zraka, u kojeg se pod smrtnom pretnjom imalo verovati.( ovome se ima dosta toga isprichati, ali drugi put).

za kraj preprichacu ti ukratko moguce reshenje jedne tolerantne religije kojeg nam dariva Lessing sa njegovom "ringparabol" (parabola prstena) - otac ima tri sina i jedan prsten, koji ima tu moc da nosioca uchini umilnim bogu i ljudima. Kome da ga zaveshta ?svu trojica su mu jednako mila, tako da daje u izradu josh dva i dajekao originalni (pravi) svakom od sinova po jedan. sva trojica trude se sada za ljude i boga umilne zivote da vode, tako da nije bitno a i nikada necemo saznati, a ni oni na srecu, ko je dobio pravi ? da li sam otac to zna?

moramo da se otarasimo predstave da smo u posedstvu jedne absolutne, u otkrivenim spisima/spisima otkrivenja polozenu istinu.
sve religije su jednako daleko udaljene od istine, koju ne mozemo ikad da posedujemo: mozda samo stremimo.

tebi zahvalan i trenutno posvecen,
m.

Konačno, nedavno mu je valjda bilo dosadno pa je na nekom beogradskom forumu počeo polemiku u kojoj nije dugo sudjelovao; rekao je svoje i otišao...

Vise miliona internet korisnika vec ispunjava ovu sablasnu dolinu, koja se tek zahuktava u gradnji na internet portalu "Second Life", paralelnom svetu chiji "korisnici" uskachu u nove identitete i maske iz svojih snova - u ovoj paralelnoj surrealnosti, digitalnom maskenbalu, sve je moguce; zapravo, sve se mozze kupiti (za novac, naravno: valuta linden dolar, 256L$ = 1 US$)-
a i prodati.
nikada se ne zna ko se krije iza chesto morbidnih avatara (mada ima tu i pravih manga lepotica) - zena , muskarac, trgovachki putnik, mamin sin koji sada dole na uglu valja gudro, smerna i gotovo usahla domacica koja u potrazi za wild sexom obija partyje od NY do Tokia, prelecuci ocean za tren oka (u SL-"drugom zivotu") ...
dakle utopija kao a-topija.
nekoliko rechi o izmeshtenoj digitalnoj nekrofiliji koja svoj izvor ima realnom svetu lishenom explicitnih maski (u drushtveno-politichkom smislu)-
Imati i Biti- dva supstantiva od kojih se sastoji danashnji svet,na koje se on moze podeliti -"imati" (Haben) odgovara duhu nekrofilnog drusthvenog tipa , koji zudi i obozava mrtve stvari, i biofilnom - koji uvazava i shvata chovekovo bivstvovanje kao osnovu postojanja (Sein). da li u novom svetu ima mesSTA DUHOVNOSTI?
Ova teznja za maskiranjem u cilju opstanka nije nishta novo u istoriji ljudskog razvoja; vec Odisej uzima lazni identitet na sebe, ne bi li se spasio izvesne smrti .
ovde ali imamo maskiranje kao emancipaciju travestije jastva. u cilju konsuma, sexa, ubijanja vremena, u borbi protiv dosade, kao ostvarivanje dugo sanjanih snova etc.
exponiranje Ja, njegovo iz-laganje na nachin drugachiji - u sigurnom utochishtu zaklona doppelgängera (Dvojnika) i okrilju skrivenosti iza avatara (koji mozze biti i Furry, dakle zivotinja- zec recimo, kao onaj Alisin).
Second Life je forma digitlane evolucije, koja ima razantni tempo: i sivo ogledalo jednog novog, skucenog i buduceg zivota - skuchenog upravo svemogucnoscu.
vec se, takodje, nazire uskomeshanost i vreva kopacha zlata, ekonomskih pionira u lepome novome svetu;
u kojem chak i kaludjerica, recimo, mozze svoj nasushni hleb da zaradjuje na shtrafti kao prostitutka da bi izgrdaila jednu cyber-crkvu, a da niko nikad i ne posumnja u to - jer sumnji nema mesta onde gde je sve moguce.
SL josh je za mene prilichno neispitana teritorija (terra incognita) , ali kako je teshka boles' mislim da ce tako i ostati.

Znam da bi Igra volio promjeniti naslov ovoj pjesmi:

Na drugoj strani svijeta:
IGRALE SE DELIJE

Srb je Hristov - raduje se smrti

Kosovo - Najskuplja srpska reč

„A kad care saslusao reci,
Misli care misli svakojake:
“Mili boze, sto cu i kako cu?
Kome cu se privoleti carstvu?
Da ili cu se carstvu nebeskome?
Da ili cu se carstvu zemaljskome?
Ako cu se privoleti carstvu,
Privoleti carstvu zemaljskome.
Zemaljsko je za maleno carstvo
A nebesko u vek i do vekova.”
Car volede carstvu nebeskome,
A nego li carstvu zemaljskome.”

Pre šest vekova ništa se na globusu nije dogodilo značajnije od boja na Kosovu Polju.

I danas, posle šest stotina Vidovdana, za sudbinu srpskog naroda ništa nije presudnije od bitke koja traje na Kosovu i za Kosovo.

Ishod Kosovskog boja još se ne zna, kako onog negdašnjeg, tako ni ovog današnjeg.

Od početka pretrajavaju dve stvarnosti i dve istine. I ne ustupaju jedna drugoj. Što vreme više odmiče, sve se manje zna hoće li nas onebesati ili progutati kosovska rana.

Kosovo osvanjuje svakog jutra. Svaki dan je jedna godišnjica i jedna zadušnica. I danas se tamo kao i na Vidovdan 1389. vidi "ko je vera, a ko je nevera".

Kao da srpski narod vodi samo jednu bitku, gine u istom boju i na istom polju, proširuje kosovsku kosturnicu, "ridanje na ridanje pridodaje", nove mučenike pribraja kosovskim mučenicima.

Kosovo je odavno stiglo do Jadovna - i pravo je čudo da ime Kosovo nije dobila sva srpska zemlja.

Kosovo je najskuplja srpska reč. Plaćena je krvlju celog naroda. Po cenu te krvi je ustoličena na prestolu srpskog jezika. Bez krvi se nije mogla kupiti, bez krvi se ne može ni prodati.
Polutar srpske planete

Narodna poezija dokazuje da je sudbinu srpskog naroda rešila jedna reč: car volede carstvu nebeskome. Reč je zadata jednom zauvek, i zauvek smo joj postali obavezni i više se nikad nije mogla i ne može povući.

Kosovo je polutar srpske planete. Krov donjeg i temelj gornjeg sveta. Tu se svest srpskog naroda presekla na ono do i ono posle Kosova. Kosovo je posrbljena priča o Potopu. Srpski Novi Zavet.

To je premjena koju spominje Vuk Karadžić "koja je tako silno udarila u narod da su gotovo sve zaboravili što je bilo donde, pa samo odande počeli pripovijedati i pjevati".

Jezik je jedino što na Kosovu nije pokošeno, jer jezik ne gori, niti se topi, ne mogu mu ništa sečivo, ni olovo.

Kosovo je najvažnija misao, najkrupnija zamisao, najsloženije zaumljenje srpske kulture. Ime za ono najvrednije što smo dali hrišćanskoj civilizaciji. Kosovo je prestonica srpskog umetničkog carstva. Ostavština i zaveštanje srpske umnosti i duhovnosti čovečanstvu. Legenda uz koju raste srpski narod.

Kao što se do pojave novog Hrista neće razumeti poruke Novog Zaveta, tako do kraja nećemo dosegnuti naum kosovskog zaveta. Mi još uvek znamo samo priču o priči, a ono što zna priča sama, to će možda zauvek ostati tajna.

Tajna je tako htela da se carstvo nebesko u poeziji o Kosovu spomene samo jednom. I to podvlači važnost i povećava skupoću ove reči. Pesmu Propast carstva srpskoga u kojoj je ovaj stih, čuo je Lukijan Mušicki na nekom vašaru kod manastira Šišatovca od nepoznate slepice iz Grgurevca.

Kao u kakvoj biblijskoj legendi, ne zna se ni ime, ni godine, ni poreklo slepe žene, kod koje je Stefan, đakon šišatovačkog arhimandrita, našao i zapisao početak kosovske epopeje. Zna se da bezimena slepa žena nije znala značenja reči koje je čuvala i pevala.

Tako smo tek 1817. posle oba srpska ustanka, dobili pesmu koja je naknadno zauzela svoje mesto na početku srpske Ilijade:

Poletela soko tica siva
Od svetinje, od Jerusalima
I on nosi ticu lastavicu.
To ne bio soko tica siva
Veće bio Svetitelj Ilija,
On ne nosi tice lastavice
Nego knjigu od Bogorodice,
Odnese je caru na Kosovo,
Spušta knjigu caru na koleno
Sama knjiga caru besedila...

Knjigu ne nosi niko drugi do Svetitelj Ilija - onaj koga su kao dete anđeli povijali ognjem, a hranili plamenom. Onaj koga je Bog često slao Izrailju da grešnike privede pokajanju. Knjigu ne šalje niko drugi do Bogorodica, a koju bi drugu knjigu od svetinje od Jerusalima slala Bogorodica po Svetitelju Iliji ako ne onu jednu jedinu, knjigu svih knjiga, knjigu o svom Jedincu.

I šta bi Car Lazar čitao uoči odsudnog boja, nego Novi Zavet. I šta bi mu drugo knjiga sama govorila, nego da će opet biti kao što je pisano, da su došla pošljednja vremena. Na Kosovu će se ponoviti sudbina Hristova, jer koga bi drugoga Mater Boga Našega u Lazaru prepoznala i čija bi se drugo sudbina na Kosovu obnovila? Odakle je tica poletela, tamo će i doleteti. U srpskom narodu će se dogoditi Jevanđelje.
Muka kaže cijenu junaku

Car Lazar se privoleo carstvu nebeskom i već ta srećno nađena jedina reč govori koliko se dvoumio i "mislio misli svakojake". Nije li i sam Hristos već presuđen i pomiren dozvolio svojoj ljudskoj prirodi da se sa krsta oglasi rečima: "Oče, zašto si me ostavio?" Kao što je i Majka Jugovića, Boga domolila (da joj Bog da oči sokolove i bijela krila labudova), što se može razumeti jedino tako da se molila toliko dugo dok je okrilatila i na nove oči progledala.

Caru Lazaru je ishod boja bio poznat. Kazala mu ga je knjiga sama. Izabere li carstvo nebesko - nije rekla tek da će izgubiti boj, već nešto poraznije: sva će tvoja izginuti vojska. I konačnije: ti ćeš, kneže, s njome poginuti.

Muka kaže cjenu junaku - varijanta je stiha koji je ostao neštampan na margini rukopisa Gorskog vjenca. Mi ga ovde navodimo, jer je muka odista kazala cenu kneza Lazara.

Od tada on ne postupa kao smrtnik, već kao onaj sa kojim se poistovetio. Smrtnik bi pre dojavio nekome da ne dolazi, nego što bi prokleo svakoga ko ne dođe. Mi ga nedovoljno razumemo, ali zar smo više razumeli onoga ko je neuporediv i po stradanju i po smislu.

Čim je krenuo na ročište, znamo i gde će dospeti. Prinoseći na žrtvu sebe i svoj narod, i on najpre priređuje večeru, a potom poziva u boj i starozavetnom kletvom proklinje svakoga ko izostane. Mi već možemo porediti i večeru s Večerom i besedu s Besedom i Maslinovu Goru sa Kosovskom Gorom.

U crkvi koju je sakrojio na Kosovu i koju pesnik ne zove slučajno Samodrža "tri nedjelje trides kaluđera" ispoveda i pričešćuje vojsku koja za datu reč odlazi u smrt. Nije pošteđen ni soko na ruci, sestri ne ostaje ni brat od zakletve, a junak venčava devojku rečju koju svet do tada nije čuo:

Evo t' idem poginuti dušo!

Od reči patrijarha Danila Banjskog, kosovskog savremenika: Umrimo da večni živi budemo! - do Đakona Avakuma, od pokliča Đure Jakšića: Padajte braćo! - do lozinke patrijarha Dožića: Bolje grob nego rob i smirene reči Vukašina iz Klepaca:

"Samo ti, dijete, radi svoj posao!" - ne prestaje oduševljavanje smrću, ne jenjava obasjanje idejom vodiljom, ne posustaje rešenost srpskoga naroda da gine:

Idem, sejo, na Kosovo ravno
Za krst časni krvcu prolevati

I za veru s braćom poginuti...
Ne bih ti se junak povratio
Ni iz ruke krstaš barjak dao
Da mi kaže družina ostala
Gle kukavca Boška Jugovića
On ne smede poći na Kosovo
Za krst časni krvcu prolevati...

Ja nevera nikad bio nisam
Nego sutra mislim na Kosovu
Za 'rišćansku veru poginuti...

Srb je Hristov, raduje se smrti!
Blago tome ko ranije umre
O manje je muke i grijeha...

Da junački braćo poginemo
Rad slobode i rad otačastva...

Slavno mrite kad mrijet morate
Vaskrsenja ne biva bez smrti...

Blago tome ko se tu nagnao
Već ga rane ne bole kosovske
Već Turčina ni za šta ne krivi.

Kad ogrije na zapadu sunce
Tada ću ti sa Kosova doći.

U ovakvim rečima, koje su izgovorili različiti ljudi u različitim vremenima, našla je oslonca i reč majora Gavrilovića: "Vrhovna komanda brisala je naš puk iz spiska živih. Mi više ne moramo misliti o svojim životima. Napred u slavu!"

Nepoznati pesnik pevajući o još jednom Kosovskom boju ovoga puta na Mojkovcu 1915. kaže:

Uskoci se grabe i Drobnjaci
I Šaranci krvavi junaci
Ko će prije žicu prekinuti
Raniti se ili poginuti!

Na Kosovo će, u presveto ime Isusovo, otići i Musić Stevan, brat Kosovke devojke, mali vojnik a veliki poetski lik koji je stigao kad je boj bio okončan i nastavio bitku bez izgleda tek samo da bi poginuo.

Kosovski junaci su otišli u nebesku grobnicu u kojoj niko nije ni istrulio, ni ostario, niti je i jedna duša ikada na nebu zakopana.

Kraj boja znamo još pre početka, a sa najvećim očekivanjima pratimo njegov tok, naslućujući da se događa nešto više od samog boja, nešto važno za ceo ljudski rod. Kosovski junaci se bore do kraja baš zato što znaju kako je presuđeno. Bore se onako kako se na zemlji bore oni čija se nada premestila na nebesa.

Bore se, jer su hrišćani, a glava je mera koliko su to postali.

Car Lazar je, navode onovremenici, sagnuo glavu pred dželatom da bi poraz bio potpun. Njegove velmože su molile da prime smrt od mača pre njega, kako svojim očima ne bi gledale smrt svoga kneza.
Biblijski likovi pod srpskim imenima

Kosovo je najbolje zapamćeni boj u srpskoj istoriji, a istorija ne jamči ni da ga je bilo. Bio je potreban čitav vek da se počne dolaziti svesti šta se odista zbilo, a ni šest vekova nije bilo dovoljno da bi se sve do kraja razjasnilo. Odista, tu ništa nije bilo očigledno.

Prvi koji su naslutili veličinu događaja nisu bili ni njegovi učesnici, ni hroničari, ni istoričari, već monasi. U početku ih je bilo malo, kao i posle Golgote. Što je prizor više potanjao u bunar vremena, kao da su se jasnije ukazivali i uobličavali biblijski likovi pod srpskim imenima. Kao da je ono što je govoreno kasnije bivalo i verodostojnije. Ili se iz daljine jasnije uočavalo ili se doznavalo onoliko koliko se otkrivalo samo.

Predanje i kad izmišlja, ne izmišlja sve, jer se sve i ne može izmisliti. Ono stvara ili obnavlja neku realnost čiji nam smisao izmiče, jer je čovek dublji od svakog događaja. To nas navodi na pomisao da je ono slutilo neku suštinu nedostupnu znanju i da bi stvarnost pre potvrdila bujne naslute pesnika, nego štura doznanja istoričara. I kao što su iskopavanja našla Bibliju u pesku i kamenu, ni Kosovo ne bi bilo izuzetak. Ono što nosimo u kostima, mora da se i zasniva na kostima. I zato verujemo da bismo ih pronašli na Kosovu, kao što su ih Mađari pronašli na Mohaču. Kosti su najveća svetinja svakog naroda.

Jedino se jamačno boj zbio na dan Svetoga Vida, vidara očiju, lekara sumasedših. Na Vidni dan, Vidovdan, srpski prvi dan, praznik od iskoni, prozvan i po travci vidovčici, leku od okobolje. Na dan kad se seme iznosi na sunce, a kukavica prestaje da kuka. Kad na sve srpske izvore u gluvo doba noći navire krv kao na otvorene rane. Ti izvori su i izvori predanja, koji obnavljaju pamćenje, imena i slike, starije i dublje od svakog znanja. Dan u koji se sastaju i Sveti Amos, krsno ime cara Lazara i Sveti Vid - dvanaestogodišnjak, bačen u kazan rastopljenog olova, zbog koga je anđeo uzeo silu ognju.

I kad ne bismo poklonili veru Srbima, moralo se verovati Turcima, ako ne živima, a ono mrtvima.

Nikada ni u jednoj bici nisu poginula oba vladara, a ni jedan turski sultan nije našao smrt van svoje zemlje, do sultana Murata na Kosovu.

To nije bilo lako sakriti, a još teže je priznati. Turci nisu imali sultana da bi ih gubili i zaboravljali gde su poginuli. Muratova glava je vraćena u Brusu, ali su mu trup i sin Jakub zauvek ostali na Kosovu. Poginuli su od onih za koje se mislilo, kako kaže vizantijski pisac: "da ni samu vest o sili koja se na njih priprema neće izdržati, nego će na sam glas svi u okean poskakati."
Poraz je otkriće poezije

Kosovska bitka je stekla slavu najvećeg poraza, a kritička istorija sumnja da je to bio poraz. Ni jedan izvor ne govori da su Turci pobednici, a svi izvori ćute da su Srbi poraženici.

Poraz je otkriće poezije. Poezija se odlučila i saglasila da je to bio poraz, nalazeći u porazu veću dobit od zlobiti. Konačnost poraza je dala silu početka beskonačnosti poezije.

U skrivenom smislu poraza su tajni podstreci i živi podsticaji koje poezija nije nikada potrošila. Tamo gde poezija nađe oslonac, tu je uvek i najveća dubina.

Poezija je zasnovala svoje poprište posle boja, uveličavajući poraz da bi umnožila duhovnu svojevinu. Zapevalo se o porazu kako ne pevaju poraženi, već oni koji su kadri da prime takvu presudu. Ne ponosimo se porazom, ali ne verujemo u zemaljske pobede. Poraz pod krstom časti, poraz je pod visokim uslovima. Pobeda je to najvećih principa i poslednjih odgovora. I smemo li reći: neka je prost poraz koji donosi toliku veru i takvu poeziju.

Istorija je podsećala i na Lazareve pobede i bojeve, ali poezija za njih nije htela da čuje.

Poraz je pobeda pamćenja. Da nismo poraženi sve bismo zaboravili. A ko se ničeg ne seća sve mu se može uzeti.

Kosovo je rodila sloboda stvaralačkog čina, a ta sloboda mora biti apsolutna. Zato je na Kosovu spasena naša duhovna čast. Zato Kosovo izaziva toliko uzbuđenje nacionalnog ponosa i zato je etika naša jedina politika na Kosovu. I danas kao i 1389. godine na Kosovu smo branili ljudska prava.
Kosovo pre Kosova

Istorija je dovodila u sumnju čak i mesto gde se bitka dogodila, a poezija je Kosovo uočila još pre Kosova. Poetska pronicanja su dosegnula da će to ubavo polje postati ne samo ubojno, nego i usudno i presudno. Pesnik je ovo polje odavno izabrao da smesti svoju pesmu.

Pretkosovske pesme počinju otmicom žena i Banović Strahinja baš na Kosovu pokazuje svoju moralnu retkost.

I Marko Kraljević ide pravo na Kosovo kod bijele Samodreže crkve da presudi na kome je carstvo. Majka Jevrosima izgovoriće pre Lazarevog opredeljenja, reskije i srpskije svedenu biblijsku reč:

Bolje ti je izgubiti glavu
Nego svoju ogrešiti dušu.

Eto kolika je vrednost duše i kako je reskira svako ko se odluči za život po svaku cenu.

Kao da su još iza Karpata Srbi nosili neku nesreću i krenuli na tajni zov ka ovom polju, a da ni naknadna pamet ne zna šta ih je pokrenulo baš na ovu stranu i vodilo ka Kosovu.

I Murat ne ide na Lazara, nego na Kosovo i Lazar ga ne čeka u Kruševcu, nego na Kosovu. Na Kosovu zato da predstavi celinu svoje zemlje i nemanjićske loze. Za Murata je Kosovo glavna kapija ulaska u grkljan Srbije i glavu Evrope. Muratu kapija za Evropu - Lazaru za nebesa.

Pesma svesaznateljka i njena sveuvidnost preuzela je na sebe odgovornost da utvrdi tok boja, odredi učesnike i presudi pobednika. Čestitoga kneza je proizvela za cara, caru dala caricu, carici braću, braći imena. Nije zaboravila ni slugu Milutina, Vaistinu i Golubana. Nije izostavila imena ni hrtova, ni konja. Saznala je ko je kome bio kum, ko pobratim, ko dever i tako dovela u krvno srodstvo ceo narod. Prizvala je i one koji su umrli pre boja i povratila one koji su se rodili posle njega. Dovela i Arapa prekomorca, uočila kakve ko ima oči, odnekud doznala i boju glasa svojih junaka. Tako smo dobili dragocene pojedinosti koje je jedino mogla doznati poezija.

Sultana Murata istorija nije upamtila po dobru. Ali poeziji je za njenu pređu bio potrebniji plemeniti Murat. I ona se nije obazirala na njegovu surovost, nego ga učinila obazrivim prema Srbima, od čije je ruke poginuo. Prisen moralne osetljivosti jezika oseća se i kad pesnik ne kaže Miloš ubi, već Miloš zgubi turskog car Murata. Kosovo je postalo poetska pravda i za Turke. Sa Kosova su krenule dve istorije i jedna poezija.

U kosovskom predanju nema ništa što se kosi ili spori sa drugim narodima, sem ako nije greh i golo postojanje, i samo pripadanje jednom narodu.

Na Kosovu niko nije zakasnio i još uvek sam može izabrati i ulogu i stranu.

U velikim bitkama gotovo nikad nije poginuo ni jedan veliki junak, a kamoli vladar. Nije li smrt kneza Lazara i Miloša Obilića odlučila i ko je najveći junak i koja je najveća bitka.

Na Kosovu se probudila naša nacionalna savest, a kad se savest jednom probudi više ne može zaspati.

Kosovo je ime za našu nebesku otadžbinu, a tu otadžbinu možemo izgubiti samo duhovnim samoubistvom.
Hramovi su glavni gradovi srednjevekovne Srbije

Carstvo nebesko Srbima nije bilo nepoznato, već su vekovima pisali i crkve i knjige. Već su poodavno bili pravoslavni i zato plaćali najveću ljudsku cenu. Nebo je bilo bliže i prisnije našim precima, nego nama. Nebo i zemlja nisu bili toliko udaljeni kao danas. Na svodovima hramova svodili su ga na zemlju. U bogomoljama su mirisala tela srpskih svetih kraljeva, a na zidovima, u oltarima i na ikonostasima njihova lica su zasjala pomešana sa likovima svetaca. Loza Nemanjina stajala je uz lozu Jesejevu. Nisu bili poznati po nadžacima i buzdovanima, već po zadužbinama koje su ozidali od Jerusalima i Svete Gore, preko Grčke i Vizantije, do Rusije, "dok su duši mesta uhvatili".

Već je protoneimar Rade u Skadar uzidao nevinu žrtvu,* ostavljajući joj prozor na očima i otvor za mleko - kroz koje je progledavao i hranio se ceo narod.

Lazar je Nemanjić odavno "sedeo u stolu njinome". Preko njega su Nemanjići dospeli na Kosovo. U idući svet se uputio mireći crkvu, pomažući Hilandar, idući u Jerusalim, zidajući Lazaricu i Ravanicu. Pevač je odlučio da ga o zidanju i trajanju pouči Miloš Obilić, koga je i Dušan slao u Mletke po krste i ikone.

Lazar se potpisivao sa dva mastila. Krunisan je sugubim, dvostrukim vencem i duša mu je ostala na oba sveta.

Nemanjići su ispod raskošnih carskih odeždi nosili kostretne rize, ispod pancira drvene krstove.

Pevač je Boška Jugovića poklopio krstašem barjakom, više epitrahiljem, na kome je bilo 12 krstova, koliko je i apostola i koliko nikad ni na jednom barjaku nije bilo.

Naš unutrašnji put nas je doveo na Kosovo.

Sve što se pojavilo na Kosovu, odavno je bilo u nama.

Trideset četiri godine pre Kosova smrću cara Dušana okončana je propast carstva srpskoga. Nije propalo samo ono što nije moglo propasti: Žiča i Mileševa, Sopoćani i Studenica, Pavlica i Dečani, Pećaršija i Sveti Arhangeli.

Hramovi su - zamkovi, carski dvorovi i glavni gradovi srednjevekovne Srbije. To su bojevi koje smo zauvek dobili, sazvežđa nebeskog carstva koja su neugasiva i nerazoriva. Ono što je njima građeno ostalo je u nama. Sva dobrota do tada posejana isklasala je posle kosovskog zatiranja.
Nebeske prilike

Kosovo najavljuju i nebeske prilike:

"Razgnevi se Gospod 1371.
Pojavi se zvezda repatica
I kuga po svoj zemlji
zvezde se pojaviše u podne
Mesec se zakrvavi
Poginu sunce meseca juna, šesnaesti dan..."

Te prilike su nastajale i pre Kosova i posle Kosova kad "viš Srbije po nebu vedrome nebom sveci staše vojevati". I Karađorđe će pričestiti vojsku pre ulaska u Beograd. I morački hajduci se prisećaju Kosova:

Evo ima pet stotina ljeta
Od kada nas ne ogrija sunce
A danas nas sunce ogrijalo
Zaratio Petroviću Đuro...

Na Kosovu su Srbi prvi put bili zajedno, a sastali su se da bi poginuli i okajali neslogu i nejedinstvo. Samo je najveći greh tražio toliko očišćenje. Samo se tolikim poginućem mogao dalje odvijati naum spasenja.

Nesloga i izdaja, presudne reči za sudbinu Srba vezane su za Kosovo. Kosovo je postalo jedino mesto gde su Srbi bili zbraćeni. A danas je jedino pitanje na kome su složni i nerazbraćeni. Složni za sebe, a ne protiv nekoga. Kosovo je jedina zemlja na kojoj Srbi kleče, ljube je i nose je u svojim torbicama.

Misli se da je polje Kosovo dobilo ime po ptici kos, a čini se da bi to bilo previše za tako malu pticu koje uz to ima i u svakom drugom polju i potoku.

Pre će biti da su na tom širokom polju bivale velike kosidbe, a da je to ime slutilo i konačno zapečatila ona najveća koševina, koja nije prestala do naših dana, a zove se kosidba glava.

Bilo je i većih iskopanja i pogibelji, ali se one u duhovnom životu Srba nisu ni primakle Kosovu. Najveće iskopnice nazvane su Kosovom. Pesma Propast carstva srpskoga završava se rečju koja nije imala odakle doći osim iz Crkve i koju ne nalazimo više nigde u narodnoj poeziji. To je reč: pristupačno. Njome se završava poklanje i poraženje Srba kad pogibe i Lazar i izgibe sva njegova vojska, sedamdeset i sedam hiljada. Pesma o potpunoj pogibiji završava se olakšanjem:

Sve je sveto i čestito bilo
I milome Bogu pristupačno.
Smrt pod svojim imenom

Ispred Srba su bile druge vere i civilizacije, tuđe sudbine i istorije.

"Iđaše zver ričući kao lav, tražeći
da proguta stado Hristovo".

"Amurat car pokorivši mnoge narode,
sa svima njima naiđe na nas."
" Od kopalja ni vetar nije mogao duvati."

Bilo je lakše primiti tuđe, nego odbraniti svoje.

Da smo tu sagnuli dušu, zauvek bi ostali pogureni.

Da smo se tu pokorili, trag bi nam poginuo i više ne bismo imali iz čega vaskrsnuti.

Birajući smrt pod svojim imenom, nismo izabrali ono što je bilo ispred, nego ono što je bilo u nama i iznad nas.

To je dokaz da smo već imali sebe, da smo bili ukorenjeni, užiljeni i usebljeni, da smo sebe imali i doveli dotle da smo se mogli pregoreti i ostati svoji na svome. Pristajanje na kraj je čin samosvesti i nepristajanja.

Izdali su oni koji su bili uvereniji u tuđe nego u svoje postojanje. Oni koji su napustili sebe i svoju sudbinu, uplašeni od svoje istorije i mesta gde živimo.

Što poslednji beste, zasluga je vaša - jedan je od velikih stihova o Kosovu.

Još pre Kosova, Srbija se rodila na Kosovu. Srbin je onaj koga se Kosovo tiče. Zato nemamo ništa ravno Kosovu ni u svojoj istoriji, ni na svojoj geografiji. Nemamo čvršćeg uporišta, ni jačeg duhovnog središta. Kosovo je ognjište oko koga je okupljen, okosnica oko koje je sadenut, kolevka u kojoj je odrastao srpski narod.

Kosovo je Krstovo. Tu se ukrstilo nebesko i zemaljsko carstvo. Pola u nama, pola iznad nas. Kosovo je najdublja rana, najduže pamćenje, najživlja uspomena, najmiliji pepeo srpskog naroda. Zaokretnica sa koje je najviše porasla naša duša.

Kosovo je granica dvema Srbijama.

Zemaljska odgonetka nebeske zagonetke.

Kosovo je svuda gde ima Srba i zato bi gubitak Kosova danas bio teži poraz, dublji potres, veći prelom u svesti Srba od onog iz 1389. godine.
Legenda neimar

Oboren udarcem spolja, srpski narod je počeo sebi dolaziti iznutra. Potrven do korena, oslonac je mogao naći samo na dnu sebe. Dno praznine koja je zinula, mogao je dosegnuti samo pesnički jezik. Tražeći početak bespočetnog, pesnik je tragičnu istinu pretvarao u blagu vest. Da bi umno postojao, vratio se sopstvu i od svojih duhovnih vrednosti načinio bedem opstanka. Spolja je pristao na sve da unutra ne bi primio ništa.

Kao što se u času poniženja može uočiti tren kad pojedinac postaje pesnik, tako se i u vremenima nacionalnog uniženja i potiranja može prepoznati i označiti kako se rađa pesnički genije jednoga naroda.

Ono što mu je trebalo za opstanak, srpski narod je ispevao, a one koje je izgubio na bojnom polju, povratio i oživeo u stihovima. Onome što je izgubio u realnosti, dao trajnost i oplakao u desetercima. I ne samo to: Srbi su se okupili oko likova iz svoje poezije. I još više - počeli da se na njih ugledaju, da ih slede, da se prema njima upravljaju. Da se u njih kunu i u njih veruju. Gde se istorija završila, poezija se užilila. Gde je prestalo istorijsko sećanje, tu je zavatrilo poetsko snatrenje. Zakukale su i tužbalice i ptice. Barjak, pao na bojnom polju, prenet je i podignut na viši, duhovni plan, i odatle ga više nikad niko nije mogao oboriti. ' Srbi se nisu proslavili bojem, nego pesmom o Kosovu, opevanim, a ne stvarnim junacima. Kosovo je odbranio duh, a ne oružje. Osvojio ga je pesnik, a ne vojnik. Reč, a ne sablja. Pesnik je odbranio vojnika u boju koji je započeo posle boja. Poezija je imala poslednju reč na Kosovu, a svaki boj donosi onoliko slave koliko pesma iz njega iznese duhovne snage i koristi.

Kao da je sudbina naroda prešla u nadležnost poezije. Reč je otpečatila zapečaćenu istorijsku sudbinu, otkrila put iz bespuća, uzela upravu i dala glavu obezglavljenom narodu.

Poezija nas je uzvodila, podizala i prestizala. Tako smo često dobijali i višak poezije i manjak stvarnosti.

Legenda neimar je kod sebe zaposlila ceo narod, učinila ga svojim junakom i kao pravda koja dela, a da ne zna, postala putokaz njegovom spasenju i prepreka njegovom uništenju. Ona i danas traži ono što joj treba i sama određuje koliko joj treba.

Legenda je preobražavala i sebe i nas, a preobražavajući se, nije prestajala da bude ono što je bila. I ma koliko se dovijala i menjala pravac, držeći sve konce jedne drukčije stvarnosti, namera joj je da dokuči realnost.

Kosovska legenda je došla iz najvećih daljina i u najveću daljinu je upućena. Izvađena je iz nečeg dubljeg od ljudi, večnog i neprolaznog, nedostupnog ljudskom razumu. Ona brine da na Kosovu ne bude ništa mrtvo, jer čim je mrtvo - nije Kosovo. Nama je ostavila

pitanja kojima se ona ne bavi: da li nas je Kosovo daleko odvelo? Da li smo mali za ovoliku poruku?

Kosovo nije samo polje na kome se odigrala Kosovska bitka, ni pozornica poraza i izdaje, ni grobnica dva cara - već Sion, mesto ukazanja, stajna tačka s koje smo krenuli uvis i pokazali sposobnost da poverujemo u nešto veliko i važnije od nas.

Kosovo je reč koja je otrovala srpski narod.

Polje na kome je poezija pobedila istoriju.

Na Kosovu se naša sudbina promenila, istorija razmrsila, duša očistila, otpočeo novi život srpske nacije. Njime je sve počelo i njime će se sve završiti.
Sumnja u najboljega i najvernijega

Na Kosovu su se istorija i poezija razdvojile. Poezija je postala nadistorija, umetnost vera.

Istorija nije uspela da odbrani Vuka Brankovića, u čijem se slučaju poezija pokazala okrutnija. Po tome se vidi koliki je bio greh ostati živ i uštedeti sebe i koliki je strah srpskog naroda od izdaje.

Čim je primio više naznačenje, Lazar je znao da ga neko mora izdati i brzo i lako posumnjao u najhrabrijega i najvernijega. Sumnja u Obilića je jedno od najoriginalnijih i najdubljih dosezanja kosovske pesničke zamisli. Izdaja najboljega je i istinski kraj, jer svi da izdaju to je manje nego kad izda jedan ako je najverniji. Bez najboljega i najvrednijega, ništa se ne može obnoviti.

Izdaja je postala središnja tema srpske književnosti. Nije isključeno da neki poraz ili izdaja koja je pretila ili se dogodila u poznijim vremenima nije pesnikovom voljom vraćena na Kosovo - i nije se umetničkim slučajem, nego naknadnim razlogom poslužio imenom Vuka Brankovića, čije je ime "postalo u srpskom narodu poznatije od Judinog".

Kosovskog porekla je i misao Pera Slijepčevića da Brankovići ne bi pali u toliku nemilost poezije da su više gradili za odbranu duše, nego za odbranu zemlje. Da li je tu ključ tolike bezdušnosti poezije? Jerina je prokleta, jer je zidala smederevsko utvrđenje, dok prokletih nema među onima koji su gradili Žiču i Sopoćane, Studenicu i Mileševu. Odbrana duše je, izgleda, bila najvažnija i poslednja odbrana.

Poezija je izrojila sazvežđe od devet Jugovića, Banović Strahinju, Kosančića Ivana i Toplicu Milana, Srđu Zlopogleđu i Kosovsku devojku, Dijete Lauša, Relju Krilaticu.

To su samo neke ličnosti kosovske epopeje, ličnosti nepoznate istoriji, ali u svesti srpskog naroda niko nije ni duže, ni više postojao. To su otelovljene ideje i ostvareni principi čije je postojanje bilo neophodno za postojanje celog naroda. Zato su i postali mnogo više, nego da su postojali. Nisu postojali oni, ali postoji onaj koji ih je stvorio, a to je srpski narod. I da su postojali, možda ne bi bili ni tako sveti, ni toliko hrabri, ali je toliko hrabar i tako svet njihov tvorac. To je tvorčeva, a ne njihova mera. Onaj koji je uviđao koga nema, ko mu treba, šta mu znači njihovo odsustvo. Kad mu je šta bilo neophodno, tada je i nastajalo.

U pamćenje su ušli iz poezije, i odatle ih više niko nije mogao iščupati. Teško je naći narod u čijem su stvarnom životu presudniju ulogu igrale njegove umotvorine. I možda je opravdana reč kojom je zamanuo Jovan Dučić da je sve što nije opevao srpski guslar od Triglava do belog mora umrlo za sva pokolenja. Može li se istinskije postojati nego što u svesti srpskoga naroda postoji Boško Jugović i njegov krstati barjak. Može li neko biti prisutniji u životu jedne nacije od njegove trojeruke majke, čija je treća ruka - zelena jabuka.

Pre Kosova njih nema, a bez Kosova gde su svi poginuli - ne bi ih bilo. Posle Kosova ima ih po svoj zemlji. Po njima se zovu brda, izvori, pa se čak i zadužbine koje nisu zidali vezuju za njihova imena.

Da vidite lijepu Tronošu
Zadužbinu braće Jugovića.

U to vreme nije bilo ni Pazara, a kamoli Relje od Pazara; ali danas postoje oboje.

Postoje kule i gradovi, crkve i grobovi, džinovska skakališta Miloša Obilića. Narod se u jednom kraju domislio da ga je rodila vila i doznao da se zvala Jelisavka, a u drugom kraju je to bila čobanica, zatrudnela sa zmajem.

Zemlja se otimala o ličnosti iz svog predanja.

U Jadru postoje dva mesta zvana Pustopolje i Nečaj. Ta imena je predanje ovako razjasnilo. Naime, glasonoša s Kosova tu je našao majku Miloša Obilića kako čuva ovce.

"Što ne čaješ Miloševa majko
Odbi ovce u to pusto polje
Miloš ti je danas poginuo!"

Kako onda ne postoje oni koji se srpskim vojskama priviđaju na oblacima i kako će nestati oni koje je jezik istkao i utkao u samu kost našega postojanja?

Kažu da se uzbuđenje kad se Obilić počeo prizirati na oblaku može meriti samo sa onim kada su Srbi posle pola hiljade godina ropstva doživeli da iz tame izroni krst i ponovo zabruje zvona davno ostala bez jezika.
Nosivost zgaženog jezika

Narodna poezija dokazuje da smo najbolje pevali u najtežim vremenima. Najveću otpornost pokazuje duh, a najveću nosivost zgaženi jezik.

Daje ropstvo kraće trajalo, naša narodna poezija možda ne bi došla do tolike zrelosti, tako složene poetike i poetskog umeća. I naše uspomene su u ropstvu bile sporne, pa se jezik morao dosećati i dovijati kako da ih obnovi. Najveća nužda iznudila je i najsloženije oblike poetskog izražavanja. Kao da smo najviše stvorili kad nas nije bilo, kad se za nas nije znalo, kad je jezik rudeo i cvokotao prekriven strahom i zaboravom. Turci je nisu voleli, ali ni do kraja progonili. Kao da su ustuknuli i nevoljno se priklonili istini da je umetnost nepotkupljiva, a maternji jezik može izražavati samo svoje iskustvo.

Da smo čekali slobodu da bismo zapevali, ostali bismo bez svojih najvećih vrednosti i to vreme ne bismo nikada nadoknadili.

Kao što se crnorizac zavetovan Hristu već dve hiljade godina ne odmiče s Golgote, ne skidajući s uma najveću nepravdu, a ispred očiju sliku stradanja najnevinijega - tako Srbin šest vekova ni za tren ne odvaja misao od kosovskog žrtvenika u strahu da bi pomišlju na nešto drugo ogrešio o nevinu krv kosovskih mučenika.

Najveća vrednost kosovske legende je što je živa. Što nije skamenjena, ni dovršena, ni razmršena. Što njena poruka nije umrla, ni misao zakovana, ni ideja zaglavljena. Što se kreće, uključuje nove naraštaje, traži njihov doprinos i tumačenje.

Zato je kosovska oporuka možda jasnija nama nego našim precima. A naša odgovornost veća nego ičija u ranijim vremenima.

Ono što je ispred, ostaje zauvek ispred, jer nema velikih naroda bez nedostižnih ciljeva, a večnost je muka u kojoj ni jedno pitanje nije bivše. Uz pesmu Propast carstva srpskoga, koju je Lukijan Mušicki, kako kaže Vuk "preko nekoga od svoji mlađi prepisao od neke slepice koja je u Grgurevcu sedila" od nje su zapisane i druge ključne kopče kosovskog kosmosa: Obretenije glave cara Lazara, Kosovka devojka, Marko Kraljević ukida svadbarinu. A to znači ne samo početak, nego i kraj i epilog Kosovijade.

U jednoj su stihovi o Lazarevom vaskrsu:

Pođe glava preko polja sama
Sveta glava do svetoga tela.

U drugoj je tužaljka verenice, već udovice, a sada vidarice, koja ranjenike hlebom i vinom isceljuje - i pričešćuje.

U trećoj je Markova Davorija:

"Oj, Davori, ti Kosovo ravno
Šta si danas dočekalo tužno
Mesto našeg čestitoga kneza
Da Arapin sad po tebi sudi."

Umetnost je najbliža religiji, ako nije i najstarija religija. Religije se razlikuju, umetnost ne, religije su nestajale, umetnost nije. Večita koliko i ljudi, umetnost ne može opstati ako je ovozemaljska i nije opšteljudska. Kosovskom legendom, srpski narod je postao narod-tvorac. Narodi koji ne stvaraju, ne ostavljaju ubedljivijih dokaza o svom postojanju.

Slična predanja, veru u jezik i u poeziju, nalazimo kod drugih naroda, ali "svaki narod voli da nešto nazove svojim". Od Kosova nemamo dublje duhovne svojine, ničeg što bi bilo u mirnijem posedu našeg razuma.

Kosovo je zauzelo našu središnju misao. Kosovo smo najduže odgonetali, o Kosovu najviše govorili i najdublje mislili, a najmanje rekli i sebe saznali. Kosovski nauk nismo dokučili ni iz njega dovoljno naučili. Znamo šta sve Kosovo nije, a ne znamo šta jeste.

Od Kosova nemamo više misli koje smo bili manje svesni, ni krupnijeg zaveštanja koga se nismo pokazali dostojni.

To nas je unizilo u očima protivnika, koji su krenuli da nas liše rodnog mesta nacionalne -samosvesti. I kad nam traže Kosovo, potiru nam početak, poriču svest, poništavaju postojanje.

Kosovo nam ne traže prvi put, a jasan odgovor dobili su još od naših praotaca.

Pitanje je - da li nam Kosovo danas traže zato što im se učinilo da ih nismo dostojni, da više ne znamo šta nam je Kosovo - ili baš zato što i oni znaju da i mi znamo šta nam je i ko nam je tamo.

Kosovo je očno dno srpskog duhovnog vida. Kosovo je toliko srpsko, da ga niko ko zna šta nije njegovo ne bi uzeo ni kada bismo mu ga nudili, a kamoli ga otimao.
Nojev kovčeg

Crna Gora je Nojev kovčeg isplivao iz kosovskog potopa.

Nojev kovčeg je bio načinjen ovako: u dužinu trista lakata, u širinu pedeset, u visinu trideset lakata. Na tri boja, sa dosta svetlosti, zatopljen smolom spolja i iznutra.

Nije drukčija, ni viša ni Crna Gora.

I kao što se Nojev kovčeg posle sedam meseci zaustavio na Araratu, ovaj je posle trista godina pristao pod koren Lovćena.

Jedan je sa zemlje odigla voda, a drugi krv.

U Nojevom kovčegu je od svega živog bilo uzeto po dvoje. U Crnu Goru je moglo stati samo jedno. To jedno je bio jezik, a u jeziku je bilo sve: i Kosovo, i kosovska misao.

Noje je iz kovčega puštao gavrana da vidi dokle je došla voda. Crnu Goru je preletela kukavica, sestra Lazareva, da vidi dokle je stigla krv. Reč je još jednom bila na početku i pokrenula sve iz početka.

Nikad nije bilo manjega sveta da je bio važniji. Ime Crne Gore je uskrsnulo sa kosovske grobnice. "Tu je skočila iskra iz gomila pepela veličine Dušanove, što nije umrla đe se ognjište srpsko utulilo, nego se pripela na goru te bjeska i dovikuje na sebe gromove zlobe i zavisti, kako zlatna igla potresne strijele oblačne". Nojeva golubica je posle četrdeset dana, a Lazareva kukavica posle četiri veka našla suvo da spusti nogu.

Kad se rodio Radivoje Tomov, u Crnoj Gori je već četiri stotine dvadeset i četvrtu godinu trajala kosovska bitka.

U njemu se svo naše zlo i dobro još jednom rodilo i preporodilo.

Pre Njegoša nismo imali ni tolikog pesnika, ni takvog vladike, ni ovakvog Kosova.

Kao pesnik, Njegoš je prestvorio legendu o Kosovu, kao vladika pozvao ne samo na osvećenje, nego i na osvetu Kosova, kao vladar poeziju pretvorio u stvarnost.

Narodnu poeziju je izdigao na visinu na kojoj nije bila, a Kosovu dao još jedno nebo.

Sam se obukao u kosovskog junaka, u raskošnu nošnju koju je sam smislio i skrojio, koju pre njega nikad niko nije nosio. Pa, ipak, čim su ga u njoj ugledali, u njemu su odmah prepoznali "onoga pravoga srpskoga bana sa Kosova".

Prvi je skinuo fes i nastavio korotnu kapu za Kosovom. Iz Kosova je izveo svoje poreklo i poreklo svoje porodice, a njegov narod svoju lozu iz kosovskog počela, svoj ponos iz poraza, a nadu iz kosovske propasti. Plemićska odora je postala narodna nošnja i svakog raetina podsetila da je vlastelin.

Za Crnu Goru, zemlju u kojoj su rođeni Nemanja i Sveti Sava - Kosovo je postalo mesto postanja. Tu je opet buknula svest, upalila se duša, otreznio zbunjeni gen srpskog naroda.

Sam Vuk kaže da je još u detinjstvu u Tršiću slušao da u Crnoj Gori Još od Lazareva vremena traje srpska vlada i carevanje". Kolenovići su, jer su od kosovskog kolena, plemići -jer su olicetvorenja likova nestalih u kosovskom poklanju, Kućići - jer im je kuća na Kosovu izgorela, Odžakovići - jer su otpretali žiške iz kosovskog svetog pepela. Stvarni ljudi su se nadodali na poetske likove i sami postali više ispevani nego realni.

Kuća je domaća crkva, tužbalica - liturgija, a udovica - monahinja.
Obilićev carski rez

Obilić je, kaže predanje, pošto je posečen ustao, uzeo svoju glavu i krenuo od izvora do izvora da joj traži leka ili da mu stara sraste, ili da mu nova izraste.

Pod Turcima nije spominjan Muratov presuditelj, uspomena na njegov podvig u ropstvu je umrla.

Tako nagrđen stigao je u Crnu Goru. Njegoš mu je ispevao prvu odu, uveo Obilića Pol>anu i Obilića medalju na kojoj je lako prepoznati da mu je crnogorski vladika i gospodar pozajmio i glavu.

Sloboda srpskog naroda ostala je bila još samo u Njegoševim rečima.

Među svim zamahnutim mačevima u crnogorskoj herojici zablistao je Obilićev carski rez.

Obilić je postao ne samo svetinja junačka, nego i Petar, na čijoj je steni Petar II Petrović - Njegoš zidao veru Obilića.

O Miloše, ko ti ne zavidi?
Ti si žertva blagorodnog čuvstva,
Vojistvenij genij svemogući,
Grom stravični što krune razdraba!
Veličastvo viteške ti duše
Nadmašuje besmrtne podvige
Divne Sparte i velikog Rima;
Sva viteštva njina blistatelna
Tvoja gorda mišca pomračuje.
Šta Leonid hoće i Scevola
Kad Obilić stane na poprište?
Ova mišca jednijem udarom
Prestol sruši a tartar uzdrma.
Pade Miloš, čudo vitezovah,
Žertvom na tron biča svijetskoga.
Gordo leži veliki vojvoda
Pod ključevma krvi blagorodne,
Ka malopred što gordo iđaše,
Strašnom mišlju prsi nadutijeh,
Kroz divjačne tmuše azijatske,
Gutajuć ih vatrenim očima;
Ka malopred što gordo iđaše
K svetom grobu besmrtnog života,
Prezirući ljudsko ništavilo
I pletenje bezumne skupštine.
Do celine nema prečica

Srpska narodna poezija je nastavak i "najveći epski zamah posle Homera", ali i posebna tvorevina koja bi postojala i bez Homera. Oslonjena je na grčke i vizantijske uzore ali uronjena u svoje izvore. Vrela nije pozajmila ni ritmove preuzela. Nije samouka nego samonikla.

Deseterac je pronalazak, epska ambicija, samopouzdanje poniklo iz našeg tla i jezika, njegova a ne tuđa vera.

Tu dubinu jezik nije mogao naći van sebe ni tu visinu postići izvan sebe. Do sebe i svoje istine dospeva se samo iz svog korena. Zato je sve što je stvoreno u drugim razmerama stvoreno sa pola snage i manje ubeđenja.

San o srpskoj Ilijadi nije nikada presahnuo. Celinu nameću i na nju podsećaju sami delovi, udovi koji se traže. Plan se nazire, težnja oseća, nedostaje vezivno tkivo. Vidno je odakle su veze poispadale, i još uvek je manje čudo ako se još neka pronađe, nego ako se to ne dogodi. Celina je svojina dubljeg nacrta i protekli vekovi nisu dovoljni da bismo zaključili ni da li je bilo a kamo li hoće li je biti. Ko hoće već je tu, ko neće - nije. Do celine nema prečica. Njena snaga je i u odsustvu i nepostojanju unutrašnjeg jedinstva.

Potreba da se različita pamćenja sklope u jednoj glavi i opšta sudbina ispriča jednim ustima prasvojstvo je koje nikada neće isčeznuti iz svesti jezika.

"Komadi različnijeh pjesama", "odlomak izgubljene pjesme" svedoče da nije razdrobljeno samo carstvo nego i pesma o njemu. Kao što je pretrajao san o carstvu tako nije isčezao ni san o celini kosovskog epa.

Kao što patrljak oseća bol u prstima ruke koje nema, tako ni jezik ne zaboravlja celinu koja ne postoji izvan ljudske mašte i stvaralaštva.

Kao što ćelije pamte, a udarac po presađenoj koži uvek zaboli tamo odakle je koža odnesena tako i poskitane reči pamte gde su bile i odakle su poispadale.
Teže se ulazi u poeziju nego u istoriju

Srpski narod je narod buna, a bune otpisuju prošlost. Novo je uvek jače, da staro zaboravljamo i jedva osećamo. Potkidamo žile, zatiremo pamćenje. Ne znamo starije civilizacije ni svoje ranije jezike. Tako, ne znajući sebe počinjemo iz početka.

Kosovo je premjena ali i koleno koje povezuje pamtivek i današnji dan. Nevidljivi konac koji na okupu drži svu svoju tvorevinu.

Otkada je na kosovsku stopu stupila srpska kultura kao da pevamo samo sa jednog mesta i na istu temu.

Jedan motiv je okupio i narod i poeziju. I kao da se posle Kosova mnogo teže ulazilo u poeziju nego u istoriju.

Kad god smo napuštali tu stopu napuštali smo sebe. Misleći da idemo u Evropu, izlazili smo iz nje, gubili ono što smo već bili i imali. Verovali da je izvan nas ono što je bilo u nama. Evropa nema dubljeg korena od onog koji preko Grčke i Vizantije izbija na našem tlu. Kosovski stub je prorastao kroz sve Vidovdane.

I moderno srpsko pesništvo je izbojak iz starog korena, nova, snažna potvrda temeljnih vrednosti.

Buduća vremena će nam kazati ime pesnika koji će Kosovo još jednom zakroviti i doreći jezikom novih, nerođenih naraštaja.

U poeziju Kosova se obično ne ubrajaju sve pesme koje mu pripadaju. Ubrajaju se one koje su neposredno vezane za Kosovo, a izostavljaju one kojima je Kosovo nevidljivo sunce. Jedna od najlepših je "Rajko vojvoda i Margita djevojka" u kojoj je pokosovski sabor poetskih likova iz svih vekova.
Mera stiha u haosu istorije

Knjiga je praobraz svemu što je stvorila narodna poezija, a prva knjiga koju su Sloveni imali na svom jeziku bila je Biblija.

Istočnik kosovske simbologije pretkan je iz Biblije, kao što su i sve knjige prepočete iz te jedne jedine. Od Crkve smo prvi put čuli svoje nacionalno ime. Iz Crkve je došao nacrt kosovske kosmogonije. Sličnosti su i u neminovnim razlikama, u istrzanju da sve ne poklopi Biblija.

Što je daskal živopisao to je inok opisao, što je črnilac črnilom pojezičio i gramatik ujednačio to je guslar opesmio.

Danilo i Jefimija, Despot i Neznani Ravaničanin napisali su ono što su prepevali Tešan i Milija, Višnjić i slepa Stefanija.

Sveštena književnost nam je Bibliju približila. Crkveni jezik je krenuo ka narodnom. Usmena poezija je izišla iz knjiga, ali su njeni usmeni tiraži nadišli sve knjige.

Sveci su ponarođeni, ratnici obogoličeni.

Usmenost je našla izvore u pismenosti. Odatle su uzete proporcije, mere stiha unete u haos istorije: Gornje vence i donje bojeve pevač je u sebi samleo i svojom snagom nanovo izveo. Tropari, žitija i pohvalna slova dopali su guslarima. Reč se poseljačila, ali nije zaboravljala šta je bila. Kao što su nestajali gornji slojevi, a pretrajavali seljaci. Ali to nisu ni replike ni odblesci već živopisni likovi, krepke reči i orošene slike starije od Biblije koje samo dokazuju i njenu neminovnost.
Srpska nova era

Sve što se zbilo na Kosovu nije se zbilo ni prvi ni poslednji put. Kosovo je sudbonosno i ranije i kasnije. Lazar nije ni prvi ni poslednji svetac već novoprosijala zvezda. I njegovi prethodnici, vojskovođe od svetorodne loze proslavili su se više pobedama nad samim sobom nego nad drugima.

Uloga poezije je bila presudna i ranije. Narod koji veruje da su mi kraljevi sveti lako poveruje u svoje posebne račune i obaveze prema Bogu. Narodna poezija ga je lako ubedila da je plemić. Poverovao je ono što je i sam mislio.

Srbi se nisu samo turčili nego i grčili i latinili. Bitka je nastavljena u Crnoj Gori, ali je počela u Svetoj Gori. Ginuli su vojnici ali su najžešći i najduži otpor dali crnorisci. Kosovo nas je nateralo da zapevamo ali smo pevali i pre Kosova i pisali pre Svetog Save koji je napisao prvu rečenicu.

Prvu rečenicu ne piše onaj ko počinje već onaj kojim nešto vrhuni i docvetava. Junačke pesme su i ranije "sadržavale nekadašnje bitije srpsko". Slovo ljubve je došlo posle Lazara u vreme njegovog sina pesnika Visokog Stevana.

U Crkvi nisu bili samo Srbi već i monasi iz drugih zemalja. U njima nije bilo drugog porekla osim pravoslavnog, ni druge nacionalnosti osim Hristove. Među njih ubrajamo mnoge - sve do Igumana Stefana.

Srbi nisu poslednji put na Kosovu obezglavljeni ni poginuli listom, ni ubijeni po spisku. Dunav krvi i mozga izvire iz našeg naroda do naših dana.

Kosovo polje se širilo dok je sve prikupilo i pokrstilo postajući kosovski kom i kosovska klisura, kosovska ponornica i kosovska gora.

Kažemo da pamtimo od Kosova, a mislimo od Potopa. Brojimo od Kosova a mislimo od Počela. Kosovo je bilo pre svih vekova. Kosovom počinje srpska Nova Era.

Kao što kosti nastaju u utrobi majke tako se od nevidljive pređe jezika isprede i najtrajnija ljudska građevina. Hristos je još na krstu, a Krstitelj u vodi. Dok bude drveta od njega će se praviti krstovi, dok bude srpskog jezika biće Kosova.
Mora da ima neko

Nevine žrtve su najveće duhovno blago jednog naroda. Nema dela bez žrtve - jedno je od najstarijih uverenja. Kao da se brojem nevinih žrtava meri i veličina jednog naroda a sam narod tom merom procenjuje vrednost svojih ideala. Kao da narodi sa najviše nevinih žrtava polažu najveću nadu u večnost i umetnost.

Nevine žrtve su možda jedini motiv umetnosti, jedino što dostojno pamćenja izdvaja ljudski mozak, jedina briga uma i govora, tema svakog ozbiljnog razgovora.

Nikad niko nije postradao da to neko nije video, a taj koji je video, od toga se produhovio i živeo da bi o tome posvedočio.

I u najvećim tmušama istorije, kad se nije dogledavao ni kraj današnjem danu, kad se ćutalo u šumama a šaputalo po zemunicama, ostala je reč: mora da ima neko. Taj je gotovo uvek bio neko na koga niko ne pomišlja, koji sve vidi, pamti ili zapisuje - i kad pomislimo da je sve zauvek predato zaboravu - javlja se da svetu objavi istinu za koju se verovalo da nikada neće izići na videlo.

Nevine žrtve su starije od Hrista.

Nije li i on postradao da potvrdi istinu da nevinim žrtvama ne može niko ništa i da će krv nevinih žrtava krvopijama pred Bogom dosaditi.

Svaki čovek zavoli svoje stradanje i postaje ono za šta je postradao i da to ranije nije bio. Narodi se najteže odriču onog za šta su dali krv. Ono što je plaćeno nevinom krvlju, ne može se ni izgubiti, ni zaboraviti. Tamo gde narod ostane bez glave, pogine listom, ili ga ubiju po spisku, nastaju najveća zaveštanja i amaneti budućim naraštajima.

Najveće među nevinim žrtvama su one zbog svoga imena i zločina rođenja.

Blago narodu koga znaju po žrtvama, a ne po zločinima.

Sva poklanja pravednika od Hrista na ovamo, prate glasovi onih koji tvrde da pogroma nije bilo i da se ništa nije dogodilo.

Ali iz svake jame je neko izašao i ta jamina deca objavljuju da niko ne može jamiti istinu.

Vezani za ruke da vuku jedan drugog, mnogi su odneli u leđima čakije svojih ubica, a potom ih zajedno sa iščupanim rukama sapatnika za koje su bili vezani izneli da bi svedočili.

Ni jedna istina neće u jamu i nema zemlje ni lopate koja je može pregrnuti.

Nevinim žrtvama najviše dugujemo, posebno onima koje nisu imenovane. One čekaju svoj narod da ih se seti ili same određuju pokolenje koje će biti dostojno da ih se seti.
Šest stotina godina samoće

Ono što se u naše dane događalo na ovom polju ne beleže ni najudaljenije istorije. Možda je takvih zločina još negde bilo, ali da se pravni poredak jedne zemlje trudio da ih sakrije, toga sigurno nije.

U još nenapisanom romanu Šest stotina godina samoće ključne epizode će zauzeti prizori iz naših dana: štala ozidana od nadgrobnih spomenika, nužnik od razorene crkve, bik iz Mušutišta koga su oslepeli, jer je svojina srpskog manastira. Nisu se smilili da ga ubiju, monahinje nisu pristale da ga prodaju, tako je ostao da traje kao spomenik ostruganih očiju kao Simonida.

Ta povest neće moći ni bez onih domaćina koji su se okućili na srpskim grobljima i ne daju Srbima da se u groblju sahranjuju. Jedan se ipak smilovao Srbinu kome je umrlo dete, rasuđujući da će ozleda na zemlji biti mala, da će brzo zarasti i uskoro se neće ništa poznavati, pa će na vreme moći da poore i pokosi.

Mapa velike Albanije objavljena je u našoj i stranoj štampi više puta, a duhovna mapa Kosova nije gotovo nigde. A samo je još nebo načičkano zvezdama, kao što je Kosovo ozvezdano srpskim kulturnim spomenicima, manastirima i crkvama, svetištima i grobištima.

Kad bismo to Kosovo izgubili, samo bismo dokazali da smo potomci onih koji su tamo izdali još 1389. godine. I još gore: izgubiti na Kosovu nije isto što i izgubiti Kosovo.
Grob

Po našem narodnom verovanju, zemlja na kojoj je grob se ne prodaje. Domaćini bez naslednika ili oni koji su se pribojavali da bi njihovi potomci mogli prodati imanje, osiguravali su se od ove mogućnosti tako što su se umesto na groblju sahranjivali na svojoj okutnici.

Pred grobom bi ustuknuo i onaj ko je sklon da proda i onaj koji bi želeo da kupi.

Na kosovskoj okutnici je sahranjen ceo srpski narod. Zato tom zemljom Srbi ne mogu trgovati.

1989.
Četiri pesme
Matije Bećkovića

LELEK MENE

OGLEDALO

SLOVO

BODEŽ
Lelek mene
(odlomci)

Šta je Lovćen do Gora Otaca
S koje naše Nebo otpočinje?
Na koju se svi po jednom penju,
A Carigrad po vedrini vidi.
Šta Cetinje nego Sveti Presto
Đe kandilo neutješno capti
Na kostima cijela naroda?
Šta je Ostrog no oltar te crkve
Đe najveći vidar crnogorski
I Ostroški Čudotvorac služi?
Šta Kosovo no žrtvena porta
Đe je svaki od nas poginuo
Davno prije no što se rodio!

Crna Gora - ime manastira.
Crnogorci to su crnorisci
Što manastir služe crnogorski.
Podvižnici čiste ljucke vjere
Iz prkosa ljuckoga rođene.

Crnogorac - čin je i titula
Nekadanje Dušanove svite.
Pretkosovski vitez, čoek s dvora,
I po tome koliko ih ima
To je mnogo za ime naroda.

Pet vjekova trajala je bitka
Započeta na polju Kosovu.
Najpotonji kosovski junaci
U Crnoj su Gori izginuli.
Kosovski je junak zadnji bio
Vukalica Šunjov iz Rovaca.
Poslednja je kosovska večera
U Kruševcu crnogorskom bila.
Kosovska je bitka završena
Trinaeste - zauzećem Skadra.
Sve je opštom smrću osvećeno.
Najprije je samo Vuk izdao,
Najposlije jedini on nije.
Jedan nikad ne može izdati!

Kakvo nam je ime i sudbina
Ako Carstva nikad nije bilo?
Šta smo onda i zašto smo ođe?
Što kukamo ako smo odovle?
Nosimo li crno oko glave
Ili oko mozga deraviju?
Zar nijesmo sa onog svijeta
A ni zato nemamo dokaza.
Koje li je ime te bolesti
S kojom ovaj narod pretrajava?
Zar smo tako na smrt zanemogli
Da istinu znati ne možemo?
Il možemo ali nam ne treba,
Istina je najgora utjeha,
Stoga smo se s njome posvadili,
Zato smo se od nje udaljili

Zar je sveti zavjet zbog koga smo
Pet vjekova na vatru loženi,
Miješali zube i mozgove,
Pekli dušu, prsi istavljali,
Tik i trzaj, mimika, grimasa,
San, groznica, zgrana iz djetinjstva
Ili nekog drugoga života,
Predavana sa oca na sina
Da se od nje ozdravit ne može?

Za jednog su pitali: Šta mu je?
Vele: Ništa, on je Crnogorac!
Sudbo niska duha visokoga,
Šta li misle da su a šta rade!

Strašno li je ginuti za poraz,
Gord na ono zbog čega umireš,
Za pobjedu pravde a ne ljudi!
Ko ne gine onda kad ne mora
Sada tuđu povjesnicu uči.
Da se nije boj ni jedan bio
Bilo bi nas više, ali koga?
I bilo bi bolje, ali kome?

Zadužbino i krstionice
Među Rimom i međ Carigradom
Đe podivlja kalem pravovjerni!
Sad se tice iznad tebe boje
Da kamene ne škljocnu vilice
Prokletije da ih ne iziju!

1978.
Ogledalo
(Po knjizi Solunci govore)

Kad smo oslobodili Beograd
Odvedoše nas u crkvu Ružicu
Da se pričestimo.
Ali pop ne da pričesnu užicu
Dok se ne ispovedimo.

Mene upita:
Jesi li ubio?
Jesam!
Rekoh,
A on:
Vojniče, što si to učinio?

Stuštio se na mene ubilac,
Iznakažen,
Zapaljene glave, ispamećen,
Isplažen,
Krvnikovim očima me gledao.

Mora da sam tako
I ja izgledao.

Pucao sam
Kao u ogledalo.

Do sad sam mislio
Da sam ga ubio.

Ali čim sam ovamo ukročio
Uvideh da otad on živi u meni
I da je ovde u crkvi Ružici
Iz mojih usta i progovorio.

Da se nikad ne sazna
Ko je koga ubio.

1988.
Slovo

Ne ostavismo stopu očevine
Koju na rovove nismo raskopali
I sada zovka iz raskućevine
Pita čime bismo raskop zakopali.

A mi nemamo ni jednoga zgloba
Koji odavno nismo razglobili
Kamoli zemlje izvan razdeoba
U koju bismo razgrob ugrobili.

Kao što Nojeva nije golubica
Našla suvo gde Tla bez zaklanja
Nema koliko bi se trunom utrnula.

Gde krv ukrviti i rov uroviti
Kad rov u rov neće ni u jamu jama,
Jamina se jama ne da ujamiti
Ni stara mržnja novim mrzijama.

Otkad smo dali prednost podelama
Zjap iz zjapa zjapi, raskuć iz raskuća,
I sad nas više nema ni u nama
A trnje nas je izgnalo iz kuća.

Um nam je oburdan, misli rašnjirane,
Dno je na vrhu, a temelj na krovu,
Gospode, naniži niske raznizane
Održi rasulo u novome Slovu.

(1988.)
Bodež

Po čuvenoj priči
Sa dalekog severa
Lovci na vukove
Bodež sa dve oštrice
Umoče u svežu krv
Balčak pobodu u led
I ostave u snežnoj pustinji

Gladan vuk
Oseti krv nadaleko
Pogotovu na čistom oštrom vazduhu
Pod visokim mraznim zvezdama
I brzo pronađe krvavu udicu.

Oblizujući smrznutu sukrvicu
Poreže jezičinu
I svoju toplu krv
Lapće s hladnog sečiva.

I ne ume da stane
Dok se ne skljoka
Nadut od sopstvene krvi.
Kad su takvi vukovi
Koji se najteže love
Kakvi li su tek ljudi
Pa i čitavi narodi
A pogotovu naš
Koji se vlastite krvi
Ne može nadostiti
I pre će nestati
Nego se opsetiti
Da će krvav bodež
Ostati
Jedini
Spomenik
I krst
Iznad nas.

(1989.)
Napomena:

Kosovo - najskuplja srpska reč je predavanje Matije Bećkovića držano u Australiji, Evropi i Jugoslaviji tokom 1989. godine prilikom proslave šestogodišnjice Kosovske bitke.

Najpre je Bećković na poziv Fondacije za srpske studije Makvori univerziteta u Sidneju učestvovao na seminaru o Kosovu.

Predavanje je ponovljeno u srpskim nacionalnim centrima i crkvenoškolskim opštinama u Sidneju, Melburnu, Džulongu, Kanberi, Adelaidu, Brizbanu.

U Evropi je Bećković govorio istim povodom na vidovdanskim svečanostima u Dizeldorfu, Osnabriku, Parizu i Bermingamu.

Ovaj tekst je objavljen u Glasu Crkve i Književnim novinama, a Glas Crkve, na kraju kosovske godine objavljuje konačnu verziju i kao knjigu.

Vidovdane, moj očinji vide...

"Ko je slab, neka reče: junak sam" (Joil 3, 10)

Svaka istorija se probija svom cilju strmim i teskim putevima. Svaka velika i znacajna ideja ostvaruje se borbom protiv zla koje uvijek stoji protiv onoga sto je dobro i plemenito. Zbog toga je uvijek bilo potrebno da ispred svih velikih istina idu i veliki ljudi, da im ciste put boreci se protiv zla i protiv svih neprijatelja istine.

Ispred hriscanskih istina kroz vijekove isli su Hristovi apostoli, svetitelji, mucenici i ispovjednici. Propovjedajuci Jevandjelje, morali su veoma cesto da zrtvuju svoje zivote odricuci se "carstva zemaljskoga". Isto su tako, ispred nasih narodnih i crkvenih istina, isli nasi narodni svetitelji, mucenici i junaci. Oni su izvrsili najjaci uticaj na duhovnu i nacionalnu svijest naseg naroda. Pravoslavna srpska Crkva je posebno njegovala uspomenu na njih praznujuci dane njima posvecene, isticuci njihove primjere i posvecujuci im hramove. Otuda i nase Vidovdansko slavlje i praznovanje, posveceno uspomeni na svetog cara Lazara, kosovske junake i mucenike, kao njihove sljedbenike, do nasih dana.

Nasi duhovni i narodni velikani su svojom snagom zracili u svakom vremenu nase istorije i svijetlili svakom pokoljenju. Svakoj novoj generaciji oni su imali sta da kazu i pokazu - da poruce.

Trebalo je birati izmedju Istinitog Boga - Gospoda Hrista - i oluje sa istoka koja je nosila preko Balkana svojevrsno neznabostvo. I sveti car Lazar nije mogao postupiti drugacije, nije mogao drugacije zavrsiti istoriju svetih Nemanjica, nego da sa cijelim svojim narodom krene putem Jevandjelja, putem Hristovim. Cilj svetih Nemanjica je bio da cijelu srpsku zemlju pretvore u zaduzbinu Boziju, u jedan, da tako kazem, veliki manastir, u kome ce se sluziti samo Bogu, samo Gospodu Hristu.

Ako bismo htjeli da u nekoliko rijeci sazmemo i izrazimo Jevandjelje svetih Nemanjica, ono bi glasilo: Hristos prije svega i iznad svega; Sve za Hrista - Hrista ni za sta! A to Jevandjelje jeste i Jevandjelje cara Lazara. On se sa svojim narodom opredijelio za Carstvo nebesko, jer je zemaljsko carstvo privremeno i prolazno. I desilo se cudo: Srpski narod nije unisten na Kosovu! Ne, on je produzio put kroz strasno ropstvo, put vjecne Srpske crkve, muceci se kroz istoriju do dana danasnjega, jer i danas se polaze ispit na Kosovu.

Mnogi se cude zasto mi slavimo Vidovdan - dan naseg najveceg poraza i tragedije. Medjutim, Vidovdan je nasa narodna i duhovna tajna koja se ne moze objasniti vec samo dozivjeti. Ne moze svako da vidi i nema svako cime da vidi ono sto Vidovdan znaci, sto Vidovdan jeste. "Vidovdane moj ocinji vide, tobom vidim sto drugi ne vide". Vidovdan se najbolje vidi kroz molitve Bogu, svetom caru Lazaru i ostalim mucenicima kosovskim.

Kako se danas stize do Kosova? Do Kosova se stize pokajanjem; samo pokajan i obnovljen covjek zna i moze da stigne do Kosova. Na Kosovo se stize sa osjecanjem da krv ljudska, koja je osvijetlila svaku stopu Kosovske zemlje, nije prolivena ni za cara ni za drzavu, vec prvenstveno za Carstvo nebesko. Sa pokajanjem i molitvom Bogu da nam oprosti sve, da nam oprosti sto smo pogazili Kosovski zavjet i Kosovsko predanje.

Srpski narod moze da se ponosi svojim svetim precima, svetim Savom i svetim carem Lazarom. No ponositi se svojim velikim precima a biti manji i gori od njih, izaziva prezrenje a ne divljenje. Velicati se osloboditeljima a prljati slobodu, kupljenu krvlju njihovom, nedostojno je i smijesno, pa i zlocin.

Ovaj praznik poziva nas sve da provjerimo gdje smo. Gdje sam ja, ti, i svaki od nas. Da li je Hristos sve za nas u ovome svijetu? Da li se mi polako odvajamo to od Njega? Da li bjezimo od Njega i pridruzujemo se laznim bogovima ovoga svijeta? Svako neka provjeri sebe!

Neka nam svima Gospod i sveti car Lazar i ostali Kosovski mucenici pomognu da se i mi, ako to jos nismo uradili, opredijelimo za Carstvo nebesko, za nasu vjecnu Otadzbinu, a Gospod je taj koji ce nam dati snage da istrajemo na putu ka Nebeskom carstvu. Amin.

Episkop kanadski,
G. Georgije

Saša Nedeljković

Mit, religija i nacionalni identitet: Mitologizacija u Srbiji u periodu nacionalne krize

MIT, RELIGIJA, NACIONALNI IDENTITET

ILIJADA I ODISEJA, I BOJ NA KOSOVU

Tokom celog 19. veka proučavaoci književnosti pitali su se, u čudu, kako su mogla nastati Homerova dela Ilijada i Odiseja. Bilo je jasno da su potekla iz tradicije usmenog recitovanja, ali je izgledalo nepojamno da iko može da recituje tako dugo i tako sređeno. Ta dva epa morala su biti rani zapisi nečeg mnogo starijeg, usmenog. Ovo je navelo naučnike da potraže slične primere: naime, one malobrojne preostale evropske tradicije usmenog narodnog pesništva, gde jedan stariji seljak na taj način prenosi svojim slušaocima tu drevnu formu narodnog pamćenja ali i zabave. Pronašli su tu tradiciju u Srbiji, gde su pojedini starci i starice -- u nekim slučajevima, čak, slepi -- pevali tradicionalne stihove, u ukupnoj dužini ponekad i većoj od Homerovih epova. Zagonetku Ilijade rešava serija narodnih pesama pevanih u brdima Bosne i Hercegovine o bitki na Kosovu. Klasičnu knjigu o ovoj temi napisao je Albert B. Lord pod naslovom Pevač priča, godine 1960.
Jedan divan prevod Kosovskog ciklusa srpskih narodnih pesama, pod naslovom Boj na Kosovu, dali su američki poeta Džon Matijas (John Matthias) i srpski matematičar Vladeta Vučković. Ove pesme prevodili su srpski stručnjaci za književnost još početkom 19. veka. Pevač takvih pesama zove se guslar. On svira na instrumentu sa samo jednom žicom, koji se zove gusle. Američki poeta Čarls Simić rođen je u Srbiji; kao dete, čuo je pevanje jednoga guslara. Ovako je opisao taj doživljaj: "Zvuk te jedine žice je slabo čujan, parajući, kričav, pun oklevanja. Uz njega ide napev, ljudskim glasom, monoton, bez ikakve melodije ili ma kakvog vokalnog ulepšavanja. Pevač naprosto ne pokušava da zablista. Slušalac nema druge mogućnosti osim da se koncentriše na reči, koje pevač izgovara veoma naglašeno i jasno... Posle nekog vremena, taj tekst, a i taj arhajski instrument koji kao da je sa drugog sveta, počeše da "dohvataju" i mene i sve prisutne. Anonimni poeta, naš predak, znao je šta radi. Uporni zujeći zvuci u sadejstvu sa uzvišenom lirikom pesme dotakoše najosetljiviji deo naše psihe. Otvoriše se stare rane."
Te opesme govore o velikoj bitki na Kosovu, koja je vođena između srpskog cara Lazara i turskih invazionih snaga pod komandom Sultana Murata, 1389. godine. Prepune su likova: vidimo Lazara, njegove rivale, ratnike koji će se boriti uz njega, rame uz rame; vidimo njegovu ženu, i sestre i majke poginulih ratnika. Imao sam osećaj otprilike kao da slušam engleske narodne balade o Robinu Hudu i njegovoj odvažnoj družini heroja, o njihovoj borbi za slobodu. Ove srpske pesme narod je ponavljao, beskonačno, tokom pet stotina godina Otomanske vladavine; tek posle toga su zapisane. Engleska spisateljica Rebeka Vest, u svom klasičnom putopisnom delu o Jugoslaviji Crno jagnje i sivi soko, opisuje kako je krajem 1930-tih godina slušala, u zabačenim selima, stare Srpkinje dok recituju te pesme Kosovskog ciklusa kao Očenaš. Rebeka Vest kaže da je pogledom prelazila preko ravnice i razmišljala: "Eto slike neuspeha tako ogromnog da ispunjava čitav vidik, kao što neuspeh ponekad ispuni život neke osobe, ili celu jednu epohu."
Nemoguće ja na malom prostoru, koji nam je na raspolaganju, preneti razmah Kosovskog ciklusa. Navešću barem jednu pesmu. To je priča o Lazaru; jedna od najpoznatijih epizoda tog ciklusa. Džon Matijas je razmacima nagoveštavao pauze, kao što se radilo u zapisivanju anglosaksonske usmene poezije. Te pauze su karakteristične za srpski stih od deset slogova:

PROPAST CARSTVA SRPSKOGA

Poletio soko ptica siva
I od Svetinje i Jerusalima,
I on nosi ticu lastavicu.
To ne bio soko tica siva,
Veće bio svetitelj Ilija;
On ne nosi tice lastavice,
Veće knjigu od Bogorodice,
Odnese je caru na Kosovo,
Spušta knjigu caru na koleno
Sama knjiga caru besedila:
"Care Lazo, čestito koleno!
"Kome ćeš privoleti carstvu?
"Ili voliš carstvu nebeskome,
"Ili voliš carstvu zemaljskome?
"Ako voliš carstvu zemaljskome,
"Sedlaj konje, priteži kolane,
"Vitezovi sablje pripasujte,
"Pa u Turke juriš učinite,
"Sva će Turska izginuti vojska;
"Ako l' voliš carstvu nebeskome,
"A ti sakroj na Kosovu crkvu,
"Ne vodi joj temelj od mermera;
"Već od čiste svile i skerleta,
"Pa pričesti i naredi vojsku;
"Sva će tvoja izginuti vojska,
"Ti ćeš, kneže, šnjome poginuti."
A kad care saslušao reči,
Misli care, misli svakojake:
"Mili Bože, što ću i kako ću?
"Kome ću se privoleti carstvu?
"Da ili ću carstvu nebeskome?
"Da ili ću carstvu zemaljskome,
"Zemaljsko je za maleno carstvo,
"A nebesko u vek i do veka."
Car volede carstvu nebeskome
A nego li carstvu zemaljskome,
Pa sakroji na Kosovu crkvu,
Ne vodi joj temelj od mermera,
Već od čiste svile i skerleta,
Pa doziva Srpskog patrijara
I dvanaest veliki vladika,
Te pričesti i naredi vojsku.
Istom kneže naredio vojsku,
Na Kosovo udariše Turci.
Mače vojsku Bogdan Juže stari
S devet sina devet Jugovića,
Kako devet sivi sokolova,
U svakog je devet iljad' vojske,
A u Juga dvanaest 'iljada,
Pa se biše i sekoše s Turci:
Sedam paša biše i ubiše,
Kad osmoga biti započeše,
Al' pogibe Bogdan Juže stari,
I izgibe devet Jugovića,
Kako devet sivi sokolova,
I njiova sva izgibe vojska.
Makoš' vojsku tri Mrnjavčevića:
Ban Uglješa i vojvoda Gojko
I sa njime Vukašine kralje;
U svakog triest 'iljad vojske,
Pa se biše i sekoše s Turci:
Osam paša biše i ubiše,
Devetoga biti započeše,
Pogiboše dva Mrnjavčevića,
Ban Uglješa i vojvoda Gojko,
Vukašin je grdni rana dop'o,
Njega Turci s konjma pregaiše;
I njiova sva ozgibe vojska,
Maše vojsku Erceže Stepane,
U Ercega mloga silna vojska,
Mloga vojska, šezdeset iljada,
To se biše i sekoše s Turci:
Deset paša biše i ubiše,
Desetoga biti započeše,
Al' pogibe Erceže Stepane,
I njegova sva izgibe vojska.
Mače vojsku Srpski knez Lazare
U Laze je silni Srbalj bio,
Sedamdeset i sedam iljada,
Pa razgone po Kosovu Turke,
Ne dadu se ni gledati Turkom,
Da kamo li bojak biti s Turci;
Tad' bi Laza nadvladao Turke,
Bog ubio Vuka Brankovića!
On izdade tasta na Kosovu;
Tada Lazu nadvladaše Turci,
I pogibe Srpski knez Lazare,
I njegova sva izgibe vojska,
Sedamdeset i sedam iljada;
Sve je sveto i čestito bilo
I milome Bogu pristupačno.

Dobio sam upravo mail koji je sjajna ilustracija i komentar ove teme:

Saopštenje povodom presude Međunarodnog suda pravde

Presuda Međunarodnog suda pravde o tužbi BiH protiv SRJ pre svega za žrtve ne predstavlja zadovoljenje pravde. Ova presuda pokazuje da pravo ne znači i pravdu, čak ni na međunarodnom nivou.
No, ova presuda nije razlog za već iskazani trijumfalizam u Srbiji. Ona je poraz za Srbiju jer je osuđuje što nije sprečila genocid i što nije ispunila međunarodnu obavezu isporučivanja optuženih Haškom tribunalu. Ona takođe obavezuje vlast u Srbiji da usvoji Deklaraciju o priznavanju genocida u Srebrenici, kao i da se poricanje genocida u Srebrenici proglasi krivičnim delom. To je pre dve godine bezuspešno zahtevalo osam nevladinih organizacija, među njima i Žene u crnom.
Presuda ne zadovoljava pravdu ni sa stanovišta nas, Žena u crnom koje smo od početka agresije na BiH, a posebno od genocida u Srebrenici 1995. godine zahtevale kažnjavanje planera, naredbodavaca i izvršilaca najvećih zverstava počinjenih na teritoriji Evrope nakon Drugog svetskog rata. Oružane formacije ratom stvorene Republike Srpske, uz sveobuhvatnu vojnu, policijsku, finansijsku i logističku podršku režima Slobodana Miloševića izvršile su genocid u Srebrenici.
Nažalost, klima koja je proizvela rat ne samo što je opstala nego je i pojačana dolaskom Vojislava Koštunice na vlast. Najpogubniji izraz te politike je institucionalno poricanje zločinačke politike prethodnog režima.
Nastavićemo da, kao i svih ovih godina, pružamo moralnu, emotivnu i političku solidarnost i podršku žrtvama iz Srebrenice i iz cele BiH, i zahtevati da se zločinci privedu pravdi.
Zahtevamo da se odmah uhapsi zločinac Ratko Mladić i svi koji ga štite. Onaj ko i dalje bude štitio Mladića i ostale direktno će kršiti Konvenciju o genocidu, najstrašniji zločin u međunarodnom krivičnom pravu.

29. februar 2007.
Žene u crnom, Beograd

Breaking News: Prijedlog LDP-a

DEKLARACIJA O OBAVEZAMA DRŽAVNIH ORGANA REPUBLIKE SRBIJE U ISPUNJAVANJU ODLUKA MEĐUNARODNOG SUDA PRAVDE

Član 1.
Republika Srbija priznaje odgovornost svojih državnih organa za povrede Konvencije o sprečavanju i kažnjavanju zločina genocida onako kako je utvrđeno u presudi Međunarodnog suda pravde.
Republika Srbija će preduzeti sve neophodne mere, izvršiti bez odlaganja sve naloge iz presude Međunarodnog suda pravde i uhapsiti sve optužene pred Međunarodnim krivičnim sudom za bivšu Jugoslaviju.

Član 2.
Narodna skupština smatra da:
Prihvatanje odluke Međunarodnog suda pravde i ispunjavanje naloženih mera nije samo obaveza po sudskoj odluci jer nije moguća izgradnja demokratskog, otvorenog i pravednog društva u Srbiji bez suočavanja sa zločinima u prošlosti, uključujući naročito genocid izvršen na području zaštićene enklave Srebrenica; svako veličanje, opravdavanje ili relativizacija genocida i svih drugih povreda međunarodnog prava predstavlja zločin koji ugrožava ustavni poredak, sadašnjost i budućnost Republike Srbije; poštovanje ljudskih prava i prihvatanje odgovornosti podrazumeva i poštovanje žrtava i preduzimanje svih neophodnih mera za zadovoljenje prava na istinu, pravdu, simboličnu reparaciju i garanciju da se zločini iz prošlosti neće ponoviti; zaboravljanje zločina i rehabilitacija ideja koje opravdavaju zločin i njegove izvršioce predstavljaju nove zločine koji su u Republici Srbiji nedopustivi i kažnjivi; potreba suočavanja s prošlošću zahteva sistem institucija, mehanizama i procesa k>X5 će nadležni organi Republike Srbije bez odlaganja formirati i u potpunosti podržavati.

Član 3.
Narodna skupština upućuje iskreno izvinjenje i najdublje saučešće svim žrtvama i porodicama žrtava počinjenog genocida u Srebrenici i svim građanima Bosne i Hercegovine koji su žrtve zločina počinjenih u naše ime.

Član 4.
Narodna skupština i svi državni organi Republike Srbije vodiće unutrašnju i spoljnu politiku na temeljima poštovanja međunarodnog prava, odluka međunarodnih institucija, dobrosusedske saradnje i poštovanja teritorijalnog integriteta Bosne i Hercegovine.

Član 5.
Republika Srbija se obavezuje:
Da, u skladu sa svojim ustavnim poretkom, krivičnim zakonodavstvom i potvrđenim međunarodnim ugovorima efikasno goni i kazni svako pozivanje na izvršenje genocida iz Konvencije o sprečavanju i kažnjavanju zločina genocida i članova 370 i 375 Krivičnog zakonika Republike Srbije; da, u skladu sa svojim ustavnim poretkom, krivičnim zakonodavstvom i potvrđenim međunarodnim ugovorima, efikasno goni i kazni svako izazivanje nacionalne, rasne i verske mržnje i propagandu rata; da kroz svoj pravni sistem i postupanje državnih organa jasno osudi svaki pokušaj relativizacije zločina počinjenih u naše ime tokom rata u Bosni i Hercegovini, a naročito na području zaštićene enklave Srebrenica; da kroz svoj pravni sistem i postupanje državnih organa jasno osudi svako poricanje genocida u Srebrenici; da odmah počne primenu Zakona o odgovornosti za kršenje ljudskih prava i u zakonitom postupku izrekne meru zabrane obavljanja javnih funkcija licima za koja se dokaže da su odgovorna za masovna kršenja ljudskih prava tokom rata na teritoriji bivše Jugoslavije; da svim sredstvima državne politike ojača pravosudni sistem i stvori uslove za efikasno i nepristrasno gonjenje svih učesnika u krivičnim delima koja u sebi imaju elemente genocida, kršenja humanitarnog prava, izazivanja nacionalne, rasne i verske mržnje i netrpeljivosti, ratne propagande ili pozivanja na agresivni rat; da podstiče politički i javni dijalog u kojem neće biti moguće opravdavanje zločina, održavanje ili uspostavljanje društvenih uslova za slično ponašanje u budućnosti; da u svom obrazovnom sistemu insistira na jasnoj osudi zločina koji su počinjeni u prošlosti i da čitav sistem obrazovanja zasnuje na potrebi da se mladi u Srbiji vaspitavaju u skladu s opšteprihvaćenim civilizacijskim vrednostima i gnušanjem prema svakom pokušaju opravdavanja zločina, uključujući naročito ratne zločine i zločin genocida.

Član 6.
Donošenjem ove Deklaracije Narodna skupština iskazuje nedvosmislenu nameru da raskine kontinuitet s politikom kršenja Konvencije o sprečavanju i kažnjavanju zločina genocida koja je dovela do odluke Međunarodnog suda pravde i pokazuje spremnost da svoju buduću državnu politiku gradi na vrednostima koje podrazumevaju postojeći međunarodni poredak i opštepriznate moralne vrednosti.

*Zidanje Skadra

Grad gradila tri brata rođena,
Do tri brata tri Mrljavčevića:
Jedno bješe Vukašine kralje,
Drugo bješe Uglješa vojvoda,
Treće bješe Mrljavčević Gojko;;
Grad gradili Skadar na Bojani,
Grad gradili tri godine dana,
Tri godine sa trista majstora,
Ne mogaše temelj podignuti,
A kamo li sagraditi grada:;
Što majstori za dan ga sagrade,
To sve vila za noć obaljuje.
Kad nastala godina četvrta,
Tada viče sa planine vila:
"Ne muči se, Vukašine kralje,;
"Ne muči se i ne harči blaga;
"Ne mo'š, kralje, temelj podignuti,
"A kamo li sagraditi grada,
"Dok ne nađeš dva slična imena,
"Dok ne nađeš Stoju i Stojana,;
"A oboje brata i sestricu
"Da zaziđeš kuli i temelje,
"Tako će se temelj održati,
"I tako ćeš sagraditi grada."
Kad to začu Vukašine kralje,;
On doziva slugu Desimira:
"Desimire, moje čedo drago!
"Do sada si mi bio vjerna sluga,
"A od sada moje čedo drago,
"Vataj, sine konje u intove,;
"I ponesi šest tovara blaga,
"Idi, sine, preko b'jela sv'jeta,
"Te ti traži dva slična imena,
"Traži, sine, Stoju i Stojana,
"A oboje brata i sestricu;;
"Ja li otmi, ja l' za blago kupi,
"Dovedi ih Skadru na Bojanu,
"Da ziđemo kuli u temelje,
"Ne bi l' nam se temelj održao,
"I ne bi li sagradili grada.";
Kad o začu sluga Desimire,
On uvati konje u intove,
I ponese šest tovara blaga,
Ode sluga preko b'jela sv'jeta,
Ode tražit' dva slična imena;;
Traži sluga Stoju i Stojana,
Traži sluga tri godine dana,
Al' ne nađe dva slična imena,
Al' ne nađe Stoje i Stojana,
Pa se vrnu Skadru na Bojanu,;
Dade kralju konje i intove,
I dade mu šest tovara blaga:
"Eto, kralje, konji i intovi,
"I eto ti šest tovara blaga,
"Ja ne nađoh dva slična imena,;
"Ja ne nađoh Stoje i Stojana."
Kad to začu Vukašine kralju,
On podviknu Rada neimara,
Rade viknu tri stotin' majstora,
Gradi kralje Skadar na Bojani,;
Kralje gradi, vila obaljuje,
Ne da vila temelj podignuti,
A kamo li sagraditi grada;
Pa dozivlje iz planine vila:
"More, ču li? Vukašine kralju!;
"Ne muči se i ne harči blaga,
"Ne mo'š, kralje, temelj podignuti,
"A kamo li sagraditi grada;
"No eto ste tri brata rođena,
"U svakoga ima vjerna ljuba,;
"Čija sjutra na bojanu dođe
"I donese majstorima ručak,
"Ziđite je kuli u temelje,
"Tako će se temelj održati,
"Tako ćete sagraditi grada.";
Kad to začu Vukašine kralju,
On doziva dva brata rođena:
"Čujete li, moja braćo draga!
"Eto vila sa planine viče,
"Nije vajde, što harčimo blago,;
"Ne da vila temelj podignuti,
"A kamo li sagraditi grada;
"Još govori sa planine vila:
"Ev' mi jesmo tri brata rođena,
"U svakoga ima vjerna ljuba,;
"Čija sjutra na Bojanu dođe
"I donese majstorima ručak,
"Da j' u temelj kuli uzidamo,
"Tako će se temelj održati,
"Tako ćemo sagraditi grada.;
"No jel', braćo, Božja vjera tvrda,
"Da ni jedan ljubi ne dokaže,
"Već na sreću da im ostavimo,
"Koja sjutra na Bojanu dođe?"
I tu Božju vjeru zadadoše,;
Da nijedan ljubi ne dokaže.
U tom ih je noćca zastanula,
Otidoše u bijele dvore,
Večeraše gospodsku večeru,
Ode svaki s ljubom u ložnicu.;
Al' da vidiš čuda velikoga!
Kralj Vukašin vjeru pogazio,
Te on prvi svojoj ljubi kaza:
"Da se čuvaš, moja vjerna ljubo!
"Nemoj sjutra na Bojanu doći;
"Ni donijet' ručak majstorima,
"Jer ćeš svoju izgubiti glavu,
"Zidaće te kuli u temelje."
I Uglješa vjeru pogazio,
I on kaza svojoj vjernoj ljubi:;
"Ne prevar' se, vjerna moja ljubo!
"Nemoj sjutra na Bojanu doći
"Ni donijet' majstorima ručak,
"Jera hoćeš mlada poginuti,
"Zidaće te kuli u temelja.";
Mladi Gojko vjeru ne pogazi,
I on svojoj ljubi ne dokaza.
Kad u jutru jutro osvanulo,
Poraniše tri Mrljavčevića,
Otidoše na grad na Bojanu.
Zeman dođe da se nosi ručak,
A redak je gospođi kraljici,
Ona ode svojoj jetrvici,
Jetrvici, ljubi Uglješinoj:
"Ču li mene, moja jetrvice!;
"Nešto me je zaboljela glava,
"Tebe zdravlje! preboljet' ne mogu;
"No ponesi majstorima ručak."
Govorila ljuba Uglješina:
"O jetrvo, gospođo kraljice!;
"Nešto mene zaboljela ruka,
"Tebe zdravlje! preboljet ne mogu,
"Već ti zbori mlađoj jetrvici."
Ona ode mlađoj jetrvici:
"Jetrvice, mlada Gojkovice!;
"Nešto me je zaboljela glava,
"Tebe zdravlje! preboljet' ne mogu;
"No ponesi majstorima ručak."
Al' govori Gojkovcia mlada:
"Ču li, nano, gospođo kraljice!;
"Ja sam rada tebe poslušati,
"No mi ludo čedo nekupato,
"A bijelo platno neisprato."
Veli njojzi gospođa kraljica:
"Idi," kaže, "moja jetrvice,;
"Te odnesi majstorima ručak,
"Ja ću tvoje izaprati platno,
"A jetrva čedo okupati."
Nema šta će Gojkovica mlada,
Već ponese majstorima ručak,;
Kad je bila na vodu Bojanu,
Ugleda je Mrljavčević Gojko,
Junaku se srce ražalilo,.
Žao mu je ljube vijernice,
Žao mu je čeda u kol'jevci,;
Đe ostade od mjeseca dana,
Pa od lica suze prosipaše;
Ugleda ga tanana nevjesta,
Krotko hodi, dok do njega priđe,
Krotko hodi, tiho besjeđaše;;
"Što je tebe, dobri gospodaru!
"Te ti roniš suze od obraza?"
Al' govori Mrljavčević Gojko:
"Zlo je, moja vjerenice ljubo!
"Imao sam od zlata jabuku,;
"Pa mi danas pade u Bojanu,
"Te je žalim, pregoret' ne mogu."
Ne sjeća se tanana nevjesta,
No besjedi svome gospodaru:
"Moli Boga ti za tvoje zdravlje,;
"A salićeš i bolju jabuku."
Tad' junaku grđe žao bilo,
Pa na stranu odvratio glavu,
Ne šće više ni gledati ljubu;
A dođoše dva Mrljavčevića,;
Dva đevera Gojkovice mlade,
Uzeše je za bijele ruke,
Povedoše u grad da ugrade,
Podviknuše Rada neimara,
Rade viknu do trista majstora;;
Al' se smije tanana nevjesta,
Ona misli, da je šale radi.
Turiše je u grad ugrađivat',
Oboriše do trista majstora,
Oboriše drvlje i kamenje,;
Uzidaše dori do koljena,
Još se smije tanana nevjesta,
Još se nada, da je šale radi.
Oboriše do trista majstora,
Oboriše drvlje i kamenje,;
Uzidaše dori do pojasa,
Tad' oteža drvlje i kamenje,
Onda viđe, šta je jadnu nađe,
Ljuto pisnu, kao ljuta guja,
Pa zamoli dva mila đevera:;
"Ne dajte me, ako Boga znate!
"Uzidati mladu i zelenu."
To se moli, al' joj ne pomaže;
Jer đeveri u nju i ne glede.
Tad se prođe srama i zazora,;
Pake moli svoga gospodara:
"Ne daj mene, dobri gospodaru!
"Da me mladu u grad uzidaju,
"No ti prati mojoj staroj majci,
"Moja majka ima dosta blaga,;
"Nek ti kupi roba il' robinju,
"Te zidajte kuli u temelja."
To se moli, no joj ne pomaže.
A kad viđe tanana nevjesta,
Da joj više molba ne pomaže,
Tad' se moli Radu neimaru:
"Bogom brate, Rade neimare!
"Ostavi mi prozor na dojkama,
"Isturi mi moje b'jele dojke,
"Kade dođe moj nejaki Jovo,;
"Kada dođe, da podoji dojke."
To je Rade na bratstvo primio,
Ostavi joj prozor na dojkama,
Pa joj dojke u polje isturi,
Kada dođe nejaki Jovane,;
Kada dođe, da podoji dojke.
Opet kužna Rada dozivala:
"Bogom brate, Rade neimare!
"Ostavi mi prozor na očima,
"Da ja gledam ka bijelu dvoru,;
"Kad će mene Jova donositi
"I ka dvoru opet odnositi."
I to Rade za bratstvo primio,
Ostavi joj prozor na očima,
Te da gleda ka bijelu dvoru,;
Kada će joj Jova donositi
I ka dvoru opet odnositi.
I tako je u grad ugradiše,
Pa donose čedo u kol'jevci,
Te ga doji za neđelju dana,;
Po neđelji izgubila glasa;
Al' đetetu onđe ide rana,
Dojiše ga za godinu dana.
Kako tade, tako i ostade,
Da i danas onđe ide rana;
Zarad' čuda, i zarad' lijeka,
Koja žena ne ima mlijeka.

- 14:45 - Komentari (22) - Isprintaj - #

ponedjeljak, 26.02.2007.

POOKA ili RADIKALNI OPTIMIZAM

POOKA JE VIDIO NLO

• užasnog li trenutka, kad je prestao psihoaktivni utjecaj Cannabis indice na moj mozak, a uradak Oliver Stonea 'Aleksander the Great' nije ni bio blizu sredini... (što mu je ono trebalo, čovjeku koji je režirao Platoon i Divlje palme)... sjećam se savršenog savjeta koji čovjek može dati naoružanom psihotičaru... kao Aristotelov savjet mladom Aleksandru: 'Never hesitate!' a tijekom Pasije od Mela Gibsona sam ja jedini u kinu jeo kokice. a Malog Buddhu sam gledao da 5 lorsilana (prije projekcije) i 2 litre vina (tijekom projekcije). a najbolji doživljaj u kinu sam imao u Sarajevu kad sam gledao Ralje III, u tri dimenzije, cijelo kino sa onim naočalama na glavama, lete komadi mesa oko nas, a ovaj što je sa mnom pio u kinu (on svoju, ja svoju bocu vina) se digne u sred tog 3-D klanja i gađa svojom bocom nekog junca u drugom redu u kinu, da mu jebe majku, pa preko onih klupa i ljudi na njega... a ja sjedim i smijem se, smije se cijelo kino... Sarajevo prije rata, jebiga... (pooka pooka pooka pooka pooka pooka pooka pooka po 25.02.2007. 00:59)

• Ha, ha, dobro je da si bio naoružan samo smješkom! Čuj, što se Pasije tiče, tko ti je kriv što si je gledao sa sjemeništarcima kojima je prije projekcije Don Kaćunko dao hostiju, više da ne pričaju, a manje da ne zoblju popcorn.
Malog se budu drukčije ne da ni gledati, već iz doktrinarnih razloga (ti bi film o Dharmakayi gledao očima pasiniranog čitatelja ekonomskih teorija!?), a da estetske ni ne navodim: misliš li da su taj film radili čisti ljudi?
Ahahahaha...da u Sarajevu, u tri dimenzije, gledao Ralje III! Zamisli da je bio peti nastavak, pa sljedeći logiku podudarnosti broja nastavaka i dimenzija....ah, ne usudim se ni započinjati spekulaciju!
Prve Ralje imaju genijalan plakat, koliko god jednostavn bio; trebaš biti istinski filmofi da ga pravilno razumiješ. Naime, Spielberg je Zlo ostavio u Duelu dolje - jasno, nesavladano, tek potisnuto - u podsvijesti, i sad je to snažnije i u strašnijem obliku - e, ovo će se sviđati Looneyu Šlagerpavaču - jurnulo de profundis da izbije i brizne na površinu! To objašnjava otkud tom geniju tako elementarna a razorno moćna ideja, tj. otkud ta raznoran moć tako elementarne ideje: idem radit' film o morskom psu!
Moj bratić, poput tebe čovjek s mora, imao je 12 godina kad je prvi puta gledao film; cijelo je ljeto proveo gledajući pod krevet odlazeći na sanak! Ne zajebavam se! Vidio sam svojim očima.
Nije nimalo stoga čudno da su po Sarajevu poletjele boce. Jedino, ja mislim da je to manje zbog filma, a više zbog naočala: zamisli kad su Bosanci progledali trodimenzionalno! Kakav je to prizor morao biti! (NEMANJA 25.02.2007. 01:19)

• Pooka, ne osjećaš li se i ti pomalo čudno, gotovo nelagodno, kao da imaš osjećaj da te netko gleda, dok ovdje razgovaramo, hodajući trakom mjesečine, ti i ja, sada, kao junaci nekakve nenapisane novele/epiloga 'Evanđelja po Wolandu', onog melankoličnog vojnog ljekara Mihaila Afanasijeviča Bulgakova? Imaš li i ti, drugim riječima, taj neobičan osjećaj, kažem, da nismo sami? Mislim, u univerzumu? (NEMANJA 25.02.2007. 02:06)

• vjerovao ti meni ili ne, ja sam vidio NLO! bio sam 7-8 osnovne, slučajno pogledao prema nebu, kad tamo, izmedju oblaka prodje kvadar (pravokutnik u 3 dimenzije), sa zvijezdom-svjetlom na svakom kantunu koji su bili povezani tankim linijama svjetlosti, tako da je moj NLO izgledao kao velika leteća kutija cigareta sa light-show efektom. i pošto su se oblaci gibali poprilično brzo, ja nisam stigao nikome pokazati moj NLO, ja nisam baš nikad, ali ama baš nikad sklon vjerovanju u čarolije, magiju, čuda, ja sam tu pojavu odmah odracionalizirao kao zvijezde koje mi je pomicanje oblaka stavilo u drugi referenti odnos pa mi se učinilo da se gibaju one a ne, u stvari, oblaci. ali, avaj... (ha ha) pročitam ja nakon nekoliko dana da su iznad Konavala neki ljudi vidjeli kockaste leteće tanjure... pa sad ti vidi, malo je prevelika slucajnost tako da ja mislim da je to bilo nesto, ali kako da ti kazem... i dan danas mi nije bas napeto da saznam što je to bilo. da sam ja vanzemaljac pa da samo gledam TV, a ne stvarnost na ovom svijetu, upalio bi WARP 10 i usidrio se pokraj nekog svemirskog otoka gdje nema fenomena kao što je 'Ultimate Fight'... ono, jedan čovjek ozljeđuje drugog dok se ovome ne resetira mozak pa mu otkažu udovi...
a da li me promatraju... ne vjerujem, ne promatra nitko nikoga zaupravo... da sam ja pravi zlotvor mogao bih za 7 dana napraviti takvo zlo da bi ga i mediji izbjegavali zbog neugodnosti.
znas one napade u londonu, u podzemnoj, eksplozivom... bez fragmenata (gelera)? madrid, nesto bolje... najbolji su rusi, oni pobiju više taoca nego teroristi, i to još uvijek nepoznatim plinom... zlo je tako blizu i nadohvat ruke da nije stvar u onima sto paze i štite nego u onima što su dovoljno glupi da budu zli, ali bez dovoljno pameti da budu efikasni. nekako se jedno sa drugim,na sreću, ne slaže. evo primjer iz prošlosti, kravlje ludilo hara europom (ili slinavka i šap), terorist arapski kupi jednu ludu kravu, zarazi ih još deset, ubije, dehidrira im mozgove u prah pun priona, pošalje to u ameriku, rasporedi svoje ljude u glavne distributivne centre stocne hrane (to je tamo uhodana industrija), ovi kontaminiraju odjednom svu stocnu hranu, sve krave polude, americka ekonomija pred kolapsom, nema T-bone steaka, nema mlijeka, nema mcdonaldsa... kaos totalni. ali jebiga, nema teatralnosti ni mučeništva... ako netko gleda, gleda iz privatnih pobuda... i to neki idiotluk.
univerzum? ja bi da se mi prvo međusobno dovedemo u red prije nego što oni dođu, znaš ono... dođu ti gosti, a (meni) mačke izvadile iz smeća kost od bataka pa ga ostavile ispod goblena sa Antom Pavelićem u prirodnoj veličini... razumiješ, he he... (pooka pooka pooka pooka pooka pooka pooka pooka po 25.02.2007. 06:01)

• pa rat u iraku... da meni daju zapovjedništvo... jednim danom tjedno (ne istim) zaprašivanje jakom dozom LSD-a... zamisli ti taj nered... možeš li uopće pojmiti što bi se dogodilo u Baghdadu na kolektivnom tripu... a onda ih sutra zaprašim sa nečim što izaziva blagi ali stalni svrab... pa dan pauze i onda milijardu tableta po 100mg čistog MDMA, Ecstasy ali pravi pravcati, maksimum instalirane sreće koju ljudsko biće može ostvariti... pada kao grad... i taman kad ih počne lupati depresija od come-downa, parkiram im deset tisuća cepelina na 500 metara visine i puštam im 'Final Countdown' od sweet-metal grupe Europe iz sve snage dva dana da ne mogu spavati... onda opet LSD, pa dan iza PCP pa dan iza DMT... pa da vidimo tko bi više ratovao... tako bi popustili na živce da bi zadavili svakoga tko bi ispalio jedan jedini metak, a ne se raznio bombom... HA! (pooka pooka pooka pooka pooka pooka pooka pooka po 25.02.2007. 06:14)

• Sjajno! Mislim na priču o NLO-u i lagano pretapanje na otklon od paranoje. Naime, sjajno je to kako razumijemo stvari: ja sam u jednom trenutku pomislio kao mora biti brojnim čitateljima ovoga sitea koji čitaju naš razgovor o Hamletu ili višku vrijedosti, o toj odustnoj prisutnosti - i ljudima koji su tu, dok razgovaramo, ali ne uzimaju udjela u razgovoru (vidiš da sam čas prijere gledao mapu conutera i apelirao na Amere da mi se jave, to ti je dakle pokazatelj logike mojih misli), nego jednostavno bezglasno nazoče - i onda sam namjerno malo stilizirao taj osjećaj, prisjetivši se jedne slavne diskusije na mjesečini, ne-mirnih ali spokojnih sugovornika, i ostavivši tu opasku namjerno zamagljenom, pričekao sam tvoju reakciju: ona je OK, jer sam komentar o ne-siromašnima dovršio spomenom zakona o nadgledanju trenutnog boravišta osobe koja telefonira, i sasvim je logično da si, pribrojavši toj zaključnoj opasci ovu o nagdledanju, pomislio da i dalje pričam o nadzoru, ako ničeg drugog, a ono naše komunikacije. Ovaj dodatak: u univerzumu, trebala ja biti šala. Ispalo je puno sretnije: dobili smo priču o NLO-u ponad Konalava - zamisli što svojoj djeci priča frajer koji je vozio taj brod! - zastrašujući scenario terorističkog ispada po Pooky, i jednu radikalnooptimističku viziju trenutka u Duhu, zasnovanu na radikalnom antropološkom pesimizmu: sve je ipak dobro, jer su ljudi idioti, bez obzira bili good or bad guys.
Pooka, što bi kazao Dudajev na tvoju opasku da nitko nikoga ne sluša? (NEMANJA 25.02.2007. 06:51)

UTOPIJSKA FARMAKOLOGIJA

• Pooka, zašto ti toliko poštuješ tu utopijsku farmakologiju? Vidim, adoriraš kult Shulgina, pa mi reci, molim te, možda si nabasao na taj podatak, čime se to srednjovijekovna ekipa šlogirala - recimo Bosch - na osnovu plijesni kruha? Kad smo svojedobno kometirali mandragoru, na cijelu sam priču zaista nabasao sljedeći trag "Rosemaryne bebe": privjesak u kojemu je mandragora i put u Dubrovnik u najužoj su, naravno, svezi, jer je Dubrovnik, ako sam točno obavješten, bio najveće nalazište mandragore u Europi. Moj prijatelj, Slavonac koji je diplomirao šumarstvo, često mi je - nekoć, za studentskih dana - nabrajao endemične halucinogene biljke ovog podneblja. Šteta što se to znanje spravljanja velebilja i bunike zagubilo. Bilo bi sjajno da i Balkan zamislimo na čas kao tvoj Bagdad na tripu! Isuse, kakav bi to bogovski prizor bio; Balkan, Final Combat! (NEMANJA 25.02.2007. 07:20)

• Pošto glumim nekog ljutog pokeraša otvorit ću jednu kartu.
Osam godina sam radio za Hodžu, redizajn plakata i omota videokazeta za hrvatsko, slovensko i bosansko tržište te dizajn kataloga.
Nagledo sam se svega i svačega, zadivljen sam kako netko primjećuje kako je kvaliteta plakata današnjeg filma pala u odnosu na "jučerašnji" plakat kao i kvaliteta filma uopće. "Igrači" u Holivudu vode igru i to je to.
Što se tiče izgubljenih žena, to je vječita tema i mislim da je Tolstoj sasvim dobro odradio tu temu u Ani Karenjinoj.
A što se tiče Devils Advokata, Lucifer ipak nije na kraju izgubio jer ako se sjećate "mladić" je pao je na ispitu "taština" na samom kraju filma.
Ono što čovjek treba naučiti o borbi jest: "nakon pobjede oplakuj neprijatelja te pojedi gorak vijenac spleten od lovorika i idi dalje".
Što bi rek'o Njegoš:"još nitko čašu meda ne popi da je čaša žuči ne zagrči, čaša meda išče čašu žuči, smješane najlakše se piju!" (Šlagerpevač 25.02.2007. 07:32)

• Šlager, znaš li ti da su Ivanu Orleansku, između ostaloga, sudili i zbog posjedovanja madragore? Velim ja, ekipica se šlogirala od jutra do sutra, samo je pitanje koja vutra.
Ipak, entuzijam s kojim su pristupali obredno-ludičkom šlogiranju narodi drevnih južnoameričkih civilizacija zasjenjuje sve domete na toj bogato melioriranoj plantaži ljudskog pregalaštva: u žaru ekstatičkog oduševljenja, momci bakrene puti klistirali bi se halucinogenim ekstraktima, pak bi veselo i ćilo - kao kad u birtiji na "I tebe sam sit kafanooooooooo..." polete u zrak ruke, čaše, metci... - s jednom se rukom potegnuli za perčin, dok bi se drugom rezolutno - dekapitirali! To je svakako jedan od radosnijih prizora smrti u povijesti čovječanstva: dečki, ušlogirani k'o mambe, sami sebe potežu za čupicu i eurorično si odrubljuju suvišne glave! Ingeniozno! Odozgo, s vrha piramide, gleda ih svećenik čija je glava trepanirana ne bi li u mozak pristiglo više kisika (da, zaista su imali te umjetne fonantele!; zamisli sad kad je u tako provjetrenu glavu dotekla odmjerena količina psihodelika! Ono što si ti vidio nad Konavlima, suhoparna je socrealistika novelistika prema vizijama civilizacija predkolumbovske ere, tj. prije prvog Acatla, dakle 1519., kad su Azetci konačno vidjeli svoga boga, skjuz maj frenč!, pozdravljaći u visokom Nahuatl retoričkom idiomu povratak Quetzalcoatla - nudeći tron Cortesu - riječima:"You have graciously arrived, you have known pain, you have known weariness, now come on earth, take your rest, enter into your palace, rest your limbs; may our lords come on earth."), i u posljednji zalazak sunca relaksirano pućka vizionarsku lulu, zaogrnut meditativnim sffumatom salviae divinorum.
Kad je Cortes stigao, Moctezuma je odahnuo!
Kao Minotaur pred Tezejem: "Što te je zadržalo!?" (NEMANJA 25.02.2007. 08:26)

ŽENSKA FRANCUSKOG PORUČNIKA

• Nije žena nego ženska francuskog poručnika. (njetocka 25.02.2007. 09:10)
• Njetočka, imaš pravo, ali kako mogu napisati: Žemska francuskog poručnika!?
Uostalom, pojam žene značenjskim opsegom nadilazi onaj supruge: frizer za žene "Katarina", recimo, zasigurno nije samo frizer za udane gospođe!
Što misliš? (NEMANJA 25.02.2007. 09:21)
• Nego, kad smo kod vrata, glave i tijela - ta se tema na čudan način provukla od Ničije zemlje pad do Azteca - ne bi bio red da se ne spomenem slavnih stihova o Lazarevom vaskrsu:

Pođe glava preko polja sama
Sveta glava do svetoga tela.

Ili pak suvremenije inačice, iz drame Miladina Ševarlića, "Zmaj od Srbije":

"ĐURAĐ: Despot se, dakle, uznosi u carstvo nebesko... u naručje svojih svetih roditelja, odakle, zajedno s njima, nastavlja da bdi nad sudbinom Srbije. Tako predstava dobija skladan i uzvišen završetak.
Ti si Lazar, uzimaš svoju odsečenu glavu, tako, odlaziš tamo gore, to je nebo, carstvo nebesko... Ti, Milice, stani pored njega, tako... Vi, odozgo, je li, pratite srpske prilike.
Ti si despot, pokojni despot, Zmaj od Srbije, nalaziš se na vratima nebesa, nebesa se otvaraju, čuje se svečana, anđeoska muzika, koračaš lagano, takoreći lebdiš, tako, ne dotičeš tle nogama, ti si već poput anđela, tako, muzika, tako... Ideš u susret svetlome knezu i kneginji, oni su radosni, smeše se... muzika, tako... pred vama je večni život, večna slava... ideš, lebdiš, lice ti je ozareno... vaznosiše se u nebo i sa neba bdiš nad Srbijom, tako... muzika... jače... tako... jače, jače, to je to! Mrak! Kraj!" (NEMANJA 25.02.2007. 09:25)
• Dobro, dobro, izmjenit ću ja to, ali u ona vremena, kad je film igrao, bio je naslovljen: Žena francuskog poručnika. To što je hrvatska jezička praksa do te mjere rafinirala svoj ukus u posljednjih četvrt stoljeća da su žene u međuvremenu uznapredovale o do ženskog čeljadeta, za svaku je pohvalu. Hitam na ispravak. (NEMANJA 25.02.2007. 09:36)
• U tome i jest point što je ona upravo ženska, a ne žena u ma kojem (širem ili užem) značenju riječi. (njetocka 25.02.2007. 09:38)
• A ženska je nešto pogrdno, što li? Ona je njegova ženska, pa to je dakle uvreda? I bit njenog lika? (NEMANJA 25.02.2007. 09:40)
• Ne zlato, nego je u tome romantika. (njetocka 25.02.2007. 09:49)
• Znaš u čemu je spor, draga Njetočka...ona je 'ženska francuskog poručnika' za druge, ne za mene, koji sam tamo, davnih osamdesetih, kao što rekoh, otišao odmah drugi dan u Petrinjsku, zavalio se u poluprazno kino "Central", i opčinjen, i valjda zaljubljen, gledao Merly Streep na sinjem molu (zašto bi samo more bilo sinje!?). Očito da je ljubav kraj zdravih očiju slijepa, pa nisam mogao vidjeti o čemu se zapravo u filmu radi. Kao da je to tada, a i sada, uopće važno. O čemu je u tom znamenitom romanu zapravo riječ, važno je jedino studentima komparativne i asistentima koij na tom podatnom tekstu, kroz analizu i interpretaciju Fowlesovog romana, demonstriraju probleme permutacije i ostalih postmodernih književnih postupaka.
Meni tada nije bilo do priče, u širem ili užem značenju riječi.
Bio sam naime zaljubljen.
U Meryl Streep! Možeš li ti to zamisliti!? Pa to je kao kad se Pacino navuče na vlastiti koks u Scarfaceu: "Never get high on your own supply", reći će Al, i doskora pogaziti vlasti zakon, što je u filmu ravno samoubojstvu.
Tako sam i ja pao žrtvom zbližavanja na poslu: ja, filmski kritičar, zaljubio sam se u Meryl Streep! U tom kontekstu meni tračati Boginju kao žensku, zaista je ispod svake razine.
Pa i ako je od druge žene, i sve da trač i jest ljubav za daljnjeg svoga!
Nisam to očekivao od tebe. (NEMANJA 25.02.2007. 09:51)
• Jao što si svadljiv. A zapravo govorimo isto. Ženska nije pogrdno mišljeno. Au contraire. U tu si se kvalitetu zaljubio. Kao i ja i svaki onaj koji je gledao film. (njetocka 25.02.2007. 09:55)
• Sve je dobro dok nije zenka. Zh. Zhenka. (sherlock holmes 25.02.2007. 09:58)
• Nazvati je ženom je nedostatno. (njetocka 25.02.2007. 09:58)
• U životu nisam obrisao svoje komentare da bih bilo kome popustio ili nekoga odobrovoljio.
Ovo sam napravio prvi put, i samo za tebe. (NEMANJA 25.02.2007. 10:11)
• Nesho, principijelnost je odlika rigidnih osobnosti, prema tomu ti cestitam, a post ti je lijep, kako se i pristoji za listati u nedjeljno jutro. (cveba 25.02.2007. 10:28)
• Točkolinac mali klinac šapnuo mi je sljedeću rečenicu: Ona se usudila biti njegovom ženskom, dajući time dignitet toj riječi!
To je sjajno rečeno. I, očito, na najjednostavniji način formulira bit toga djela i lika.
Evo, 26 godina nakon filma, uspjelo mi je u jednoj rečenici čuti njegovu poantu!
Život je zaista čudesan! (NEMANJA 25.02.2007. 10:53)
• ..o feminizmu da ti zborim, pa za majku bozju, danas je posve agreable biti nekome cura ili puca, ljudi zive u divljim brakovima, imamo zakon o obitelji, nasljedjivanje, deca se vise ne zovu vanbracnom, ta njetockina zabluda o ''zenskoj'' kao hrabroj jedinki spada u ropotarnicu povijesti, i Ana Karenjina je bila nekome zenska, pa se posle bacila jadnica pod kotace i to ne kao ''zenska'' nego kao subjekt, sto bi se moglo primjeniti i na Anu Borongay, zaljubljene dame je vazda resio identitet, ma kako ih pridjevovali Njetockice, jel tak, zivot je zaista cudesan ! (cveba 25.02.2007. 11:02)

ŠLAGER

• Zadržala me najgora od svih nemani "DUŽNOST" prema žena deca i ostale kikiriki patetike da sam bio pametan prepustio bih se "p'janom vjetru" prije pa bih uštedio koju godinicu ovog mog ubogog života.
Da Španjolci su čoveka prosto naprosto polako zadavili ili su mu zdrobili lubanju zatezanjem konopa. Španjolska inkvizicija je metode mučenja i ubijanja dovela do savršenstva sve pod okriljem Isusa krista spasitelja. U biti imam jednu sjajnu "ideju" pomislio sam da je Isus u biti bio Kajin koji se osvetio bogu na taj način što je čovječanstvo pretvorio u ovce.
Bog je stavi znak na Kajina da ga tko, našavši ga, ne ubije.
E, onda je Kajin pustio da ga malo pretuku i razapnu ali je u biti bio neranjiv.
Našao je ekipu neznabožaca uvalio im spiku i par mađioničarskih trikova i zauzeo prestolje kao Isus Krist sin božiji oli ti bog ponaosobno.
Šta ti misliš o toj uroti Nemanjo, o silni Nemanjo? (Šlagerpevač 25.02.2007. 14:20)

TOUR DE FORCE

• Ima tamo u cijelom onom svemiru hiperlinkova puno zanimljivijih od ove MDMA utopijske farmakologije i hedonistickog imperativa. ima jedna stranica sa opisom intrakranijalno ugradjenih elektroda koje misevima stimuliraju sintezu dopamina ali bez povratne, uobicajene, sprege kasnijeg smanjenja jer je sinteza izazvana elektricnim, a ne kemijskim putem. ukratko, sve se zivotinje drmaju sa tim elektrodama sto vise mogu, glad, sex, teritorij, sve postaje nebitno, samo daj dopamina. kemijski je to neostvarivo jer mozak evolucijski ima ugradjen mehanizam 'kontrasta' motivacije, da bi bio motiviran moras biti manje motiviran i ako si stalno motiviran gubi se instrument nagrade za evolucijski uspjesno ponasanje (dopamin), u stvari te pojede neki depresivni tigar dok tebe boli kurac i mislis kako bi mogao sagraditi helikopter od bambusa. ja ne vidim nikakav moralni razlog zasto se kemijski inducirana mentalna stanja koja mogu biti korisna, ugodna, zdrava, opustajuca ne bi koristila puno sire nego sto se to danas radi. ilegalnim satusom vecine psihoaktivnih stimulansa i jasnom politikom FDA da je svaki psihostimulans koji nema klinicku vrijednost automatski 'substance abuse', ljudi su osudjeni da piju alkohol, puse cigarete, puse metamfetamin i crack, drmaju se heroinom i to sve u nekontroliranim uvjetima pa onda nastupa horor kao sad u americi sa chrystal methom koji je postao posast. ako si probao ista psihoaktivno, valjda imas neke preference, ja ne volim MDMA jer mi je osjecaj intenzivne srece na rok od tri do cetiri sata nekako ponizavajuci, LSD je odlicno sredstvo za povremene izlete izvan Kantovih prostor-vrijeme-razum-um kordinata, metamfetamin nisam probao, niti to zelim, to je previse intenzivan stimulans pogotovo ako se pusi pa u roku od tri sekunde zapljusne mozak dopaminom, crack ima isti efekat, kokain sam probao ali mi je prenormalan i nekako arogantan, heroin sam jednom probao i zgadio mi se, to je bas fuj-sumorno-pasivno-fizicki. speed, obicni amfetamin sulfat je dobar ako trebas iskopat neku rupu duboku tri metra, pricati sa troje ljudi od jednom i jednog od njih uvjerit da ce mu izrasti mali penisi ispod pazuha, he he... ali to je jos uvijek primitivno sredstvo, prljavo. moj interes su legalni psihofarmaci, vise teorijski jer tu ima malo sto vrijedno zlouporabe. teorijski oni mogu danas izbaciti na trziste savrsen antidepresiv, savrsen motivator koji bi djelovao i na zdrave ljude bez negativnih posljedica, savrseno sredstvo protiv patoloske inhibiranosti, stidljivosti, melankolicnosti, ali ne zele. savrsen antidepresiv zatvara cijelo to unosno trziste. a zamisli motiviranu i veselu populaciju koja bi malo htijela promijeniti distribuciju sredstava. to je nedopustivo. shulgin je psihonaut, bas kao i hofmann, to su ljudi koji su bili tako duboko i daleko u svojim glavama da je to nama 'normalnima' nepojmljivo. nervira me taj dogmaticki animozitet prema psihoaktivnim supstancama, mislim da nitko nema pravo uvoditi restrikcije u tom podrucju (stimulansa, heroin ne spada u tu skupinu, on je otrov koji je tako bazicnog mehanizma da mu se teoretski ne moze dopustiti kontrolirana upotreba) i da bi svijet bio puno zanimljiviji kad bi ja imao izbor od nekih dvadesetak razlicitih preparata kojima bi mogao 'obojiti' dan ili 'propuhati' ventile. ovako ima konjak i cigarete. imaneptine je bio vrlo blizu savrsenog antidepresiva pa ga je FDA suzbila pritiscima na francuskog proizvodjaca. u svakom slucaju, tematika je ogromna bas kao i kombinatorika pa ko voli nek izvoli. mandragora je halucinogena skupina alkaloida kombinacija kojih varira od biljke do biljke i to normalni ljudi sebi ne rade, tu je mogućnost davljenja zbog stezanja dušnika, psihotičnih ekstremnih epizoda velika, znam neke koji su to probali, nije nitko imao dobra iskustva. mozes nesto slicno kupiti u apoteci za 30 kuna ako hoces petnaestak sati neugodnih halucinacija bez dodira sa stvarnoscu, sve za 30 kuna, bez recepta, najaca tvar na legalnom i ilegalnom trzistu. nevjerojatno. Bosch se mozda otrovao ergotom, gljivicom koja bi se razvijala na raži, iz nje je Albert Hofmann (101 godina, ha ha) izdvojio ergotamin, iz njega lizerginsku kiselinu i od nje dietil amid br. 25 - LSD (LysergidSaure Dietilamid, 25. po redu od dietil amida), ne znam koliko je sam ergot mogao djelovati psihogeno, više je tamanio ljude nekim crvenim oteklinama, ali bio je poznat fenomen suludog plesa ljudi koji su valjda pogodili dozu ili se ovaj nekako kemijski pretvorio u lizerginsku kiselinu, sve je to ultra-rizicno i ne bih nikome pametnome uopce sugerirao da konzumira bioloske jake halucinogene kao sto je mandragora, velebilje, tatula... one gljive tako-tako, to je vec donekle standardizirano u Nizozemskoj. ja volim LSD, znam kako se spusta, znam kako se dize, imam potpuni respekt prema toj supstanci jer trip je 'something else', uvijek pustim druge da prvi ocijene jacinu. eto, moj interes je puno vise teoretski nego prakticni... dobro, ne bas puno-puno vise (pooka pooka pooka pooka pooka pooka pooka pooka po 25.02.2007. 16:28)
• Sjajan tekst. E, sad, kad bi ti se dao napisati jeadn od hofmannu i suhlginu kao psihonautima, to bi bilo savršeno: št to znači da su ti ljudi bilo "tako duboko i daleko u svojim glavama" da je to nama nepojmljiv. Što to tebe fascinira kod tih ljudi? Što su to ono 'vidjeli' u starodrevnom smilu riječi vid: koji su to njihovi uvidi? Nemam nikakvih predrasuda, naprosto pitam. Uživam te čitati, jer to su tekstovi očito nekoga tko uživa pišući, a piše o nečemu što zna, pa još k tome i na pametan i pismen način. Zapravo, fascinira me ta disparatnost teme i načina na koji o temi govoriš: sasvim je nevjerojatno da čovjek koji govori o dopu do te mjere pozvano s lakoćom napiše ovako briljatnu rečenicu:"Kemijski je to neostvarivo jer mozak evolucijski ima ugradjen mehanizam 'kontrasta' motivacije, da bi bio motiviran moras biti manje motiviran i ako si stalno motiviran gubi se instrument nagrade za evolucijski uspjesno ponasanje (dopamin), u stvari te pojede neki depresivni tigar dok tebe boli kurac i mislis kako bi mogao sagraditi helikopter od bambusa." Pametno, slikovito, pismeno - potom, a to je i glavni razlog što te stalno iznova provociram na razgovor - očito iznimno, iznimno inteligentno...Pooka moj, ti si meni pravo pravcato otkriće: nevjerojatno veselje i zadovoljstvo u razgovoru i tekstu! Da ti uzvratim, skoči do Inhibitrora i pročitaj onaj moj škerco; mislm da nije loš. (NEMANJA 25.02.2007. 19:06)
• Pooka pooka, lijep si to napis'o što jest jest.
Jedina zamjerka je ta što nije istina da amfetamini i metaamfetamini djeluju dopaminski u smislu povećanja koncentracije dopamina nego oni "imitiraju" dopamin, serotonin i ine neurotransmitere dok farmaceutski preparati su više orijentirani na blokadu i stimulaciju neuro sinapsi i stimulaciju izlučivanja pojedinih neurotrasmitera.
Općenito bilo kakva upotreba ili zloupotreba psihoaktivnih supstanci nije poželjna kod zdrave osobe. U mom slučaju je nužna upotreba legalnih psihoaktivnih supstanci koje uredno dobivam na recept i sa kojim raspolažem u izobilju te si sam na osnovu iskustva doziram terapiju u suradnji sa stručnom osobom koja mi između ostalog piše povijesti bolest na osnovu kojeg dobivam željenu i (ili) potrebnu supstancu.
Danas obzirom da je nedjelja odlučio sam malo odmorit i uzeo sam 10 mg olanzapinuma i 10mg dizepamuma. Ta kombinacija fenomenalno zakucava i potapa tako da sam time smanjio moždanu aktivnost, sad pijem veću količinu kave da izlučim lijek i "probudim se". Naravno ako imam nekakav zahtjevniji psihomotorički napor koji zahtjeva upotrebu tijela da nikad ne uzimam spomenute lijekove npr. duža vožnja, skijanje, spuštanje u jamu, penjanje ili slično. Čudi me da ti se heroin nije svidio jer ja sam probao gotovo sva sranja koja se mogu naći na ilegalnom i legalnom tržištu ili ubrati u prirodi ali mi je jedino heroin ostao na vrhu piramide i on je zasigurno kralj svih droga, jedini problem je što je teško naletiti na dobar hors jer je zbog inflacije (posljedica povećane potrošnje heroina) pala kvaliteta, prije 20 godina se na tržištu nalazio puno kvalitetniji heroin (Šlagerpevač 25.02.2007. 19:38)
• uh, pospan sam pa ću ukratko... Shulgin je svoja iskustva opisao u knjizi PIHKAL (Phenetylamines I Have Known And Loved) gdje je naveo nekih 130-tak fenetilamina (tu spadaju i adrenalin i efedrin i dopamin i MDMA itd), svoje doživljaje jer je sam testirao sa prijateljima sve te spojeve... gdje su bili (ako je 'gdje' i 'kad' uopće relevantno u tim okolnostima temeljito promjenjene percepcije, osjetilne i one 'više', bez-razumske, ha ha) ja ne znam. znam da je Albert Hofmann u svojoj knjizi 'LSD - my problem child' spomenuo jednu anegdotu, kad mu je Aldous Huxley bio u posjetu, negdje u Švicarskoj, rekao je Hofmannovoj ženi kako mora uzeti LSD i pogledati cvijet runolista pa da će u njemu ugledati cijeli univerzum. Huxley je inače umro na LSD-u, zadnje riječi koje je napisao su bile, otprilike...lysergid acid, intramusculary, 100 pikograma, please... upućene ženi koja mu je ispunila tu, posljednju želju. LSD može ukloniti vrijeme kao temeljni oblik spoznaje, a da subjekt ostane povezan sa 'realnošću', sa prostorom radi stvarno svašta, a boje su priča za sebe. podsvijest isplutava poput tamnog otoka u noći, tako stvarna da čovjeku više nikad ne padne na pamet da je to samo psihoanalitički postulat. dopamin je glavni neurotransmiter zadužen za motivaciju, dijelom kao mehanizam nagrade ali ne kroz užitak jer su pacijentima kojima su neurolepticima (haldol i fenotijazini) blokirani D2 receptori još uvijek mogli iskusiti užitak i zadovoljstvo, dopamin je motor motivacije i njegov mehanizam nagrade je izražen kroz aktualiziranu aktivnost. bio je pokus, dvije grupe ljudi koje su obadvije dobile psihoaktivnu dozu amfetamia, jednoj skupini to nisu rekli i ta je skupina bila samo malo energičnija u listanju časopisa dok je čekala rezultate, drugoj skupini su rekli da su dobili amfetamin i ta je skupina počela žustro diskutirati, plesati, razmijenjivati životna iskustva i donositi svakojake zaključke jedni o drugima kao da se znaju cijeli život. to je dopamin. kokain djeluje tako da blokira ponovnu pohranu dopamina u post-sinaptičkim neuronima (prozac to radi sa serotoninom) i tako mu povećava koncentraciju u sinaptičkoj pukotini. amfetamini djeluju preko dopaminskih transportera i povećavaju izbacivanje dopamina iz pred-sinaptičkih neurona i omogućuju mu puno lakši prolaz kroz membrane post-sinaptičkih neurona, osim toga oni povećavaju i koncentraciju noradrenalina, koji diže simpatički sustav (puls, tlak, periferna vazokonstrikcija, širenje zjenica). MDMA otpušta kompletne zalihe serotonina iz vazikula u pred-sinaptičkim neuronima tako da ponavljano uzimanje ecstasyja nema više toliko serotoninski (sreća) efekat već dopaminsko-noradrenalinski, jer MDMA je ipak iz amfetaminske obitelji. William Blake je rekao onu glasovitu o čišćenju vrata percepcije da bi se vidjela stvarnost bez filtera svakodnevnog, (Huxley, The Doors). psihofarmaci... otprilike tri velike skupine: anksiolitici, antidepresivi i antipsihotici. prvi su benzodiazepini...diazepam, oksazepam, alprazolam... oni se 'parkiraju' na GABA receptore (GABA inhibira neuronsku transmisiju tako što otvara ionske kanale, post-sinaptički se neuron puni negativnim ionima klora i tako postaje odbojan prema svim neurotransmiterima), antidepresivi - stari MAO inhibitori i triciklički (Amizol, Anafranil, Ladiomil), oni su neselektivni, povećavaju transmisiju svih transmitera, SSRI -selektivni inhibitori ponovne pohrane serotonina (Prozac, Seroxat, Zoloft, Fevarin itd), oni smanjuju vraćanje serotonina nazad u pred-sinaptičke neurone. e tu sad ima cijela jedna nova teorija, jer SSRI povećavaju neurogenezu u hipocampusu za 70% i sad se postavljaju nove teorije o mehanizmu njihovog djelovanja koje i objašnjava odgodu od nekoliko tjedana da počnu djelovati, taj rok je potreban da bi NOVI neuroni uspostavili aksonske veze sa drugim neuronima. MR-om je dokazano da je hipokampus fizički manji kod depresivnih ljudi i da se liječenjem SSRI-ma on ponovo povećava fizički. najnoviji su Effexor i Cymbalta, kombinirani serotoninsko-noradrenalinski inh. pon. poh. antipsihotici su haloperidol, fenotijazini i jedan iz skupine benzodiazepina - olanzapin (Zyprexa), oni blokiraju D2 dopaminske receptore.
imam i ja F šifru, kolega Šlagerpevač, he he :))) (pooka pooka pooka pooka pooka pooka pooka pooka po 25.02.2007. 21:26)

- 11:31 - Komentari (16) - Isprintaj - #

nedjelja, 25.02.2007.

HAPPY BIRTHDAY, JU BI TU!

TOČKOLINAC, SRETAN TI ROĐENDAN!

Njetočka je rano ustala, jer Točkica danas ima rođendan!

We're your friends
We're your friends
We're your friends to the bitter end

When you're alone
Who comes around
To pluck you up
When you are down
And when you're outside, looking in
Who's there to open the door?
That's what friends are for!

Who's always eager to extend
A friendly claw?
That's what friends are for!

And when you're lost in dire need
Who's at your side at lightning speed?
We're friends of every creature
Comin' down the pike
In fact we never met an animal
We didn't like, didn't like

So you can see
We're friends in need
And friends in need
Are friends indeed
We'll keep you safe
In the jungle forevermore
That's what friends are for!

Budući da je nedjelja, evo za dečke na ročkasu i tekma:

- 11:18 - Komentari (19) - Isprintaj - #

subota, 24.02.2007.

SHE WAS LOST FROM THE MOMENT SHE SAW HIM

I have set myself beyond the pale. I am nothing. I am hardly human any more.
Sarah

Stvarno ne lažem da sam zaplakao kad sam gledao 'Devil's Advocate', kad je Keanu rekao da ima slobodnu volju i ubio se... a ja nisam emocionalac, rijetko plačem... osim kad je riječ o ideologiji. što se tiče gorespomenute šume... pa zar narod nema predivan izraz za one pojedince temeljito različite od nas serijskih proizvoda prirode i društva... ''Bog ga u šumu okrenuo.'' ha ha ha :) (pooka 24.02.2007. 21:29)

Dragi Pooka, a što ja tek da kažem? Ja sam od filma živio godinama, kao kritičar, štoviše the best critic money can buy - sjajan mi je slogan bio, a! - i trebao sam imati višestruke filtere distance, pa ipak, usprkos prirođenoj hladnokrvnosti i preziru spram većine ljudskih stvari, otišao sam po drugi puta gledati 'Žensku francuskog poručnika' samo zbog prikaze Meryl Streep na sinjem molu! Slogan kaže: "She was lost from the moment she saw him."; što tek za mene kazati!? (NEMANJA 24.02.2007. 23:38)

Someone saw a strange amount
Of moisture on her lips
And it was also seen upon
Her arms and on her hips

No one knows exactly
Who she was or how she died
But when they opened up her purse
They found a snail inside.

The Residents, Moisture, Commercial

- 23:47 - Komentari (43) - Isprintaj - #

A NO MAN'S LAND

THE DEVIL'S ADVOCATE

Look at me.

Underestimated from day one.

You'd never think I was a master of the universe, would you?

That's your only weakness, as far as I can see.

What's that?

It's the look.

That Florida stud thing.

What is that?

Excuse me, ma'am. Did I leave my boots under your bed?

Never worked a jury that didn't have a woman.

You know what you're missing?

You're missing what I have.

There's this beautiful girl, just fucked me ways from Sunday...

...we're done, she's walking to the bathroom, trying to walk...

...she turns...

...she looks...

...it's me.

Not the Trojan army that just fucked her. Little old me.

She gets this look on her face like:

"How the hell did that happen?"

I'm the hand up Mona Lisa's skirt.

I'm a surprise, Kevin.

They don't see me coming.

That's what you're missing.

A woman's shoulders are the frontlines of her mystique.

And her neck...

...if she's alive...

...has all the mystery of a border town.

A no man's land...

...in that battle...

...between the mind and the body.

P.S.

- 07:24 - Komentari (14) - Isprintaj - #

četvrtak, 22.02.2007.

Extra! Specijalno! BAKA NAMJESTILA NATJEČAJ!

Baka kunja

Natjecanje

HUJK! poziva mile subložnike i subložnice na natjecanje u dobrosti: valja ponuditi ponude umanjenica i uvećanica za ova dva pojma: tlo i dno.
Tko najbolji, njegova pobjeda.
A tko pobijedi, za nagradu dobit će pramen moje sijede kose koji može staviti u spomenar ili prodati kad se proslavim.
Utješna nagrada je golublje pero.

Laureat Pantera

Rezultati

Nakon neprospavanih noći i razbijanja glave pajserom, HUJK! (Hrvatska udruga za jezičnu kulturu) izabrala je pobjednike natjecanja u dobrosti za umanjenice i uvećanice riječi tlo i dno. Udruga je iznimno zadovoljna prispjelim ponudama. Blogokorisnici su pokazali zavidnu jezičnu osviještenost i maštovitost.

Pobjednik za uvećanicu riječi tlo je Pantera s tlurinom.
Drugoplasirani za uvećanicu riječi tlo su Manistra i Vilenjak s tlusinom.

Pobjednici za umanjenicu riječi tlo su Hrundi i Herostrat s tlašcem.
Drugoplasirani za umanjenicu riječi tlo su DerzaFanistori i Kratke s talcetom.

Pobjednice za uvećanicu riječi dno su Chablis i Pantera s dnetinom.
Drugoplasirani za uvećanicu riječi dno je Herostrat s dnotinom.

Pobjednik umanjenice riječi dno je Hrundi s dnašcem.
Drugoplasirani za umanjenicu riječi dno je Chablis s dancetom.

Posebnu nagradu za posebna ostvarenja posebne ingenioznosti posebno dobivaju: Trenk za lokalni kolorit: dnjepar; Anspik za pjesničko izražavanje: tlica zlica; Nemanja za složenice: tlostranstvo, dnogromnost; Gjuroo za ritam: tale, talce, dane, dance. Trance, hip-hop. Hop sisa sisa sisa; Stroke za novotvorbe: tlokačina, dnormabel.

Nagrade ćemo dostaviti DHL-om.
Nagrade onih koji ih se odriču prodat ćemo i prihod prodaje dati u dobrotvorne svrhe.
Žalbe ne uvažavamo.

Laureti Hrundi vs. Bakshi

NEMANJA
Natječaj je namješten! Svi ste vi u vezi! Sve je ovo jedna velika zavjera!
Jedino je pitanje: Protiv koga?

Da tlurina i tlašce, dnetina i dnašce!
Nema tu ništa, ništa to nije, odmrmorili ste vi svoje! Nema tu gramatike, to ti je!
Tlurina = eventualno može tlorina, ali, gdje je to od tlostranosti!
Tlašce = kakav nemogući singularni plural! Besmislica.
Dnetina= eventualno može dnotina, ali, gdje je to od dnogromnosti!
Dnašce =Dno dna, jer, to i jest logika, ba: dno, dna, dnašce!

Očito je da su Pantera i Hrundi korumpirali Baku i zato i bdije dugo u noć i crnu vunu prede il' bijelo platno tka!
Posebno je fascinantno to što Baka dvostruko griješi u slučaju Hrundija: ne samo da ga nagrađuje, nego ga nagrađuje za nerazlikovanje množine i jednina *(jedino što bi Hrundija moglo opravdati jest skicofrenija, ali, ako se Šlagerpevač nije smio takmičiti, ne znam zašto bi to onda dopustili Hrundiju!?).
Glede hipokoristika**, Milou ima potpuno pravo: trebalo bi ih zabraniti koristiti, jer je inače takmičenje neregularno!
Sve u svemu natječaj treba poništiti i raspisati ga pod regularnim uvjetima iznova, recimo na mome!
Mislim da je to jedino pravedno rješenje.
I mislim da sam sasvim objektivan.
Uostalom, ja nisam znao da se smije predložiti tlurinu!
Baš ste budale!
____________
* Ovo je primjer suptilne igre riječima, a ne sudbinama, kao što se Baka igra: jedna množina i brojne jednine! Eh, da su svi k'o ja!

FUS-NOTA 1

Sad sam vidio da je Pantera u prosincu mjesecu objavila post sljedećeg sadržaja:
Dragi Blože...
sretan tebi i meni naš prvi rođendan...

izdrži još puno, puno godina i budi zahvalan, kao i ja, na svim ovim dragim ljudima i njihovim odbljescima misli...

Odmah mi je draža.
Kao sasvim nepristran i rijetko nepotkupljiv čovjek, povlačim sve što sam kazao o Panteri.
Mada i dalje mislim da sam ja trebao pobjediti samo da nema tih predrasuda.
Ali, navikao sam ja na to, nema veze, sve je O.K., u redu, dobro, drugi put će Nemanja...da, da, ah, bolje da ne pričam.

Laureat Herostrat

FUS-NOTA 2

Baaaaaaaaaaaaaaaaaakkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkkoooooooooooooooo oooo!

Poništavaj izbor!
Nema, gotovo je, sve sam vas raskrinkao:
Ni pola sata nakon što sam iznio nesumnjivu pretpostavku o Hrundijevoj možebitnoj mnoštvenosti (u smislu: kad Hrundi priča sam sa sobom, to je poveliko društvo!), koja objašnjava ali ne iskupljuje nerazlikovanje jednine od množine, na njegovom inače jedinstvenom blogu pronašao sam mnoštvo dokaza za svoju točnu pretpostvaku, od kojih izdvajam tek jedan, iz nadajmo se posljednjeg takvog posta:

" 21.02.2007., srijeda
sex sells. i don't.

listajući blogove, poput vjetra koji šumi prelistava lišće, često se popiknem na spolne konotacije međuljudskih snošaja. staračko je srce brže zakucalo i natjeralo me da opišem svoje podvige iz prve mladosti, dakle, prošlog stoljeća. ovako je to bilo...

slučaj # 89: saved by death

divna večer u jednom zagrebačkom prekosavskom naselju. tu sam djevojku upoznao u jankomirskoj ludnici, kamo sam rado navraćao (kao vozač osobnog automobila do 950 ccm) s pijateljem u posjet njegovoj baci. ona je dolazila majci. umjetnica, slikarske prakse. bucmasta anorektičarka. profinjena, kulturna, lijepa, mirisna, duhovita, s nogama do poda, dobrim srcem i lijepim ušima."

Laureat Chablis

Što reći?
Hrundi se sastaje s djevojkom koju je upoznao u ludnici!?
Hrundi je tamo rado navraćao.
S pijateljem!? A, ne, nije ovo slučajno: ovaj tipfeler je tik, a tik je znak - znak simptom (Lacan): drug u pijanstvima daklem, delirijum tremens i te stvari; eeeej Hrundi, polako, znamo mi takve, antabus, antabus, tu smo!
A onda se ulaguje Baki: s vinskim je prijateljem išao u posjetu njegovoj baci*!? Eeeej, kome ti to prodaješ, koje su to fore! Kao, baš te godine nisi imao što raditi pa si rado odlazio u ludnicu! Ma nemoj me j***, Hrundi molio bih te! Nema čovjek što pametnije radit nego ide u Jankomir prijateljevoj baci, koja je jedna od najzabavnijih, ako ne i najzabavnija baka na svijetu! Barem u onom malom dijelu svijeta koji metonimijski čini Jankomir, zar ne?
Ali, već i ta teorija puca po šavovima: iako se svim silama trudi graditi kao pasionirani posjetitelj ludnice, Hrundi se ipak distancira: on je bio samo vozač, štoviše, tu su suhoparni podaci o kubikaži da to naglase! Ovo proturječje perenira i u nevještom, prozirnom oksimoronu: bucmasta anoreksičarka (jednina-množina, rado u ludnici - samo vozač, bucmasta - anoreksična...očito je da Hrundi ne može pomiriti neko fundamentalno nutarnje proturječje, ali, nismo mi tu zbog Hrundija, nego zbog natječaja, je l' tako!?), i sasvim potrvđuje moju nepitnu pretpostavku da je riječ o naknadnoj konstrukciji koja ne drži vodu: Hrundi očito ima nekakvu pretpriču koja nas se i ne mora ticati (treba pitati Šlagera, možda ga on zna sa šestice), ali u bitnom osporava regularnost našeg natječaja!
Naime, nije stvar samo u tome da se sasvim neprincipijelno Hrundiju dopustilo takmičiti se, a Šlageru se to onemogućilo, nije stvar ni u tome da se Hrundija, u očite terapijske svrhe nagradilo, nego je naprosto stvar u tome da je Hrundi načelno u prednosti: svatko od nas ostalih je svoje prijedloge smišljao sam, a njih je bilo mnoštvo! To nije fer.
Neću tako.
Bako, molim da se ovaj natječaj poništi u ime jezika, sintakse i čovekoljublja.
Molim da istom činodejstvuješ i to bez ikakve osjećajne empatije!
Molim i vas ostale da me podržite u ovom pravdoljubivom zahtevu, jer i Progress Report govori o korupciji kao nosivom zlu Lepe Naše.
Čuvajmo naš jezik od ludosti!
Ako ne zbog nas samih, a ono zbog naše dece (Pantero, consider this!).
Stop Hrundiju! Danas kod Bake, sutra na vašem blogu!
Živjela pravedna tržišna utakmica i nepotkupljiva kompetitivnost!
Živio kralj!
Dole vlada.
Ajde, živili!
_______________
*Iz ovoga je oblika "baci" vidljivo da se Hrundi ne može suzdrižati ni danas, osamnaest godina nakon tog traumatskog događaja: kao i u slučaju "pijatelja", tako i ovo "baci" sugerira što bi Hrundi, kad bi bilo po njegovom, najradije učinio toj ljupkoj staroj lucprdi koju je izfantazirao u svojoj Jankomirskoj deluziji! Očito je riječ o potisnutoj agresivnosti koja to snažnije izbija na površinu, što je veća sila potiskivanja izvorne traume u podsvijest (Stern&Stern, 1989.). U tom smislu bako možda je i bolje da ne poništavaš natječaj, da se Hrundi ne bi osvetio na tebi, kao Baki, za sve ono što je projicirao u "baci"! Pusti ga u klinac, vidiš da bi bilo dovoljno kazati Clouseau pa da si opali u nos!
Inače, Chief Inspector Charles LaRousse Dreyfus nije Herbert Lom, tj. je, ali je Herbert Lom zapravo Herbert Charles Angelo Kuchacevich ze Schluderpacheru, praško dijete. Tek da se zna.

Baš Baku briga, Baka ima posla!(sic!)

** Radosav Bošković

BELEŠKA O IMENU NEMANJA

(Onomatološki prilozi, broj I, Beograd, 1979, str 5-8)
Nemanja - to je hipokoristik, koji treba rastaviti na ove derivacione činioce: Ne-ma-an-j -a. Dakle, jedno od imena s maksimalnom kumulacijom hipokorističkih sufiksa. To jest - ako je naša analiza tačna.
Ime nije bilo retko u srednjem veku. Pored Raške, gde ga nosi veliki župan Stefan Nemanja, nalazimo ga dosta često, od 12. do 15. veka, duž jadranske obale i po ostrvima. J i r e č e k ga beleži: u Grblju (1430), u Dubrovniku (1383-1403), u Zadru (1289), na Krku (1189), na Braču (1250), u Senju (1243) i kao vlastelinsko prezime Nemanjići u velebitskim gorama 1486. (Die Romanen III 45-46).
Da bi naša "kompozicija" - u prvoj rečenici - imena Nemanja imala kakav-takav naučni pečat, treba da obrazložimo svih pet struktura njenih.
Idemo redom.
a) Struktura ne- to je prvi slog od nekog ličnog imena koje počinje sa Ne; ponajpre od Nenad. Dalje, struktura ne- to je elemenat iz druge faze razvitka slovenskih hipokoristika; kada se hipokoristički nastavak dodavao okrnjenoj osnovi (prvome slogu) na vokal. Konrektno: Ne-ma, a ne Nen-a.
b) Struktura m - deminutivnog karaktera - to je elemenat kojim je formiran prvi i osnovni hipokoristik imena Nemanja: Néma, Némo, ubedljivo potvrđuju naša srednjovekovna imena tipa: Radmak (CK 75) = Ráda, Rádo (Rád-m-a, Rád-m-o+ak, Ramič (CK 70) = Rá-m-a, Rá-m-o (Máha, Máho-+m+a, Ramić (= prezime, Monumenta Ragusina 1356)Rá-š-m-a,, Rá-š-mo+an, Milman (Dečanska hrisovulja I 6, 14) = Míla, Mílo (Míl-m-a, Míl-m-o+an.
Od imena ovoga tipa iz najnovijeg vremena da pomenemo crnogorske hipokoristike i deminutive Rámo i Rámić (Ra-) c) Strukturom an napravljen je dalji hipokoristik od Néma i drugi hipokoristik od imena Nemanja. Takvo je an po poreklu - deminutivni sufiks, a po funkciji, ono je odavno vrlo produktivan i omiljen nastavak za muška lična imena. Dodaje se najčešće - gotovo po pravilu - klasičnim hipokoristicima na a i na o. Isp.: Bera, Bero ( Dve-tri reči o obliku Nčman. Poznato je, naime, da grčki i latinski izvori pišu Nemanju kao Neeman. To je za nas - ne biblijsko ime Naaman, kako misli Jireček (Geschichte der Serben 255), nego jedna faza u razvitku imena Nemanja. Faza - Nčman. I faza koju potvrđuje prezime Nemanić, uglavnom na našem jezičkom zapadu, a u proširenom obliku, sa a, i ime Pr voslav Nemana u jednoj glagoljskoj povelji koja među ortografskim znacima ima i grupu "ja": Dobronja (x 2) - AC 7, 1250. Isp. i selo Nemanica u niškom okrugu (Milićević).
d) Struktura j ne pravi nikakvih teškoća: to je sufiks pomoću koga su dobijeni prvi i klasični slovenski hipokoristici. Tip: starosrpsko Rađ , Vlađ , Mić , Milj , itd. Sam hipokoristik Nčman, dobijen na ovaj način, nije posvedočen. To jest: ukoliko se ne ogleda u češkom toponimu Nemanov (M i k l o s i c h, Die Bildung der slavischen Personennamen 295).
e) Struktura a - to je muški ekspresivni sufiks kojim su proširivana u našem srednjovekovnom jeziku lična imena na suglasnik, često beze mere i ukusa. Isp. primer: Dušana - Dušan, Nenada - Nenad, Ivanja - Ivanj - Ivan, Bojana - Bojan, Gojnata - Gojnat ( To je naša etimologija imena Nemanja, data - kao što se vidi - isključivo na osnovu gramatičke analize. - I tako se hipokoristik Nemanja, udaljio od svoga matičnoga imena - Nenad.
Drugi o Nemanji misle drukčije. Na primer, Daničić u Osnovama (58) o tome imenu kaže ovo: "Nč - manja (ime muško koren man misliti, varati)".
Vidi se, Daničić je pošao od crkvenoslovenskoga maniti - decipere (M i k l o s i c h, Lexikon 362) - "izvadio" mu po svome običaju koren i dodao spreda ne, što sve kao derivaciona operacija nije nemoguće.
Daničićevim putem, ali mnogo proširenim, pošao je i M a r e t i ć. On je u dva maha - i s nešto razlike - pisao o imenu Nemanja: prvi put u Radu Jugoslavenske akademije (81, 146), drugi put u Rječniku Jugoslavenske akademije (VII 895-896).
Evo šta on kaže u Radu o Nemanji: "kako značenje ima ne u imenima Nemana, Nevad (deč. hris. 13)? Ona su postala od punih imena Manislav, Vladislav. Mi smo razložili, što znači Manislav; ali kako je glagol maniti dobio u narodu značenje decipere, činilo se narodu neprilično zvati koga *Mana, jer bi to svi osjećali kao: 'deceptor'; za to je od Manislav načinjen ipokoristik Nemana tobože; 'qui non decipit'".
M a r e t i ć je ovde, po našem mišljenju, loše startovao: Manislav - to je sekundarna složenica, dobijena preko hipokoristika Mána, Máno ( Dosta je složenih imena u našem srednjovekovnom jeziku postalo na ovaj način. Da pomenemo dva istorijska: Tomislav U Akademijinu Rječniku Maretić je malo pesimista. On veli sub Nemana; "Postanje nije jasno; mana stoji jamačno u svezi s -man u imenima Budman, Grdman (Grdoman), Radman, Vukoman i s - mani u imenu Manislav, ali se ne zna što upravo znači man (ili mani) u tijem imenima, a kad bi se i znalo, još bi ostalo nejasno ne u Nemana".
Dakle, stoji iza struktura man, mani, ne, a ne zna im značenja. U svakom slučaju, oprezan korak nazad prema onome što je rekao u Radu.
Uzgredno, u jednom prikazu dodirnuo je pitanje postanka imena Nemanja i J a g i ć: On misli da je ono hipokoristik od Nemanislav. I poziva se - ali nesrećno - na imena Nerad , Nemir , Nenad , Nekras (JA VII 664). - Mi ne verujemo da su imena tipa Nemanislav - to jest negirana imena na slav - ikada postojala i mogla postojati; a tačno je (samo je to i Martić rekao) da je Nemanja hipokoristik; ali je pravljen bez veze s maniti i Manislav. To - pod 1. A pod 2: imena na koja se Jagić poziva - nisu uopšte hipokoristici, ni po značenju ni po postanku.
Najzad, etimologijom imena Nemanja bavio se i istoričar J i r e č e k. Doduše, uzgredno, u fusnoti. On polazi od Miklošičeva osnove neman>Nemana (M i k l o s i c h, Die Bildung der slavischen Personennamen 295), i dodaje da u njoj man nije isto što i man u imenima tipa Grdoman, Vlkoman. Dalje, Jireček neman dovodi u vezi s iranskim (avestijskim) nemanh - Verehrung, Anbetung (Geschichte der Serben 255). Na žalost, i suviše nameštena i sumnjiva veza.
Da završimo ovako.
Ime Nemanja prošlo je u svojoj evoluciji kroz tri faze: prvu i familijarnu - Néma, Némo, drugu i imensku - Nčman (Nčman), treću i standardnu - Nčmanja.Oni koji ga izvode iz maniti i njegovih korena i osnova kreću se između proizvoljnosti i nepoznavanja mehanizma antroponimske (hipokorističke) derivacije.

Nemanja: Odmrmorili ste vi svoje!

- 23:18 - Komentari (4) - Isprintaj - #

TUXEDOMOON: Bardo Thodol

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- 11:01 - Komentari (6) - Isprintaj - #

IMPERIJA UZVRAĆA UDARAC

NADASVE ZANIMLJIV FENOMEN: Još koliko jučer bilo je dovoljno upisati "nemanja" i Google bi ponudio NEMANJA: POVRATAK CARA kao prvi izbor!
Danas nije dovoljno napisati ni NEMANJA: POVRATAK CARA, a da tražilica ponudi taj izbor.
Vrlo, vrlo zanimljiv fenomen!

Otkako se ovaj blog bavio Zmajevima, Zmajevi se bave ovim blogom!
Ovaj blog nije više moguće pronaći pod njegovim imenom: NEMANJA: POVRATAK CARA!
Nemoguće ga je čak pronaći upisujući dodatne pojmove, npr. naslove pojedinih postova!
Zmajevi su uzvratili udarac!

Vrijeme je za Svetoga Jurja!

But on his breast a bloody Cross he bore
The dear remembrance of his dying Lord,
For whose sweet sake that glorious badge we wore
And dead (as living) ever he adored.

The Ontological Status of Conspiracy Theory
by Hakim Bey

Is conspiracy theory a delusion of the Right which has infected the Left as well? Leftist Conspiracy Theorists sometimes make uncritical use of the texts of Rightest Conspiracy Theorists-delving into the work of the Liberty Lobby for JFK Assassination tidbits, picking up Birchist notions about the CFR/Bilderberg/Rockefeller "liberal" internationalists, etc., etc. Since anti-semitism can be found on the Left as well as the Right, echoes of the Protocols may be heard from both directions. Even some anarchists are attracted to "Historical Revisionism". Anticapitalism or economic populism on the Right has its counterpoint on the Left in "Red Fascism", which broke the surface of History in the Hitler/Stalin Pact, and has come back to haunt us in the bizarre European "Third Wave" amalgamation of Right and Left extremism, a phenomenon which emerges in the USA in the libertine nihilism and "satanism" of anarcho-fascist groups like Amok Press and Radio Werewolf -- and conspiracy theory plays a big role in all these ideologies.

If conspiracy theory is essentially right wing, it can only be so because it posits a view of History as the work of individuals rather than groups. According to this argument, a Mae Brussel-type theory (she believed that Nazis had penetrated American Intelligence and Government at policy level) may appear Leftist but in fact provides no sustenance for genuine dialectical analysis, since it ignores economics and class struggle as causal forces, and instead traces all events to the machinations of "hidden" individuals. Even the anti-authoritarian Left may sometimes adopt this low opinion of conspiracy theory, despite the fact that it is not bound by any dogmatic belief in economic determinism. Such anarchists would agree that to believe in conspiracy theory is to believe that elites can influence History. Anarchism posits that elites are simply carried by the flow of History and that their belief in their own power or agency is pure illusion. If one were to believe otherwise, such anarchists argue, then Marx and Lenin would be correct, and conspiratorial vanguardism would be the best strategy for the "movement of the social". (The existence of vanguardism proves that the Left-or at least the authoritarian Left -- has not merely been tainted accidentally with conspiracy theory: vanguardism IS conspiracy!) The Leninists say the state is a conspiracy, either of Right or Left-take your choice. The anarchists argue that the state does not "have" power in any absolute or essential sense, but that it merely usurps the power which, in essence, "belongs" to each individual, or to society en masse. The state's apparently conspiratorial aspect is therefore illusory-mere ideological wanking on the part of politicians, spies, bankers and other scum, blindly serving the interests of their class. Conspiracy Theory is therefore of interest only as a kind of sociology of culture, a tracking of the delusory fantasies of certain in-groups and out-groups-but conspiracy theory itself has no ontological status.

This is an interesting theory with a great deal of merit, especially as a critical tool. However, as an ideology , it suffers from the same flaw as any other ideology. It constructs an absolute Idea, then explains reality in terms of absolutes. The authoritarian Right and Left share a view of the ontological status of elites or vanguards in History; the anti-authoritarian response is to shift the ontological-Historical weight to individuals or groups; but neither theory has bothered to question the ontological status of History, or for that matter of ontology itself.

In order either to confirm or deny conspiracy theory categorically one must believe in the category of "History". But since the 19th century "History" has fragmented into dozens of conceptual shards- ethno-history, psycho-history, social history, history of things and ideas and mentalities, cliometrics, micro-history-these are not competing ideologies of History, but simply a multiplicity of histories. The notion that History is made by "great men", or that History is the outcome of blind struggle between economic interests, or that History "IS" anything specific at all, cannot really survive this fragmentation into an infinity of narratives. The productive approach to such a complex is not ontological but epistemological; i.e., we now ask not what "History" "is", but rather what and how we can know of and from the many many stories, erasures, appearances and disappearances, palimpsests and fragments of the multiple discourses and multiple histories of the inextricably tangled complexities of human becoming.

Thus we might posit (as an epistemological exercise if nothing else) the notion that although human beings are carried along or moved by class interests, economic forces, etc., we can also accept the possibility of a feedback mechanism, whereby the ideologies and actions of both individuals and groups can modify the very "forces" which produce them.

In fact it seems to me that as anarchists of one sort or another we must adopt some such view of matters, or else accept that our agitation, education, propaganda, forms of organization, uprisings, etc., are essentially futile, and that only "evolution" can or will bring about any significant change in the fabric of society and life. This may or may not be true of the long duree of human becoming, but it is manifestly not true on the level of individual experience of everyday life. Here a kind of rough existentialism prevails, such that we must act as if our actions could be effective, or else suffer in ourselves a poverty of becoming. Without the will to self-expression in action, we are reduced to precisely nothing. This is unacceptable. Therefore, even if one could prove that all action is illusion (and I do not believe that any such proof is available), we would still face the problem of desire. Paradoxically we are forced (on pain of utter negation) to act as if we freely choose to act, and as if action can bring about change.

On this basis it seems possible to construct a non-authoritarian theory of conspiracy theory which neither denies it altogether nor elevates it to the status of an ideology. In its literal sense of "breathing together", conspiracy may even be thought of as a natural principle of anarchist organization. Face to face, unmediated by any control, together we construct our social reality for ourselves. If we must do so clandestinely, in order to avoid the mechanisms of mediation and control, then we have perpetrated a kind of conspiracy. But more: we can also see that other groups may organize clandestinely not to avoid control but to attempt to impose it. It's pointless to pretend that such attempts are always futile, because even if they fail to influence "History" (whatever that is), they can certainly intersect with and impact upon our everyday lives. To take one example, anyone who denies the reality of conspiracy must face a difficult task indeed when attempting to explain away the activities of certain elements within Intelligence and the Republican Party in the USA over the last few decades. Never mind the Kennedy Assassination, that spectacular boondoggle; forget the remnants of the Gehlen Org who were lurking around Dallas; but how can one even begin to discuss Nixon's plumbers, Iran/Contra, the S&L "crisis", the show-wars against Libya, Grenada, Panama, and Iraq, without some recourse to the concept of "conspiracy"? And even if we believe that the conspirators were acting as agents of blind forces, etc., etc., can we deny that their actions have actually produced ramifications on the level of our own everyday lives? The Republicans launched an open "War on Drugs", for example, while secretly using cocaine money to finance right wing insurgency in Latin America. Did anyone you know die in Nicaragua? Did anyone you know get caught up in the hypocritical "war" on marijuana? Did anyone you know fall into the misery of crack addiction? (Let's not even mention the CIA's heroin dealing in Southeast Asia and Afghanistan.)

As Carl Oglesby points out, sophisticated conspiracy theory posits no single, all-powerful, over-riding cabal in charge of "History". That would indeed be a form of stupid paranoia, whether of the Left or the Right. Conspiracies rise and fall, spring up and decay, migrate from one group to another, compete, collude, collide, implode, explode, fail, succeed, erase, forge, forget, vanish. Conspiracies are symptoms of the great "blind forces" (and hence useful as metaphors if nothing else), but they also feed back into those forces and sometimes even affect or effect or infect them. Conspiracies, in effect, are not THE way history is made, but are rather parts of the vast complex of myriads of ways in which our multiple stories are constructed. Conspiracy Theory cannot explain everything but it can explain something. If it has no ontological status, nevertheless it does have its epistemological uses.

Here's a hypothesis:

History (small "h") is a kind of chaos. Within history are embedded other chaoses, if one can use such a term. Late "democratic" Capitalism is one such chaos, in which power and control have become exceedingly subtle, almost alchemical, hard to locate, perhaps impossible to define. The writings of Debord, Foucault, and Baudrillard, have broached the possibility that "power itself" is empty, "disappeared", and been replaced by the mere violence of the spectacle. But if history is a chaos the spectacle can only be seen as a "strange attractor" rather than as some sort of causative force. The idea of "force" belongs to classical physics and has little role to play in chaos theory. And if capitalism is a chaos and the spectacle is a strange attractor, then the metaphor can be extended: -- we can say that the "Republican" conspiracies are like the actual patterns generated by the strange attractor. The conspiracies are not causal- but, then, nothing is really "causal" in the old classical sense of the term.

One useful way in which we can, so to speak, see into the chaos that is history, is to look through the lens provided by the conspiracies. We may or may not believe that conspiracies are mere simulations of power, mere symptoms of the spectacle-but we cannot dismiss them as empty of all significance.

Rather than speak of conspiracy theory we might instead try to construct a poetics of conspiracy. A conspiracy would be treated like an aesthetic construct, or a language-construct, and could be analyzed like a text. Robert Anton Wilson has done this with his vast and playful "Illuminati" fantasy. We can also use conspiracy theory as a weapon of agit-prop. Conspiracies of "power" make use of sheer disinformation; the least we can do in retaliation is to trace it to its source. Indeed we should avoid the mystique of conspiracy theory, the fantasy that conspiracy is all-powerful. Conspiracies can be blown. They can even be defeated. But I fear they cannot simply be ignored. The refusal to admit any validity to conspiracy theory is itself a form of spectacular delusion-blind belief in the liberal, rational, daylight world in which we all have "rights", in which "the system works", in which "democratic values will prevail in the long run" because Nature has so decreed it.

History is a big mess. Maybe conspiracies don't work. But we have to act as if they do work. In fact the non-authoritarian movement not only needs its own conspiracy theory, it needs its own conspiracies. Whether they "work" or not. Either we all breath together or we each suffocate on our own. " They " are conspiring, never doubt it, those sinister clowns. Not only should we arm ourselves with conspiracy theory, we should have our own conspiracies-our TAZ's-our ontological guerilla commando hit-squads.

In a Manner of speaking
I just want to say
That I could never forget the way
You told me everything
By saying nothing
In a manner of speaking
I don't understand
How love in silence becomes reprimand
But the way that i feel about you
Is beyond words
O give me the words
Give me the words
That tell me nothing
O give me the words
Give me the words
That tell me everything
In a manner of speaking
Semantics won't do
In this life that we live we live we only make do
And the way that we feel
Might have to be sacrified
So in a manner of speaking
I just want to say
That just like you I should find a way
To tell you everything
By saying nothing.
O give me the words
Give me the words
That tell me nothing
O give me the words
Give me the words
Give me the words

- 04:41 - Komentari (27) - Isprintaj - #

STULTIFERA NAVIS

Brate mili, pa ovo je brod luđaka imam više od 20 hospitalizacija u psihijatrijskim bolnicama i ovdje i vani ali da sam ja ovako brijo bio bih samo jednom hospitaliziran i nikada više ne bih izašo van. Pa zar ste popili svu tu terminologiju da bi ste na kompliciran način pričali gluposti? Ja to prosto naprosto ne mogu da razumem! (šlagerpevač 21.02.2007. 18:38)

Za razliku od broda Argonauta, gdje svaki član posade predstavlja arhetip svake ljudske vještine, brod luđaka je suprotan. Brod luđaka predstavlja satiru broda Argonauta. Na brodu luđaka se nalaze antiarhetipovi čovječanstva. Legenda o brodu luđaka ima svoje povijesno utemeljenje u srednjovjekovnom običaju da gradovi brodovima šalju svoje luđake u druge gradove. Naime, tada nisu postojale ludnice, te gradovi naprosto nisu znali što da učine s ljudima koji se nikako ne mogu uklopiti u društvo, odnosno s luđacima, pa su stoga svoju muku prebacivali na drugoga.

Stultifera Navis (The Ship of Fools): The Medieval Satire of Sebastian Brant

In 1494, humanist Sebastian Brant published Das Narrenschiff, or The Ship of Fools, a long, moralistic poem written in the German language. Born in Strasbourg, Germany circa 1457, Brant earned degrees in philosopy and law at the University of Basel, then continued there as a lecturer. He wrote a law textbook and several poems prior to Das Narrenschiff, as well as editing books and broadsides for local printers. Brant was a loyalist to the Holy Roman Empire, and when Basel joined the Swiss Confederation in 1499, Brant returned to imperial Strasbourg. There he worked for the city in various administrative capacities until his death in 1521.
In Das Narrenschiff, Brant describes 110 assorted follies and vices, each undertaken by a different fool, devoting chapters to such offenses as Arrogance Toward God, Marrying for Money, and Noise in Church. Some of the chapters are united by the common theme of a ship which will bear the assembled fools to Narragonia, the island of fools. Das Narrenschiff proved so popular that it went through multiple editions, and was translated into Latin, French, English, Dutch, and Low German.
Das Narrenschiff's author was both a devout Catholic and a supporter of Maximilian I, the German king who became Holy Roman Emperor in 1491. Brant believed that the Holy Roman Empire had come into German hands because Germany was divinely ordained to lead the temporal Christian world. But he felt that in order to maintain this primacy, the German people would need to cast off decadence and live in the moral fashion appropriate to their role. His Narrenschiff was an attempt to reach the German people in their own language and using the tool of satire to encourage them to discard their sins and vices.
Brant's message was enhanced by a set of stunning woodcuts, most of them believed to have been carved by a young Albrecht Dürer during a short stay in Basel in 1494. Each woodcut illustrates a chapter from Das Narrenschiff, giving either a literal or allegorical interpretation of that particular sin or vice. Most of them feature a fool in a foolscap decorated with bells engaging in the activity being ridiculed. Dürer's detailed backgrounds show interiors furnished with slanted desks and diamond-paned windows, and hilly landscapes dotted with rocks and plants. Additional woodcuts are the work of the Haintz-Nar-Meister, the Gnad-Her-Meister, and two anonymous artists.
The first edition of Das Narrenschiff was printed by Johann Bergmann von Olpe, a former fellow student of Brant's at the University of Basel. Bergmann also printed a number of later editions of Das Narrenschiff, including the 1497 Latin edition known as Stultifera Navis which is owned by the University of Houston Libraries. This edition was translated into Latin by a former student of Brant's named Jacob Locher, with full approval from the classicist Brant. Locher did not follow the text closely, but substantially embellished on it in the translation.
Das Narrenschiff remains an affecting work today. While the modern reader might not find the moralism of Brant appealing in the way that his contemporaries did, his cataloging of medieval vices gives us a fascinating window into the way people really lived. And Dürer's woodcuts retain their vitality and immediacy, drawing a world of fools, tricksters, and profaners with surprising delicacy.

The Ship of Fools, or Narrenschiff, appeared as leprosy vanished. It was a literary device that had a real existence. Towns dealt with madmen by expelling them. Places to care for the insane did exist in towns, but they often only attracted the mad. The expulsion of madmen was only one of a number of ritual exiles. Complex symbolism was involved in the expulsion. The madman had to be both excluded and enclosed. Foucault asks why, if this theme is so deeply embedded in European culture, the Ship of Fools suddenly appeared. He says that it appeared because of a great uneasiness that began at the end of the Middle Ages. Madmen became dangerous and ambiguous figures.
Madness or folly is important in tales and fables. In such tales, the madman speaks the truth. Folly is also important in learned literature; it is at the heart of reason. From the fifteenth century on, madness has haunted the Western imagination. Initially, death was the dominating theme. Madness was substituted for death, but both were part of the same theme. Madness formerly meant not realizing that death is close at hand. Now, madness became like death.
The image and the word, painting and text, are closely linked in this idea of madness. But in fact the two are pulling apart. Slowly, images separate from language and revolve around their own world of madness. A fascination develops with images of madness. Fantastic animals reveal man's dark, hidden nature. Madness also fascinates because it is knowledge; absurd figures and images are part of a complex system of learning. The madman possesses a kind of forbidden knowledge that relates to the end of the world. The end of the world is the triumph of madness. The Renaissance expressed what it understood of the threats and secrets of the world in madness. In the same period, literary, philosophical and moral themes of madness were different. In the Renaissance, madness moves from being one of many vices to being the key human weakness. This concept has little to do with the dark world. No mystery is concealed. Knowledge is linked to madness; madness is the truth of knowledge because knowledge is absurd. Fake learning leads to madness.
Madness is linked to man and his weaknesses and self-perception. In literary and philosophical expression, the fifteenth century experience of madness takes the form of a commonplace spectacle. But new forms of madness develop; madness by romantic identification, as in Cervantes; the madness of vain presumption, which is present in all men to an extent; the madness of just punishment; and the madness of desperate passion, as in Ophelia and King Lear. Shakespeare's and Cervantes' experiences of madness are vital to understanding seventeenth- century literary madness. For Shakespeare and Cervantes, madness was beyond appeal; it is situated in ultimate regions. But madness becomes the image of punishment rather than the real thing. It is deprived of dramatic seriousness because it is fake. Madness takes one thing for another. It establishes a kind of false equilibrium.
The classical idea of madness was born. The threat it posed in the fifteenth century subsided. It was no longer associated with the end of the world, and was no longer the absolute limit. The ship of fools became moored and became a hospital. Madness was tamed. A new pleasure was taken in it. The world of the seventeenth century was strangely hospitable to madness. Madness was at the heart of things, but few memories of its former disturbing incarnation survive.

Transcript of Questions and Answers From the Press Meeting
with HH Gyalwa Karmapa

The Daily Telegraph: Your Holiness, you are one of the most famous lamas of Tibet and are regarded as someone who can know the past and future. Would you, therefore, care to comment on where you will be in 15 years?
HHK: Never mind the future, I will forget tomorrow what I said today.

VIDI DOLJE: Gospel according to Shakespeare

Poštovani kolega Pooka, vidim da ste na svoju ruku ordinirali velečasnom Sudcu klasični antipsihotik Haldol, pa me naprosto kao kliničara zanima je li moguće usljedio ekstrapiramidalni Keopsov sindrom?
Ne manje - budući da se pasionirano bavim najopćenitijim motrenjem bića kao bića kao i motrenjem najopćenitijega bića u njegovoj nepromjenjivoj biti, ukratko ontoteologijom - zanima me koji ste to Simbol vjere konzultirali, odredivši pravog Sina Božjeg i Sina Čovječjeg kao samouzročno biće: onoga koji je svoj vlastiti Otac, dakle, koji je causa sui!?
Mi smo mislili da je klasično nicejsko određenje: "Et in unum Dominum Iesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula. Deum de Deo, Lumen de Lumine, Deum verum de Deo vero, genitum non factum, consubstantialem Patri; per quem omnia facta sunt", kao obimnije od Apostolskog, sasvim jasno i nedvosmisleno, ali, izgleda da za potrebe vašega eseja Isus prigodno može biti i svoj vlastiti Otac, kao i Hamlet svoj vlastiti Sin:"Ako Isus uspostavlja sebe kao svog oca, Hamletov otac uspostavlja sebe kao Hamleta".
Ovo učenje mogli bismo po ugledu na Filioque efektno a precizno nazvati Fileke, i vjerujem da ni vi kolega tim izborom ne bili nezadovoljni: dok je prva kontroverza posvećena izlaženju Duha iz Sina i/ili samo Oca, ova druga je daleko prostije naravi: (k)ako netko tko je svoj vlastiti Otac (onda) može biti i svoj vlastiti Sin!? Ali, avaj!, to dolazimo do ontologičke aporije: cijela vaša teza o Hamletu kao komplementarnom inverznom Kristu ima samo retoričko, ali ne ni logičko, niti ontološko važenje ili vrijednost! Jer, vidite, da bi netko bio Hamlet na način kako ga vi koncipirate, kao samouspostavljeni vlastiti Sin, mora prethodno zadovoljiti jedan trivijalan, a opet ekstravagantan uvijet: mora biti Krist, svoj vlastiti Otac! Naime, nitko ne može biti svoj vlastiti sin, prije no što je - kronološki, molim! - postao vlastitim ocem, jer, tko bi mogao producirati svoga sina, ako to nije jedino i samo - otac!? To pak znači da se Hamlet, danski princ, isprva mora uspostaviti kao Hamlet, umoreni danski kralj, e da bi cijelokupni kasniji tijek Shakespeareove, ali i osobne ljudske Hamletove (ma tko on više bio) drame sada već bio sasvim shvatljiv, možda blizak, i zasigurno dirljivo opravdan: jasno je da Hamlet oklijeva, kad je osveta puko jebanje matere! A to je, priznat ćete kolega, bez ekstrapiramidalnih simptoma prilično neugodna okolnost!
Pooka, da se dalje ne zajebavam: Krist dogmatski nikada nije određen kao causa sui, i to nije stvar tvoje pjesničke slobode - to je naprosto tvoja mala podvala ili estetizanska samoobmana - iskreno, vjerujem da je riječ o potonjem: teza ti se toliko dopala, da nisi ni pomislio opteretiti je istinitošću!
Jednako tako, cijela ova priča o Hamletu/Ocu koji sebe proizvodi kao Hamleta/Sina, pri čemu je to jedno te isto dansko samouzročno biće trivijalni lacanistički označitelj manjka koji sugerira manjak označitelja (stalno iznova prizivaš isčeznuće nekakvog referenta, kao da smo u gradskom poglavarstvu ili na simpoziju socijalne medicine - utvare bez referenta, prijestolje bez referenta...), s božanskom ekonomijom, tj. poviješću spasa, ima tek jednu sličnost, posve frivolnu i možda poetičnu, ali ne više od toga: kao što u "Hamletu" sin i predugo oklijeva osvetiti oca, tako, za narode Objave, već cijelu jednu Povijest Otac (možda već preko svake mjere) oklijeva osvetiti Sina.
Hoću kazati: tvoj je esej briljanto štivo za amiziranje s damama, u cercleu kakve unuke neke petersburške deklasirane grofice, ali, nažalost, o Hamletu, ili Kristu, ne govori ama baš ništa. U tom smislu, ironično, vrlo je blizu biti same stvari: gotovo da je quintessence of dust!
"What a piece of work is man! How noble in reason! how infinite in faculties! in form and moving, how express and admirable! in action how like an angel! in apprehension, how like a god! the beauty of the world! the paragon of animals! And yet, to me, what is this quintessence of dust? Man delights not me; no, nor woman neither, though by your smiling you seem to say so."
Konačno, možda Jorge ima pravo: ta definicija neće nam pomoći da razumijemo niti jednog drugog čovjeka osim Hamleta; Eliot bi možda kazao, ili iz njegove misli sljedi, čak ni Hamleta: jer, ta Mona Liza književnosti naprosto ne postoji izvan svoga jedinstvenog Svijeta Djela, koje, i tu bi možda mogli uporabiti tu riječ, samouspostavlja. Samo, tko bi se usudio kazati da razumije "what is this quintessence of dust"!? Ti, Pooka?
P.S. Kao što vidiš, na kraju se ispostavlja da je tvoj zaključak o tome da "stvarnost uspostavlja Hamleta" sasvim nedostatan: da Hamlet uspostavlja stvarnost svijeta u kojem (ne) djeluje znali su već interpreti prije nas, odredivši Hamletov problem i točno i lako i efektno: da nije danski princ, Hamlet ne bi imao nikakvih dvojbi, zar ne? Samo, to je njegova bit: njegov ethos i njegov demon, kuiš?

Poštovani kolega Infernotar,

pojava stigmi kod stigmatizirane osobe može se pripisati istom onom uzroku kojim se znanstveno mogu objasniti i 'čudesna ozdravljenja'. Prije odobravanja nekog novog lijeka i njegovog puštanja u prodaju provode se testiranja na pojedincima od kojih jedna skupina prima novi lijek (onaj koji se testira), druga skupina prima već postojeći, odobreni lijek za ciljanu bolest, a treća skupina prima placebo preparat koji nema nikakvo farmakološko djelovanje. Postotak reakcije povlačenja bolesti ili ublažavanja njenih simptoma kod 'placebo' grupe vrlo često doseže i do 30%. Ta se pojava pripisuje psihosomatskom fenomenu uzrok kojeg je nada u izlječenje, a za fiziološki mehanizam koji pokreće takvu reakciju smatra se povećanje razine neurotransmitera dopamina, tvari koja je zaslužna za motivaciju, ustrajnost i samouvjerenost čovjeka. Stigme kod raznih karizmatika tako bi se mogle znanstveno objasniti dubokom i iskrenom vjerom, proživljenom i tijelom i duhom.
Sposobnost bilokacije (bivanja na dva različita mjesta u isto vrijeme) i sposobnost predviđanja budućih događaja bez poznavanja činjenica koje bi ih uvjetovale su, blago rečeno, neuobičajene ljudske osobine, znanstvenim metodama potpuno neobjašnjive.
Kad bih ja inzistirao da se nalazim na svom službenom radnom mjestu u istom trenutku dok me inspekcija rada ispitava što to ja radim na skeli neke novogradnje, a da nisam prijavljen kod dotičnog građevinskog poduzetnika, inspektor bi tužio istog tog poduzetnog gospodina za neprijavljivanje radne snage, ali i za iskorištavanje mentalno neubrojivih pojedinaca u ilegalne svrhe. Ako bih ja i dalje inzistirao da sam ja još uvijek na svom stalnom radnom mjestu gdje uredno, kao vojni časnik, nadzirem obuku novaka u vježbi gađanja bojevim streljivom, inspekcija rada bila bi dužna pozvati hitnu pomoć koja bi me odvela i pružila mi adekvatan medicinski tretman, a to bi u ovom slučaju bila medikacija nekim antipsihotikom (vjerojatno blažim, npr. Prazine) jer bi moji simptomi jasno ukazivali da nisam sposoban razlikovati stvarnost od svojih projekcija. Tom logikom sam ja, u odgovoru na Vaš mail, svrstao i Vlč. Sudca među osobe koje bi službena medicina tretirala psihofarmacima tipa Haldola, kad on slučajno ne bi imao diplomatski imunitet kao predstavnik božji na zemlji.
Koji sam 'credo', vjerovanje ili simbol vjere izabrao? Onaj Thomasa Jeffersona jasno i nedvosmisleno iskazan u njegovoj verziji evanđelja 'Jefferson Bible' iz kojih su izbačeni sve nadnaravne epizode, ukljućujući i Isusovo uskrsnuće.
Mene, kao osobu koja je samo jedan jedini put u životu službeno prisustvovala vjerskoj službi Katoličke crkve, prilikom svog krštenja, ne obvezuju niti imam ikakvo nagnuće da uzimam ozbiljno vjerske dogme bilo da one proizlaze iz Apostolskog ili Nicejsko-carigradskog vjerovanja.
'Filioque' – dogma da Sveti duh izlazi iz Oca i Sina, kojeg se izraz ne spominje Nicejsko-carigradskom simbolu, ne spominje se ni u mojoj osobnoj interpretaciji osobe Isusa Krista, koji je upravo kao 'causa sui' fenomen, pa prema tome moj Isus može, mirne duše, ručnim projektilom zemlja-zrak srušiti 'Oca', boga svemogućeg sa neba, kao što ja mislim da je u filozofsko-ideološkom smislu i učinio, nešto kao i William Blake za kojeg Marko Grčić kaže da je bio ''Čovjek koji je Bogu slupao o glavu kamene ploče sa deset njegovih zapovijedi.'' i '' Čovjek koji je učio Boga čovječnosti.''
Da malo pojasnim moju interpretaciju pojmova 'sloboda', 'žrtva', 'vjera', 'bog' i moje gledanje na osobu Isusa pokojnog Krista.
Kao srednjoškolac koji je redovito izčitavao politički tjednik 'Danas', konzumirao enormne količine alkohola i slušao glezbu tipa ''Dead Kennedys'', slobodno se moglo tvrditi da sam bio na granici socijalne patologije. Godinu dana provedenih u JNA, kao zadnja 'najpametnija' klasa septembar, samo je utvrdilo simptomatologiju moje socijalne patologije. JNA je bila institucija koja je njegovala tekovine najčistijeg apsurda tipa 'Izvrši pa se žali' i borbenu spremnost na razini 'Operacije Scwartz' (za detalje o toj i 'Operaciji Weiss' konzultirate 'Razgovore sa Kočom Popovićem' – čisti cirkus)... a sad sam spomenuo i cirkus... 'Monty Pythom's Flyieing Circus' trajno su i metodološki nepopravljivo ustanovili moj sadašnji i budući pristup stvarnosti. To bi bio nekakav 'background' mene u vrlo ranim dvadesetim kada sam odlučio saznati nešto više o filozofiji i kupio 'Povijest filozofije' od Wilhelma Windelbanda... opet mala disgresija, prvu pjesmu koju sam osjetio kao poeziju (naježio sam se) pročitao sam u Čitanki strane književnosti za srednju školu, bio je to prijevod Ivana Gorana Kovačića Shakespearovog soneta 130. – 'My misress' eyes are nothing like the sun', a Penguinovu zbirku soneta sam kupio u Sarajevu, gdje sam služio JNA). Elem, Windelband... ja sam ljeta te 1992 godine, (koja je u Engleskoj bila prozvana 'Summer of Love zbog masovne pojave Ecstasyja, čistog MDMA u obliku tableta) počeo čitati od samih početaka povijest ljubavi prema mudrosti, nadajući se da Feral Tribune i sve ono što je ostalo u meni od razboritog pristupa 'Danasovaca' nisu samo puste tlapnje izgubljene u bespučima povijesnih zaboravio-sam-čega. I tako krenem sa predgovorom iz pera poznatog filozofa Predraga Vranickog. Izdanje je bilo iz 1990. godine, ali je predgovor vjerojatno preuzet iz ranijeg izdanja pa se u njemu djelo Wilhelma Windelbanda navodi kao jedna od građanskih povijesti filozofske misli koja je izabrana da bi se jasno ukazalo na slijepe ulice u koje građanska filozofija vodi, u ovom slučaju 'Natrag Kantu!', pošto je autor bio neokantovac,
i još jednom, nedvosmisleno, ukazalo na intelektualnu superiornost dijalektičkog materijalizma, u razvoju kojeg (Kant-Fichte-Hegel-Marx) je Kant samo prva stepenica. Nakon toga slijedi baražna vatra po filozofiji Immanuela Kanta kao subjektivnoj, formalnoj, odvojenom od povijesti, neangažiranoj, prevaziđenoj, dogmatskoj, samoj sebi svrhom, prepunom namjernih propusta da bi cijeli sustav bio koherentan, idealističkoj i reakcionarnoj. Evo citat koji ukazuje na atmosferu cijelog predgovora: ''Međutim, to se nužno vršilo (spajanje Kanta i Marxa u revizionističkim pokušajima koji se danas nazivaju i 'socijaldemokracija') sa takvih idejnih pozicija , koje su neposredno negirale svaku konkretnu socijalističku praksu, pa prema tome i HISTORIJSKU NUŽNOST jedne revolucionarne socijalističke partije.''
Da možda nije bilo te famozne 'povijesne nužnosti', tako često korištene i spoznatljive samo onim izabranima kao što je bio i pokojni Evil Dead – (After this meeting... grrr... grrr... I'm going to a tennis court) ja bih možda, ali samo možda, počeo čitati Windelbandovu povijest od presokratovaca, a ne bih preskočio dvije i pol tisuće godina razvoja filozofske misli i sudari se frontalno sa gigantom intelekta kao što je to bio Immanuel Kant, u mojim mislima tada, glavni neprijatelj dogmatskog načina razmišljanja, što je upravo postao i ostao u mom ideološkom zapovijednom lancu.
Trebalo mi je dvije godine, tri prijevoda (hrvatski, srpski i engleski) Kritike praktičkog uma, bezbrojni enciklopedijski članci, uz onaj opširni Windelbandov uvod u Kantovu misao da ja postignem jedno od najvećih postignuća u svom životu, da razumijem zašto je ovaj tražio nužnost sintetičkih sudova apriori, kako mu je to uspjelo i u kojoj zadivljujućoj mjeri je njegova misao nezloupotrbljiva. Immanuel Kant je otvorio moje oči i ispod zvijezdanog neba 'sloboda' je od pukog, populističkog termina postala izraz za 'causa sui' koja je atribut koji se može pripisati samo ljudskoj volji koja vjeruje, a dobrom se može nazvati samo takva volja koja za svoju motivaciju ima univerzalno prihvatljivu formu maksime kojom je izražena, a ne njen sadržaj. Dobar je bio i konjak, ali to je bilo krivo korištenje tog atributa. Kroz cijelu 'Kritiku praktičkog uma' i kroz 'Uvod u metafiziku čudoređa' provlaće se direktna pozivanja i bezbrojne aluzije na riječi iz evanđelja, što Kantu zamijera i sam Windelband govoreći kako je ovaj time daleko iskoračio iz okvira svoje kritičke filozofiječ
Kakve veze ima Kant i moj doživljaj osobe Isusa Krista? ''Death of dogma is the birth of morality!'' – riječi su Immanuela Kanta, religioznog čovjeka koji skoro nikad službeno nije išao u crkvu. Car Wilhelm ne-znam-koji Hochenzollern poslao je pismenu, vlastoručno potpisanu prijetnju Kantu da ga slijedi teška sudbina ako nastavi javno govoriti o hipokriziji institucionaliziranih izraza religije i njihovog dogmatskog karaktera tako kontradiktornog porukama evanđelja. Ovaj je pristao na cenzuru, ali se u odgovoru caru jasno izjasnio da se ne odriće svojih uvjerenja. Bile su to godine kad su se u Francuskoj kotrljale glave aristokracije, a u Americi se donosio 'Bill of Rights'. Preko Kanta sam ja spoznao veličinu i svu slavu osobe, riječi i djela Isusa Krista, tog inherentnog heretika i imanentnog revolucionara. Ako je ikad postojao iskreni komunist u onom naivnom smislu zbog kojih su milijuni naivnih ljudi postali komunisti, onda je to bio Isus Krist. Ja komunizam, u povijesnoj perspektivi, smatram većim zlom od nacizma, iako bi svaki zadrti komunist mogao navesti tisuću i jedan razlog zašto je komunist, a niti jedan nacistički simpatizer ne bi, ni pod mikroskopom, pokazati valjani razložčić za svoju prljavu sklonost. Tako sam ja pronašao svog Isusa, postao 'Born Again Christian', ha ha ha... i na takvoj ideji o čovjeku koji je prvi riječju, djelom i žrtvom ukazao na neponovljivost svakog čovjeka blagoslovljenog slobodnom voljom, tom 'causa sui' nadnaravnom moći da se uspostavi novi niz uzroka i posljedica, pa tako i ontologička kontradikcija da je netko ujedno i svoj otac i svoj sin. Ontologički gledano mislim da bi Vama Isus kojeg William Blake opisao u svom djelu 'Vječno evanđelje', izbor, prijevod i komentar: Marko Grčić, 1980, Zagreb bio vrlo zanimljiv, ja to djelo još nisam uspio naći, Blake je pisac po Vašem ukusu, imam taj osjećaj, dragi Infernatore.
Malo sam se zagubio u digresijama na digresije, dakle da se dalje ne zajebavam, jebe mi se je li Isus dogmatski određen ikad kao 'causa sui', on u mom svjetonazoru samo takav ima vrijednost koju je i na mene prenio, da sam slobodan čovjek, da je sve moguće što ja i drugi slobodni ljudi poželimo sve dok svakog pojedinog od nas držimo za svrhu, a ne sredstvo, da je žrtva neuvjetovanost moje radnje mojim interesom i da ne nosi nužno sa sobom patnju, dapače, te da je vjera (ne Vjerovanje) ono čime ja tu slobodu i tu žrtvu USPOSTAVLJAM kao moguće, kao što Isus USPOSTAVLJA novu stvarnost, rušeći 'Onog Koji Jest' sa njegovog neizgovorljivog prijestolja (a zar to donekle – prema Frommu – nije napravio i sam Abraham kad ga je upozoravao, čak ga oslovljavajući sa 'ti' da ni on, JHVH nema pravo kršiti svoje zakone i nuklearno riješiti problem Sodome i Gomore.
Tako je moj Isus još uvijek nedostižni uzor nesretnom mladom Hamletu koji nema snage da okrene drugi obraz jer je uvjetovan ne samo zemaljskim, nego i podzemaljskim i ostaje takav sve do kraja, funkcija okolnosti, rob stvarnosti koja uspostavlja njegovu tragediju, crni Isusov Doppelganger.
Što se tiće razgovora uz čaj iz samovara kod unuke nekog ruskog tajkuna, u Petrogradu koju sam ja tijekom ljetovanja ostavio u blaženom stanju pa me sad njen djed, bivši KGB-ovac, čisteći svoj stari Makarov ispitiva o raznim stvarima, mogao bih spomenuti i ono briljantno djelo Dostojevskog, vraćajući se tako i na Haldol kao moj prvi izbor u testiranju čuda kad se koristi kao argument za dokazivanje vjere uopće ili nečije iznimne vjere pojedinačno, na 'Velikog inkvizitira', iz 'Braće Karamazovih', kada Isus, prepoznat i zatočen od Velikog inkvizitora samo šuti dok ovaj objašnjava kako nisu postojala tri mudrija uvjeta predaje od onih kojima je nečastivi na kušnju stavljao Isusa: čudo, tajna i autoritet i kako je Isus moralni elitist kad vjeruje u ljudsku slobodu i njenu dostupnost i onima siromašnima duhom... evo citat moj Dostojevskog, dok mi se tresu ruke i zvekeće engleski plavi porculan, onaj sa motivom kineskog krajolika, u ovom slučaju doslovno 'China' jer je Made in China... ''Ponavljam ti, sutra ćeš vidjeti to poslušno stado, koje će na prvi moj mig pojuriti da zgrće ugljevlje pod lomaću tvoju, na kojoj ću te sažeći zato, što si došao, da nam smetaš. Jer ako je itko zaslužio našu lomaču, to si onda ti. Sutra ću te sažeći. Dixi!''
Mogao bih ja u prisustvu umirovljenog pukovnika KGB-a, njegove mojim 'expense of spirit' oplođene kćeri, Makarovog uratka i još ponekim profesionalnim vratolomcem govoriti i o tome kako stvarno nije u redu da se Filioque tako bezočno koristi u zapadnim Vjerovanjima iako nije izrijekom navedem 381. godine u Carigradskom Simbolu vjere i da je stav istočnih, ortodoksnih crkvi da Sveti duh u prvom redu izlazi iz Oca, a ne kroz Oca-Sina kao ravnopravne u tom emanacijskom pogledu... ali mislim da bih završio puno lošije nego da se pozovem na Dostojevskog koji je, prema nekim svojim rukopisima, malog Aljošu ipak zamišljao kao revolucionara.
I da, htio bih ukazati na meni briljantnu interpretaciju Braće Karamazovih iz pera Jakova Golosovkera 'Dostojevski i Kant', Grafos, Beograd... one male crveno crne knjižice filozofsko-poezijskih tematika. I šaljem moju interpretaciju svega toga mailom, ha ha ha...
I na koncu, u jednoj stvari ste u pravu u tolikoj mjeri da bi bilo sramotno sa moje strane da se i pokušavam obraniti... iz zaljubljenosti u svoje teze, hipoteze, ideje, a bilo je čak i 'Velikih unifikacionih teorija', ja često... ma redovito zanemarujem Popperov glavni metodološki princip, ne tražim niti postavljam instance čije bi se ispunavanje odrazilo kao rušenje mojih teorija, ja kao halapljivi hrčak tražim ono što bi verificiralo moje tvrdnje, zaobilazim ono što baš i nije u skladu sa njima, ostavljam ogromne teorijske interpretativne elastičnosti... itd...itd. Zato mi ovako neki izazov poput Vaše ocjene moje male teze o dva velika povijesna lika dođe kao čisti užitak jer konačno ukopčam da još nekoga zanimaju stvari od kojih će moja draga uskoro dobiti nervni slom, jer ako postoji netko na ovom svijetu tko mrzi Immanuela Kanta, onda je to ona.
Eto, nisam Vas valjda iznevjerio?

O ŽENI KOJA MRZI KANTA

Ja ne bih mogao biti sa ženom koja mrzi Immanuela Kanta.
Iz više razloga.
Najprije, sumnjiv mi je time njen estetski ukus: Immanuel Kant, kako to lijepo zvuči! Ne bih mogao biti sa ženom koja nema ukusa!
Imanuel Kant je napisao tri kritike. Svaka od njih ima veze s jednim od braće Karamazov. Ne bih mogao živjeti sa ženom koja ne uviđa vezu Kritike čistog uma i Ivana, vjere i Aljiše, strasti i Miće!
Konačno, ne bih mogao biti sa ženom koja je na rubu živčanoga sloma shvaćajući da na svijetu postoje i drugi ljudi kojima je veza Kanta i Dostojevskog možda i važnija od te prolazne, arbitrarne i ionako upitne veze koja se, kako bi rekao Kant, svodi na razmjenu genitalija.
Ukratko, Pooka, kako to da tako pametan frajer kao ti nema mnoštvo žena, nego je s jednom, i to onom kojoj smetaju tvoji duhovni prijatelji, Dostojevski i, što me najviše pogađa i smeta, sam Immanuel Kant?
To je ipak neshvatljivo! To da muškaraci mogu biti pametni kao Pooka, a ipak biti sa ženom kao što je njegova djevojka.
Čudo!
Odgovor na vaš odgovor sljedi sutra. Sad moram jednoj dami objasniti zašto Dostojevski nije htio primiti Nietzschea i Lou Salome u svom mirnom, ladanjskom domu.

Pooka, uživam u tekstu (došao sam do Grčića), ali moram odmah odgovoriti: ti si pošteno kazao da se ne osjećaš obveznim ni na kakvo dogmatsko određenje Isusa Krista, kao pravog sina čovječjeg i pravoga sina božjeg, da bi poput Blakea slupao Dekalog Bogu u glavu i da si adorant 'Jeffersonova Evanđelja', dakle onoga koje misli da se može vjerovati u Boga, ako se on ponaša razumno ( zanimljivo, ja bih vam mogao pokazati, dragi Pooka, da se Bog, starozavajetni herr Bog, gotovo ni u jednom trenutku ne ponaša razumno, ali, umjesto mojih argumenata, nudim vam razbibrigu i argumente u vašu korist na sljedećim stranicama; meni je naime više stalo do uglađenog razgovora, nego do uvjeravanja, a razgovor s pametnim čovjekom veseli me više nego bilo kakav prozelitizam..
Ali, unatoč tome, dragi Pooka, Isusa ne možemo shvaćati po svojoj volji, baš kao ni Pitagorin poučak: Apostol je sve za sve ljude (Pavle), ali Isus ipak ne može ne biti Sin Božji, a da i dalje bude Isus Krist!
Dakle, Isus Krist nije causa sui, niti to može biti ako i dalje želimo govoriti o Isusu Kristu.
Konačno, ja znam da je to efektna teza - ta komparacija Hamleta i Krista - ali, ako ti treba netko tko je causa sui, pa ima svjetlih primjera: recimo, Napoleon se samokruni: njega ne kruni Papa, nego krunu, kao simbol božjeg namjesništva na zemlji, Bonaparte stavlja samome sebi na glavu; Puzov Sicilijanac nije više po rodu, kao Michael Coreleone, nego on čudesno samoiscjeljuje, tj. pre-porađa se po svojoj volji i svojim snagama! Takvih primjera ima unedogled od Herostrata - govorim samo o našoj grčko-rimskoj uljudbi i popudbini - naovamo. Dakle:
1. Isusa ne možemo shvaćati kako se kome prohtije, pa tako, čak ni za ljubav dobroga eseja, on ne može biti causa sui pa da te bog ubije!
2. Tipova koji su se preporodili i kao vlastiti očevi osovili u svoj svojoj povijesnoj samostalnosti ta je povijest prepuna!
Toliko o toj Causi!

* * *

Ako je Isus ime, a Krist titula koja bi značila - mesija, ja ne bih imao pravo arbitrarno koristiti njegovo ime i pripisivati mu osobine koje odgovaraju mojim partikularnim potrebama (nastranu što to rade sve organizirane kršćanske religije). ali ako je riječ o Isusu iz Nazareta, čovjeku koji je kao pojedinac uspio u tome da promijeni svijet, žao mi je, on ostaje onaj čovjek prema kojemu osjećam beskrajno poštovanje i u kojem pronalazim motivaciju za svoj radikalni optimizam. ako je teza Isus-Hamlet bila heretička, moja priča 'Crveno' je... strah me je i pomisliti :)

Pooka, samo jedno nemoj pomisliti: da razgovaram s tobom motiviran pravovjernim zarom! Hoću kazati: ne razgovaram s tobom kao katolički vjernik uvrijeđen zbog tvog pretumačenja temeljne dogme moje vjere.
Dakle: ne razgovaramo kao Papa i Luther!
Ono što pokušavam kazati jest da naprosto nastupaš kao Forman u Amadeusu: tvoje je autorsko, poetsko pravo koncipirati Krista kako god hoćeš, ali, esej koji si napisao osim estetske - na što sam upozorio - ima i stanovitu spoznajnu ambiciju i vrijednost: e, u pogledu te ambicije, ja samo upozoravam da je svako koncipiranje ili tumačenje Krista kao nekakve causa sui u načelu pogrešno! Krist ni na koji način, da budem vrlo jednostavan, nije samouzročno biće! Ti možeš odbaciti i misterij Trojedinog Boga, i začeće po Duhu Svetom, i sve moguće kršćanske dogme, ali, onda to nije Krist! I o tome ti govorim: tebi naprosto Krist treba kao efektna figura u kontrapunktu Hamletu (jer, opreka Napoleon - Hamlet više ne bi imala tu estetsku vrijednost, taj svjetlucava efekt!), ali, taj tvoj Krist neprosto nije Krist kršćanstva, ali, nažalost, ni povijesti: tako - na način evanđelja koje spominješ - shvaćen Krist ni na koji se način ne uspostavlja kao causa sui! I u tome je jedini problem. Sad, to što ti hoćeš svaku moguću slobodu istumačiti iz te ljudske autonomije...hah, prijatelju, ta priča je konzekventno izvedena u dečkiju koje spominješ, ali, oni koje ne spominješ, kušaju nihilističke konzekvence te autonomije, zar ne!?

"The dreams in which I'm dying are the best I've ever had,
I find it hard to tell you,
I find it hard to take,
When people run in circles,
It's a very very,
Mad world..."
Gary Jules, Mad World.

• Osupnuo si me. Zaista. (xiola bleu 20.02.2007. 14:27)
• Hajde, hajde, nije valjda tako štrašno!? Pitao sam je tebe o nadimku još prije dvije godine, ali nam je konverzacija zamrla. (NEMANJA 20.02.2007. 14:39)
• Otisla nam konverzacija u zagrob? Treba jesti vise voca i povrca. (xiola bleu 20.02.2007. 15:16)
• greskom sam ostavio komentar ispod proslog posta, trebao bi biti ovdje... dodao bih da bi i ja mislio da sam zmaj da se rokam metamfetaminima kao Hitler (pooka pooka pooka pooka pooka pooka pooka pooka po 20.02.2007. 19:24)
• Katkad na tripu izgledam kao gmazoid.
Jesi vidio da su Slavonci proizveli hibrid? Kukuruz. ahahahaha
Svidio mi se samo onaj dio o monarsima.
P.S.
Ili smanji font ili stavljaj manje sličke, teško je čitati. (Markiz de ga Sad 20.02.2007. 21:22)
• Na tripu je teško i čitati.
Ahahahahahahah..... (NEMANJA 20.02.2007. 23:24)
• Pookahontas, nije greška što si komentar ostavio ispod prošlog posta, nego što ne zastupaš moje teze. Naime, stvari stoje ovako:
Ja nikada ništa ne tvrdim jer bi to bile moje teze, moji stavovi, moje ideje - nema mojih ideja, kao što znaš, i ja nešto tvrdim isključivo zato jer je to, in ultima linea, istina.
Da je nešto drugo istina, ja bih tvrdio dakle oprečno, to drugo.
Čudi me dakle da i ti nisi objektivan i da ne tvrdiš što i ja!
Ljudi često griješe ne slažući se sa mnom i ustrajavajući u svojoj subjektivnosti.
To me ožalošćuje. (NEMANJA 20.02.2007. 23:29)
• Xiolino, dobro, baš si ne-pismena! Kad će više to pismo! (NEMANJA 20.02.2007. 23:30)
• E namanja moj, nemanja ovo je tvoj prvi post koji sam u potpunosti pročitao i zaboljela me glava. Gdje si to našao u nekom časopisu "treće oko" ili "stela", ovo je gomila jebenih gluposti.
Koja jebena četvrta dimenzija pa stvari na ovoj planeti su vrlo jasne.
SAD ima 5% stanovništva a iskorištava 30% resursa planete zemlje.
Podjela bogatstva u SAD-u je takva da 10% ima kontrolu nad 90% "bogatstva" a 90% raspolaže sa 10% koje im služi ovisno o staležu za kupovinu osnovnih potreba u onoj kvaliteti koja im je platežno dostupna. Novac je ključ, onaj koji ima keš taj je "zmaj" treće dimenzije. Novac kvari čovjeka i ubija mu empatiju odnosno suosjećanje (sit gladnom ne vjeruje) a sve te gluposti o gmazovima i tajnim društvima su rituali koji i ako postoje su igrice za decu koja čuče unutar tih ljudi koji vladaju ovom planetom.
Hrana je jedina stvarna vrijednost a sramota ovog čovječanstva se sastoji u tome da s jedne strane planete ljudi umiru od gladi a sa druge od pretilosti i to ti je istina dragi moj profesore filozofije. Ono što može ovaj ljudski nakot na planeti zemlji spasiti nije niti demokracija niti fašizam niti komunizam niti anarhija već kanibalizam.
Ja navijam za dan kada gladni počnu jest site i da taj "dan" traje dok se svi ne stave u mjere koje su ordotoksnom medicinom definirane (odnos visine i težine) tek tada možemo početi stvarati zdravo društvo koje se treba graditi od zdravog pojedinca.
Svi ti maderfakeri koji su u povijesti stvarali pokrete koji su ljude dijelili na one koji zaslužuju živjeti u izobilju i na one koji žive da bi toj manjini to omogućili su psihopate i poremećene ličnosti u strukturi.
Jedan primjer iz životinjskog svijeta dobro ilustrira pojavnost Hitlera.
Istraživanje ponašanja riba u jatu je pokazalo da jato riba uopće nema predvodnika sve dok jednoj od riba nisu odstranili centar za orijentaciju i vratili je nazad u jato.
Ta riba nije slijedila jato već je jato slijedilo nju i tako je ona postala firer.
E sad, ako postoji nekakva mistična organizacija koja vadi određenim ljudima centar za orijentaciju iz glave pomoću sotonističkih rituala, alaj joj vera.
Ja mislim da je problem taj što su ljudi jedna gnjusna i gramziva vrsta i tu leži jebeni odgovor na cijelu ovu tvoju seradošaradu.
Imam iskustva i vizualnih i slušnih halucinacija u psihotičnom stanju i uš'o sam u tu "četvrtu" dimenziju sve ti je to gore napisano čisto sranje.
Prvi znak kršćanstva je bila riba, od kad su razapeli onog jadnika koji je tvrdio da je bog njegov otac je postao križ.
Zanimljivo je da je Kain bio obilježen stigmom križa na čelu.
Svijet je podijeljen između Abelovog roda i Kainovog roda.
Abel je gnjusna debela spodoba a Kain je gladna šljakerčina i nema nikakvih jebenih zmajeva niti četvrtodimenzionalnih vanzemaljaca, vjeruj mi! (šlagerpevač 21.02.2007. 00:15)
• Nemanjito... ja sam uvijek u pravu, a i kad nisam, onda sam mudriji! (pooka pooka pooka pooka pooka pooka pooka pooka po 21.02.2007. 05:20)
• Židovi su je razapeli jednu ribu i odlučili se za "drugu". Ta druga "zmaj" riba je preteča cijankanijalizma zbog kojeg Palestinci danas pucaju ko kokice od veselja! (šlagerpevač 21.02.2007. 05:51)
• Postoji jedan vvo zanimnjiv kvug koji govovoi o pvici: "viba, vibi, gvize vep!" Žikino kolo koje su stvovili fastinatni umovi pvošlog stoljeća i koji je djelovao kvoz kvug književnika Svbije na ovim pvosovima.
Stambolić je lansivao jednog "Amevikanca" na kosovo. Taj nije čuo dobvo al' je movao da kaže da: "nitko neće da vas bije". Postoji sumnja da je i on bi viba koja vibi gvize vep. Posljednja pveživljela mala viba sedi u Hagu! Ta viba je centav za ovjentaciju izgubila u zeničkom zatvovu. Ostale vibice koje bi mogle vasvjetliti misteviju vibljeg jata na Balkanu sede duboko u Manastivskim tamnicama opasnih Pvavoslavni viba. Ništa nije slučajno dvagi moj Nemanja, pa čak ni vak koji se dobvo snalazi kad tveba počistiti svojeglave vibe.
Ja sam cancer po horoskopu a ti? Ovaj "svijet" je pun simbola što motre nas tiho a duh im se divi! Žalosno je što su ljudi ljudi ili kako bi rekao jedan pripadnik izabranog naroda: "postoje dvije stvari koje su bezgranične a to je svemir i ljudska glupost za ovu prvu tvrdnju nisam siguran. Židovi su izabran narod jer su oni izabrali "put" možda čak i u dobroj namjeri ali opet kako bi naš narod rekao: "Put u pakao je popločan dobrim namjerama". Sotona pleše po kugli zemaljskoj tehno parti danas, nekad je plesao ljupkije a danas pleše da se cijela zemlja trese. Prislonim katkad uho na zemlju i ona brunda. Tako da sam i ja možda neka od riba koja je izgubila centar za orijentaciju a možda sam samo rak koji se kreće unazad. Evolucija je došla do svog svršetka sad nam preostaje ili revolucija ili deevolucija. Mora se pojaviti nekakva "ideja"(nešto treće) inače odosmo svi skupa u tri pičke materine i globalno i lokalno. (šlagerpevač 21.02.2007. 06:25)
• @ŠlagerPevač , Mislim stvaaarno, da smo podčinjeni Reptilima iz više dimenzije, to i neinicirani znaju, jedino ti sad hoćeš neke krive drine ispravljat,taman posla. Ne može. Nije bitno uostalom, šta je bilo - bilo je, a kako je bilo? H.P. Blavatsky i njen teosofski krug imaju neke ideje otkud reptili na zemlji:
Naime, na Draconisu prvom sazvježđu u svemiru, gdje je svaki bog bio zvijezda, nastao je
sukob interesa. Posljedica tog sukoba jest ta da je "kristal pao u bezdan" (gdje je bezdan
analogan sumnji,zaboravu,entropiji, vremenu etc..). A ratovali su tzv. viši i niži reptili.
(Da napomenem, Reptili kao Zmajeva djeca posjedovali su i koristili moći koje su stekli u
Kaosu, moći epifize, moći materijalizacije u bilo kojem dijelu svemira po Volji). Jedan dio reptila (kasnije niži reptili) su koristili moći isključivo ZBOG materijalnih užitaka, posljedica toga jest njihova vezanost za sve materijalno - postajali su sve gušći i gušći. Više se nisu mogli održati na višem materijalnom planu i tako su bili pali(protjerani) sa Draconisa, višeg astrala, u niži astral - Sirius. Tamo su dobili krljušti i fiksna tijela. Kolonija Sirius 777 je postala dom tih mlađih bogova koji su od tada uvijek nazivani bogovima svjetla, palim anđelima (Ancient Gods).
Ti bogovi su došli čak i na zemlju i pretvorili je prvo u svoj zoološki vrt (reference: Sumer, Sitchin, Knjiga postanka) i donijeli kraljevsku lozu u Sumer (inače začetu na Lemuriji), kasnije u egipat za vladavine Ramzesa, i tako kao što si primjetio, očuvana je sve do današnjih dana.
No da ne bude dosadno, istovremeno kad su niži reptili protjerani sa Draconisa, Lucifer je krenuo u potragu za svojom izgubljenom krunom i tako bio u stalnom sukobu sa reptilima na Siriusu (inače, njegovim sinovima) koje su ljudi obožavali kao svoje bogove svijetla. Stoga su Luciferovi sinovi - Sotone, pravi stanovnici Siriusa, Kerbera. Lucifer je kao stvaratelj svijetla bio vlasnik i njihovih "ljuski" 777, kao i bilo koje frekvencije svijetla.
Lucifer je tijekom potrage za Kristalom formirao koloniju Orion. U odnosu na Orion, Sirius je
kaznionica (zatvor materije). Kolonija Orion nije nalikovala Siriusu - oblika glave dinosaura,kobri i inih gmazova, nego je imala prelazni oblik danas poznati pod nazivom kosookih Aliena, koji su više nalik kućnim mačkama. Ova kolonija je sa Oriona napravila koloniju Mars a nakon katastrofe na Marsu kolonizirala Atlantis. Odnosno bogovi Atlantis su bili bogovi Oriona koji su obožavali Draconis.
Draconis, Orion i Atlantis su se zajedno borili protiv palih anđela Siriusa na zemlji, odnosno utjecaja siriuske kolonije Lemurije na ljude koja ih je uvjeravala u ispravnost lijeve staze. Na kraju je ispalo da su ljudi oduvijek bili samo njihovi psi-robovi.
Viši reptili su zadržali svoj prelazni oblik, moć i položaj na Draconisu, te se još uvijek mogu projicirati po volji bilo gdje u svemiru i kao takvi sačinjavali bijelo bratstvo razvijenih bića koji su oduvijek potpomagali razvoj individualnog bića dok su se niži reptili samo mogli prerušavati u ljude želeći ih uništiti kao inferiornu rasu koristeći ih kao igračke. Niži reptili su bili i ostali crno bratstvo.
Viši reptili Draconis su bili i ostali čuvari velikog Kristala Amente, Luciferove krune, Zmajeve glave.
Vrsni Meštar Arhitekt Mudrog Hrama Ruže Vjetrova i Drevnog Križa (Avertebrata 21.02.2007. 14:56)
• nedostaje ikona gdje smajli ispija kavu. (Avertebrata 21.02.2007. 15:09)
• Avertebrata, kak si ti naivan! Pa kaj zbilja misliš da ikona SLUČAJNO nedostaje!!? (NEMANJA 21.02.2007. 15:56)
• Hrmm... ne moguće, ti hoćeš reći da, da...,mah.. ne moguće, pa pobjegao sam im... (Avertebrata 21.02.2007. 16:13)
• Pooka, ha, ha, ha, pa imam jednostavan dokaz da ne samo da si rijetko kad u pravu, nego si sasvim nepouzdan tip: vidiš i sam da si greškom ostavio komentar ispod krivoga posta:"...greskom sam ostavio komentar ispod proslog posta, trebao bi biti ovdje... dodao bih da bi i ja mislio da sam zmaj da se rokam metamfetaminima kao Hitler". Tebi, kao neokantovcu, ne moramo tumačiti značaj onoga sollen! Možda si ti kao poklonik Kantove misli i žrtva opake dijalektike trebanja: komentar je pod pogrešnim postom jer bi trebao biti pod pravim, ali, kad bi bio, ne bi više trebao biti etc.etc! Zato bih ja rekao da ti načelno nikako ne možeš biti u pravu, jer, da bi bio Pooka, uvijek nužno odgovaraš neminovno pogrešno: točno suprotno od onoga što treba odgovoriti! Takva ti je dharma, kismet, grah ti je tako pao, rekli bi u Grahovu.
Imao sam ja tako jednog prijatelja iz Bosanske krupe koji je vječno kasnio. Nije to bio neki njegov feler ni falinka, nego je neprosto čovjek bio kafkijanski lik (teško je kazati junak): stalno je iznova prispjevao u svijet, da nikada u nj ne dospije! Zato se više nismo ni ljutili na njegova slavna kašnjenja: jednom je pred granicom, na povratku iz Gratza, otišao iz autobusa tek da kupi Brooklyn kaugume, i, naravno, u Zagreb se vratio tko zna kojim prijevozom! Drugi je put nestao u zgradi londonskog aerodroma propustivši avion! Nije to smiješno, Pooka, prestani se kliberiti tamo u zadnjoj klupi! To je čovjeku bio daimonion, a čovjeku je njegov demon njegov ethos, kao što i ti i tvoj prijatelj Heraklit znate.
Zato nikako ne možeš dragi prijatelju ne samo biti uvijek u pravu - ti si doduše uvijek u nekoj načelnoj relaciji spram istine, ali redovito na neki volšeban negativan način relacioniran! - nego ne možeš biti ni mudriji: mudrac zna i ovu upravo izloženu, i onu, koju inače izlažem, stranu istine, baš kao i demon, a to ti, kao što vidiš, nisi znao! Samo, ja te ne krivim. Nema veze. (NEMANJA 21.02.2007. 16:29)
• kako si ti pametan nemanja;)) to i jest tvoj problem. pamet ograničava, znaš li to. ona ne oslobađa, to je klasična demagogija. čitam te ovlaš i uprkos tome uživam u tvojim opservacijama, premda smo po habitusu udaljeni i ne pripadamo istom prostor vremenu. praviš se važan i bahat, ali na to imaš diskreciono pravo svog uma. interesantno, kod nekih ljudi mi bahatost ne smeta odnosno poprima posve drugačiju etimološku vrijednost, kvalitet. dakle dijalektika je u pitanju. osupnut sam, uzgred budi rečeno, mojom neelokventnošću, koje se također uzgred budi rečeno ne sramim. ona je naime dio mene. a kad kažem da sam osupnut referenciram se na tebe, ti si referentni okvir na koji se ogledam. smatraj to čašću i komplimentom.
zašto sam se zaustavio na ovom postu i ovim komentarima. ako te ja dobro razumijem, jer postoji velika mogućnost, da te ne razumijem dobro, pričaš o determinizmu i determinističkim gabaritima. u stvari možda i ne pričaš, ali to je svejedno. ja i dalje pišem.
Tvoj kafkijanski frend iz bos. krupe me animirao. on je bio causa movens moje afirmacije na tvom blogu. kada kažem afirmacije onda to mislim posve racionalistički i kartezijanski. pišem, dakle tu sam.
pitam se da li mi možemo biti i ono što nismo. dakle pitanje je heisenbergsko i ima veze sa potencijalnostima, sa onim što postoji kao mogućnost, a ne mora se ostvariti.
naše determinističko nebo ima određene gabarite, našu kob, naš fatum, naš usud, kako god. no međutoa, u tom, ili na tom našem determinističkom nebu koje je ograničeno, postoje i mogućnosti, potencijalnosti koje se mogu, a ne moraju ostvariti. to se u stvari pitam dok pišem, darma, kismet, determinizam, kojeg si ti tako lijepo eksplicirao sa svojim kafkijanskim prijateljem iz bos.krupe jest ustvari ograničenje i poraz našeg uma, naše pameti. mi možemo biti i ono što nismo i tu nas pamet ograničava, ona nam ne dozvoljava da to budemo. zato sam za razliku od tebe odlučio biti nepametan i dozvoliti samome sebi da budem i ono što nisam ( ovo je contradictio in adjecto, smješkam se svojoj slučajnoj narcisoidnosti, ili freudovoj omašci). pada mi wittgenstein na pamet, a o njemu znam tako malo u stvari. a pade mi na pamet zbog greške. naime, ako sam ga dobro razumio, on je smatra potrebitom upravo zbog toga što nam omogućuje drugačiju perspektivu i mogućnost da budemo slobodniji, da upregnemo potencijalnost, da budemo manje podložni determinizmu. naravno, ovo je slobodno tumačenje jednog neznalice i ti ćeš mi oprostiti na tome.
ostaviću ovaj komentar bez formalne konkluzije. jednostavno si me potakao na digresiju sa samim sobom, a i to je dar, mislim na tvoj dar. samo nastavi biti ograničen i pametan, čitati ću te i dalje;)) (armin 21.02.2007. 17:17)
• Brate mili, pa ovo je brod luđaka imam više od 20 hospitalizacija u psihijatrijskim bolnicama i ovdje i vani ali da sam ja ovako brijo bio bih samo jednom hospitaliziran i nikada više ne bih izašo van. Pa zar ste popili svu tu terminologiju da bi ste na kompliciran način pričali gluposti? Ja to prosto naprosto ne mogu da razumem! (šlagerpevač 21.02.2007. 18:38)
• Imaš mail pa se javi! (šlagerpevač 21.02.2007. 18:40)
• Dragi moj neznani druže u habitusnoj tuđini:
Kažeš da sam te "....jednostavno (si me) potakao na digresiju sa samim sobom, a i to je dar, mislim na tvoj dar..."! Ovo je jedan od većih komplimenata koje sam na ovom blogu dobio. Hvala lijepo!
Jer, potaknuti nekoga na razgovora samoga sa sobom - pri čemu je važno da taj razgovor ne obavljaš glasno! - znači potaknuti nekoga da misli.
Zaista se ne zezam: to je izuzetan kompliment!
Čitaj me i dalje bez obzira na to što se Nemanja pravi bahat: to je markantna crta njegova duhovnog profila, jer, kakav bi to bio Nemanja a da nije arogantan?
Uživaj i čitaj i dalje, bez obziran na konkluzije. (NEMANJA 21.02.2007. 19:06)
• Šlager, postaješ silno duhovit! Ovaj komentar o brodu luđaka će ući u sljedeći post! Kao motto. Uredit ću ga večeras. Tebi u čast: brod luđaka! Sjajno. (NEMANJA 21.02.2007. 19:07)
• Armin: Zaboravio sam ti odgovoriti na Heisenbergovo, ako je njegovo, pitanje u tvojoj izvedbi:"Pitam se da li mi možemo biti i ono što nismo."
Spominješ, vrlo pametno - vidim ja da se ti gradiš da nisi ono što jesi - i obrazovano, jer, za to je neophodno znati Aristotela barem u tragovima, modale mogućnosti i zbiljnosti.
Da ti onda odgovorim u klasičnom metafizičkom žargonu:
Čovjek je ono biće koje može biti više no što jest. U tom nadilaženju vlastite biti, u toj navlastitoj mogućnosti da se bude 'više' no što je bilo i što jest, čovjek, kao biće, i jest: njegova je bit naime upravo to da može biti više. Taj suvišak, ujedno je čovjekov osnovni manjak: Bog, recimo, ne može biti manje no što jest, ali ni više no što jest! Ali, nije to osnovna nevolja: u neprestanom aktualiziranju svih svojih potencija, u ozbiljenju tih mogućnosti koje nadmašuju njegov atualni bitak, čovjek stalno iznova trpi svoju načelno nezadovoljivu potrebu da bude više od sebe samog, konačno, da bude natčovjek.
Ne znam baš je li to tako kako tvrdim, ali mi zvuči strašno uvjerljivo, zagonetno i pametno, a kako smo u hipu od Aristotela došli do Nitzschea, sasvim sam zadovoljan ovim izvodom. A, uostalom, kaj bi ti u pet redaka!? :))))))) (NEMANJA 21.02.2007. 19:17)
• darling, dobro ti veli Markiz, ovo ti se tesko cita, aj malo prerihtaj font, zbiljam.. (cveba 21.02.2007. 20:22)
• dragi nemanja, usprkos tome što me boli trbuh, i što sam prilično depresivan nekoliko zadnjih decenija, sa uživanjem i sa štovanjem čitam tvoje nadahnute redove. čak me i ovaj gastritis, barem pretpostavljam da se tako moja boljka zove, nuče da upregnem moju ne-misao i da ti skujem odgovor, u maniru gorkija, i onog famoznog izričaja, kako se kalio čelik i teška nemušta misao.
toliko puta sam rekao, ali ne mari, ponoviti ću opet, oduvijek sam sumnjao u svoju pamet, ali ne i u svoju potencijalnost. ona mi pomaže prebroditi različita kvantna i agregatna stanja mog osobnog weltschmerza, koji sam naslijedio, i ne htijući, i ne želeći, od svojih vrlih predaka, čiji sam slučajni baštinik. no obzirom da ne vjerujem u slučaj kao i mudri valery, i još poneki, ja sam de facto, ali i de iure njihov namjerni baštinik. i to opet ne htijući i ne želeći.
ergo, da nadvladam ovu suvišnu i neliterarnu digresiju, krećem tromo i polako kao pravi krležijanski troglodit u bit stvari, u jednu laički ne-osmišljenu ontologiju i potom u izvedenu konkluziju, iliti pećinu, onu platonovu.
Čovjek je afirmacija onoga što mi zovemo bog, vis maior, svemir ili štogod već, što hoće reći da su čovjek i bog istoga korjena. uostalom zar mi nismo stvoreni na njegovu sliku i priliku. bog predstavlja samo uzoran arhetip onoga što mi želimo sami biti, zato je i točno da čovjek može biti više no što jest. ali on također može biti i manje no što on jest, što uostalom često dokazuje. dakle, čovjek je i božja negacija, kao i svoja osobna negacija (vulgariziram dičnog hegela, o kojem znam još manje). mislim da je tu eksplikacija i paradigma nepotrebna. dočim bog i to može dragi nemanja, može biti ono što nije, jer kakav bi on to bog bio kada to ne bi mogao.
želeći biti više nego što jesi, biti ono što nisi, želiš biti bog u stvari. dolazimo do brkatog pjesnika filozofa koji je imao velike brke i velike misli, do nietzschea, čovjeka koji nije postavljao pitanja koja to nisu. a ja ih postavljam. tu se on i ja razlikujemo. naravno, ovo je bilo nota bene. mi želimo biti bogovi, a ne možemo biti ni ljudi.
no to je već put koji vodi vulgarnoj metafizici kojoj, ufam barem, nisam sklon, tek možda pukom slučajnošću i neznanjem, kojima, priznajem, jesam sklon. mislim da se to da čak i zaključiti, bez lažne i trivijalne skromnosti i ego-tripa. jednostavno, ja sam svjestan svojeg ne-znanja.
što se ja pitam u stvari? pitam se kako biti ono što nisi, kako biti ono bolje što jesi, kako prerasti tu dijalektičku suprotnost. kako postati svoj vlastiti arhetip i ujedno negirati sama sebe. thanatos koji vodi afirmaciji. negirati sve ono što jesi da afirmiraš sve ono što nisi. afirmirati svoje potencijalnosti, postati ono najbolje što jesi i ono najbolje što nisi, to je moj lajt motiv.
I opet si me potakao, i također ti moram priznati da se ni ja nisam šalio kada sam rekao da si ti i taj tvoj paradigmatski-prijatelj iz bos. krupe, bio taj causa movens ili spiritus rector, duh vodič, misli koje su slijedile..
otišao sam u digresiju, u circulos vitiosus iz kojeg se teško izlazi, ali i to možeš smatrati komplimentom. ovo što ja pišem jest vrsta tvoje afirmacije, a ona je vjerojatno posljedica tvoje karme, tvog minulog rada, kako god želiš, i meni, a pače, mom egu još manje smeta, da dam svoj obol tvojoj afirmaciji.
ove moje redove, kojih je bilo više od pet, smatraj samo jednim slučajnim tokom svijesti. i opet sam bez konkluzije. no večer je valjda takva, zvijezde mi večeras nisu sklone, turbulentne su i previše za moj ukus... (armin 21.02.2007. 20:45)
• Vertebrata: Brate Vertebrate, tako je bilo i nikako drukčije! E, stvarno si učen, k'o da slušam samog sebe! Tako je govorio i Avalokitesvara, utemeljitelj Singingdunuma čija je špilja na Avali nadaleko čuvena i rado posećena.
Zaboravio si samo da uvedeš bočno u priču i Sirijus B i Dogone, ali, tko bi sve mogao da povata, koliko toga lepog u ovoj tačnoj i preglednoj povesti vasione imade.
Živ mi ti i javi se! (NEMANJA 21.02.2007. 21:17)
• @Nemanja :) , nisam htio sad odmah na prvu ruku dati cijelu tajnu urbi et orbi, čemu onda sva ta silna tajna društva?, zato sam, kako i praksa nagovara, ubacio par bugova tako da samo vrsni programeri-magovi mogu otkloniti bug i kompajlirati to leksičko-semantički kako Arhitekt zapovijeda (Film Matrix je recimo prigodna analogija). Tu sam ja, ne brini, uvijek u blizini, a i mail mi znaš, i za kraj naravno - V.I.T.R.I.O.L. (vertebrata 21.02.2007. 22:11)
• mogao si barem naslov promijeniti a ne kopirati od mene :
http://www.masonicinfo.com/icke.htm (Drzavnik Novog Kova 21.02.2007. 22:39)
• Državniče : To ti se stručno zove literarna poligeneza ! ;) (Vertebrata 21.02.2007. 23:16)
1. Ovo je osveta nas učenika Jeet Kune Doa za potkradanje mrtvog učitelja (koji to nije, ali to ne smijemo javno ispovijedati!)! Da nisi pokrao Enter the Dragon, ne bih ti se svetio!
2. Kao što - vidim - i sam uviđaš, pokušao sam ovim naslovom uspostaviti nužnu vezu s prethodnim spotom: kao, prvo je Zmaj zazmajen, a onda sljedi izvješće s lica mjesta: bili smo in situ, U zmajevom gnijezdu! Avaj, teško je očekivati i malo logike, ba, od današnjega svijete: kao što vidiš, ni to se nije shvatilo, no ja sam pustio da stvari idu svojim tokom, jer:
a) sam računao na nekoga tko će ipak stvari staviti u perspektivu;
b) jer mi je nevjerojatno zabavno bilo čitati ozbiljne analize teksta iz Zareza o okultnoj povijesti svijeta, apart od moje ironične nakane da ekipu iz Zmajeve Kule dovedem u najužu vezu s ljudima-gmazovima! Djela imaju samostalan život, kao što uči (i) Eco, a jeka naših riječi, kao svaka Eho, samostalno je biće bez tijela, ali zato ne manje svojeglavo, kao što pokazuje House of Leaves (jebote, pa sve je već rečeno!).
Eto, vidiš kako je sve to složeno: čak i kad misliš da sem te plagirao, sve to ima svoje rafinirane i mnogobrojne razloge! (NEMANJA 22.02.2007. 00:24)
• Vertebrata, ti već znaš da ja nemam što dodati tome što ti kažeŠ: Državniče, tako se zove i nikako drukčije, pizdamumaterina! Slušaj brata Vertebrata, on je ovdje, uz Pooku, najpametniji. (NEMANJA 22.02.2007. 00:25)
• Vertebrata, znaš li ti da je ovo sve čudnije: o V.I.T.R.I.O.L.- u, tj. akronimu: Visita Interiora Terrae Rectificando Invenies Occultum Lapidem (Posjeti Utrobu Zemlji i Pročišćenjem Pronađi Tajni Kamen), pisao sam za studija povijesti umjetnosti. Evo dva linka da shvatiš o ćemu sam pisao:
1.VITRIOL
2.TRI FILOZOFA
Ako prvi neće na klik, evo ovako linka:http://www.matmatprof.it/filosofia_e_dintorni/FilosVenezia/giorgione. htm (NEMANJA 22.02.2007. 00:48)
• Armine: Spiritus rector! E, ta ti je na mjestu!
U pogovoru Patološkom narcisu, S.Ž., div iz Ljubljane, priča o PC- nekog nerda iz Silicijske doline, ekran čijega je kompjutora čuvao screen saver na kojemu je pisalo: PC IS A SOLUTION WITHOUT THE PROBLEM! Godinama sam oponašao tog neznanoj junaka, sve dok nisam nabavio briljantan screen saver Vincenta Marconea, posvećen Halloweenu, riskirajući da budem optužen za histeriju: naime, Žižek tvrdi da su je citirani tekst derfinicija histeričkog subjekta: riječ je dakle o odgovoru na pitanje koje nije postavljeno!
Zanimljiva mi je pritom tvoja situacija: "Što se ja pitam u stvari?", pitaš se.
Kao što vidiš, imaš razloga za zapitanost. I za brigu. Ne u Hiedeggerovom smislu.
Uobičajenu brigu: daješ si odgovore na pitanja koja tek tražiš?
Zanimljiv slučaj, zar ne!? (NEMANJA 22.02.2007. 01:03)
• moram priznati da si me nasmijao. no dobar si, stvarno jesi. patološki narcis, ima nečeg u tome. opet malo o aristotelu. davno nekada kada sam bio mlad student, dopala mi je u ruke ta famozna etika sina nikomaha. dobro se sjećam, XIII knjiga gdje naš dični filozof progovara o hrabrosti i tvrdi da je hrabrost navika. dugo mi to nije bilo jasno, zvučalo je previše frazerski, tako sam mislio naime, ali kako vrijeme prolazi, postaje mi jasnije što je mislio pod hrabrošću i navikom. čak i tvoja kratka crtica govori tome u prilog. i to ima veze sa patologijom narcisa, no neću više večeras, umoran sam nešto. ajde, živio;) (armin 22.02.2007. 01:51)

- 01:26 - Komentari (8) - Isprintaj - #

utorak, 20.02.2007.

Senzacionalno! Ekskluzivno! U ZMAJEVOM GNIJEZDU

David Icke

Čovječanstvom tajno vladaju ljudi-gmazovi

Kenneth Burke i Rick Martin

Na sjecištu podrobne kritičke analize i ludila, bivši engleski nogometaš David Icke jedan je od najspektakularnijih i najzabavnijih teoretičara urote. Između ostalog, on tvrdi da su tragediju 11. rujna koordinirale snage unutar granica SAD-a. One koji su za to odgovorni opsjedaju neljudska gmazovska bića, a poštovanje ljudskog života u njih nije nimalo veće od ljudskog poštovanja patnje i smrti stoke. Gmazovski um ima nerazvijenu emocionalnu razinu i zato oni nemaju nikakvih emocionalnih posljedica bez obzira do kojih se dubina strave i izopačenosti spustili

Matrica je posvuda...To je svijet navučen preko vaših očiju da bi vas učinio slijepima za istinu.
– iz filma The Matrix

Davide, znam da je teško ukratko skicirati temeljne ideje tvoje knjige Najveća tajna, ali možeš li povezati nekoliko tih osnovnih ideja da shvatimo barem njezinu temeljnu premisu?
– Moje istraživanje, ali i moj život – u nevjerojatnom sinkronicitetu s tim istraživanjem – pokazali su da ćemo, ako se dovoljno duboko vratimo u prošlost, naići ne samo na jednu vrstu izvanzemaljaca nego na izvanzemaljske vrste koje su se miješale s ljudskom. Među njima postoji i jedna posebna skupina, koja djeluje u fizičkome svijetu (zacijelo, iz same unutrašnjosti Zemlje) i njezino je primarno žarište donja četvrta dimenzija, koju ljudi zovu astralnom razinom. To je vrsta gmazova. U knjizi jasno upućujem na to da su oni koje zovemo Ananaki (prema sumerskim pločama) zapravo vrsta gmazova. U toj tvrdnji nisam usamljen.
Do tih me zaključaka nije dovela intuicija nego golema količina drevnih i modernih dokaza koji pokazuju da se ta gmazovska veza proteže tisućama godina, do današnjice. Neke od poznatih referencija na zmije i zmajeve očito su simboličke, kao što je Kundalini energija i druge, ali pogledate li sve te dokaze, postoji i golem broj doslovnih referencija na zmijske ljude – zmijske bogove, u područjima gdje se to, prema izvorima, zbivalo, u kavkaskim planinama, u današnjoj Turskoj, u Iranu i Iraku, koje smo zvali Sumer i Babilon, te u egipatskim nizinama (posebno u području oko kavkaskih planina, iz kojeg je, prema općem mišljenju, došla ta hladnokrvna vrsta). Miješanje se dogodilo između ljudske vrste i te gmazovske skupine unutar njihove vrste. Tu gmazovsku genetsku struju ne smatram, međutim, negativnom po sebi, nego upravo suprotno – negativna je samo jedna posebna skupina unutar te vrste.

Gmazovski bogovi

Sumerske ploče i mnogi drugi izvori, diljem svijeta, ističu činjenicu da su ti hibridi postali polubogovi, muškarcima i ženama između bogova i ljudskog roda. Zavirite li u dio povijesti Irana, vidjet ćete da su se najstariji kraljevi zvali kraljevi zmije, a kraljevima su postajali zahvaljujući svojoj genetskoj strukturi i obiteljskoj lozi. Otuda onda potječe božansko pravo na kraljevsku krunu. Pogriješili smo samo u tome što smo mislili da to pravo – kao i sve što postoji – dolazi od Boga jer zapravo dolazi od tih gmazovskih “bogova”.
Oko 2200. godine prije Krista u Egiptu se pojavilo nešto zvano Kraljevski dvor Zmaja. To snažno djeluje i danas, nakon 4000 godina, a središte mu je u Engleskoj koja je, prema mojemu mišljenju, epicentar globalne kontrole – epicentar mreže koja kontrolira svijet, ali nije to vlada Tonyja Blairea (iako im je on dosta istaknut frontmen).
Kad se utvrdi podrijetlo, može se jasno pratiti tu zapravo arijsku rasu koja je, pod imenom Feničani, u Britaniju stigla brodovima. Feničani su vrlo važan dio povijesti, ali im konvencionalni povjesničari ne daju veliko značenje. U svojoj knjizi pokazujem kako je fenička kultura postala britanskom kulturom. Oni su se širili i dalje od otoka, mijenjajući s vremena na vrijeme ime. Postali su bijeli narodi Europe . Unutar njihove genetske strukture bili su, dakle, ti gmazo-ljudski hibridi. Tako su hibridi, koji su bili vladari drevnog Bliskog i Srednjeg istoka, postali europskom aristokracijom, europskim kraljevskim obiteljima. Postoji, utoliko, samo jedna kraljevska obitelj – ali se javlja pod različitim imenima. Obitelj Windsor, nema sumnje, pripadaju toj lozi.
Glavni trenutak ekspanzije, za ta bića hladne krvi, koji su doslovno zauzela cijeli planet, dogodio se nakon 1689., kad je jedan od hladnokrvnih, zvan Vilim Oranski (s kojim je krvno povezana svaka preživjela kraljevska obitelj u Europi) postavljen na englesko prijestolje, a došao je iz Nizozemske. Od 1689. te su krvno povezane skupine, koje su postale poznate kao Illuminati, odabrale London za epicentar svojega operativnog djelovanja. Godine 1694. Vilim Oranski potpisao je povelju koja je stvorila Englesku banku (Bank of England) i cijeli se bankarski sustav počeo kretati pod tim ujedinjenim vodstvom. To je razlog zbog kojega imate središnju banku u gotovo svakoj zemlji – jer one imaju ujedinjeno vodstvo i upravljaju ekonomijama tih zemalja te novčanicima njihovih vlada.
Stvarni učinak, u godinama nakon tog centriranja djelovanja u Londonu bilo je dakako – Veliko Britansko Carstvo. Danas mi je jasno da to uopće nije bilo Veliko Britansko Carstvo. Bilo je to carstvo krvnih srodnika koji su se smjestili u Britaniji, a to je nešto sasvim drugo. Ti su krvni srodnici, radeći prikriveno – pretežito unutar bijele rase, ali zasigurno ne samo unutar nje – postali ljudi koji su preuzeli bankarski posao, medije i političku moć u svim tim različitim zemljama Britanskog carstva. Iako nam se čini da je Britansko Carstvo prošlost i da su ti narodi stekli neovisnost, posve je očito da su zatvori s rešetkama (ili otvoreno britansko kontroliranje tih zemalja) samo zamijenjeni zatvorima bez rešetaka (a to su mreže tajnog društva i krvnih srodnika koje i dalje djeluju u tim zemljama, i vode “šou”).

Krvno povezani ravnatelji ogranaka

Zato, u svakoj od tih zemalja, imate ono što zovem krvno povezanim ravnateljima ogranaka, koji upravljaju tom zemljom prema u centru koordiniranom planu. Kad se plan orkestrira tako da donese nešto na globalnoj razini, onda krvno povezani ravnatelji ogranaka u jednoj od tih zemalja manipuliraju svojim područjem utjecaja i organiziraju ga, kao što to u Americi čine Rockefellerovi i osnivačke obitelji Istočne obale, ili u južnoj Africi Oppenheimerovi. Ti ravnatelji ogranaka orkestriraju svoju obitelj i zemlju u skladu s globalnim planom koji dolazi iz Europe (posebno Londona, ali u nekoj mjeri i iz Pariza). To je poput paukove mreže transnacionalnih korporacija, s ograncima u svakoj zemlji.
Južna Afrika je odličan primjer. Prije negoli je Mandela postao predsjednik, južna je Afrika bila pod otvorenom kontrolom manjinskog bijelog režima, aparthejda, koji je u cijelome svijetu izazivao velik otpor. Ljudi su nosili natpise, prosvjedovali, i sve to. U to doba obitelj Oppenheimer je kontrolirala 80 posto dionica na južnoafričkoj burzi a i ostalo je, implicitno, bilo njezino. Bili su i vlasnici medija, preko svojih različitih frontmena, i posjedovali su rudnike zlata i dijamanata na kojima počiva ekonomija te zemlje. No, morali su se prebaciti na tzv. demokraciju, a Mandelu postaviti za predsjednika. Prosvjedni napisi su nestali, a prosvjednici se razišli, govoreći: Dobro, južna Afrika je riješena. Svijet postaje slobodniji.
Otkad je Mandela postao predsjednik, obitelj Oppenheimer posjeduje samo 80 posto dionica na burzi a, implicitno, i preostalih 20 posto. U njihovu su vlasništvu i nadalje samo rudnici dijamanata i zlata, o kojima ovisi gospodarstvo zemlje, i samo mediji koje posjeduju preko svojih različitih frontmena. Razlika je u tome što nitko više ne galami o ljudskim pravima ili o slobodi jer je predsjednik zemlje crnac. Za ljude koji tamo žive ništa se nije promijenilo. Isti ljudi vladaju zemljom, ali vladaju bez ikakva otpora jer su zatvorske rešetke zamijenjene zatvorima bez rešetaka.

Predsjednička loza

Htio bih napomenuti da su te gmazovske krvne loze uglavnom stigle iz Europe, iz Francuske i Britanije. Alsace-Lorraine im je posebno važno područje. Jer, znate, kad se malo udubite u genealogiju američkih predsjednika, to je nevjerojatno. Na svim su predsjedničkim izborima, počevši od onih održanih 1789. s Georgeom Washingtonom pa do Billa Clintona, pobijedili kandidati s najviše britanskih i francuskih gena. Od 42 predsjednika, do Clintona, 33 su bila u srodstvu s dvojicom ljudi: Alfredom Velikim, kraljem Engleske, i Karlom Velikim, najpoznatijim francuskim monarhom. Preostalih 19 u rodu je s engleskim Edwardom III., koji je s više od 2000 srodnika povezan s princem Charlesom. Isto vrijedi i za američke bankarske obitelji. George Bush i Barbara Bush iz iste su krvne loze – Pierceove, koja je svoje ime Percy promijenila u Pierce kad je prešla Atlantik. Percy je i danas jedna od britanskih aristokratskih obitelji.
Različite su krvne loze uzimale različita imena, ali bez obzira na to oni su manijakalno opsjednuti genealogijama. Budući da se pojavljuju pod različitim imenima, nije lako uočiti obrazac. Da se i Clinton i državni tajnik prezivaju Rockefeller i da je urednik udarnih vijesti Rockefeller, ljudi bi rekli: Čekajte, što se to događa! Zato oni uzimaju različita prezimena. Ali prezimena nisu važna. Važna je krvna loza. Busheva obitelj je, recimo, primjer istog imena u tri generacije zbog čega svi mogu lako uočiti obrazac.
Ideja da svatko može postati predsjednikom Sjedinjenih Država potpuna je besmislica, što je vrlo važno uvidjeti. Posrijedi je, naime, ideja koja je jedno od uporišta vjere Amerikanaca da žive u slobodnoj zemlji. Na to im možemo odgovoriti da je to čista laž.
Ti su ljudi postavljeni za predsjednike zbog njihove krvne loze, a krvna loza upućuju na činjenicu da postoji genetska a time i vibracijska kompatibilnost s tim gmazovskim bićima četvrte dimenzije, kao da već na sebi imaju svemirsko odijelo. Oni mogu djelovati u trodimenzionalnom svijetu posredstvom tih određenih krvnih loza.

Hibridi ne shvaćaju što čine

Dakle, recimo da je središnja skupina smještena u Londonu, u Engleskoj.
– To je operacijska razina. Postoji ta operacijska razina, poput glavnog stožera, gdje se sve organizira i koordininira, ali to mjesto nije nužno i epicentar moći, jer može jednako tako biti i negdje drugdje na planetu. Svaki put kad mislim o tome, stvari me vode ispod zemlje, u Tibet. Mislim da te beskrajne legende o podzemnim zajednicama, Agarthi i svemu tome, da su sve utemeljene na činjenicama. Ali, ono o čemu govorim je središte mreže, mjesto gdje se sve koordinira, a to je definitivno London, i u manjoj mjeri, Pariz.
Jesu li ljudi s fizičkim tijelima – a da to i ne znaju – pod utjecajem gmazovskih bića, ili je riječ o gmazovskim bićima koji se uobličuju u raznolika tijela u različitim vremenima?
– To je odlično pitanje, a tiče se dviju razina. Prva uključuje one koje nazivam “punokrvnima”. O njima govorim u knjizi; oni uključuju kuću Windsor (britansku kraljevsku obitelj), Georgea Busha, i tu vrstu ljudi. Dok se mi usredotočujemo na trodimenzionalni svijet, oni se usredotočuju na četverodimenzionalni. Oni se mogu kretati između dimenzija i naš svijet mogu sagledavati u četverodimenzionalnome. Njih zovem “punokrvnima”. U usporedbi sa svjetskim stanovništvom, nema ih mnogo. Oni mogu poprimati različite oblike.
Osim njih, postoje i niže genetske loze, koje zovem “hibridima”, čiji je sadržaj još vrlo gmazast. Ti ljudi to uglavnom i ne znaju, ali zato to znaju oni koji ih orkestriraju jer zapanjujuće opsesivno prate krvne loze i genetiku. Ono što oni žele s tim pronađenim hibridima je upravljati njima iz četvrte dimenzije. Zbog toga ih pozivaju u mreže tajnih društava i raznovrsne obrede, kojima se trebaju pridružiti da bi ostvarili pravi napredak. Hibridi ne shvaćaju što čine. Većina ih ne razumije da riječi i obredi stvaraju energetska polja. A energetska polja, ako ne znate što radite, mogu biti vrlo opasna, u smislu načina na koje se vama može manipulirati. U tim obredima orkestratori neupućene ljude priključuju na tu nižu četverodimenzijsku svijest. Oni opsjedaju njihovu ljudsku svijest.

Hitlerove veze

Prisjetite li se Hitlera, to je čudesno. Taj je čovjek sjedio na ulici, pokušavajući prodati slike. Ali, imao je, čini se, nešto karizmatsko. Nakon niza obreda, koje je na njemu izveo čovjek zvan Eckart, Hitler je osvanuo kao taj napuhani, izluđeni čovjek izobličena lica, koji je stvarao magnetsku energiju koja je osvojila naciju, srećom, samo na nekoliko godina. Eckart je pak pisao svojim prijateljima, što citiram u knjizi, da se ne brinu za njega jer je on na njemačku povijest uspio utjecati više od ikoga drugog. Ja sam Hitlera povezao s NJIMA – to su bile njegove riječi. Hitler je bio priključen na tu nižu, četvrtu dimenziju i bio je zapravo marioneta tim nižeastralnim, gmazovskim bićima.
Način na koji sam došao do svega toga je tipičan za sinkronicitete u mojem životu. U knjizi naslovljenoj I istina će vas osloboditi pisao sam o strukturi kontrole u svijetu danas. Pomislio sam da ne trebaš biti genijalac da bi vidio da ta struktura nije složena u pet minuta ili pet godina, pa onda ostaje pitanje: kad je to počelo? Počeo sam se vraćati unatrag, da otkrijem podrijetlo te manipulacije. Vratio sam se sve do vremena križarskih ratova, 12. i 13. stoljeća, viteza Templara i svih tih ljudi, i onda dalje, do 1000. godine prije Krista, u Babilon, koji je, prema svemu sudeći, bio glavno središte te određene, gmazo-ljudske krvne loze.
Iz tog su se središta oni počeli infiltrirati i osvajati i druga društva, među njima i Egipat, koji je zbog toga propadao i raspao se. Zatim su svoj epicentar premjestili u Rim i postali Rimsko Carstvo. Nakon toga su se odselili u London i postali Britansko Carstvo, i otuda je sve i došlo. Otišao sam dovoljno duboko u prošlost i počeo nizati duge priče o tim hibridima – ali nisam uvijek spominjao gmazove, nego samo miješanje između bogova i ljudskog roda koje je stvorilo te hibridne krvne loze.
A onda, prije otprilike godinu dana, počela su najčudnija od svih iskustava s mojih putovanja. U razdoblju od petnaest dana u svibnju 1998. susreo sam dvanaest različitih ljudi, s posve različitim životnim pričama, koji su mi ponavljali istu priču: da su vidjeli ljude – od kojih su mnogi, ali ne svi, bili na položajima moći – kako se pred njihovim očima pretvaraju u gmazove, i onda ponovo u ljude. Jedan od onih koji su mi to ispričali bio je policajac.

Ljudi na televiziji pretvaraju se u gmazove

Mislite li da se to događalo namjerno ili zato što je frekvencija našeg planeta na trenutak poništila njihove maske?
– Mislim da je tu riječ o dvjema stvarima. Prvo, da postoje određene frekvencije energetskih polja u kojima im je teže održati ljudski oblik. Ali, poenta je u tome da su oni niža četverodimenzionalna bića, a to nije tako daleko od našega trodimenzionalnog svijeta. Mislim da se i ljudska svijest može nakratko uključiti u tu energiju. Ljudi tad prestaju vidjeti ta gmazovska bića samo u njihovu trodimenzionalnome obliku i vide ih u njihovu četverodimenzonalnom obliku. Oni tad prestaju biti trodimenzionalne maske i počinju biti vidljivi kao četverodimenzionalna bića.
Kathy O’Brien, u svojoj knjizi Oblikovanje Amerike u transu, ističe da joj je George Bush rekao da su oni vrsta izvanzemaljaca, koja je osvojila planet, što još nitko nije shvatio te da su došli iz udaljenog, dubokog svemira. Ona kaže da se on pred njom pretvorio u gmaza.
Jedan joj je čovjek rekao: O ovome ne mogu razgovarati s puno ljudi. Možete li mi odgovoriti na pitanje zašto stalno vidim ljude, poput Busha, Kissingera i Gorbačova, kako se, dok ih gledam na televiziji, pretvaraju u gmazove?
Kathy je ispričala i priču o Miguelu de la Madridu, meksičkom predsjedniku u osamdesetima i rekla je da joj je on pričao o iguanskoj vrsti, kako ju je nazvao. Kathyina knjiga je, naravno, bila objavljena mnogo prije negoli sam ja počeo dolaziti do podataka o tome. Ona kaže da joj je Miguel rekao da se iguanska vrsta, izvanzemaljska vrsta gmazova, izmiješala s meksičkim narodom – Majama i drugima – jer su morali stvoriti krvne loze, tijela preko kojih će moći djelovati, i da pripadnici te iguansko-ljudske krvne loze mogu mijenjati obličja, odnosno pojavljivati se u obliku gmazova ili ljudi. Rekla je i da se Miguel pred njom pretvorio u gmaza.
Kad sam se malo osvrnuo unatrag, pomislio sam koliko je vremenski kratko razdoblje koje zovemo poznatom ljudskom poviješću. I, ako se to događa sada, vrlo je vjerojatno da se događalo i prije. Počeo sam zato pregledavati drevne zapise o vrsti gmazova i zmijskoj vrsti i, zamislite, otkrio sam da se za Nagas, bogove iz doline Inda – gdje je poslije nastala hinduska kultura – tvrdilo da mogu, po želji, imati i ljudski i gmazovski oblik.
Ima i drugih referencija na takve stvari, diljem svijeta. Utvrdio sam da je kuća Windsor, britanska kraljevska obitelj – koja je zapravo germanskog podrijetla i vuče korijene od crnog plemstva Venecije, sjeverne Italije, koje se može slijediti do Srednjeg i Bliskog istoka – da je ta kuća Windsor jedna od tih loza. Ne baš da su bili gmazovska loza, nego da su jedna od elitnih loza.

Tehnika problem-odgovor-rješenje

Prema vašim podacima, kakve planove imaju ti gmazovi na Zemlji u sljedećih nekoliko godina?
– Ono što zovemo novim svjetskim poretkom zapravo je njihov plan. Oni žele stvoriti kaos u svijetu, što će uključivati i masovne ratove. Zato imamo ovu strukturu svjetske vlasti, svjetske središnje banke, svjetske monete, elektroničkog bankarstva bez novca u gotovini, planove o stanovništvu s ugrađenim mikročipovima i svjetsku vojsku, a to je NATO... globalna policijska sila. Planiraju stvoriti strašan kaos u godinama oko smjene tisućljeća, koristeći globalnu verziju najsnažnijih tehnika kontrole uma koju zovem problem-odgovor-rješenje. To znači da prvo stvorite problem, zatim dobijete reakciju stanovništva da nešto treba učiniti, i onda ponudite rješenje koje ste i htjeli provesti, još od početka.
Ako želite uvesti globalna rješenja, trebate i globalne probleme, a predviđam da vrijeme za to dolazi, veliko vrijeme. Problem je taj da frekvencija našega planeta postaje sve brža i brža i oni koji svjesno mijenjaju obličje sve će teže moći održavati svoj ljudski oblik. Čuo sam da ta gmazovska bića opsesivno, gotovo panično nastoje uspostaviti svoje institucije kontrole, a ponajprije ugraditi mikročipove u stanovništvo. Oni znaju da će frekvencija planeta za nekoliko godina dosegnuti brzinu pri kojoj oni više neće moći održavati svoj ljudski oblik i da ćemo tada svi napokon moći vidjeti da su gmazovi ti koji vladaju našim planetom.
Više se neće moći skrivati.
– Točno. Do tog vremena, kako mi govore oni koji iznutra poznaju te stvari, gmazovi žele imati stanovništvo s ugrađenim mikročipovima, žele svjetsku vojsku, NATO, i žele imati što je moguće veću fizičku kontrolu našega trodimenzionalnog svijeta tako da ljudi, prema mišljenju gmazova, neće moći više ništa učiniti glede njihova kontroliranja našeg planeta.

Globalizacija kao dio plana

Kako gledaš na globalizaciju?
– Ono o čemu mnogi od nas govore sve ove godine – a što je ljevica u politici, recimo, tek sad otkrila, i to samo na jednoj razini – jest to da globalizacija zapravo znači oko dvjesto korporacija koje zapravo kontroliraju sustav i stravično eksploatiraju ljude Trećeg svijeta; počeli su uočavati vezu između plana globalizacije, koji se razotkriva velikom brzinom, i njegova učinka na stanovništvo Trećeg svijeta, i na ljude općenito.
Ljudi su sad daleko otvoreniji za ono o čemu mi pričamo sve ove godine. Ono što pak, zasad, ne vide jest SLJEDEĆI stupanj, koji je zaista vrlo važno doseći, a to je da je u tim dvjesto i kojoj korporaciji zapravo riječ o JEDNOJ KORPORACIJI. A to je nešto što bi ti protivnici globalizacije trebali uvažiti, da je riječ o situaciji u kojoj sve te različite korporacije, i vlade, i banke djeluju na način koji vodi u ISTOME smjeru.
To NIJE slučajno. NIJE riječ o skupini nepovezanih ljudi koje je slučaj doveo do odluke da djeluju na jednak način. To je koordinirani plan koji se odvija pred našim očima.
Velik dio onoga što sam stavio na svoju web-stranicu govori, štoviše, o tome da je i nasilje tijekom održavanja globalizacijskih sastanaka na vrhu, globalizacijskih summita, orkestrirala i izvela UPRAVO ONA VLAST koja je to nasilje osudila! Na djelu su snage koje na vrlo hladan, proračunat način, stvaraju situaciju nasilja u kojoj se pravi problemi zasjenjuju, a cijela se rasprava usmjerava na ono što se percipira kao nasilne anarhiste koji samo žele kaos.
Mislim da su pred nama velike mogućnosti korištenja tog buđenja za posljedice globalizacije da bismo informirali ljude o SLJEDEĆEM STUPNJU, koji većina prosvjednika još nije sagledala.

Na granici naših fizičkih osjetila

Što je pokazalo tvoje istraživanje – tko stoji iza svega toga? Jesu li to gmazoidi?
– Tko nadzire gmazoide? Jer, naposljetku, sve što se manifestira kao biće zapravo je samo svijest, koja isijava neku vrst fizičkog oblika. Što dulje odmičem na svojem putovanju, to je slika koju vidim sve veća i stoga je pitanje gdje sve ovo ZAVRŠAVA, i što je ono krajnje IZA SVEGA TOGA, još otvoreno ispitivanju.
Ono što mi je pak posve jasno jest to da zbiljska sila iza tih manipulacija svijetom NIJE FIZIČKA, da nije na fizičkoj razini. Ono što zovemo Illuminatima nije “ono” nego su oni samo sredstvo za “ono”, štogod to u krajnjem značenju bilo. Jer ovim, trodimenzionalnim “svijetom” – kako ga zovemo – manipuliraju sile drugih dimenzija. Jedna od stvari koje treba naglasiti je da zapravo ne živimo u svijetu. Živimo na određenoj frekvenciji. Na frekvenciji koja je dostupna našim fizičkim osjetilima, a njima je dostupno jako malo.
Čak i prema konvencionalnoj znanosti, 90 posto svega što postoji u fizičkome svijetu ne možemo vidjeti ili opaziti našim fizičkim osjetilima. S obzirom na to da uočavamo nevjerojatnu genetsku raznolikost života na Zemlji već unutar tih manje od 10 posto, kolika li je tek onda raznolikost u onih 90 posto što ih ne možemo opažati?
Živimo na vrlo malome frekvencijskome području što ga mogu opažati naša osjetila. A sile koje uključuju barem većinu gmazovskih snaga, a koje manipuliraju ovim frekvencijskim rasponom odnosno ovim planetom, ovim svijetom, zapravo operiraju izvan tog frekvencijskog raspona. Gmazovskim jezikom rečeno, gmazoidi o kojima govorim nalaze se na samome rubu: oni su samo jedan genetski oblik. On će dati i pozitivne i negativne primjerke, i onih između, poput svakoga genetskog oblika. Mislim da oni djeluju na samoj granici naših fizičkih osjetila, i manipuliraju nama.
Ono što me danas najviše zanima jest povezanost njihove opsjednutosti krvnim lozama i genetikom s činjenicom da su određene genetske krvne loze kompatibilnije u svojim vibracijama s tim četverodimenzionalnim područjem. Ta četverodimenzionalna gmazovska bića mogu stoga pripadnike te određene krvne loze zaposjesti daleko lakše, zbog te vibracijske sličnosti, vibracijske kompatibilnosti, no što to mogu učiniti s glavnom strujom ljudskih tijela. Ponavljam još jednom, ovo nije teorija, razgovarao sam s mnogo, mnogo ljudi diljem cijelog svijeta koji o tome svemu znaju “iznutra”.
A ono što zapanjuje jest da ljudi koji vladaju svijetom – vrh bankarskog sustava, predsjednici, premijeri i takvi ljudi – nisu samo sudionici sotonskih obreda, nego da, doslovce, njihova tijela opsjedaju ta zlonamjerna, demonska, četverodimenzionalna bića.
To se zbiva ovako: prvo se stvore krvne loze, tako da postoji hibridna DNK-vibracijska kompatibilnost koja tim određenim tijelima dopušta da ih lako zaposjednu i kontroliraju četverodimenzionalna bića. A to znači da uspijevate li tim određenim zaposjednutim i zaposjedanju dostupnim krvnim lozama manipulirati tako da njihove pripadnike postavite na položaje moći, onda time zapravo ta četverodimenzionalna bića postavljate na te položaje.

Sukobi unutar tajnih društava

Jesi li u svojem istraživanju naišao na kakav sukob među tim zlonamjernim, četverodimenzionalnim bićima koji se međusobno natječu za položaj?
– O, to je njihova najveća Ahilova peta. Svojstvo zlonamjernosti ne može se po volji paliti i gasiti, kao ni stanje žudnje za moći i kontrolom nad drugima. Illuminate mi je davno izvrsno opisao jedan istraživač, kao one koji su poput bande pljačkaša banke koji se mogu dogovoriti u vezi posla, ali će se svađati oko podjele plijena. Jedna od stvari koja je, prema mome mišljenju, zbunila mnoge proučavatelje i navela ih na krivi put je to što su primjećivali da su određena tajna društva i skupine u nekim razdobljima bila u međusobnom sukobu. Zbog toga su zaključivali da je bile riječ o različitim stranama koje se međusobno sukobljavaju, a zapravo su mnogi, ako ne i svi ratovi kraljevskih krvnih loza i različitih zemalja, u prošlosti, bili ratovi između pripadnika istih krvnih loza za pravo da budu na vrhu ljestvice.
To nisu bili ratovi i sukobi između različitih tajnih društava i kraljevskih obitelji koji su na različitim stranama da bi se izborili za nešto različito. To su bili ratovi, sukobi i borbe između tajnih društava i kraljevskih obitelji oko toga tko će biti glavni unutar tih krvnih loza. To je zbunilo mnoge proučavatelje jer su u tim sukobima vidjeli različite strane, a ne različite maske na istoj strani koje pokušavaju biti “glavne face” svojega doba.
Odgovor je, dakle, da, apsolutno, ima mnogo razilaženja unutar Illuminata i različitih maski koje ono poprima. Ipak, na kraju, kad pritisak dosegne gornju granicu, svi se slažu da imaju prevelik interes da bi dopustili da se brod zaljulja toliko da na kraju potone.

Skidanje velova

Već godinama govorimo o skidanju velova, o buđenju ljudi, o pomicanju planeta i mijenjanju njegove frekvencije. Pitanje koje mi uvijek pada na pamet jest što bi se uopće moglo promijeniti kad bi velovi bili skinuti, a ljudi probuđeni? Ako oni ne mogu svladati vojnu silu i tehnološku sposobnost onih koji zauzimaju položaje moći, što bi to uopće značilo?
– Da, posve mi je jasno to pitanje, koje bi moglo biti i vrlo obeshrabrujuća točka. Ali dvije su stvari koje se moraju dogoditi – sad, kad se ipak počinjemo pomicati, kad se pojavljuju prosvjedi protiv globalizacije.
U prvoj je fazi potrebno da ljudi doznaju kako POSTOJI problem i da POSTOJI plan koji se odvija. Nitko se neće opirati planu za koji i ne zna da postoji! To je prvo što trebamo učiniti – a tu se već jasno pokazuje napredak. Želimo li i više od toga? Naravno!
Druga faza je: Što možemo u vezi s time učiniti? Moramo doznati gdje je STVARNA moć i shvatiti, također, da u to ne smijemo ići razmišljajući na ovaj način: Moramo se boriti protiv Illuminata. Moramo se boriti protiv tih ljudi koji rade te stvari. Jer ljudi koji misle da će se s tom silom moći boriti, morali bi znati da će to biti kao da pokušavaju zaustaviti slona dječjom pucaljkom, što će slonu – Illuminatima – potom biti dobra izlika da vas napadnu i raznesu u komadiće.
Drugo, a u tome leži velika istina, je da i sam postaješ ono protiv čega se boriš. Ako svemu tome pristupimo misleći da se moramo boriti – s bijesom i svim tim osjećajima koji se pokazuju u sukobu, onda ćemo i sami postati samo drukčije maske na istome licu. Postat ćemo ono čemu tvrdimo da se opiremo, protiv čega se borimo.
Put koji vodi naprijed NIJE u bijesu i nasilju ili bilo kojem od takvih osjećaja; put je u prekidanju suradnje sa sustavom. Sustav i postoji samo zato što s njim surađujemo. Bankarski sustav postoji samo zato što ne prestajemo posuđivati nepostojeći novac, i što na to plaćamo kamate. Sustav postoji zato što i dalje plaćamo te kamate. Ljudi kažu: Morate poštovati zakone. Meni se čini da moramo poštovati samo one zakone koji poštuju ljude.
Kad bi sad šačica ljudi prestala bankama plaćati kamate na novac ti bi ljudi lako bili izdvojeni i izolirani. Ali kad bi ljudi masovno prestali plaćati kamate bankama i počeli spaljivati bankovna pisma, govoreći: Platit ću te kamate kad mi dokažete da sam doista posudio fizički novac, onda bi se cijeli sustav počeo rušiti. A srušio bi se jer smo, konačno, prekinuli ili smo barem počeli privoditi kraju našu uvjetovanu suradnju sa sustavom koji je tu samo da bi nas kontrolirao i eksploatirao.
Najvažnije je provesti taj proces PREKIDANJA SURADNJE sa sustavom kontrole. Vlade mogu samo vladati, a ljudi su ti koji imaju presudnu ulogu u VLASTITOM UTAMNIČENJU time što sva ta sranja prihvaćaju.
A jedan od razloga zbog kojih ti momci ubacuju agente provokatore na prosvjede na globalnim summitima, stvarajući tako nasilje koje na kraju završava na TV-ekranima, JE TAJ DA ONI ZNAJU ZA MOĆ MIRNOG PROSVJEDA I NESURADNJE. TO JE KRAJNJA MOĆ. MIR JE KRAJNJA MOĆ! Ali moramo otići i jednu fazu dalje od mirnog prosvjedovanja. Moramo prestati surađivati s tim ljudima i sa sustavom koji ih je stvorio za nas. To mora biti MASOVNI prosvjed. Mora biti MASOVNA akcija. Zato i druga faza može početi tek kad prva faza – informiranje ljudi o tome koji se vrag uopće događa – dosegne određenu kritičnu masu.

S engleskoga prevela Irena Matijašević.
Razgovor je sačinjen od dva razgovora s Davidom Ickeom koji su pod naslovom The Biggest Secret odnosno Are ‘Their’ Aliens Among Us? objavljeni na stranicama www.davidicke.com/icke/articles2/biggestsecret.html i www.davidicke.com/icke/articles/aliens.html

- 13:36 - Komentari (46) - Isprintaj - #

ZMAJ OD KAMENJARA: Pro aris et focis Deo propitio!

ZAZMAJENJE
Družba braće hrvatskog zmaja primila sedmoricu novih članova
Bandić i biskup Bogović postali hrvatski zmajevi
Autor Vojislav Mazzocco

Na zvuk gonga Meštarski zbor Družbe braće hrvatskog zmaja ušao je jučer u vitešku dvoranu nad Kamenitim vratima. Obred zazmajenja sedmorice novih zmajeva mogao je početi.

Kruh i sol
Kandidati su bili biskup gospićko-senjski Mile Bogović, zagrebački gradonačelnik Milan Bandić, predsjednik Dinama Mirko Barišić, liječnik Tonči Visković, znanstvenik Ivan Hrvoić, gospodarstvenik Bruno Kendjel i Kristijan Skočibušić, profesor i Večernjakov novinar. Meštar obrednik triput je žezlom lupio o pod i sedam kandidata ušlo je u dvoranu i u tišini se postrojilo pred Meštarskim zborom.

– U znak dobrdošlice po drevnom hrvatskom običaju nudimo vas kruhom i solju – rekao im je veliki meštar Dragutin Feletar Zmaj Velikootočki. Nakon što su obredno prizalogajili kandidati su izjavili da u Družbu pristupaju svojom slobodnom voljom i da su spremni poštovati pravila Družbe – Ordo draconicus.

– Položite desnu ruku na stijeg – naložio je veliki meštar, a kandidati su poslušno pristupili najsvečanijem dijelu obreda – prisezi. Prisegnuše i odabraše svoja zmajska imena i ispiše iz kaleža vino pomiješano s pepelom hrvatske lipe.

Biskup Mile Bogović postade Zmaj od Krbave, Mirko Barišić Zmaj Levanjsko Varoški, a Milan Bandić Zmaj od Kamenitih vrata IV. Osim zmajskih imena odabrali su i u kojoj od sekcija žele djelovati, a to su učinili odabirom jedne od sedam obrednih svijeća, svake u svojoj boji.

– Sekcija za kulturu, crvena boja! – uskliknuo je četvrti po redu Zmaj od Kamenitih vrata, na što mu je meštar protonotar donio svijeću.
– To je tvoja luč – rekao je svečano protonotar, na što su kandidati odgovarali: “To je moja luč!”

Sedam sakramenata
Da bi obred zazmajenja bio potpun, preostalo je još samo da se novi zmajevi izgrle s meštrom protonotarom i izgovore zmajsko geslo.

– Pro aris et focis Deo propitio! (u prijevodu: Za žrtvenike i ognjišta s Božjom milošću!) – izgovorili su zmajevi i za nagradu dobili lente trobojnice i značke Družbe.

– Zmaj od Kamenitih vrata zaštitnik je Zagreba i ja ću tu dužnost ispuniti – rekao je Milan Bandić, a uime svih kandidata na primanju u Družbu zahvalio je novopečeni Zmaj od Krbave.

– Nas sedmorica smo kao sedam sakramenata, a sedam ima i onih drugih stvari. Nemojte me krivo shvatiti – našalio se u zahvali prije zakuske biskup Mile Bogović.

LOL

- 11:48 - Komentari (8) - Isprintaj - #

ponedjeljak, 19.02.2007.

Tyger, Tyger everywhere

Kakva ustrajna tišina. I don't like the sound of it. njetocka

Misliš? Za početak nudim:

William Blake

The Tyger

Tyger, Tyger, burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?

In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare seize the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?

What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears
And water'd heaven with their tears,
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger, Tyger, burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?

Možda prođemo bolje s Oscarom Wildeom, koji je rekao:

"The only thing worse than being talked about is not being talked about." njetocka

Imam još bolju:

"The public is wonderfully tolerant. It forgives everything except genius." njetocka

The Productions of Time: Kunitz on Blake

A Conversation with Jason Shinder

Stanley Kunitz recently became the tenth U.S. Poet Laureate, and his Collected Poems is forthcoming from W. W. Norton in fall 2000. Winner of the Pulitzer Prize, the National Book Award, and the Bollingen Prize, Kunitz is also co-founder of the Fine Arts Work Center in Provincetown, Mass., and Poet's House in New York City. He and his wife, painter Elise Asher, live in both cities. (2000)

Jason Shinder's second book of poems, Among Women, is forthcoming from Graywolf press in April 2001. His other books include several poetry anthologies, the annual series Best American Movie Writing, and, forthcoming in December 2000 from Harper Collins, Tales from the Couch: Writers on Therapy. He is on the faculty of graduate writing programs at Bennington College and the New School University. (2000)

London*

I wander thro’ each charter’d street,
Near where the charter’d Thames does flow.
And mark in every face I meet
Marks of weakness, marks of woe.

In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban,
The mind-forg’d manacles I hear

How the Chimney-sweepers cry
Every blackning Church appalls,
And the hapless Soldiers sigh,
Runs in blood down Palace walls

But most thro’ midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear,
And blights with plagues the Marriage hearse

Stanley Kunitz: When I first read this poem from William Blake’s Songs of Experience as an adolescent, I didn’t fully understand the word “charter’d.” I found little help in the dictionary. I didn’t really grasp the meaning of the work until I moved from my native Worcester, Massachusetts, where I was born and raised, and came to New York. In Manhattan I saw particular buses parked in the street that were not available to the public, that had a “chartered” sign on the windshield. They had been hired. Blake was saying that the streets of London, even the Thames, were bought and paid for by the newly rising merchant class. They no longer belonged to the common people.

JS: You’ve often referred to Blake, in fact, as “The Poet of London.” Why?

SK: You cannot separate Blake from London. He was born there in 1757, and he died there in 1827, seventy years later. In the course of his lifetime he had observed the evolution of London: its development from a fairly provincial capital to a bustling metropolis with enormous mills and factories looming over the landscape. At that time, London emerged as the capital of the world, particularly significant in that Britain was becoming a great empire in the forefront of the whole Industrial Revolution.

JS: So Blake observed the changes occurring in his city, and their effects on his fellow citizens.

SK: Precisely. Blake saw in each face the loss, as he perceived it, of his fellow citizen’s individual imagination. People were in “manacles” as a result of the restrictions placed on them by Church, State, and the oppressive conditions of the newly rising factories. In his poem “London,” you observe him walking the streets of London, observing all that is going on, while assuming the prophetic voice to give warning to individuals who were being drawn into the web of the new Industrial life.

JS: “London,” as part of Songs of Experience, was written in 1794, when Blake was thirty-seven. He had already written a good deal, including his first book, Poetical Sketches, most of the poems in Songs of Innocence, “The Book of Thel,” “The French Revolution,” and the beginning of The Marriage of Heaven and Hell. He seemed quite ambitious as an artist early in his life.

SK: That’s very true. At the age of ten he had already left formal school to pursue his interest in drawing at one of the best art schools in London, the Henry Pars Drawing School. He was already having visionary experiences and was determined to be a painter. Fortunately his father, a shopkeeper, recognized Blake’s determination and genius. He allowed him to focus on learning his art. By the age of fifteen, Blake was already apprenticed to a master engraver, James Basire.

JS: I remember reading how Basire sent Blake into churches and churchyards and the tombs of Westminster Abbey to draw careful copies of the effigies of kings, queens, warriors, bishops, and so forth.

SK: Yes, and you know even then Blake proved to be too original to please his teacher.

JS: I’m wondering if Blake ever found it comfortable with his teachers and educational institutions—given his early and strong commitment to the individual spirit and imagination?

SK: He was never that comfortable with any authority. After drawing school, for example, he attended the Royal Academy, and it was an unhappy, brief time. He felt like a stranger, despising the painters who were the favorites of the faculty of the Royal Academy. When he was told by his teacher to give up copying from Michelangelo, and to substitute Reuben instead, he blew up. The teacher said Reuben was a much more finished artist than Michelangelo. And Blake responded, “How could he be finished when he never began?” He picked up his brush and palate and left the Academy, never to return.

JS: Would you say his devotion to his own work and vision created a sense of isolation from his contemporaries—Keats, Shelley, and Byron, for example?

SK: Yes. That’s very true. He was definitely not a part of the literary community. He was not really acquainted with the poets of his time. He was not recognized as a poet. In fact, he was considered something of a crank, an inspired madman.

JS: So who were his friends? What community, if any, did he feel close to?

SK: He was better acquainted with the visual artists, if any group. Remember, he began as an engraver. And he did have some friends in political circles, the working revolutionaries of the period. Instead of concerning himself with the literary life, he spent a good deal of his time in social protest.

JS: What was he advocating for?

SK: You have to remember he was born into a very violent period. There were three revolutions that influenced him: the American, French, and Industrial Revolutions. He was engaged in all of them. He cared about the poor, wanted reform legislation, that sort of thing. He used to walk around the streets he talks about in the poem “London” wearing a red cap of the French Revolution.

JS: Wasn’t his reason for finally leaving London—for a brief period—to fight in the French Revolution?

SK: It was the only time he left his native soil. The French Revolution—all the revolutions—were symbolic of Blake’s lifetime fight against oppression of any kind. He believed religiously in the freedom of the individual for self-expression. He believed it was absolutely necessary to preserve the innocence of the child.

JS: Which he does mAGNIficently in Songs of Innocence and of Experience.

SK: Indeed. They are central to the understanding of Blake. They are the poems, of course, most familiar to the world, especially to the young and the child in all of us. Their speech is universal. They are so simple, so lucid, almost transparent in their style, from the very first poem, “Introduction”:

Introduction

Piping down the valleys wild
Piping songs of pleasant glee
On a cloud I saw a child.
And he laughing said to me.

Pipe a song about a Lamb;
So I piped with merry chear,
Piper, pipe that song again —
So I piped: he wept to hear.

Drop thy pipe thy happy pipe
Sing thy songs of happy chear,
So I sung the same again,
While he wept with joy to hear

Piper, sit thee down and write
In a book that all may read —
So he vanish’d from my sight,
And I pluck’d a hollow reed.

And I made a rural pen,
And I stain’d the water clear,
And I wrote my happy songs
Every child may joy to hear.

JS: Whom is he addressing in this poem?

SK: He’s addressing not only children, but the child in man and woman, the child among us. The last line, “Every child may joy to hear,” is a very prophetic statement. It sets the tone for the poems to come.

JS: Why does the child in the poem instruct the speaker to “write a song about a lamb”?

SK: Blake is thinking of the Lamb of God as a child, as a playmate. Of course, the lamb also implies the Christ figure. And it’s also symbolic of childhood itself, the child in us that speaks of the innocence of the heart. The lamb is an essential image for Blake. As in one of Blake’s best-loved poems in Songs of Innocence, “The Lamb.”

The Lamb

Little Lamb who made thee
Dost thou know who made thee
Gave thee life & bid thee feed.
By the stream & o’er the mead;
Gave thee clothing of delight,
Softest clothing wooly bright;
Gave thee such a tender voice,
Making all the vales rejoice!
Little Lamb, who made thee
Dost thou know who made thee
Little Lamb I’ll tell thee,
Little Lamb I’ll tell thee:
He is called by thy name,
For he calls himself a Lamb:
He is meek & he is mild,
He became a little child:
I a child & thou a lamb,
We are called by his name.
Little Lamb God bless thee.
Little Lamb God bless thee.

SK: One of the beautiful things about this poem is the way the speaker lovingly identifies with the lamb, with the Christ figure.

JS: As you mentioned, the lamb is an image throughout. It surfaces again in the poem “The Little Black Boy,” where the voice of God invites the souls of men and women to rejoice “like lambs” around his “golden tent.”

SK: Once again the lamb is the angel of innocence and childhood. The lamb is an even more striking image in “The Little Black Boy” because the backdrop of the poem is so dark. You have to remember that this was a very early poem to be written about slavery. At that time the British were slave masters and traders. But slavery appalled Blake. He sees the black boy not only as representative of the victims of the slave trade, but of the victims of slave labor in the mills of England as well. These mills were largely worked by children and women, fifteen hours a day. So the black boy in the poem exploited by slavery is associated with the blackened face of the exploited chimney sweeper or the blackened hands of the children in the mills, or his own hands as an engraver. He imaginatively associates the little black boy with everyone who is oppressed.

The Little Black Boy

My mother bore me in the southern wild,
And I am black, but O! my soul is white;
White as an angel is the English child:
But I am black as if bereav’d of light.

My mother taught me underneath a tree
And sitting down before the heat of day,
She took me on her lap and kissed me,
And pointing to the east began to say:

Look on the rising sun: there God does live,
And gives his light, and gives his heat away;
And flowers and trees and beasts and men receive
Comfort in morning joy in the noon day.

And we are put on earth a little space,
That we may learn to bear the beams of love,
And these black bodies and this sun-burnt face
Is but a cloud, and like a shady grove.

For when our souls have learn’d the heat to bear,
The cloud will vanish we shall hear his voice,
Saying: ‘Come out from the grove my love & care,
And round my golden tent like lambs rejoice.

Thus did my mother say, and kissed me;
and thus I say to little English boy:
When I from black and he from white cloud free,
And round the tent of God like lambs we joy:

Ill shade him from the heat, till he can bear
To lean in joy upon our fathers knee;
And then I’ll stand and stroke his silver hair,
And be like him, and he will then love me.

JS: Blake’s empathy must in some way have resulted from his identification with his own sense of being neglected and oppressed—of his struggle against the artistic and industrial fashion of his time that kept him unrecognized as an artist and in poverty.

SK: It’s one of the reasons why his poems ring so true. His imagination was steeped in compassionate feelings for all those who were oppressed, victimized, or exploited, because he himself felt that way. You have to remember he made whatever living he could with his own hands as an engraver. But his engravings of his own poems did not sell; nobody wanted them. He had to farm out his services as a journeyman engraver doing hack work for others. And like other members of the working class, he was a victim of the newly rising industrial age. Engraving was becoming a dying art. He hoped to survive on his own, independently, but the struggle became more and more difficult, often desperate. His wife, Catherine Boucher, would sometimes place an empty plate on the table to remind him of their circumstances, but he never lost faith in himself in his mission as a poet. Indeed, the humiliation, rage, and frustration underlying these circumstances fueled, in part, the fierceness of his imagination.

JS: Didn’t Blake—in the midst of his lack of success as an engraver—invent a new process of etching poems?

SK: Yes. While Blake was readying the manuscript for his Songs of Innocence, the spirit of his younger brother—who had recently died—allegedly returned to impart to him the secret of how to make Illuminated Books by a process that involved etching in relief the poem and its accompanying illustration by applying acid on copper, then corroding with acid the blank areas of the plate, and finally coloring each impression by hand. It was a difficult and time-consuming process. The plates of his own work were produced only when they were ordered, and, as I mentioned, there weren’t many orders. It is believed he had only thirty orders for Songs of Innocence, of which there are only twenty-six in existence today. But each was individually produced, and so no two copies could be identical. It also meant that the books are of unsurpassed beauty and today, ironically, priceless. He was, in fact, one of the great engravers in the whole history of the art.

JS: You’ve mentioned both Blake’s younger brother and his wife, Catherine Boucher. Were these the most important people in his life, in helping him keep his faith in himself and in his mission as a poet?

SK: Blake’s younger brother, Robert, died in 1787, when Blake was thirty. He was Blake’s closest friend, whom he had taken in as an apprentice. When Robert fell gravely ill, Blake attended him night and day, to the point of exhaustion. At the moment of Robert’s death, Blake saw the released spirit of his brother “ascend heavenwards, clapping its hands of joy.” Afterwards, Robert became one of Blake’s “Messengers from Heaven” from whom he received poems, visions, and secrets like how to produce Illuminated Books. His younger brother was forever an influence and a source of support.

JS: And his wife?

SK: His wife provided Blake not only with support throughout his life, but with absolute devotion. Blake was twenty-five when he married her. She was the illiterate daughter of a market gardener. In place of a signature their marriage certificate bears her mark. But with exemplary patience Blake taught her to read and write, as well as how to paint and draw in a style indistinguishable from his own. Throughout the years she became his collaborator, lending a hand in the execution of prints. Though their marriage produced no children, it was a rare companionship, as of two lovebirds. She died three years after Blake, at the age of seventy, the same age Blake was when he died. It was a rather long life at that time.

JS: His wife doesn’t specifically surface in Songs of Innocence, but his affection for her seems evident in poems like “The Divine Image” that proclaim the beauty of the naked body and sexual expression.

SK: Yes. Blake was against oppression of any kind, including repression of our sexual desires. “The Divine Image” is a tribute to all human possibilities.

The Divine Image

To Mercy Pity Peace and Love,
All pray in their distress:
And to these virtues of delight
Return their thankfulness.

For Mercy Pity Peace and Love,
Is God, our father dear:
And Mercy Pity Peace and Love,
Is Man his child and care.

For Mercy has a human heart,
Pity, a human face:
And Love, the human form divine,
And Peace, the human dress.

Then every man of every clime,
That prays in his distress,
Prays to the human form divine
Love Mercy Pity Peace.

And all must love the human form,
In heathen, turk, or jew.
Where Mercy, Love & Pity dwell
There God is dwelling too.

JS: It’s lovely, but a little darker than the earlier poems in Songs of Innocence.

SK: The poems in Songs of Innocence get a little darker as they move into Songs of Experience, which begin to concentrate on the evils of the world, the hardening of the soul, the afflictions of life. Blake felt that we were born in a state of innocence—in the image of the lamb—but that the experience of the world tended to corrupt and defile us, and to blight the natural innocence of the soul.

JS: Are you saying he was opposed to experience?

SK: No. He was not opposed to learning the ways of the world. He felt, in fact, that innocence could be fortified by knowing how to live with others in the environment. He wanted one’s education in the ways of the world to strengthen the child within one, not to kill the child.

JS: Why do individual poems in Songs of Innocence have a counter poem in Songs of Experience?

SK: One poem does counterpoint another to highlight the contraries of innocence and experience, good and evil, to represent all the contradictions of one’s life. For example, the first poem of Songs of Experience, “Introduction,” counterpoints the first poem of the same title in Songs of Innocence. The voice is more prophetic and stern. It’s very different from the naive and relaxed voice in the “Introduction” to Songs of Innocence.

Introduction

Hear the voice of the Bard!
Who Present, Past, & Future sees;
Whose ears have heard,
The Holy Word,
That walk’d among the ancient trees;

Calling the lapsed Soul
And weeping in the evening dew:
That might controll
The starry pole,
And fallen fallen light renew!

O Earth O Earth return!
Arise from out the dewy grass;
Night is worn,
And the morn
Rises from the slumberous mass.

Turn away no more:
Why wilt thou turn away
The starry floor,
The watry shore,
Is giv’n thee till the break of day.

JS: Now that the speaker of the poem is wiser, he claims that he is going to give us God’s word so that we may correct our ways. It’s a greater challenge for Blake than in the Songs of Innocence, and his voice seems stronger because of it.

SK: He assumes a more powerful voice in order to reinforce his conviction that man—in the midst of the ills of the world—is still capable of representing the divine spirit.

JS: He seems to become more forthright about opposing institutions that oppress, that would restrict his freedom. In “The Garden of Love,” for example, he speaks of Priests “binding with briars my joys and desires.”

SK: That’s one of my favorite poems of Blake’s. It’s certainly an exceptionally strong attack on the institutions of church and state. Blake believed in the free play of the body and the senses. He felt such expression was as much an expression of God as religious thought was, and he makes his point in “The Garden of Love.”

The Garden of Love

I went to the Garden of Love.
And saw what I had never seen:
A Chapel was built in the midst,
Where I used to play on the green.

And the gates of this Chapel were shut,
And Thou shalt not. writ over the door;
So I turn’d to the Garden of Love
That so many sweet flowers bore;

And I saw it was fillčd with graves,
And tomb-stones where flowers should be;
And Priests in black gowns, were walking their rounds,
And binding with briars, my joys & desires.

SK: Here Blake argues against the forces of religion and law that would bind the human spirit with “briars.” He affirms once again the beauty of self-expression, the joy of the instinctual life, and the belief that the five senses are the chief inlets of the soul.

JS: The image of the chapel in the midst of the garden of love reminds me of the image of the worm in the midst of a rose in “The Sick Rose.”

SK: It’s the same theme in a more metaphorical vein. It’s only eight lines, but they are among the most exquisite in English poetry.

The Sick Rose

O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:

Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.

JS: The rose is the rose of love.

SK: And the worm is the worm of guilt.

JS: What do you love most about the poem?

SK: There are many things, including the way this very poignant song lingers on the breath like a sigh, with its own intrinsic music.

JS: I’m always taken aback by the urgency in the first line.

SK: It’s also there in his most famous poem, “The Tyger.”

The Tyger

Tyger Tyger, burning bright,
In the forests of the night:
What immortal hand or eye,
Could frame thy fearful symmetry?

In what distant deeps or skies
Burnt the fire of thine eyes!
On what wings dare he aspire?
What the hand, dare seize the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand? & what dread feet?

What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? what dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears
And water’d heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger, Tyger burning bright,
In the forests of the night:
What immortal hand or eye
Dare frame thy fearful symmetry?

JS: There have been many interpretations of “The Tyger”—certainly as many interpretations of the poem as there are versions of it. It’s certainly a very haunting, mysterious poem about the mystery of creation. What is the poem’s primary glory?

SK: There are many versions of the poem. It was one that Blake worked on. He knew it was a central poem. And, yes, there are many interpretations, but somehow I think they all fail. The poem comes out of deep sources that cannot always be articulated. But without any doubt it is a poem—as you say—dealing with the whole mystery of creation, the awesome force, the principle of energy that gave us the cosmos in the beginning that still breathes within the human imagination. And that is one of the main glories of the poem.

JS: How would you briefly define the image of the tyger, for high school students?

SK: The tyger is an image of infinite power and dread not to be described as either good or evil.

JS: In the many versions of the poem, sometimes the tyger appears as an angel.

SK: Not exactly an angel. If you are referring to the illustrations that Blake drew for the poem—the ones that appear on the copper plates he engraved and then hand-colored afterwards—the tyger does take on different appearances because each copy of the poem is somewhat different from the others. There are a few copies in which the tyger looks like a tame pussycat. This might indicate a certain ambiguity in Blake’s mind as to how he wanted the tyger to be seen. But in almost all the illustrations, the tyger is, as you would expect, a fierce creature, a raging beast of sorts.

JS: It’s curious to note that Blake had several versions of the poem although he often claimed to have received his poems directly from God, or the voice of his dead brother.

SK: You don’t expect a poet to be absolutely consistent. It is true, however, that Blake firmly believed he received his poems from sources other than himself. He wrote: “I am under the direction of messengers from heaven, daily and nightly.” And in a letter he declared, “I have written this poem from immediate dictation, twelve sometimes thirty lines at a time without premeditation and even against my will.” He also said—and this is his classic statement on his understanding of the sources of his poetry—”I dare not pretend to be any other than the secretary, the authors are in eternity.”

JS: Blake maintained that he was writing as a vehicle of the divine spirit?

SK: At the same time that he accepted these gifts from heaven, he felt he couldn’t help but improve upon them. “The Tyger” is a good example of this.

JS: Have you seen the original drafts of the poem?

SK: Yes. It should be noted that Blake left his manuscripts in a terrible mess, a state of chaos. In fact, it was really impossible to read Blake, that is the whole compass of his work, until the twentieth century, when serious work was done in examining the manuscripts and selecting the final versions, or what seemed the final versions, and trying to arrange them in some sort of meaningful order. It was a heroic task.

JS: A poem whose imagery seems intimately connected with that of “The Tyger” is “A Divine Image”—

SK: You can see the connection immediately. The title itself is an ironic response to “The Tyger.” It’s one of the darkest poems Blake ever wrote.

A Divine Image

Cruelty has a Human Heart,
And Jealousy a Human Face;
Terror, the Human Form Divine,
And Secrecy the Human Dress.

The Human Dress is forged Iron,
The Human Form a fiery Forge,
The Human Face a Furnace seal’d,
The Human Heart its hungry Gorge.

JS: In this poem, and throughout Songs of Innocence and of Experience, Blake seems to speak to us through symbols.

SK: It is true that Blake lived by symbols and lived in a world of myth. At the same time, however, he believed that the discovery of symbols rests on clarity of perception, on looking at the world with the closest possible scrutiny. There is a wonderful passage in his prophetic work Jerusalem in which he says, “Labour well the minute particulars; attend to the Little Ones. . . . He would do good to another must do it in Minute Particulars. General Good is the plea of the scoundrel, hypocrite and flatterer, for Art and Science cannot exist but in minutely organized Particulars.” I think that is an observation that every poet, every artist, and every scientist needs to pay attention to.

JS: That passage is one of the many illuminating parts from his long, prophetic works, some of which I find difficult to understand. What do you see as the importance of these long, ambitious works?

SK: His prophetic books are extraordinarily difficult poems, representing his late work. Even scholars who have gone over every word and syllable have had a hard time interpreting them. It has to be understood that when Blake wrote these he was not—and never would be—a recognized poet. In addition, you have to remember Blake was a revolutionary spirit, a rebel. In fact, he was arrested once for speaking against the King. So as an unrecognized, poor poet and rebel, he began to feel—and rightly so—at odds with the government, with King George. This feeling motivated his need to write symbolically, to cover his tracks. Remember, there were extradition laws that were very harsh, and there was no doubt that Blake was frightened at the thought of being jailed.

JS: So the difficulty we encounter in Blake’s prophetic works was in part his need to be secretive—to thwart those who might punish him for his views?

SK: He felt it necessary to invent a new mythology in order to be able to express his true feelings. It is part of the real difficulty of these poems. They have an elaborate architecture which is hard to grasp. And yet, Blake’s prophetic works contain some of his greatest utterances.

JS: Blake created a world of his own in these long works.

SK: It reminds me of a significant statement Blake made in Jerusalem: “I must create a system or be enslaved by another man’s.” I think it explains a good deal about Blake’s motivations and spirit behind his work—that fierce, independent spirit that he translated into the very fabric of his poetry.

JS: While working on his prophetic books, Blake continued to write lyrics. What are some of your favorite lyric poems by Blake not printed in Songs of Innocence and of Experience?

SK: There are many—some have actually been extracted from longer poems but have been printed as separate pieces. A lyric that anyone who has ever felt out-of-step or out-of-tune with the world can appreciate is “Why Was I Born With a Different Face?” It’s actually one of those jottings that first appeared in his notebooks, obviously written in a rush and not intended for publication.

Why Was I Born With a Different Face?

O why was I born with a different face?
Why was I not born like the rest of my race?
When I look, each one starts! when I speak, I offend;
Then I’m silent and passive and lose every Friend.

Then my verse I dishonor, My pictures despise,
My person degrade and my temper chastise;
And the pen is my terror, the pencil my shame;
All my Talents I bury, and dead is my Fame.

I am either too low or too highly priz’d;
When Elate I am Envy’d When Meek I’m despis’d.

JS: What about the poem is most appealing to you?

SK: You can see Blake is feeling pretty sorry for himself, while at the same time he’s a bit self-mocking. The poem reveals a tender and vulnerable side of him.

JS: Another lyric you’ve often mentioned as a favorite of yours is “And Did Those Feet.”

SK: That lyric is actually from Blake’s epic work Milton. It’s a wonderful poem. It consolidates all the major themes of Blake. It represents what he stands for as a poet:

And Did Those Feet in Ancient Time

And did those feet in ancient time.
Walk upon Englands mountain green:
And was the holy Lamb of God,
On Englands pleasant pastures seen!

And did the Countenance Divine,
Shine forth upon our clouded hills?
And was Jerusalem builded here,
Among those dark Satanic Mills?

Bring me my Bow of burning gold:
Bring me my Arrows of desire:
Bring me my Spear: O clouds unfold!
Bring me my Chariot of fire!

I will not cease from Mental Fight,
Nor shall my Sword sleep in my hand:
Till we have built Jerusalem,
In Englands green & pleasant Land.

JS: I’ve always found Blake’s prophetic voice most engaging in his “Auguries of Innocence.”

SK: In those verses Blake is trying to sum up his comprehension of the nature of the universe—so his voice would necessarily be prophetic in nature. In fact, “Auguries of Innocence” was one of the early poems of his that I read in my youth, and it has had a great influence on my own perspective of the world. Here are some of my favorite couplets:

To see a World in a Grain of Sand
And a Heaven in a Wild Flower

Hold Infinity in the palm of your hand
And Eternity in an hour

A Robin Redbreast in a Cage
Puts all Heaven in a Rage

A dog starvd at his Masters Gate
Predicts the ruin of the State

The Strongest Poison ever known
Came from Ceasars Laurel Crown

If the Sun & Moon should doubt
Theyd immediately Go out

I see all creation—and this stems in part from these couplets from Blake—as a single continuous web, all of whose single filaments are interconnected. If you touch the web at any point, certainly the whole web shudders. Everything that lives stands in connection with everything else on this planet. That is something Blake taught me.

JS: Would you say that that theme—of the marriage of opposites—is best developed in his epic satire The Marriage of Heaven and Hell?

SK: All of Blake’s work deals with this theme—but in different ways. In The Marriage of Heaven and Hell—a foundation stone of Blake’s canon, a masterpiece—the concept of the marriage of contraries is fulfilled as a philosophical argument. In the beginning of the poem, in the section entitled “The Argument,” Blake makes his point very clear: “Without contraries there can be no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence.”

JS: The poem seems unusually full of the senses.

SK: In order to see the whole world as he tried to see it in the poem, Blake felt it necessary to go back to the world of senses. He always begins with sensory experience. There is a sentence of Blake’s which makes this point: “If the doors of perception were cleansed, everything would appear to man as it is, infinite.” That’s a sentence that has lasted throughout history, certainly among the poets. What he is saying is open your eyes, open all your senses, become as a child again and you will see the world as it is—its infinite and eternal perspectives.

JS: Does the sentence you quoted come from The Marriage of Heaven and Hell?

SK: Yes, from a section in the poem called “Proverbs of Hell.” You have to remember that when he speaks of the proverbs of hell he means heaven, and when he speaks of heaven he means hell. It’s an attempt to reconcile the concept of heaven and hell, of good and evil. So these are actually heavenly proverbs. Here are some that are essential to the understanding of the poem:

The road of excess leads to the palace of wisdom.

He who desires but acts not, breeds pestilence.

A fool sees not the same tree that a wise man sees.

He whose face gives no light, shall never become a star.

Eternity is in love with the productions of time.

No bird soars too high. if he soars with his own wings.

If the fool would persist in his folly he would become wise.

What is now proved was once, only imagin’d.

The cistern contains: the fountain overflows

Every thing possible to be believ’d is an image of truth.

The tygers of wrath are wiser than the horses of instruction.

Expect poison from standing water.

You never know what is enough unless you know what is more than enough.

Damn. braces: Bless relaxes.

Exuberance is Beauty.

Improvement makes strait roads, but the crooked roads without Improvement are roads of Genius.

JS: The proverbs remind me of your writings in the section “Seedcorn and Windfall” in your book Next To Last Things: New Poems.Here are some of my favorites:

Anyone who forsakes the child he was is already too old for poetry.

Be prepared for everything—even spontaneity.
We have all been expelled from the Garden, but the
ones who suffer the most in exile are those who
are still permitted to dream of perfection.

SK: Blake is a great model for anyone who wants to write aphoristically, and he has no rival in that sphere.

JS: When did you first discover Blake?

SK: I first read Blake as a teenager, beginning with Songs of Innocence and of Experience. I became addicted to him and read everything of his I could get my hands on.

JS: Wasn’t the title of your first book taken from a poem of Blake’s?

SK: Yes. When I was twenty-three years old and preparing my first book of poems, which was published in 1930 (when I was twenty-five), I gave it the title Intellectual Things. It’s a phrase I took from Blake, which reads: “the tear is an intellectual thing.” Nobody understood what I meant by it. They thought I was setting up the intellect, the mind, as superior to the body. Of course, that is exactly the opposite of what I intended and what Blake intended.

JS: Are there any poems from Intellectual Things which you feel have been particularly influenced by Blake?

SK: Yes, the poem “Single Vision.” Blake gave me the title. But in a rather willful way I changed its meaning. He used it to attack the rational basis of science, particularly that of Newton with his theory of optics. Blake said, “[M]ay God keep us from single vision and Newton’s sleep.” I used “single vision” in a different way. My reference is to that single-minded determination to look honestly at the world and to be what one wants to be.

Single Vision

Before I am completely shriven
I shall reject my inch of heaven.

Cancel my eyes, and, standing, sink
Into my deepest self; there drink

Memory down. The banner of
My blood, unfurled, will not be love,

Only the pity and the pride
Of it, pinned to my open side.

When I have utterly refined
The composition of my mind,

Shaped language of my marrow till
Its forms are instant to my will

Suffered the leaf of my heart to fall
Under the wind, and, stripping all

The tender blanket from my bone,
Rise like a skeleton in the sun,

I shall have risen to disown
The good mortality I won.

Directly risen with the stain
Of life upon my crested brain,

Which I shall shake against my ghost
To frighten him, when I am lost.

Gladly, as any poison, yield
My halved conscience, brightly peeled;

Infect him, since we live but once,
With the unused evil in my bones.

I’ll shed the tear of souls, the true
Sweat, Blake’s intellectual dew,

Before I am resigned to slip
A dusty finger on my lip.

SK: It’s a typical young man’s poem. It has a lot of bravura in it.

JS: It’s a powerful poem. Is there a poem from your later books which you feel has a particular affinity with Blake?

SK: “The Knot.” If you have any experience as a house painter you know that it is difficult to paint out a knot. I used to stare at these knots in wood. And it wasn’t too long after I had written the poem that I came across a letter of Blake’s in which he said he would stare at a knot in a piece of wood until it frightened him.

The Knot

I’ve tried to seal it in,
that cross-grained knot
on the opposite wall,
scored in the lintel of my door,
but it keeps bleeding through
into the world we share.
Mornings when I wake,
curled in my web,
I hear it come with a rush of resin
out of the trauma
of its lopping-off.
Obstinate bud,
sticky with life,
mad for the rain again,
it racks itself with shoots
that crackle overhead,
dividing as they grow.
Let be! Let be!
I shake my wings
and fly into its boughs.

JS: Stanley, above all, what matters most to you about William Blake?

SK: I suppose that above all what I learn from Blake is that the imagination is a portion of the divine principle, that energy is eternal delight, and that everything that lives is holy. I don’t think that human liberty and imagination have ever been better served than by William Blake, and that’s why I love him. Here’s what he says in Jerusalem, a passage I keep posted over my writing desk:

Trembling I sit day and night, my friends are astonish’d at me, Yet they forgive my wanderings. I rest not from my great task! To open the Eternal Worlds, to open the immortal Eyes of Man inwards into the Worlds of Thought, into Eternity Ever expanding in the Bosom of God, the Human Imagination. O Savior pour upon me thy Spirit of meekness and love! Annihilate the Selfhood in me; be thou all my life! Guide thou my hand, which trembles exceedingly upon the rock of ages, While I write . . .

_________________

* Blake’s poems cited from William Blake: The Complete Poems, Ostriker, Alicia, ed., New York: Penguin, 1977.

- 23:21 - Komentari (6) - Isprintaj - #

JFK: King-Kill/33

Preface to King-Kill/ 33: James Shelby Downard's Vision

This excerpt from the essay "King-Kill/33" has been out of print since 1987 and the publication of the first edition of Adam Parfrey's conspiracy anthology, 'Apocalypse Culture.' Subsequent editions of 'Apocalypse Culture' (including the current Feral House edition), do not carry it.
The Campaign for Radical Truth in History (http://www.hoffman-info.com) is pleased to make this excerpt available once again, on the occasion of the 33rd anniversary of the immolation of America's only Catholic president, John Fitzgerald Kennedy. May his surviving murderers be yet brought to justice.
Convicted Mafia hit-man Charles Harrelson, a suspected Kennedy assassin, is incarcerated in a Federal prison for the contract killing of a federal judge. (The suspect is the father of "Natural Born Killer" movie star Woody Harrelson, who was directed by "JFK" filmmaker Oliver Stone). Journalists have thus far shown little interest in attempting to interview the senior Harrelson and persuade him to provide information which might lead to the arrest and conviction of those responsible for Kennedy's killing.
The late James Shelby Downard's primal way of looking at things, which is the way I think ancient man perceived the world, encompasses a vision that detects every link and every symbol, beginning with the significance of names, then places and then the obsessive actions which stem from the confluence of the two and which have come to be known as ritual. Publisher Adam Parfrey, who first brought Shelby's work to a mass audience, states:
"In Downard's writings, the products of his subconscious bubble to the surface and catalyze painstaking research. The collision of the poetic against the logical works especially well in the field of conspiracy; it remains the freshest approach to a field of inquiry..."
I remember sitting in Shelby's airstream trailer in St. Petersburg, Florida in 1977, along with the great Fortean philosopher William N. Grimstad and Charles Saunders, a brilliant recluse who was a close friend of Jack Kerouac toward the end of the Beat writer's life (a fact missed by every one of Kerouac's numerous biographers; so much for biographers).
Shelby's conversation that day ranged from the occult significance of the Theremin musical instrument to the sorcerous implications of elevators, the relationship he had with an evanescent rabbit named Petey; the sinister connotations of the circus and the mystical topography of the American Southwest, which Mr. Downard knew the way you and I know our backyard.
As he fried our hamburgers, he regaled us in his prospector's drawl with the hidden wonders of a tapestry of coincidences which he wove from the seeming mundane details of everyday living, into a magic carpet of incomparable strangeness and peerless utility.
Parfrey spoke for many of Shelby's friends and associates when he stated: "Downard has influenced me to look with interest upon the details and the fantastic convergences of life..."
For my money, James Shelby Downard is the one man most intimately tied to the once and future November, on the Camelot calendar's 33rd turning of the wheel, in this age of the Revelation of the Method; the era of the deluge of hidden facts made public, which Downard predicted would not liberate us, but only enslave us further.
More than two decades ago he foresaw the coming of this time as the fulfillment of the final dictum of the alchemical rampage of the elephant Must Be; the behemoth run amok in the fields of our nightmares. As the "X-Files" and the other fictional TV shows which neither I or Shelby have ever seen, purposefully muddy the waters with a flood of pop drivel disguised as revelation, the actual truths are lost in the swirl.
James Shelby Downard looked forward to the time beyond Must Be, to the era which will witness the return of could be. After the coming cataclysmic chastisement has run its cleansing course, we will once again wish upon a star and dream a destiny free of the masonic chain that at present binds our nation as tightly as the hangman's rope once bound the rotted cadavers on Tyburn Tree.
Despite having been relentlessly targeted and attacked for more than a half century, Mr. Downard, unlike poor Kennedy, did trip the Harodim on the winding stairs and did slide down the railing, like a child outwitting enormously big and powerful bad guys, by the fortune which Providence reserves for the guileless.

--Michael A. Hoffman II

KING-KILL/33°

Masonic Symbolism in the Assassination of John F. Kennedy

By James Shelby Downard with Michael A. Hoffman II

The information I present in these pages on the Kennedy assassination is well-known to certain news agencies who have chosen to suppress it, just as the motivation for the assassination has been plunged into cryonic secrecy. Masonic betrayal of the "common man" involves archetypes of fertility and death symbolism seemingly motivated to bring about syncretism in opposing principles in order to green Israel, rebuild the Temple of Solomon and establish a One World government.
It is by way of Masonic sorcery that the union of opposing principles is supposed to be brought about. The criminals who stage-managed Dallas in the killing of Kennedy have controlled the American people's will in exchange for a sleep without nightmares. I publish this in the wake of the situation Charles Seymour alluded to: "The moralist unquestionably secures wide support; but he also wearies his audience." Most Americans are beyond being tired; the revelations have benumbed them.
Most Freemasons apparently have no idea of the evil that is part of Masonry, and if they do know about it they don't believe it. The same holds true for most members of the "Clandestine Lodges" and Masonic-oriented fraternal organizations as well as Androgynous Masonic Societies.
It is certain that onomatology, or the science of names, forms a very interesting part of the investigations of the higher Masonry.... --(Encyclopedia of Freemasonry)
When the ancients saw a scapegoat, they could at least recognize him for what he was: a pharmakos, a human sacrifice. When modern man sees one, he does not, or refuses to, recognize him for what he IS; instead he looks for "scientific" explanations-to explain away the obvious.
--Thomas Szasz, (Ceremonial Chemistry)
The "science of names" word wizardry forms only one segment of the science of symbolism used by Masons. The JFK assassination encounters this science in a decisive way and contains a veritable nightmare of symbol-complexes having to do with violence, perversion, conspiracy, death and degradation. These elements are important not only as cause-and-effect in the murder of a president but in the ensuing reaction of the people of America and the world.
The fertility and death symbolism in the "Killing of the King" rite which is part of Greening Ritualism that has to do with JFK, has been suppressed because examination of it must necessarily link it to "Freemasonry" and its mysticism, as well as to the political influence it exerts. Obviously this would do some damage to public confidence in:
a. Masonic progressivism. i.e. Iiberty, equality, fraternity.
b. Those who have shielded the conspirators.
c. The entire mental concept that passes for knowledge about the genuine nature of the government of the United States.
Mystical Toponomy
Mystical toponomy incorporates word wizardry (onomatology) and the Masonic science of symbolism. In considering my data it would be helpful to consider a dictum of Einsteinian physics: "Time relations among events are assumed to be first constituted by the specific physical relations obtaining between them."
My study of place names imbued with sorcerous significance necessarily includes lines of latitude and longitude and the divisions of degrees in geography and cartography (minutes and seconds).
Let us take as an example the "Mason Road" in Texas that connects to the "Mason No El Bar" and the Texas-New Mexico ("The Land of Enchantment") border. This connecting line is on the 32nd degree. The 32nd degree is the penultimate Masonic degree awarded. When this 32nd degree of latitude is traced west into the "Land of Enchantment" it becomes situated midway between Deming and Columbus, New Mexico.
Slightly to the north of the town of Columbus are the Tres Hermanas (three sisters) mountains. It is approximately 32 miles between Deming and Columbus. The Three Sisters mountains are a minute and some seconds south of the 32nd degree line. When this line is traced further west it passes the ghost town of Shakespeare at a distance south of the town which is roughly equivalent to the distance which the 32nd degree line passes north of the Three Sisters mountains. The names "Shakespeare" and "Three Sisters" find a connection in the tragedy Macbeth which comprises such a large part of JFK assassination imagery.
When this 32nd degree line is traced a little distance farther west, into Arizona, it crosses an old trail which meandered north of what is now another ghost town but which at one time was called the town of "Ruby." Part of the old winding trail became known as the "Ruby Road." The town of Ruby acquired its name officially on April 11, 1912, and was notorious for many brutal murders which had ritual aspects. Four of these homicides occurred in a store attached to the post office which had been erected over the grave of a Catholic priest.
Continuing on with mystical toponomy, one encounters the fact that Ruby road twists north into the area known as the Kennedy and Johnson mountains.
Johnson Mountain is supposedly named after the general manager of the Peabody Mining Company who also had a town named after him which was the location of the Keystone and Peabody copper mines. The 32nd degree of latitude is but a few seconds from Johnson. In this frontier town on a December evening, 1883, a Colonel Mike Smith and a man Mason were ambushed by gunfighters described as being of questionable reputation and questionable character. These terms are employed in Masonic writings:
He [Captain William Morgan, victim of an early 19th century torture-murder by Masons] was a man of questionable character and dissolute habits, and his enmity to Masonry originated in his refusal of the Masons of Leroy. (Encyclopedia of Freemasonry).
A "keystone" is the designation for which, when set in place, "keys" or locks the whole. A symbolic keystone is vital to the legend of the Masonic Royal Arch Degree of York. The earliest known record of such a degree is in the annals of the city of Fredericksburg, Virginia, on December 22, 1753. Fredericksburg is also the location of the "House of the Rising Sun," a masonic meeting place for such notables as founding fathers George Washington and Benjamin Franklin (of Hell-Fire Club fame) and George Mason.
The Killing of the King
Never allow anyone the luxury of assuming that because the dead and deadening scenery of the American city-of-dreadful-night is so utterly devoid of mystery, so thoroughly flat-footed, sterile and infantile, so burdened with the illusory gloss of "baseball-hot dogs-apple-pie-and-Chevrolet" that it is somehow outside the psycho-sexual domain.
The eternal pagan psychodrama is escalated under these "modern" conditions precisely because sorcery is not what 20th century man can accept as real. Thus the "Killing of the King" rite of November, 1963 is alternately diagnosed as a conflict Needless to say, each of these groups has a place in the symbolism having to do with the Kennedy assassination.
But the ultimate purpose of that assassination was not political or economic but sorcerous: for the control of the dreaming mind and the marshalling of its forces is the omnipotent force in this entire scenario of lies, cruelty and degradation. Something died in the American people on November 22, 1963-call it idealism, innocence or the quest for moral excellence. It is the transformation of human beings which is the authentic reason and motive for the Kennedy murder and until so-called conspiracy theorists can accept this very real element they will be reduced to so many eccentrics amusing a tiny remnant of dilettantes and hobbyists.
President Kennedy and his wife left the Temple Houston and were met at midnight by tireless crowds present to cheer the virile "Sun God" and his dazzlingly erotic wife, the "Queen of Love and Beauty," in Fort Worth. On the morning of November 22, they flew to Gate 28 at Love Field, Dallas, Texas. The number 28 is one of the correspondences of Solomon in kabbalistic numerology; the Solomonic name assigned to 28 is "Beale."
On the 28th degree of latitude in the state of Texas is the site of what was once the giant "Kennedy ranch." On the 28th degree is also Cape Canaveral from which the moon flight was launched-made possible not only by the President's various feats but by his death as well, for the placing of the Freemasons on the moon could occur only after the Killing of the King. The 28th degree of Templarism is the "King of the Sun" degree. The President and First Lady arrived in Air Force One, code-named "Angel."
The motorcade proceeded from Love Field to Dealey Plaza. Dealey Plaza is the site of the Masonic temple in Dallas (now razed) and there is a marker attesting to this fact in the plaza.
Important "protective" strategy for Dealey Plaza was planned by the New Orleans CIA station whose headquarters were a Masonic temple building. Dallas, Texas is located ten miles north of the 33rd degree of latitude. The 33rd degree is the highest in Freemasonry and the founding lodge of the Scottish Rite in America was created in Charleston, South Carolina, exactly on the 33rd degree line.
Dealey Plaza is close to the Trinity River. At 12:22 p.m. the motorcade proceeded down Main Street toward the Triple Underpass, traveling first down ("Bloody") Elm St. The latter was the scene of numerous gun fights, stabbings and other violence, and it is the location of the Majestic Theatre, the pawn shop/negro district, and industrial district.
It was also the home of the Blue Front Tavern, a Masonic hangout in the grand tradition of "tavern-Masonry": Sam Adams and the Masons of the American Revolution did much of their conspiring at the Green Dragon Tavern in Boston. One of the many bars claiming the honor of being the first Masonic lodge is the Bunch of Grapes Tavern, also in Boston.
The Blue Front was the site of the "broken-man" ritual in which various members of the "Brotherhood of the Broom" swept the floor and tended some fierce javelino pigs. The Blue Front was once a fire-house and was still sporting its fire-pole in the late 1920s. This is extremely germane symbolism. The national offices of the Texaco Oil Corporation are located on Elm St., Dallas. Its chief products are "Haviland (javalino) Oil" and "Fire Chief" gasoline.
On the corner of Bloody Elm and Houston is the "Sexton Building." "Sexton" is heavily laden with graveyard connotations. It is closely associated to the beetles of the genus Necrophorus or Sexton Beetles, so-called because they bury the remains of tiny animals with their eggs.
Bloody Elm, Main, and Commerce form a trident pattern in alignment with the triple underpass as any Dallas map will show. Many analysts contend that at least three assassins were involved in the crossfire ambush of Kennedy.
It is a prime tenet of Masonry that its assassins come in threes. Masonic assassins are known in the code of the lodge as the "unworthy craftsmen." Because Masonry is obsessed with earth-as-gameboard (tessellation) and the ancillary alignments necessary to facilitate the "game," it is inordinately concerned with railroads and railroad personnel to the extent that outside of lawyers and circus performers, no other vocation has a higher percentage of Masons than railroad workers.
Minutes after John Fitzgerald Kennedy was murdered three "hoboes" ("unworthy craftsmen") were arrested at the railyard behind Dealey Plaza.
No records of their identities have ever been revealed nor the "identity" of the arresting officer. All that remains of those few minutes are a series of photographs which have reached legendary proportions among persons concerned with uncovering the real forces and persons behind the assassination.
Dealey Plaza breaks down symbolically in this manner: "Dea" means "goddess" in Latin and "Ley" can pertain to the law or rule in the Spanish, or lines of preternatural geographic significance in the pre-Christian nature religions of the English.
For many years Dealey Plaza was underwater at different seasons, having been flooded by the Trinity River until the introduction of a flood-control system. To this trident-Neptune site came the "Queen of Love and Beauty" and her spouse, the scapegoat in the Killing of the King rite, the "Ceannaideach" (Gaelic word for Kennedy meaning "ugly head" or "wounded head").
The systematic arrangement and pattern of symbolic things having to do with the killing of Kennedy indicates that he was a scapegoat in a sacrifice. The purpose of such macabre ritualism is further recognizable in patterns of symbolism culminating in the final "making manifest all that is hidden."
Oswald
Oswald means "divine strength." The diminutive form of the word is "os" or "Oz": denoting strength. The role which "Divine Strength" played in the Dealey "Goddess Rule" Killing of the King ritual should be given careful consideration.
One should also note the significance of (Jack) Ruby's killing (destroying) of "Ozwald" in reference to the "Ruby Slippers" of The Wizard of Oz which one may deride as a fairy tale but which nevertheless symbolizes the immense power of "ruby light," otherwise known as the laser.
Oswald may have undergone biotelemetry implantation in the Soviet Union while a "volunteer" at a Behavior Control Center at Minsk. Oswald roomed with Cubans and was allegedly friendly with a Castro-man identified only as being "burly" and a "key man." "Burly" can mean burlecue, burlicue or burlesque. The "key," of course, is one of the most important symbols in Masonry and the symbol of silence.
If Oswald was the result of some Soviet Frankenstein process why did he have to travel several thousand miles for such treatment when it is a routine operation in America?
While such activities of the Mill-of-Dread are pro forma at a variety of institutions at the present, there was once a time when it was deemed necessary to do such work at Walter Reed Hospital.
These implants were back alley operations in which the victims were overpowered in some place or other, drugged and then dragged to this government hospital. They were operated on, continued on a heavy drug regimen and varied from somnolent to comatose for a number of days. The electrical function of the victim was recorded and monitored and the biotelemetry plant tested. Subsequently the victims were "brainwashed" and returned to the place where they had been seized. The targets then continued their existence, unaware of how their bodies had been invaded and their autonomy stolen.
Occasionally, victims were returned to Walter Reed because of abscesses at the incision or for the replacement of the obsolete device with an updated one. Biotelemetry implants were made in various parts of the body depending on the desired effect and function.
Like the disgraceful treatment of the autopsy of President Kennedy, Oswald's is similarly weird. Oswald was literally butchered in the "postmortem examination." Pieces were actually cut out of his body. The major incision in his torso resembled a huge "Y" which ran from the area of his groin to the solar plexus region. From there incisions were made to the right and left armpits. The so-called "two horns of the letter Y" supposedly symbolize the paths of virtue and vice: the right branch leading to the former and the left to the latter. The letter is sometimes referred to as the "Litera Pythagorae" (The Letter of Pythagoras): "Litera Pythagorae, discrimine secta bicorni, Humanae vitae speciem praeferre videtur" (The Letter of Pythagoras parted by its two branched division appears to exhibit the image of human life).
In the 47th Problem of Euclid lies a secret of the 3rd Degree of Masonry. Pythagoras is called by Freemasons "our ancient friend and brother." One of Pythagoras' main doctrines was the system of "Metempsychosis" which pertains to the passing of a human soul into the body of an animal. Perhaps this was the intention of the autopsy-by incising in Oswald's body the "Letter of Pythagoras" they sought to expedite transmigration, and they may even have gone as far as feeding sections of Oswald's corpse to the intended animal, for this too is a practice of what used to be widely feared as necromancy.
Arlington Necrology
The Kennedy and Oswald burials were both at "Arlington": JFK at the National Cemetery near Washington, D.C., and Oswald at Rosehill Cemetery near Arlington, Texas. "Arlington" is a word of significance in Masonic sorcery and mysticism and it has a hidden meaning which ties in with necrolatry.
At the Kennedy gravesite there is a stone circle and in its middle a fire that is called an "eternal flame." The fire in the middle of the circle represents a point in the circle, the same type of symbolism that is recognizable in Kennedy's bier and cof fin being in the center of the rotunda in the Capitol. A point in a circle symbolized the sun in ancient sun worship. It was also a symbol of fecundity, with the point symbolizing a phallus and the circle a vagina.
At the Oswald gravesite stands a small tree. There exists an old belief that a tree which grows at or on a grave is embodied with the spirit-force of the person buried at that site, and that a twig or branch taken from such a tree has magical powers.
I suggest that Lee Harvey Oswald's mother should gently remove a twig from the tree at her son's grave and then at every opportunity touch FBI agents, CIA operatives, policemen, etc., with that same twig. Such a procedure couldn't help but be more efficacious in bringing the murderers of JFK to justice than the Warren Commission was.
Funerary Rites
John F. (Honey Fitz) Fitzgerald, the grandfather of John F. Kennedy, was elected mayor of Boston thanks in part to his "Wake House" campaigns which were much imitated. These consisted of a daily surveillance of the newspapers for announcements of deaths after which a discreet "sympathizer" would be dispatched and a good deal of political mileage accumulated in the bargain.
For a time the Fitzgeralds lived near the former site of the Green Dragon Tavern, established around 1680 and demolished for the widening of a street in 1820. The Fitzgerald home was on Hanover Street and the Green Dragon Tavern was on Green Dragon Lane (now Union Street). The tavern boasted the "first lodge room of Freemasonry in America," the St. Andrew Lodge located within the tavern proper.
In the mysticism of the Chinese tongs, the Green Dragon is a death symbol. A symbol of the dragon is worn on a ring or held in the hand of a "hatchet man." The Green Dragon is supposed to impart the notion of a "license to kill" for it signifies that the murder is an affair of "honor": the Green Dragon is the guardian of the god-with-a-thousand-eyes who protects the sanctity of the third heaven.
Much of Boston's Irish population arrived in American in what were nicknamed the "coffin ships." Members of the Kennedy family were acquainted with the "Coffin" family. The Reverend William Sloane Coffin was the son of the theologian Henry Sloane Coffin; the younger Coffin was a member of the Peace Corps Advisory Council that Sargent Shriver headed. "Shriver" or "Shrive" has the meaning of one who grants absolution to a penitent, and it was customary to call upon a shriver before death. If the shriver was not available, a "sin eater" was summoned. The old pious cry which was connected with the request for a shriving was "Shrive me O Holy Land and Give Me Peace." To this the shriver would respond "Pax Vobiscum":
...the spell lies in two words, Pax Vobiscum will answer all queries. If you go or come, eat or drink, bless or ban, Pax Vobiscum carries you through it all. It is as useful to a friar as a broomstick to a witch or a wand to a conjurer. Speak it but thus, in a deep grave tone, Pax Vobiscum! It is irresistible-watch and ward, Knight and squire, foot and horse, it acts as a charm upon them all. I think, if they bring me out to be hanged tomorrow, as is much to be doubted they may, I will try its weights upon the finisher of the sentence. ("Wamba, son of Witless")
Sargent Shriver, a Catholic and Kennedy by marriage, as head of the Peace Corps and in association with a Coffin, might be considered to be in a sensitive position in relation to mystical onomatology.
In the ancient mysteries the aspirant could not claim a participation in the highest secrets until he had been placed in the Pastos, bed or coffin. The placing of him in the coffin was called the symbolical death of the mysteries, and his deliverance was termed a rising from the dead; the "mind," says an ancient writer quoted by Stobaeus, is afflicted in death just as it is in the initiation in the mysteries. And word answers to word, as well as thing to thing; for burial is to die and death to be initiated. The coffin in Masonry is found on the tracing boards of the early part of the last century, and has always constituted a part of the symbolism of the Third Degree, where the reference is precisely to the same as that of the Pastos in the ancient mysteries. [My emphasis.] (Encyclopedia of Freemasonry)
President Kennedy sat at the head of a coffin table at the White House. To his back, over a fireplace, hung a portrait of Abraham Lincoln, an assassinated president. On either side of the picture were urns that resembled the type called "cinerary urns" which are vessels in which the ashes of the dead are kept.
A book about JFK was called Three Steps to the White House. In Masonry are what is known as the "three symbolical steps." "The three grand steps symbolically lead from this life to the source of all knowledge." (Encyclopedia of Freemasonry)
It must be evident to every Master Mason without further explanation, that the three steps are taken from the darkness to a place of light, either figuratively or really over a coffin, the symbol of death, to teach symbolically that the passage from darkness and ignorance of this life through death to the light and knowledge of eternal life. And this from earliest times was the true symbolism of the step. (Ibid.)
The body of President Kennedy was placed in a coffin which was positioned in the center of a circle under the Capitol dome. The catafalque was "a temporary structure of wood appropriately decorated with funeral symbols and representing a tomb or cenotaph. It forms a part of the decorations of a 'Sorrow Lodge.' " This Masonic Encyclopedia entry refers to the ceremonies of the Third Degree in Lodges of the French Rite.
Pictures taken of the Kennedy coffin and catafalque show these two props of the funerary rite as a point in a circle. Fecundity is the symbolic signification of the Point within a circle and is a derivation of ancient sun worship.
In the lore of mystery cults and fertility religions was invariably the legend of the death of the hero god and the disappearance of his body. In the subsequent search and supposed finding of the body we see the contrivance of an elaborate psychological ruse. The body was said to have been concealed by the killer or killers of the hero god. The concealment of the body was called "aphanism" and is a rite of the Masonic 3rd Degree. Anyone interested in comprehending the mechanics of group mind control would do well to study the 3rd and 9th degrees in particular, and all the grades of Masonry in general. The disappearance of the body, this aphanism, is to be found in the assassination of President Kennedy:
The President's brain was removed and his body buried without it ... Dr. Cyril Wecht, chief medical examiner of Allegheny County, Pennsylvania, past president of the American Academy of Forensic Scientists, and a professor of pathology and law, received permission from the Kennedy family in 1972 to view the autopsy materials (at the National Archives) ... When he routinely asked to see the brain, Wecht was told it was missing, along with the microscopic slides of the brain. Marion Johnson, curator of the Warren Commission's material at the Archives said, "The brain's not here. We don't know what happened to it." (Los Angeles Free Press, Special Report No. I, pg. 16)
If and when the brain is recovered, the entire process will have been completed under the term "euresis." In the Masonic Mysteries are "symbolical ladders." On the Masonic tracing board of 1776 there is a ladder with three steps, a significant revision of the usual ladder in such references (seven steps).
There are of course all sorts of ladders: the Brahmanical Ladder (seven steps), the Kadosh Ladder (seven steps), Rosicrucian Ladder (seven steps), Jacob's Ladder (various numbers attributed), the Kabbalistic Ladder (ten steps); then there is old "Tim Finnegan's Ladder" which is known to some as the "Ladder of Misfortune," and it is seemingly comprised of one false step after another.
Tim Finnegan was an Irish hod carrier who fell off his ladder while drunk. Since he was apparently dead, his friends held a "Death Watch" (black watch or wake) at his coffin. This watch lived up to the traditional "liveliness" of these affairs and Mr. Finnegan was splashed with some vintage Irish whiskey (Fitzgerald's?) and resurrected. "Finnegan's Wake"...
After the Kennedy coffin was removed from the center of the Capitol rotunda circle, it was taken, with pageantry, to the street for viewing. The funeral procession made an "unplanned stop" on Pennsylvania Avenue in front of the "Occidental Restaurant" and a picture was taken of the flag draped Kennedy coffin with the word "Occidental" featured prominently over it. In Masonry and in the lore of the Egyptian jackal-god Anubis, a dead person is said to have "gone west."
Several months after the Kennedy funeral, "Occidental Life," an insurance branch of the Transamerica Corporation, ran an advertisement for group life insurance which it proclaimed to be "new" but contained a turn that was indeed original: the inferential weird claim was made that "Until now there was only one way to cash in on Group Insurance" (my emphasis); apparently some rather profound changes were made in the manner of things-as-they-are after the "Killing of the King" had become a fait accompli.
The spontaneous stop was made because of the horse Sardar ("chief"), a gelding ("Castro"), which was wearing boots pointing around to the rear in the Kennedy funerary rite. Horses figure prominently not only in the pleasure of kings but in their murders as well. James Earl Ray was convicted partly on the evidence of a "white Mustang" (automobile), Sirhan Sirhan claimed to his psychiatrists, trance-like, that he shot Robert Kennedy "for a mustang, mustang, mustang ..."
John F. Kennedy had demonstrated affection for the performance of a lady who was a renowned ostrich-feather fan-manipulator (Norma Jean Baker a.k.a. Marilyn Monroe). In Egypt, lamenting girls with ostrich feather-fans sang a song of entreaty of the type that Nephthys and Isis reputedly sang as a dirge, before the partial resurrection and/or erection of Osiris. The sad dirge or lamentation has become known as a "Maneros" consisting primarily of the singers entreating the dead to return, by singing "come to my house" and then offering inducements of some type or other.
It is a damn pity that the ritualists didn't have Marilyn Monroe and Rosemary Clooney sing a Maneros at the JFK funeral, for Rosemary Clooney just couldn't believe that JFK was dead at the time, and Marilyn Monroe was killed because of JFK. In Ancient Egypt the entreaty to the dead of the type said to be performed by Isis and Nepthys was usually performed with a hawk-fertility-goddess statue present along with other funerary symbolism.
Jacqueline Kennedy was considered "fashionable, erudite, erotic and stunningly gorgeous." Mrs. Kennedy visited an exhibition of Egyptian funerary rite symbols at the National Gallery of Art where she was photographed with a depiction of the "hawk-headed divinity that was said to be named Hor-khenty-khem." Recently there was a traveling nightmare of funerary symbolism touring the country (the Tutankhamen exhibit of the National Endowment of the Humanities).
Before JFK began his Jornada del Muerto (Journey of Death), he was photographed with Yugoslavian dictator Tito on the winding stairs in the White House. Tito is a significant name in Masonry since it was the title given to Prince Harodim, the first Judge and Provost said to be appointed by King Solomon. The Tito was a reputed favorite of Solomon, whose temple was a hotbed of thievery, money-changing, male and female prostitution and sorcery. This ancient Tito presided over the Lodge of Intendants of this temple and was one of the "twelve knights of the twelve tribes of Israel."
Let me repeat, JFK was on some winding stairs with a man named Tito. Winding stairs are symbolically important in Masonry.
The degree of the winding stair is taught in the degree of Fellow Craft. This is the Second Degree, and a person at this grade is of course a candidate for the symbolic assassination, euresis, autopsy and coffin resurrection of the Third Degree.
The number of steps in the winding stair are "odd" although no less so than the fact that this Tito or Harodim is a name translating as "those who rule over" the activities of the temple Solomon.
The winding stairs of this temple, according to the Masons, begins at the porch and winds to a level purified by the Divine Presence (Shekinah) and dominated by the Divine Strength (Oswald).
President Kennedy preceded Tito down the stairs to a portrait of the assassinated President Garfield where he was photographed, and another picture was taken on the stairs before a picture of Lincoln (recall the black walnut rocker of JFK, comparable to the black walnut rocker Lincoln was assassinated in; the "Lincoln Continental" limousine in which Kennedy was shot and the dozens of other parallels between the two men). It's unfortunate that President Kennedy didn't trip Tito and then slide down the stair-rail, for he was in a very vulnerable position as related to Masonic sorcery, and such unorthodox action might have rattled the "Prince of Harodim."
John F. Kennedy, the one and only Catholic president of the United States, was a human scapegoat, a "pharmakos." "Pharmakos" or "Pharmak-vos" can mean "enchantment with drugs and sorcery" or "beaten, crippled or immolated." In alchemy, the Killing of the King was symbolized by a crucified snake on a tau cross, a variant of the crucifixion of Jesus.
Jesus Christ was tortured and murdered as the result of the intrigue of the men of the Temple of Solomon who hated and feared Him. They were steeped in Egyptian, Babylonian and Phoenician mysticism.
Masonry does not believe in murdering a man in just any old way and in the JFK assassination it went to incredible lengths and took great risks in order to make this heinous act of theirs correspond to the ancient fertility oblation of the Killing of the King.
I have stated that the three hoboes arrested at the time of the assassination in Dallas are at least as important symbolically as operationally and that they comprise the "Three Unworthy Craftsmen" of Masonry. This symbolism is at once a telling psychological blow against the victim and his comrades, a sign of frustrated inquiry-- the supposedly senseless nature of any quest into the authentic nature of the murderers--and a mirror or doppelganger of the three assassins who execute the actual murder.
As for the three assassins themselves:
Perry Raymond Russo told a New Orleans grand jury that [CIA agent David] Ferrie said [regarding the assassination of JFK] that "there would have to be a minimum of three people involved. Two of the persons would shoot diversionary shots and the third ... shot the good shot." Ferrie said that one of the three would have to be the "scapegoat." He also said that Ferrie discoursed on the availability of exit, saying that the sacrificed man would give the other two time to escape. (Quoted by W.H. Bowart in Operation Mind Control).
The Warren Commission
Gentlemen, don't pass me by!
Don't miss your opportunity!
Inspect my wares with careful eye; I have a great variety. And yet there is nothing on my stall.
(Witch in Goethe's Faust I, Walpurgis Night)
These are the thoughts of a huckster-witch which one need not search for dressed all in black with conical cap; instead, look among the gray flannel suits in the board rooms and offices of the newspapers, electronic media, government and advertising agencies-that is, those who are not busy working for the CIA or Naval Intelligence selling the public lies.
Mason Lyndon Johnson appointed Mason Earl Warren to investigate the death of Catholic Kennedy. Mason and member of the 33rd degree, Gerald R. Ford, was instrumental in suppressing what little evidence of a conspiratorial nature reached the commission. Responsible for supplying information to the commission was Mason and member of the 33rd degree, J. Edgar Hoover. Former CIA director and Mason Allen Dulles was responsible for most of his agency's data supplied to the panel.
Is it paranoid to be suspicious of the findings of the panel on these grounds? Would it be paranoid to suspect a panel of Nazis appointed to investigate the death of a Jew or to suspect a commission of Klansmen appointed to investigate the death of a negro?
Representative Hale Boggs, the only Catholic on the commission, at first agreed with its findings and when he later began to seriously question them he was "accidentally" killed in a plane crash.
HOODWINK. (Definition.) A symbol of the secrecy, silence and darkness in which the mysteries of our art should be preserved from the unhallowed gaze of the profane."-Dr. Albert Mackey, Mason, member of the 33rd degree, foremost Masonic historian of the nineteenth century, writing in the Encyclopedia of Freemasonry.
That is how they see us, as "profane," as "cowans" (outsiders), unclean and too perverted to look upon their hallowed truths. Yes, murder, sexual atrocities, mind control, attacks against the people of the United States, all of these things are so elevated, so lofty and holy as to be beyond the view of mere humans.
Ruby
On December 20, 1947, Jacob Rubinstein changed his name to Jack L. Ruby by decree of the 68th Judicial Court of Dallas, Texas. The etymology of the term "Ruby": (French) rubis; (Spanish) rubi; (Latin) rubinus, carbuncle.
ln old law books it was once the practice to print some of the titles of the statutes in red and these were termed rubrics or a ruby and hence any fixed, formulated or authoritative injunction of duty was apt to be designated as being a rubric or ruby.
As a rubinus or carbuncle Ruby is associated with the "Breastplate of Judgment" used by the Chosen Mispet (High Priests) of Jewish sorcery, enabling them to receive "divine" answers regarding the welfare of Judaism; some interpretations claim that the "Breastplate of Judgment" manifested the immediate presence of Jehovah and was also worn by Masons in Royal Arch chapters.
This "breastplate [which] contained twelve stones" each symbolized one of the twelve tribes of Israel. The carbuncle or ruby was connected to the tribe of Judah (Nohpech).
The term "Jack Ruby" was once used by pawnbrokers to indicated a fake ruby.
In iconography a ruby or carbuncle symbolizes blood, suffering and death.
Truth or Consequences
District Attorney for New Orleans, James Garrison, was supported by a "Truth or Consequences" Club and is alleged to have been an ex-FBI agent and to have been mentally disturbed at one time. Jim Garrison was an outsider in the Secret Society machinations of the FBI and may very well have been pharmacologically or hypnotically induced to set up his ill-fated investigation and the position he acquired in the "Truth or Consequences Commission."
Truth or Consequences, New Mexico, is a town located on the 33rd degree of parallel latitude, and near the same latitude John Fitzgerald Kennedy became an oblation and on the same latitude is the chief Temple on this planet in the minds of sorcerers, namely the Temple of Solomon at Jerusalem, which was once located there and is sworn to be rebuilt on this 33rd degree.
In a literal, alchemical sense, the Making Manifest of All That is Hidden is the accomplishment of the 3rd Law of the Alchemists and is, as yet, unfulfilled or at least not completed; the other two have been: the creation and destruction of primordial mater (the detonation of the first Atomic Bomb at the Trinity Site, at White Sands, New Mexico, on the 33rd degree of parallel), the Killing of the King (at the Trinity Site, at Dealey Plaza, Dallas, near the 33rd degree of latitude).
Only the repetition of information presented in conjunction with knowledge of this mechanism of Making Manifest of All That is Hidden provides the sort of boldness and will which can demonstrate that we are aware of all the enemies, all the opponents, all the tricks and gadgetry, and yet we are still not dissuaded, that we work for the truth for the sake of the truth. Let the rest take upon themselves and their children the consequences of their action.

--James Shelby Downard with Michael A. Hoffman II

- 21:55 - Komentari (5) - Isprintaj - #

petak, 16.02.2007.

TV ON THE RADIO

HRVOJE HRIBAR

Predumišljaj
Ovaj uradak osobni je prilog općoj sociologiji Greške, uobičajenom žanru hrvatske kulturne introspekcije.

Tekst je nastao temeljem autorova petnaestogodišnjeg sudjelovanja u hrvatskoj audiovizualnoj produkciji. Metodološki okvir jednak je onom koji je u praskozorje teorijskog diskursa postavio Herodot: okom, uhom, vlastitim iskustvom. U Hrvatskoj, zemlji vječitog praskozorja, gdje budućnost ustrajno kasni, ovaj elementarni pristup smatram korisnim s obzirom na zapletenost problema. Jezgra i polazište za ovu radnju govornički je sinopsis koji sam pripremio za nastup na tribini foruma SDP-a o kulturnoj politici, rujna 1999. Ovaj rad utoliko duguje dvostruku zahvalnost ljudima koji su formirali današnju Vladu. U prvom redu zato što su me na ova razmišljanja potakli u oporbena vremena, vrlo zagrijani za oštru kritiku postojećeg stanja. U drugu ruku, stoga što su sporošću svojih reformskih odluka omogućili temeljnim idejama ove analize da ostanu djelatne do danas
Okvir za sliku: habsburški projekt

Institucionalna matrica današnje hrvatske kulture ostatak je habsburškog projekta prosvjetiteljske države (vidi: Burgtheater, Staatsoper, Musikverein, Staatsmuseum, Staatsgalerie, Akademie, Nationalarchive). Glad ovih krupnih komunalnih uređaja namiruje proračun preko administrativnog stroja središnjeg Nadureda. Financijsko/upravnim sredstvima Nadured stanovništvu dozira, nadzire i određuje duhovne potrebe. Ime nadureda je Ministarstvo kulture (svojedobno bogoštovlja i prosvjete). Načelo njegova djelovanja: simbioza političkog i pisarskog staleža.

Mumifikacija

Osim široko raspoređene infrastrukture ovaj model namro nam je nespretno stanje u kojem umjetnik i intelektualac žive kao državni činovnici, te shodno društvenoj ulozi čekaju svoj kruh na kraju dugog reda službenika državne uprave. U takvom rasporedu vlada dvosmislica funkcija: u smislu idealnih načela, spomenute institucije služe kulturnom projektu. U naturalističkoj logici kruhoborstva, međutim, kulturni projekti uglavnom služe instituciji, kao formacijski izgovor njezina namirivanja preko zamršenog i namjerno mističnog mehanizma države. Ta kafkijanska crta povjesničarima kulture sigurno je manje važna od svojedobnih zasluga ove koncepcije. Da tadašnje vlasti (u drugoj polovici prošlog stoljeća) nisu bile spremne istovremeno uvesti jedinstveni model na područje s posve nerazvijenim kulturnim tržištem, a mimo svake gospodarske računice, moderno razdoblje hrvatske kulture izgledalo bi neraspoznatljivo lošije no što ga danas pamtimo. Nažalost, malo nam vrijedi uspomena na povijesne zasluge ovog projekta. Naš sadašnji problem je njegova mumifikacija i degradacija.
U komunističkom međurazdoblju dogodila se živopisna peripetija kulturnog poretka. Prvobitna komunistička država preuzima kulturni etatizam kao prirodni instrument revolucije da bi ga u kasnijoj fazi razgradila u ime polovične decentralizacije koja mišlju luta između zapadnoeuropske prakse javnih fondacija i socijalističkih ograničenja, uvjetovanih jednopartijskom diktaturom i lokalnom kulturnom zaostalošću. Polutanski i dvoglavi sustav sizovske kulture, taj nemogući istočno-zapadni konstrukt dočekao je u liku nove hrvatske vlasti povijesnog egzekutora, koji mu je bez ikakve pristranosti odrubio obje glave. Podjednako frustrirana zrcalnom slikom marksističke ostavštine, koliko uplašena nepoznanicama civilnog društva, nova hrvatska vlast odlučuje se za povratak u zavičaj etatizma.
Habsburzi se, međutim, nisu vratili. Opća atmosfera bila je bliža duhu komesarskog socijalizma iz pedesetih, no bez tadašnjeg entuzijazma ili bar fatalizma kojim su umjetnici i javnost trpjeli takva pravila. Naročito nedostaje definicija vrijednosti u ime kojih obnovljeni komesarijat djeluje. Jedino postignuće koji je donedavna vlada nadogradila na realni socijalizam jest novitet zvan korupcija, kleptokratska rutina koja je potrla uzaludnu nadu kako bi ovakvo stanje moglo postići neke rezultate služeći se nisko proceduralnom gestom prosvijećenog apsolutizma. Habsburški projekt podizao je ustanove (pogledajte njihovu razmetljivu arhitekturu !) s ambicijom kulturnih hramova. Socijalizam je ista zdanja preformulirao u kulturne kombinate i umjetničke kolhoze.
U rukama donedavne nacionalističke vlasti ove adrese degradirane su u kulturne ostave i umjetničke pisarnice: Hrvatski muzeji sve više nalikuju na staretinarnice, dok je većina ostalih kulturnih ustanova postala muzejima. Muzejima zastarjelih kulturnih vrijednosti i davno napuštenih organizacijskih zamisli. Razlog je, među ostalim, u tome da se organizacija kulturne proizvodnje u postindustrijskoj Europi i naš lokalni državno-upravni način raspolaganja sredstvima i vrijednostima apsolutno razilaze.
Ono što odgovara vremenu, ne odgovara državi.
Ono što odgovara državi, ne odgovara vremenu.
Ono što odgovara publici, ne odgovara politici.
Ono što odgovara politici, ne odgovara publici.
Nerazgovijetno društvo dobilo je kulturu po svojoj slici: kulturu nesporazuma.

Made in USA

Dotok masovnih proizvoda američkih kulturnih industrija neprekidno razvodnjuje ovaj paradoks, dodajući nova pitanja, zamućujući temeljni problem u očima široke javnosti. Publika svoje potrebe nadoknađuje lako dostupnim proizvodima svjetske industrije zabave. Europski proizvodi slabo sudjeluju u lokalnoj ponudi. Europa je proklamirani politički cilj, no ujedno velika kulturna nepoznanica domaćoj javnosti. Čitava situacija spontano klizi k neokolonijalnom, latinoameričkom ili filipinskom režimu kulturnih navika, a naša kulturna i društvena situacija se udaljuje od europskog ambijenta, nošena postojanom silom globalnog tržišta i lokalnim nagonom za prepuštanjem. Loš procjeniteljski standard kulturne administracije nije veći problem od pada procjeniteljskog standarda kulturne publike. Javni pritisak na kulturne vlasti i zahtjevi za reformama razmjerno su nejaki i nestalni, upravo iz spomenutog razloga. Zbunjena proturječjima između moderne tradicije i populističkog neokonzervativizma kulturnih industrija publika uglavnom nema jasnu sliku onoga što bi od kulturnog proizvoda uopće imala očekivati. Kako li tek kriptično i nerazgovijetno većini običnih ljudi zvuče naše organizacijske rasprave o ustrojstvu institucija i sustava! Uzaludne reformske inicijative prepuštene su slabašnoj intelektualnoj klasi i labavim cehovima, te u novinstvu ostavljaju dojam lokalno-stručnih nadmetanja i rivaliteta, onakvih kakvih među taštim umjetnicima i ćudljivim intelektualcima ima svugdje, oduvijek i ma zbog čega. Rijetko se uviđa kako se ovdje raspravlja o strateškim pitanjima društva te o posljedicama koje su podjednako ekonomske i političke koliko ekskluzivno kulturne.
Poimanje situacije (ako mi je dozvoljeno iznositi općenite procjene temeljem odjeka javnih tribinama i novinskih istupa) trpi od čudne verzije mitteleuropski podvojenog morala. U neobaveznim javnim istupima većina će se pozvati na stavove liberalnog puberteta: pomodno je zagovarati tržište kao panaceju za sve boljetice naslijeđenih režima, a prema javnim subvencijama i sustavu uopće uzgaja se debatna netrpeljivost, kao prema znaku slabosti domaćeg intelektualnog i kreativnog materijala. S druge strane, u individualnom djelovanju većina sudionika javnog života slijedi davne glasove svojih majki i očeva te poduzima sve kako bi rizike svog posla poništila solidnim i posve netržišnim uhljebljenjem habsburškog tipa. Bizaran rezultat ove tradicije jest da danas većina djelatnika u kulturi ima zvanje koje se razlikuje od njihova zaposlenja. Razmjenjujući malo svog mjesečnog rada za malenu državnu plaću, većina kulturnih djelatnika ciljeve svog javnog i materijalnog probitka vidi na području koje se nalazi negdje mimo njihova građanskog zaposlenja. Lokalna formula ovakve razrokosti između posla i kreativne misije glasi: posao obavljati neuredno, a kreativnu misiju nedosljedno. Ideja habsburške kulturne politike, metodične i statične, koja je težila osigurati uvjete za kulturni projekt stvaranjem profesionalnog staleža, odnosno socijalistički govoreći: otvaranjem radnih mjesta u kulturi, pervertirala je u stanje opće profesionalne dekoncentracije energije, ljudskih resursa i javnog novca. Umjetnici se tako bave menadžmentom, redatelji profesurama, pisci novinarstvom, glumci politikom, itd. Ova rasuta slika nije posljedica općeg elana i društvene živosti, već, naprotiv, tradicionalne melankolije, sesilnog karaktera hrvatskog malograđanstva i straha od gladi što ga većina Hrvata nasljeđuje od svojih seoskih predaka.

Sažetak tmurnog razdoblja

U nastojanju da stvori nacionalno ideologiziranog podanika prošla vlast je proizvodila kulturno anacionalne i nacionalno nekulturne građane. Proklamirani projekt izgradnje države temeljito je razgradio kulturni identitet ove zemlje. Ljudi koji su vodili ovaj poduhvat morali bi ozbiljno razmisliti kako im je ovaj nestvarni i, s njihovih vlastitih ideoloških stanovišta, gorko proturječni obrat uopće pošao za rukom. U ovoj zemlji kulturom se nešto proglašuje po resorskoj pripadnosti, a ne po djelatnosti. S obzirom na poziciju, a ne s obzirom na vrijednost. Sklonost javnog novca određenom projektu određuje način njegove uklopljenosti u administrativni poredak, a ne njegovo potencijalno mjesto na kulturnom tržištu.
Energijski gledano kultura (kao društveno područje) dijeli sudbinu institucija koje su kratko spojene na državni ili lokalni proračun, te - s gotovo nikakvim udjelom tržišta ili međunarodnih subvencija - čekaju hoće li s nadležnim proračunom pregorjeti ili će do naredne prigode preživjeti. Osim novčane zavisnosti većina kulturnih djelatnosti ovisi o ukusu državnih činovnika, što je donedavno proizvodilo karikaturalne situacije. U hašekovskim kancelarijama nušićevski činovnici financirali su kreativne pokušaje šarlatana iz Iljifa i Petrova. Ovaj kumulativni dramaturški princip godinama je ravnao većinom radnje u hrvatskoj kulturnopolitičkoj farsi. Od javnosti otuđen, nisko artikuliran, nezgrapan i nerentabilan, sustav u kojem se na svaki dolar za kulturni projekt izdvaja (barem) dvadeset dolara za održavanje njegove institucionalne infrastukture sa svakim danom gubi poštene šanse da ga se restrukturira po mjeri demokratskog i civilnog poretka, a bez dramatičnih potresa pod nogama nesretnika koji u njemu sudjeluju, bilo kao ostaci svojedobnog socijalističkog kulturnog aparata, bilo kao njegovi neželjeni potomci.

Audiovizualna industrija: ručni rad politike

Stanje filma i audiovizualne industrije konačni je paradoks opisanog stanja. Kako je Lumiere izumio film prekasno s obzirom na dotrajalost Austro-Ugarske Monarhije, ta posve neprovjerena djelatnost stigla se razmahati tek u Beču, Pragu i Pešti, i to temeljem privatne inicijative. Moćni mehanizmi monarhije nisu imali vremena primijeniti blagotvorne mjere kulturnog apsolutizma, pa filmske tekovine nametnuti ruralnoj provinciji. Država je propala prije no što je ustanovljen nekakav FILMVEREIN, FILMTHEATER ili FILMARCHIV. Izostanak filma iz habsburške institucijske matrice početkom stoljeća odredio je stoljetnu sudbinu filma kao sistemskog nahočeta hrvatske kulture. U uvjetima mehaničke, instituciomanske kulturne politike ovaj problem je veći no ikad. S obzirom na današnju civilizacijsku ulogu audiovizualnog, ovaj problem je, štoviše, ozbiljniji no ikad. S obzirom na očigledno iracionalnu motiviranost ovog stanja, ovaj problem je svakako, također, gluplji no ikad. Bez obzira koliko malo novca bilo u državnoj kasi - kad je posrijedi država - moć plaćanja (još) uvijek je veća od moći mišljenja. Javna briga nad filmom prepuštena je danas neimenovanoj kancelariji resornog ministarstva. Nezgoda ovog odnosa sastoji se u prirodi filma koja je tvrdokorno neresorska.
Poslovna, tehnička, tehnološka i organizacijska pitanja filmske industrije daleko su prezahtjevna za jedno općenito tijelo državne uprave. Ovom nadleštvu nije jednostavno razumjeti probleme, no daleko mu je teže sudjelovati u njihovom rješavanju. Držeći u rukama nešto toliko raznorodno i dislocirano kao što je film, ovom nadleštvu neprekidno manjkaju ovlasti i instrumenti. Hrvatski film je hobotnica koju neuki gazda pokušava othraniti u kugli sa zlatnim ribicama. Proces koncepcijskog razvoja filmskog projekta, proces njegove produkcije i proces eksploatacije odvijaju se, naime, na različitim adresama, na različitim javnim razinama i u različitim područjima društvene podjele rada. Filmski projekt je, baš poput kazališnog, kulturni i javno financirani, ali pritom ne i institucionalni proizvod: veliki nedostatak u okruženju institucionalizirane kulture.
Ustrojstvena slika filmske industrije negativ je organizacijske slike hrvatskog kazališta. U nas se kazalištem ravna na način da javni proračun (državni i/ili lokalni) financira održavanje kazališne zgrade i mjesečne prihode tehničkog osoblja, uprave i glumačkog ansambla, kao i pojedinačne izvedbene troškove svake predstave napose, ujedno plaćajući cijenu njezine promocije. Jedini kazališni čimbenik koji ne prima državnu naknadu je publika. (Kad uzmemo u obzir da se većina ulaznica prodaje po maloj cijeni školskoj omladini, vidimo da publika, ako i nije financijski na dobitku, nije ni u velikom gubitku kad u hrvatskim predstavama nastupi u ulozi gledateljstva). U državnom kazalištu projekt dakle nastaje s vlastitim uposlenicima, na vlastitoj pozornici i tržištu se nudi pod vlastitim krovom i pred vlastitim gledalištem, prodajući se (?) na vlastitoj blagajni.

Proizvodni krug

Za razliku od ovog načela KOLHOZA, filmski projekt pretpostavlja načelo KOOPERATIVE: Kooperaciju i koordinaciju između:
1. financijera
2. produkcijske kuće
3. koproducenata
4. distribucijske tvrtke
5. prikazivačke mreže.
Filmski projekt je, tehnički gledano: kreativni, poslovni, tehnološki, financijski i organizacijski poduhvat koji se prostire kroz različite discipline, kontrolirane raznolikom financijskom, trgovačkom, industrijskom i fiskalnom legislativom.
Pet temeljnih funkcija proizvodnog kruga koji zovemo kinematografija mogle bi se ovako razvrstati:
- kreativni i tehnički zanati (autorski i proizvodni rad)
- produkcijske vještine (kreativno poslovanje)
- poslovi distribucije ("trgovina na veliko")
- poslovi prikazivačke infrastrukture ("trgovina na malo")
- obrazovanje i posredovanje: kinotečne, izdavačke, filmološke i srodne djelatnosti.
U svakom pogledu, pet žestoko različitih kategorija. Kulturno-politički žongler koji ovih pet elemenata dovede u ravnotežu, bit će apsolutni pobjednik stoljetnog hrvatskog natječaja za izbor normalne kulturne administracije. Ono što ovu zadaću čini manje herojskom, činjenica je da se svugdje u Europi kineziološke, intelektualne i profesionalne predispozicije potrebne za koordinaciju spomenutih raznolikosti jednostavno podrazumijevaju u onoga tko pretendira biti upravljački kadar u bilo kojoj kulturnoj industriji. Ova vrsta društvene vještine manje nalikuje skakanju po trapezu a više vožnji biciklom: jednom kad se uvježba postaje rutinom koja nikoga više ne fascinira.
U načelno konzervativnoj, provincijalnoj sredini nitko ne želi biti vježbenikom pred očima zlobne javnosti. Aktualna vlast stoga nove vještine radije ne vježba, nadajući se čudotvornoj odgodi vlastitih obveza.

Partizanska anegdota

Osokoljeni financijskim izvješćem HNK, (stotinjak milijuna kn godišnje) neki filmaši bliski bivšoj vlasti predlagali su, kao dokaz da su razumjeli sustav na snazi, formiranje državnog proizvodno-prikazivačkog kombinata pod upravom ministarstva, koji bi mogao igrati ulogu (financijsku i političku) filmskog HNK te omogućiti da se filmom, u dugom procesu od početne ideje do eksploatacije gotovog proizvoda, upravlja iz središta, na politički način. Koncept je na kraju odbačen, ne znam da li zbog vrtoglave cijene ili pretjerane sličnosti s ustrojstvom sovjetske kinematografije koji je tridesetih uveo Staljin, a Hruščov djelomice odbacio još početkom šezdesetih.

Resor, ne-resor

Naša resorno misleća administracija kapitulira pred činjenicom da je film teško pretvoriti u resor. Naši poljski kolege mogu uživati u posljedicama bizarne zamisli njihovih komunista koji su za Staljina u tome uspjeli: osnovali su ministarstvo kinematografije. Europeizacija filma se tijekom posljednjeg desetljeća tamo odvijala kao reforma postojećeg resora. Nas promjene zaobilaze jer država ne umije intervenirati u ne-resor, a kako je film iako ne-resor u čvrstom zagrljaju države, bez države ga nitko ne može promijeniti. Vladajuća kulturna politika ne može se uskladiti s potrebama audiovizualne industrije. Bez obzira na nastojanje vlasti da održi film (izdaci nisu mali), bez obzira na žustru i žalosnu spremnost filmskih djelatnika (podsjetimo se uloge filma u prošlim režimima) da sa svakom vlašću slijepo surađuje.

Odgađanje rješenja

Umjesto da upravlja pojedinačnim filmskim projektima, Ministarstvo kulture bi postiglo daleko veću korist da se posveti strateškim interesima čitave industrije te da ih u pojedinim pitanjima zastupa pred drugim "resorima": na područjima porezne politike, trgovine, gospodarstva, obrazovanja i turizma. Odlučivanje o subvencijama pojedinim projektima, svakodnevne probleme audiovizualne produkcije, kao i projekt restrukturiranja domaće audiovizualne industrije valja prepustiti specijaliziranom manedžmentu samostalne javne ustanove (instituta, centra, ureda, javne fondacije). Prema ovoj ustanovi ministarstvo ima financijske obaveze, a ustanova (u mjeri financijske zavisnosti) ministarstvu odgovora za namjensko korištenje novca i kvalitetu proizvodnje. Nepostojanje ovakva tijela i odgađanje ovog rješenja neprekidno se pravda ustrojstvenim i zakonodavnim poteškoćama. Kao da se ova funkcija ne može riješiti na raznolike načine. Ako postoje prepreke fondacijskom upravljanju, ne postoji li mogućnost osnivanja Vladine agencije? Ako je teško ustanoviti agenciju, nije li moguće uspostaviti klasičnu instituciju?
Dosadašnje kulturne administracije izbjegle su ovaj potez iz prvenstvenog razloga što kumulativni kulturni proračun, kakvim entropično barata financijska služba Ministarstva kulture, omogućuje kontinuitet hrvatskog adhokizma (izraz H.Turkovića) i preraspodjelu financija prema potrebama trenutka i u skladu s dnevnim oportunitetom. Nepostojanje sustava kinematografije, je, osim postojećim državnim ustrojstvom, uzrokovano postojećom društvenom psihologijom i političkim mentalitetom. Nepostojanje sustava kinematografije je cijena komoditeta političke klase i tradicionalne lokalne nedarovitosti za stvar organizacije. Činjenica da bi reformirani sustav kinematografije povećao učinak kulturne politike, donio neizmjernu međunarodnu promotivnu korist i vratio u hrvatsku tehničke poslove u vrijednosti od prosječnih 20.000.000 $ godišnje, vrijedi manje od okolnosti da bi uspostava sustava na stanoviti način ograničila sirovu moć vladinih službenika. Sumarni prikaz proteklog desetljeća otkad je film stavljen pod nejasno nadleštvo državnog Nadureda za kulturu glasi ovako: Ministarstvo kulture obavljalo je posao koji mu ne pripada, u točno onolikoj mjeri u kojoj nije obavljalo posao za koji je zaduženo.

Kirgistanizacija

Tehnički najkonkretnija nevolja današnjeg hrvatskog filma je u autarkiji i međunarodnoj izolaciji. Budući da je audiovizualno tržište po definiciji međunarodno, većina europskih filmskih proizvoda nastaje u međunarodnoj koprodukciji, uz financijske usluge međunarodnih fondova. Eurimage, produkcijski fond Vijeća Europe i Media plus, distribucijski fond Europske zajednice dva su središnja izvora financiranja današnjeg europskog filma, napose u postkomunističkim zemljama. Europske filmske subvencije nastupile su u Istočnoj Europi kao spasonosna premosnica između propalog socrealističkog sustava i još neizgrađenog europskog modela. Hrvatska administracija od ovih je procesa apstinirala, prema europskim fondovima upućujući paranoične poglede, zabrinuta za suverenitet i nacionalnu nezavisnost svojih upravljačkih odluka.
Oba spomenuta fonda su nadnacionalne verzije javnih fondacija, a ne nadržavna verzija vladinih resora. Hrvatsko Ministarstvo kulture i europski fondovi teško uspostavljaju suradnju, ne samo zbog manjka hrvatske dobre volje, već i zbog nekompatibilnosti adresa. Pitanja filma, s obzirom na opisane razloge, u drugim istočnoeuropskim državama bila su motor i prethodnica promjenama kulturne politike i usvajanju europskih modela odlučivanja i financiranja u području kulture. Čitavo desetljeće hrvatska vlast je promjene u svojoj okolici promatrala savršeno stoički, zatvorena u državotvornu ljusku jajeta.

PERSPEKTIVE

1. LOŠA VIJEST
Kratkoročno, uopće nisu dobre. Svaki pokušaj reforme u području filma i audiovizualnog uopće slama se ne na operativnoj ili financijskoj zahtjevnosti posla, već na banalnoj okolnosti koja se zove raznorodnost. Promjene u audiovizalnoj industriji i pokušaj konstituiranja kinematografije zahtijevaju koordinaciju različitih sektora državne vlasti, usuglašenost i komunikaciju koja se u današnjoj koalicijskoj vladi čini posve nedostižnim ciljem. Lobistički potencijali hrvatskih filmskih autora definitivno su preskromni da bi potakli dogovor o jedinstvenoj strategiji vlade na području a/v. Objediniti reformu nacionalne televizije i nacionalne filmske tehničke baze s projektom stvaranja središnjeg filmskog ureda, a uz dva ili tri internacionalna administrativna poteza usmjerena na integracije u fondove, u tehničkom i financijskom smislu daleko je jednostavniji posao od reforme operne proizvodnje ili utemeljenja hrvatskog paviljona u mletačkim Giardinima. Problem je, međutim, u slabom standardu komunikacije i potpunoj nepripremljenosti nove vlade na razgovor o ovim pitanjima. Svaki razgovor o problemu brzo se pretvori u seminar o temeljnim pojmovima i u pokušaj da se državne činovnike uvede u osnovne kategorije o kojima bi se imalo razgovarati. Film se stoga političkoj klasi ukazuje kao vječito područje nejasnog, te svaka predložena akcija u očima vlasti izgleda diskvalificirajuće neizvjesnom, što je u teškoj suprotnosti s osnovnim načelom političkog preživljavanja: "Izbjegavaj rizik, pod svaku cijenu!". Raskošni manjak medijske kulture u naših upravljača temelj je ovom predrasudnom strahu, koji Hrvatsku stoji gubitka važne dimenzije javnog života.

2. JAVNOST ILI BOLJA VIJEST
Audiovizualno je doista J A V N I sektor, u smislu nimalo deklarativnom. Građani konzumiraju audiovizualni proizvod u većoj mjeri no bilo koju drugu činjenicu javnog sustava s izuzetkom, možda, poreza na dodanu vrijednost. Prostor audiovizualnog prostire se od pokroviteljskih proračunskih subvencija do posve tvrdog tržišta na kojem se prodaje holivudski film, ovo područje seže od kućnih videoteka do pulskih vatrometa pred dvanaest tisuća ljudi, od Požeškog festivala jednominutnih filmova do Cannesa, od laborantice u plavoj kuti koja miješa razvijač, do uglednika hrvatske književnosti koji upravo daje svoje lektirsko djelo na ekranizaciju uglednom autoru, od sakristijske projekcije nabožnog klasika, do najnovije produkcije glazbenih spotova, da ne govorimo o pornografskom videotečnom fondu, Internetu i dakako televiziji, u svim njezinim pandemonijskim oblicima.
Audiovizualni proizvodi javno su dobro, u nas najčešće grijano tek kolektivnom netrpeljivošću i predrasudama. Intenzitet kojim čitava javnost reagira, ma kako pritom vođena od nestručnog novinstva, na skandale i gluposti koji se na tom području događaju govore o tome da postoji kolektivna energija koja želi da se oko filma nešto naposljetku pokrene u ovoj zemlji.
Ne bih želio dodavati loših vijesti ovom sumornom izvještaju, no izgleda da poteškoće koje ima film u Hrvatskoj govore o teškim simptomima hrvatskog solipsizma i poličkog partikularizma. O nespremnosti ove nacije da koristi vlastite resurse i moralnoj nesposobnosti da mijenja sebe i vlastitu sredinu.

DRŽAVA U DRŽAVI: HRT

Prva pratilja svih kinematografskih funkcija i glavni partner gotovo svih lokalno proizvedenih filmskih projekata zove se nacionalna televizija. Ona nastupa kao producent ili koproducent, financijer ili sufinancijer, naručitelj i prikazivač. U opisanoj asteniji sustava filmske proizvodnje, HRT se postojanom financijskom snagom (stečenoj u službi vlasti) svakom proteklom sezonom pokazivala sve bitnijim sudionikom filmske proizvodnje. Danas možemo tvrditi da je hrvatski film postao posvojče središnje televizijske kuće. Kako ova kuća u međuvremenu doživljava rastrojstvo kao povijesnu odmazdu za svoju zastarjelost - slično kao hrvatski filmski sustav prije deset godina - kućni resursi postaju sve skučeniji, a obiteljski odnosi sve napetiji.
HRT, još jedno zdanje bez habzburških temelja, desetljećima je izmještena podjednako iz sustava parlamentarnog koliko vladinog nadzora. Svoju tradicionalnu ideologijsku zadaću ova autonomna struktura obavlja preko partijskih, policijskih i drugih neformaliziranih modela transmisije političke volje. Posrijedi je neka vrsta duhovnog pretorijanstva ili janjičarstva. Ovaj organizacijski ekskluzivizam zahtijeva posebni kronološki osvrt.

FRAKTALNA KRONOLOGIJA: RAZVOJ KAOSA

1. ČUDO
Pedesetih godina televizija je zavladala životom Europe kao tehnološko čudo koje ujedinjuje područje politike, kulture i potrošačkog oglašavanja. Ova najveća dotad viđena invazija javnog na osobno razvijala se s najvišom mogućom stopom političke i financijske rentabilnosti. U socijalističkoj Jugoslaviji centar razvoja ovog tehnološkog i društvenog noviteta smješten je - iz posve prirodnih razloga - u Zagreb, sredinu s najvećom softverskom bazom inženjerskih znanja i kadrova. U razdoblju od začetaka koncem pedesetih, pa sve do sredine sedamdesetih godina - u razdoblju koje možemo nazvati LABORATORIJSKOM FAZOM ELEKTRONSKE CIVILIZACIJE - temeljni princip televizijskog ustrojstva bilo je dvojstvo inženjerskog i programskog sektora. Dostaviti korektan signal do kućnih prijemnika bio je impresivniji podvig no sastaviti program. Inženjeri zaogrnuti u dobro krojene bijele kute i mabuzeovsku mistiku elektroda i kondenzatora bili su gospodari situacije. "Programski sektor", ljudi na ovaj ili onaj način zaduženi za ono što će biti emitirano svoj položaj su branili pozivajući se na ugled i vrijednosti vladajućeg kulturnog poretka. Glavni oslonac donosiocima programskih odluka bilo je pozivanje na aktualne kulturne vrijednosti. Protagonisti prvobitnog TV-programa tako su postali na drugim područjima proslavljeni novinari, pisci, glumci, glazbenici. U ovom razdoblju TV-proizvodnje - sasvim paradoksalno u odnosu na političke prilike - televizija je bila javni MEDIJ u pravijem smislu i više no ikada kasnije: Otvoreni prostor vrijednim uzorcima javnosti, a ne proizvodno i vrijednosno autonomna, odnosno samovoljna i reduktivna struktura.
Kad se ima na umu neobično dinamična kulturna proizvodnja šezdesetih na širokom području od estrade (u ta doba zanatski vrlo ozbiljne) preko literature do predstavljačkih umjetnosti i likovne proizvodnje, razumjet ćemo paradoksalnu činjenicu da je ta prvobitna, tehnološki skromna i nerazvijena televizija proizvodila daleko najbolji program, koji smo u Hrvatskoj gledali tijekom XX. stoljeća.

2. KINEMATOGRAFIJA U ČUDU
Čudno je, ali ne i nerazumljivo: u razdoblju maksimalne otvorenosti televizije prema različitim kulturnim područjima, film, najsrodnija djelatnost, bio je najmanje zainteresiran za suradnju. Rogobatna televizijska slika slab je vizualni standard koji uglavnom odbija ondašnje filmske autore, navikle na udobni društveni status i visokokvalitetne uvjete produkcije. Tek će kasniji tehnološki razvoj telekina i kolora, financijske teškoće kinematografije, kao i federalna obveza TV Zagreb da dostavlja velike količine programa u zajednički eter, natjerati jednu i drugu stranu da surađuju. Od ranih osamdesetih televizijska kuća postaje sve češći koproducent domaćih, sizovski financiranih projekata. Autori pak još od sedamdesetih pristaju surađivati s televizijom na području igranog i dokumentarnog programa: dobri financijski i produkcijski uvjeti vodili su labavom kompromisu interesa, kompromisu koji do danas nije postavljen na razumne, jasne i profesionalno razgovijetne osnove.
Cijena koju do danas plaćamo za početno nesuglasje između TV-a i kinematografije iskazuje se u samoniklim tradicijama koje su se u ranom razdoblju ukorijenile marom i zalaganjem samoukih TV-redatelja. Njihova nevještost stvorila je obrazac takozvane televizijske drame, te se do danas uspješno podržava mišljenje da je loše režirani film, rutinski preglumljen i s pričom radiofoničnog karaktera u stvari autentična televizijska forma koja bi u proizvodnji ove kuće morala imati prvenstvo pred potencijalno kinematografskim projektima.
U međuvremenu televizija ulazi u novo tehnološko razdoblje.

3. USER FRIENDLY TEHNOLOGIJA ILI "DAJ DA MALO JA"
Televizijska tehnologija, baš kao i računarska, od kraja sedamdesetih ulazi u revolucionarnu fazu: postaje strukturno sve složenija, usavršavajući svoje mimetičke kvalitete. Složenost tehnologije i složenost korištenja postaju po prvi put u povijesti obrnuto proporcionalni. Rađa se user friendly tehnologija. Posljedično, rodit će se i televizijska kuća po mjeri našeg čovjeka. Tehnološki populizam omogućit će inženjerskoj kasti da se povuče na skromniju no daleko unosniju ulogu trgovaca provizijski zbrinutom drugorazrednom robom, a sve za bezgranično lakovjeran i nenadziran novac televizijskih pretplatnika.
Programskim upravljačima, pak, nove tehnološke olakšice omogućuju novu samostalnost u kadroviranju.
Socijalistička televizija otišla je najdalje u realizaciji Marxove misli: s videokamerom, tim mitraljeskim polaroidom, uz pomoć banalne montažne konzole, doista, svatko je mogao postati umjetnik, napose pred očima vlastite majke, strica ili direktora televizije, postavljena izravno iz Centralnog komiteta. Ovdje imam na umu malu povijest televizijskih zanata:
I. Isprva je TV emitirala u živo. Proizvoditi program u živo zahtijeva visoku koncentraciju, uigranost ekipe, spretnost svakog sudionika i vrhunsku sposobnost anticipacije. Ujedno, program u živo vrlo razgovijetno postavlja pitanje odgovornosti: zna se tko je i kada zabrljao.
II. TV nabavlja magnetoskope za informativni, zabavni i slične programe, te filmsku vrpcu za obrazovne, dokumentarne, igrane emisije. Realizacija magnetoskopom laboratorijska je verzija prijenosa u živo: zahtijeva sve vještine kao i prijenos u živo, osim što ublažava rizik odgovornosti, što u okruženju našeg mentaliteta nije bezopasno. Upotreba (skupe) filmske vrpce, pak, iziskuje redatelja s planom, snimatelja s potpunim obrazovanjem i montažera s izučenim zanatom.
III. Uvođenje U-matic i Beta opreme, tih dobroćudnih pronalazaka smišljenih za dobrobit čovječanstva i posla News gathering, u nas ima naopake učinke. Lakoprenosiva elektronska kamera u nas je otvorila razdoblje nekažnjenog snimateljskog brljanja, novinarske nepripremljenosti i koncepcijske dekoncentriranosti. Forsiranje ovih tehnika u non-news programima vodi pak općem srozavanju snimateljskog i redateljskog rukopisa televizijskih uradaka. Linearna montaža - jednokratan i u principu nepovratan proces daje linearnost i plošnost televizijskom programu. Otprilike kao da se po izumu prenosivog pisaćeg stroja i karbon-papira odustalo od tiskare. Televizijske uprave tijekom sedamdesetih i osamdesetih zadovoljne su ovom utopijskom vrlinom: radosno se odbacuju kriteriji kulturnog okoliša i uspostavlja vlastita gubernija.
Televizija je osvijestila moć da uspostavlja vlastite vrijednosti, riješivši se potrebe da slijedi izvana nametnute kriterije. Vlastite vrijednosti uspostavila je bez ikakvih formalnih znanja, slijedeći prilično neuljuđenu intuiciju: pokrenuta je stihija koja se valjala u jedinstvenom smjeru: prema devalvaciji znanja, zanata i kreativnosti.
Nacionalna televizija koja je svojedobno slijedila hijerarhiju javnosti (kakva god bila) izvršila je nevidljivi udar i postala njezinim gospodarom. U dijelu u kojem nije mogla gospodariti kulturnom situacijom, televizija je iskoristila svoje pravo prvenstva, te je naprosto ignorira.
Ovako pojednostavljena pravila igre omogućuju nacionalnoj TV-kući da unutrašnju hijerarhiju odlučivanja reorganizira temeljem poretka sirove političke moći.
Novinari političke redakcije, istaknuti društveno-politički radnici kao što se tada govorilo, postaju od kraja sedamdesetih glavnim urednicima redom svih redakcija TVZ-a, gospodari njihovih - user friendly - proizvodnih procesa.
Ovo načelo preslikalo se kao fraktalna struktura lista na cjelinu biljke, na sve sastavnice televizijske strukture. Nijedna televizijska profesija, novinarska, urednička, voditeljska, redateljska, snimateljska, organizatorsko-producentska, nije izbjegla načelo revolucionarnog populizma. Televizija je postala slobodoumna na najbizarniji mogući način: u njezinoj profesionalnoj organizaciji svatko se mogao naći na bilo kojem mjestu. Na djelo su stupile rođačke, zavičajne, ljubavničke, političke, financijske ili naprosto šankističke i druge slučajne međuljudske spone, te odredile prirodu megalomanskog i kaotičnog konstrukta, koji je počivao na nepostojanju profesionalnih kriterija, političkom lakejstvu i bezgraničnim slobodama trošenja nenadziranog javnog novca.

4. DVIJE DRŽAVOTVORNE PETOLJETKE: KOLHOZ U KAPITALIZMU
Novouspostavljena nacionalistička vlada nasljeđuje ovaj neobični kolhoz početkom devedesetih, te svojim karakteristično destruktivnim postupcima usavršuje sve njegove mane do točke raspada kojem upravo svjedočimo.
Pravilo igre koje je nametnula marksistička uprava: jagma za činovničkim uhljebljenjem u nižim te utrka za društvenim privilegijama u višim slojevima televizijske hijerarhije u cjelini su zadržane, te s obzirom na društvene okolnosti nadopunjene. U parodičnoj primjeni tržišnih načela viši činovnici televizijskog poretka dobili su mogućnost da uz društvene privilegije koriste mogućnosti stjecanja protupravne financijske dobiti preko arbitrarnih menadžerskih ugovora o angažmanu, nelegalnog posredništva u transakcijama koje se odnose na narudžbe poslova i usluga ili pak karikaturalno shvaćenoj poslovnoj inovaciji: naručivanju programa.
Ako se prisjetimo da je inženjerski sektor televizije praksu protupravnih provizija za štetne ugovore i kupovinu nekvalitetne tehnologije uvriježio još u doba marksističke vlade, možemo reći da je TVZ, koristeći svoju gubernijsku samostalnost, još osamdesetih umnogome anticipirala narav HDZ-ove korumpirane vlasti. Lakoća s kojom se većina samoupravnih mogula prebacila na novu političku frekvenciju 1991. godine samo dokazuje ovu veselu hipotezu.

Televizija kao industrija

Od formiranja nove koalicijske vlade do danas televizija je najslikovitiji izraz političke nespremnosti nove upravljačke elite. U televizijskoj praksi prevladavaju nerazgovijetni kompromisi, a javnom debatom kraljuje rascjepkanost interesa i površnost. Rasprave se vode na dva usporedna kolosijeka: Na jednom razboju, radi se o visokoparnim definicijama javnosti te se premeću razne teorije demokracije i često proturječne ekspertize europskih dokumenata. Na drugoj strani: narodsko hvatanje za vrat i borba za pozicije u velebnoj hijerarhiji koja se prostire dugom crtom visokih birokratskih funkcija na državnoj televiziji.
Autor ovog teksta pripada onoj gubitničkoj grupi koja u javni govor o pitanjima televizije uzaludno nastoji plasirati treću, presudnu temu: razgovor o televiziji kao industriji.
Djelatnost televizijske kuće je emitiranje i proizvodnja programa. Proizvodnja masovna i svakodnevna, dakle industrijska.
Sudbinu ma koje industrije, uključujući audiovizualnu, određuju četiri uvijek iste kategorije:
1. definicija proizvoda
2. proizvodna tehnologija i obrtni kapital
3. organizacija proizvodnje
4. položaj na tržištu
Naša veledržavna TV, dakako uživa elizijsku privilegiju te su joj tržište i stalni dotok besplatnog kapitala višom silom zajamčeni - kako zakonom, tako postojećim stanjem stvari.
HRT je, ukratko, poslovni besmrtnik. Financijski perpetuum mobile. Na životne nedaće smrtnih industrija HRT gleda s visine zagrobnog nebesnika.
Neki utopijski socijalist mogao bi povjerovati kako ovakvo stanje omogućuje spomenutoj industriji da se, izbjegavši pakao tržišnih iskušenja, posveti proizvodnji nekomercijalnih remek-djela te uopće visokim zadaćama javnog prosvjetiteljstva. Utopijski socijalist bi se, dakako, prevario.
Monopol na tržištu i Petrov novčić pretplate na našu središnju audiovizualnu industriju ostavili su posve druge posljedice: Proizvod je zanemaren, a organizacija proizvodnje jednostavno je poludjela.
Još u razdoblju zrelog socijalizma bistri um tadašnjih upravljača zaključio je kako je nerazborito nepresušne izvore novca tratiti na financiranje programa, kad ih je moguće usmjeriti u otvaranje novih radnih mjesta, stambene kredite, otvaranje međunarodnih dopisništava, službena vozila i slična znamenja samoupravnog socijalističkog ceremonijala. Barbarogenij HDZ-ova upravljačkog kadra, mentalitet koji se od socijalističke pohlepe razlikuje kao prijapizam od erotomanije, uspio je iscrpiti neiscrpivo, te ovu financijski naizgled nepotopivu ustanovu ostaviti u relativnim novčanim teškoćama: Perpetuum mobile se pokvario.
Današnja uprava zatekla je financijski opljačkanu ustanovu i tehnološki višak od otprilike tisuću ljudi raspoređenih na izrazito besmislenim i posve bespotrebnim radnim mjestima.
Učinak ove sretne tisuće na svakodnevno poslovanje kuće može se dvojako opisati. Činjenica da ova družina televizijski proračun stoji sedam milijuna kuna mjesečno svakako smatram tek sekundarnom štetom. Primarni problem uzrokovan terorom (mimikrijom, opstrukcijom) prekobrojnih sastoji se u nastranom birokratizmu i posvemašnoj neracionalnosti proizvodnje.
Slikovito rečeno: budući da svaki od tisuću suvišnika mora dnevno opravdati svoje radno mjesto, svaki od njih, statistički gledano, dnevno proizvodi bar po jedan bespotrebni problem televizijskom projektu koji zaluta na stol njegove suvišne kancelarije. Mjesečno, HRT se suočava s 30.000 suvišnih problema.
Udruženi u sustav, tisuću suvišnika proizvode posve nadljudsku količinu kaosa.
Kako različite kategorije televizijske proizvodnje stoje različito na tradicionalnoj ljestvici prvenstva koju je oduvijek, sve do danas, na televiziji određivala politika, tako ni loše posljedice ovakvog stanja ne trpe svi podjednako.
Dnevnopolitički program, jedini za koji je HRT doista opremljena i organizirana, trpi daleko manje od tjedno-političkih i tjedno-zabavnih emisija. Takozvani sporovozni - dokumentarni i igrani program - proživljavaju pak potpunu agoniju, ostavljeni na dnu kace, mimo svih deklaracija, europskih povelja i društvenih teorija javne televizije koje su - suočene s argumentima advokata globalizacije - upravo u ovoj vrsti programa našle pribježište i ključni pravni argument za opstanak netržišne, javno uzdržavane televizije. (Vidi pod: diversite culturel, itd. itd.)
Sve televizijske industrije, bez obzira na izvor financiranja, posvuda na svijetu ulažu u igrani i dokumentarni program. Nacionalni igrani program je, nakon sporta, prema svim statistikama najgledaniji televizijski proizvod. Dokumentarni program je, pak, najprodavaniji televizijski proizvod. Ulaganje u kvalitetni dokumentarni program stoga je najsamostalnija televizijska investicija. Način proizvodnje igranog i dokumentarnog programa, proces pripreme, tehnologija proizvodnje, ciklus postprodukcije itd, međutim, bitno se razlikuju od dnevne industrijske proizvodnje informativnog programa. Sve racionalne TV-industrije proizvodnju igranog i dokumentarnog programa stoga prepuštaju manufakturama: nezavisnim produkcijskim kućama. U dotiranu državnu kuću tržište tako ulazi iznutra: za ove projekte nadmeću se producenti i audiovizualni profesionalci slobodnim natječajem na lokalnom tržištu. Kapital je namjenski i javan, no standarde kvalitete i cijena usluga i rada ne određuje birokratski normativ, već zdrav racio poslovnog nadmetanja i uspješnosti. Natječajne procedure i način kontrole troškova koji štiti investitora (TV- kuću) od mogućih pronevjera usavršen je u SAD-u, još ranih šezdesetih na tragu kongresnog zakona (tzv. Jack Valenta law) koji zabranjuje broadcasterima da proizvode igrani program. (Od onda do danas sav igrani program za američke TV-kuće proizvode isključivo ovlašteni filmski studiji i producenti.) Ova i srodne mjere koje se primjenjuju u Europi nisu samo jamac zaštite lokalne audiovizualne industrije. Ovaj pristup je bitan za racionalnost poslovanja i administrativnu preglednost takve velekuće kakva je nacionalna TV.
Kad bi usvojila načelo da igrani i dokumentarni program odvoji iz svojeg proizvodnog ciklusa, produkcija HRT našla bi se u situaciji da za industrijsku proizvodnju dnevnog programa pronađe efikasnu organizacijsku matricu, dok bi za preostale kategorije programa preostala mješovita rješenja. Evo, vrlo pojednostavljene, idealne sheme.

1. Unutrašnja produkcija: TV kao producent
Dnevni program:
INFORMATIVNI
SPORTSKI
NAJAVA PROGRAMA
2. Vanjska produkcija: TV kao naručilac
programi "sporovoza"
IGRANI
DOKUMENTARNI
3. Mješovita produkcija:
ZABAVNI
OBRAZOVNI (itd)

Planirajući sezonsku proizvodnju ovih programa, televizija prema raspoloživim tehničkim kapacitetima, financijskom stanju i karakteru pojedinih emisija razvrstava planirane projekte u kategoriju vanjske, odnosno unutrašnje produkcije.

NATRAG U STVARNOST
Osnovna pretpostavka za bilo koji promjenu svakako je grubo suočavanje prekobrojnika s vlastitom prekobrojnošću, a uprave s najneugodnijim od svih kapitalističkih poslova: otpuštanjem namještenika.
Zagonetni i barokno disfunkcionalni organigram HRT-a koji je javnosti svojedobno bio podastro glasnogovornik kuće (da bi potom od nove uprave bio preuzet u paru sa spomenutim organigramom) samo je jedan od brojnih znakova da je moja zdravorazumska shema utopija. Javnošću vlada zarazni dojam kako nitko u današnjoj upravi HRT-a ne pomišlja na ozbiljne reforme.
Teškoća je u tome da bolesti koje opisujem imaju opako progresivnu narav.
U trenutku kad se HRT nađe okružena konkurencijom na lokalnom tržištu, nakon što američke kompanije sa sjedištem u Centralnoj Europi otkupe siromaške frekvencije naših lokalnih TV-začinjavaca, televizijska uprava će puno jednostavnije otpuštenima objasniti razloge njihova odlaska, no financijski uvjeti otpuštanja bit će tad za razliku mizerni.
Napuštanju nacionalne kuće neočekivano će se pridružiti i posve drugačija grupa djelatnika: voditelji i novinari sa statusom lokalnih zvijezda koji će pak, uz posve razumljive motive, potpisati godišnje ugovore s privatnom postajom (postajama) uz garantirani predujam, po svoj prilici neoporezivo isplaćen u inozemstvu, a sve na nezamislivo elegantan način - promatrano sa stajališta čangrizave televizijske birokracije.
Dio najgledanijih američkih serija gotovo neprimjetno će se zaputiti istim smjerom. U tom trenutku, da bi zaustavila vrtoglavi pad marketinškog utrška, nacionalna TV će sva raspoloživa sredstva uložiti u zadržavanje pokojeg komercijalnog aduta, a obrazovni i kulturni programi će pasti u novi krug siromaštva. Igrani i dokumentarni program će tavoriti na rubu utrnuća, a čangrizavi cehovi poput društva redatelja postavit će, recimo, ustavno ili pravno pitanje da li je to što je preostalo od državne televizije uopće više javna TV i da li zadovoljava minimalne pretpostavke da uopće ubire pretplatu. U tom trenutku vlasti će od svega dići ruke i pustiti da stvari teku prirodnim putem u smjeru opće filipinizacije naše male rubne države.
Ovaj scenarij nije tek plod moje zloglasne mašte, već prije biografija rasula MTV-a, madžarske državne TV, rasula koje se vrlo pravilno odvijalo tijekom prošlog desetljeća, na nama bliski posve hrvatsko-ugarski način.

SVRHA OD KRIVICE
Kad ovu fabulu jednom konzumiramo do kraja, bavit ćemo se arheologijom propasti. Nabrajajući sloj po sloj: samoupravni birokratizam, HDZ-ov prijapizam i dobroćudno umjerenjaštvo lijevoliberalne koalicije.
Vjerujte, sudbinska krivica bit će pripisana onom tko je posljednji imao priliku, te joj iz slabosti zalupio vrata.

Bonus Track

HRVOJE HRIBAR

50 godina HRT ili znamo li što slavimo?

Slavi se 50 godina televizije - izgleda mi da smo sasvim zaboravili kako je ona izgledala prije 40, 20 ili 2 godine. Kako da je se sjećamo, kad i ovu današnju jedva vidimo, makar je gledamo? U protivnom, ne znam da li bismo slavili. Televiziju gledamo, ne videći je. To je, izgleda, glavno pravilo igre, prvi zakon tv pretplatništva. Gledati a ne vidjeti.
Televizija je u SFRJ bila najzorniji prikaz stanja stvari. A stvari su bile uglavnom neuravnotežene. Shizofrena smjesa pop-kulture i jednopartijnosti, elitističkog slobodoumlja i komunističkog populizma, militarizma i zapadnjaštva, unitarizma i nacionalnih folklora. TV je bila slika i ton države koja se nije odlučila između zapada i istoka. Ideološkog ili civilizacijskog, podjednako. TV program je preslikavao politički provizorij u kojem su neprekidno sve opcije bile moguće.
Jedino nije bilo moguće održati trajnu privremenost, dokinuće te privremenosti smo iskusili u krvi. Hladno i vatreno oružje bilo je u tom krvoproliću sasvim zasjenjeno bojevom moći najsmrtonosnijeg oružja – televizije.
Jugoslavenske televizije kontrolirala je partija i preko svojih organizacija držala pod okom sve segmente programa, uključivo sport i prognozu. Televizije su bile predmet represije, a zatim su tu represiju reemitirale milionima gledalaca putem svojih odašiljača.
Bez dubinske kolektivne frustracije koju je podržavala tv, nezamisliva je Miloševićeva nacionalistička revolucija. Jednako tako, razvoj, klimaks, dekadansa i kadenca te revolucije nikad se ne bi dogodili bez televizije kao njezina glavnog oružja.
Laganje, vitalna i društveno poštovana vještina balkanskog čovjeka, u televiziji je pronašlo svoj prirodni medij. Televizija je laganju omogućila kvantni skok, omogućivši laži da potpuno uokviri kolektivno viđenje stvarnosti. Televizija ima sposobnost da laž fabricira industrijski, masovnom proizvodnjom uvjetujući masovnu potrošnju.
Kad je ovladao tehnologijom, Miloševiću je uspjelo proizvesti čak i nešto tako teško vjerojatno kao što je bio rat između bivših Jugoslavenskih naroda.
Tehnološki lanac televizijske proizvodnje izgleda ovako: montažer ne mora znati da snimatelj i novinar lažu, urednik koji odobrava montirani prilog ne mora znati da li snimatelj, novinar i montažer lažu, glavni urednik, najavljivačica i realizator ne moraju znati da svi prethodni lažu, i na kraju milijuni gledatelja, ne moraju i skoro pa ne mogu znati da gledaju potpunu svinjariju. Napose, ako postoji kolektivna želja da se ne zna. Industrijska proizvodnja laži zahtijeva tek dovoljan broj ljudi koji će pogledati u stranu. Televizija, glasilo društvene hipokrizije, s lakoćom služi zlu, za to joj ne treba osobito brutalna partijska stega. Dovoljno je razmjestiti nekoliko pravih ljudi na prava mjesta i proizvodnja laži napreduje na tekućoj traci.
Kad se sjetimo miloševićeve zločinačke tv, toliko nam je mučno, da nam se i ono prije i ono poslije, a napose sve ono naše, hrvatsko, čini bezazleno.
Ranija JRT / TVZ doživljava se kao lakomislena tiranija u kojoj je bilo obilje dokolice i veselja. Sadašnja liberalno-komercijalna tv, prihvaćena je kao čisto olakšanje, happy end nakon zapletenog horrora.
Uvjeren sam da je i jedno i drugo tek projekcija, optimizam pamćenja plus strah od stvarnosti.
TV uopće nije dobroćudan izum, uvjerit ću vas, osobito ne u rukama nas, barbara.
U socijalizmu, partija je, rekli smo, kontrolirala sport, prognozu i sve ostale programske jedinice. Danas u našoj zemlji, doista nikakva partija ne kontrolira program. Sportski novinari i meteorolozi imaju punu slobodu govora, zajedno sa svima ostalima koji na tv nešto govore, snimaju ili pjevaju. Jedino, svi nemaju podjednaku slobodu sudjelovanja u programu.
Dug je popis programskih cjelina koje je nekoć kontrolirala partija. Popis programskih cjelina koje danas nitko politički ne nadzire, puno je kraći. Danas naime, puno toga više nitko na tv uopće ne proizvodi.
Liberalno tržište, novi gospodar Balkana, postupa sasvim drugačije od partije.
Rijetko cenzurira, uglavnom - ukida.
Kapitalizam je pobijedio socijalizam, jer je produktivnije društvo. Ne samo kad proizvodi..
Slučaj televizije dokazuje da je kapitalizam superioran i kad se bavi represijom.
Dugo očekivana konkurencija više nacionalnih braoadcastera hrvatskom gledateljskom narodu donijela je vrlo dvojbeni napredak. Prije 5 godine imali smo državnu tv s 3 programa. Zatim se pojavila alternativna kompanija sa svojim dodatnim nacionalnim programom, a onda je državna tv politički prinuđena jedan svoj program prodati stranom kupcu. Tako smo dobili pregrupiranje koje je izazvalo konceptualnu revoluciju, iako narodu nije donijelo niti jedan jedini novi tv program. Zauzvrat mu je oduzelo mnoge sadržaje.
Četiri kanala, u vlasništvu tri kompanije u stalnoj su natjecateljskoj agoniji, nadmećući se za gledanost i oglašivače. Glavna žrtva ovog nadmetanja je raznolikost programa.
Po nekom neočekivanom načelu, tv programi konkuriraju jedan drugom, ne različitim - već sličnim programima, nastojeći istu vrstu proizvoda plasirati u isto vrijeme, ali s boljim uspjehom.
Glavna osobina hrvatskog tv prostora zove se: redundantnost.
U terminu oko HRT-ova dnevnika, vrte se dnevnici NOVE i RTL-a, a sadržaj tih dnevnika su, dakako, trostruko iste vijesti. Nakon tv dnevnika HRT prikazuje američki krimić ili seriju, a NOVA i RTL nastoje odgovoriti svojim američkim krimićima ili serijama. Na RTL-ovu retardiranu domaću sapunicu, HRT tv uzvraća svojom kretenskom… Tri tv-postaje uspostavile su neku vrstu zborskog pjevanja, u kojem nema ni harmonije ni disharmonije, svi jednostavno u isti tren udaraju u istu žicu.
Državna tv pri tom prolazi najbolje, jer svira najskuplji instrument.
Obilna tv pretplata i dvostruka minutaža (dva programa) koju prodaje oglašivačima, daju HRT-u materijalno-taktičku prednost u ratu s privatnim kanalima, s kojima se mlati na terenu istovjetne koncepcije. Koncepcija je presađena iz Amerike i kod nas, obzirom na neprimjerenost tla, izgleda još sablasnije no u matičnoj zemlji.
Naše televizije su dvostruko amerikanizirane: konceptualno, jer su odbacile uglavnom sve što nije navodna populistička zabava, te sadržajno: budući da većinu vremena prikazuju igrani mainstream američke proizvodnje. Stari filmski kritičari i drugi junaci kulturnih debata koji su od 68 na dalje buntovno promicali vrijednosti holivudske filmske naracije, sve pokunjenije hodaju po cesti: san im se ostvaruje kao nacionalna noćna mora.
Vratimo li se 20 godina natrag u povijest naše slavljeničke tv, naći ćemo zapanjujuće mnogo izumrlih vrsta. U svim programskim jedinicama. U sportskom programu postojali su prijenosi sportova koji danas ne mogu pomisliti niti da uđu u sažetke. U kulturnom programu, postojale su tjedne i mjesečne specijalističke emisije o gotovo svim kulturnim područjima, emisije suvremenog plesa, snimke kazališnih predstava, emisije o videu, umjetničkoj animaciji, kratkom umjetničkom filmu, portreti književnika i slikara. Jingle emisija korištena u programskim rupama zvala se „tv izložba“ i pokazivala je domaćeg likovnog umjetnika kako radi u svom atelieru.
Današnji program, prilagođen je gledateljima srednjeg američkog zapada više nego građanima srednjoeuropske zemlje. Prema tv programu, izgleda kao da je u Hrvatskoj s vlasti zbačena - ne diktatura proletarijata - već hunta kulturnih djelatnika, kojoj bivši stradalnici danas zatiru i sliku i spomen. Drugi svrgnuti autoritet je društvena solidarnost: dokumentarni i feljtonski program. Ova društvena kronika je dnevnim ritmom donosila portret neke osobe, problema ili sredine. Danas je taj program gotovo u cijelosti ukinut. Zamijenile su ga zabavno/debatne emisije, talk shows. Danas se poštar na HRT-u može pojaviti pod uvjetom da pjeva Karaoke s Oliverom, ili kao kandidat reality showa, dakle u onoj mjeri u kojoj je spreman izigravati/parodirati tv zvijezdu. Na tv, međutim, nema više mogućnost da naprosto bude poštar.
Uz feljtonsko-dokumentarni odbačen je i obrazovni program. Kao marksistička zabluda, zajedno s učiteljima, profesorima i đacima, svrstan je u nespektakularno, „netelevizično“ nevidljivo podzemlje društvene infrastrukture.
Filmski program reformiran je na način da su neamerički a osobito o europski filmovi izbačeni iz programa, zajedno sa svim filmskim podvrstama i rodovima, uključivo filmskom kritikom i filmski posredujućim diskursom.
Za kraj sam ostavio najzanimljiviju inovaciju: radikalnu redukciju dječjeg programa.
Stara tv financirala je i poticala dječji program kao svoj stožerni društveni doprinos. U velikoj produkciji dječjih igranih i zabavnih emisija poticao se kult djetinjstva, čitava sljedba infantilnih umjetnika stvarala je program u kojem su djeca bili i gledatelji i protagonisti.
Današnja djeca imaju problem dvostruke delegitimacije. Djeca nemaju pravo glasa na izborima, a i kao potrošači su drugorazredni. Djeca nisu kreditno sposobna, ne kupuju pakete životnog osiguranja, ne voze automobile, ne troše hidratantne kreme i uloške, ne piju pivo. Kinderpingvi i ostali prehrambeni oglašivači sitne su ribe na hrvatskom tržištu i stoga su djeca, slijedom tržišne revolucije jednostavno ostala bez svog programa.
Djeci su na tv preostale uglavnom tek američke teenage serije i svekoliki drugi infantilizirani program (za odrasle), pod jedinstvenim diktatom: „Porastite preko noći i postanite potrošači!“
Ako vam se čini pretjeranom moja tvrdnja o televiziji kao prirodnom utočištu zla, pogledajte samo što ona čini djeci. Nakon ženskog, gay i ostalog manjinskog aktivizma, krajnje je vrijeme za pobunu djece! Žestoko diskriminirana, djeca su najgore prošla u tržišnoj revoluciji!

Zamislite ovakvu situaciju: u svibnju tisućudevetstoosamdesete CK SKH održava savjetovanje o zastranjenju u programu RTZ i donese sljedećih 6 točaka.

1. Zapadna Europa trune, prestanimo s prikazivanjem europskih filmova!
2. Dokumentarno-feljtonske emisije iskrivljuju socijalističku stvarnost, ukinuti smjesta!
3. Kulturni program je pozornica kontrarevolucije, neka se obustavi.
4. Sreća radničke klase je u radu, ne u znanju, neka se obrazovna redakcija raspusti.
5. Djeca su neproduktivni dio stanovništva, dječji program ima se reducirati za 80/.
6. Radnička klasa voli nogomet. Partija isto. U sportskom programu - samo nogomet!

Koliko god Titoizam bio tvrd, ovakva deklaracija izazvala bi studentske nemire, bar u nekoj kantini, štrajk ansambla barem jednog kazališta i ostavke nekolicine slavnih pisaca na članstvo u partiji. Dnevne novine u Trstu i Beču donijele bi senzacionalističke naslove o Maoističkom udaru u Titovoj partiji i priču kako je Jugoslavenske komuniste zahvatilo ideološko ludilo. Zapadne ambasade bi tražile konzultacije, a stotine viđenijih građana bi se obnoć spakiralo i krenulo prema Šentilju.
Može li nešto bolje potvrditi efikasnost balkanskog kapitalizma?
Nedavna tržišna revolucija provela je, najtemeljitije i posve stvarno, svih 6 maoističkih točaka imaginarne rezolucije. Nisam primijetio niti jedan jedini glas prosvjeda u hrvatskoj javnosti.
Nakon propasti kompartije naivno se vjerovalo u predstojeće političke procese kao restauratorske, svi su čekali obnovu građanskih vrijednosti. Umjesto toga, slijedio je desetgodišnji time-out u kojem se HTV militarizirala, prvo na projektu protufikcije miloševićevom fikcionalnom war-makingu, a zatim i na sasvim vlastitom huškačkom projektu izmišljanja još nevjerojatnijeg rata, onog bosanskohrvatskog.
Slaveći današnje jubileje, ne znam na koje smo razdoblje ponosniji: da li na partitokratsko, ratotvorno, ili ovo novo, u kojem sva sila demokratskih zakona, proklamacija, povelja i međunarodnih odnosa, nije omela totalitarni nagon ovog drevnog organizma. Laž je prirodno stanje televizije, osobito balkanske.
Pouzdani industrijski proces, bez obzira na vanjske okolnosti, svaku društvenu vrijednost umije pretvoriti u laž i svaku laž u društvenu vrijednost. Posrijedi je 50 godina tradicije!

- 02:56 - Komentari (16) - Isprintaj - #

srijeda, 14.02.2007.

EYES WIDE SHUT: Traumnovelle

Introducing Sociology
A Review of Eyes Wide Shut

by Tim Kreider

"So... do you... do you suppose we should... talk about money?"

-Dr. William ("Bill") Harford

Critical disappointment with Eyes Wide Shut was almost unanimous, and the complaint was always the same: not sexy. The national reviewers sounded like a bunch of middle-school kids who'd snuck in to see it and slunk out three hours later feeling horny, frustrated, and ripped off. Kubrick was old and out of touch with today's jaded sensibilities, they said. The film's sexual mores and taboos, transplanted straight out of Arthur Schnitzler's fin-de-siecle Vienna--jealousy over dreams and fantasies, guilt-ridden visits to prostitutes, a strained discussion of an HIV test that echoes the old social terror of syphilis--seemed quaint and naive by the standards of the sordid year 1999. One last time Stanley Kubrick had flouted genre expectations, and once again, as throughout his career, critics could only see what wasn't there.

The backlash against the film is now generally blamed on its cynical, miscalculated ad campaign. But why anyone who'd seen Kubrick's previous films believed the hype and actually expected it to be what Entertainment Weekly breathlessly anticipated as "the sexiest movie ever," is still not clear. The most erotic scenes he ever filmed were the bomber refueling in Dr. Strangelove and the spaceliner docking in 2001. He mocks any prurient suspense in the very fist shot of this movie; without prelude, Nicole Kidman, her back to the camera, shrugs off her dress and kicks it aside, standing matter-of-factly bare-assed before us for a moment before the screen goes black like a peepshow door sliding shut. (You can almost hear the director's Bronx-accented voice: "You came to see a big-time movie star get naked? Here ya go. All right, show's over. Can we get serious now?) The main title then appears like a rebuke, telling us that we're not really seeing what we're staring at. In other words, Eyes Wide Shut is not going to be about sex.

The real pornography in this film is in its lingering depiction of the shameless, naked wealth of millennial Manhattan, and of its obscene effect on society and the human soul. National reviewers' myopic focus on sex, and the shallow psychologies of the film's central couple, the Harfords, at the expense of every other element of the film-the trappings of stupendous wealth, its references to fin-de-siecle Europe and other imperial periods, its Christmastime setting, even the sum Dr. Harford spends on a single night out-says more about the blindness of the elites to their own surroundings than it does about Kubrick's inadequacies as a pornographer. For those with their eyes open, there are plenty of money shots.

There is a moment in Eyes Wide Shut, as Bill Harford is lying to his wife over a cellphone from a prostitute's apartment, when we see a textbook in the foreground titled Introducing Sociology. The book's title is a dry caption to the action onscreen (like the slogan PEACE IS OUR PROFESSION looming over the battle at Burpelson Air Force Base in Dr. Strangelove), telling us that prostitution is the basic, defining transaction of our society. It is also, more importantly, a key to understanding the film, suggesting that we ought to interpret it sociologically--not as most reviewers insisted on doing, psychologically.

Michiko Kakutani of the New York Times tells us that Kubrick "never paid much attention to the psychology of characters, much less relationships between men and women," and in fact "spent his career ignoring (or avoiding) the inner lives of people, their private dreams and frustrations." [1] Unable to imagine what other subjects there could be, she, like so many critics before her, shrugs him off as obsessed with mere technique. She is, first of all, wrong; Kubrick examines his characters' inner lives through imagery, not dialogue; as he said, "scenes of people talking about themselves are often very dull." [2] (It could be argued that almost all of this film takes place inside Bill Harford's head.) Secondly, and more importantly, she misses the point: Kubrick's films are never only about individuals (sometimes, as in the case of 2001, they hardly contain any); they are always about Man, about civilization and history. Even The Shining is not just about a family, as Bill Blakemore showed in his article "The Family of Man," but about the massacre of the American Indians and the recurrent murderousness of Western civilization. [3]

Reviewers complained that the Harfords were ciphers, uncomplicated and dull; these reactions recall the befuddlement of critics who complained that the computer in 2001 was more human than the astronauts, but could only attribute it (just four years after the unforgettable performances of Dr. Strangelove) to human error. The Harfords may seem as naive and sheltered as the Victorians in, say, Galsworthy's Forsyte Saga, but to wish that the characters had been more complex or self-aware misses the point. To understand a film by this most thoughtful and painstaking of filmmakers, we should assume that this characterization is deliberate--that their shallowness and repression is the point. Think of Bill in the back of the cab, his face a sullen mask as he tortures himself by running the same black-and-white stag film of Alice's imagined infidelity over and over in his head. (Anyone who doubts that it is the character, rather than the actor, who lacks depth and expressiveness should watch Cruise in Magnolia.) Or of Alice giggling in her sleep, clearly relishing her dream about betraying and humiliating her husband, only to wake up in tears, saying that she had "a horrible dream"; her repression is complete and instantaneous. (She's like Jack Torrance in The Shining waking up shouting from "the most terrible nightmare I ever had," about chopping up his family, about twelve hours before he actually tries to do it.) The itensely staged vacuity of the Harford's inner lives should tell us to look elsewhere for the film's real focus.

One place to look is not at them but around them, at the places where they live and the things they own. Most of the film's sets, even the New York street scenes, were constructed on sound stages and backlots, just like the Overlook Hotel, which was as central to The Shining as its actors. Precision of visual detail is as integral to the meaning of Eyes Wide Shut as is the use of gorgeous faces famous from the covers of glossy check-out-aisle magazines to play a conspicuously attractive high-society couple (not unlike his choice of handsome, bland-faced Ryan O'Neill to play eighteenth-century social climber Redmond Barry.) Even the street sets (criticized by the uniquely provincial New York press as "inaccurate") are expressionistic, with newspaper headlines (LUCKY TO BE ALIVE) and neon signs (EROS) foreshadowing and commenting on the action. In Kubrick's work, nothing is incidental.

Stephen Hunter of the Washington Post mentions that the Harfords' apartment "must have cost $7 million," but only to make fun of Kubrick's apparent disconnection from contemporary America. [4] But the meticulously rendered setting of the film, the luxurious apartments and sumptuous mansions, are meant to raise eyebrows. Kubrick and his collaborator, Frederic Raphael, discussed exactly how much money a New York doctor like Bill Harford must earn per year. [5] The Harfords' standard of living raises questions about their money, and where it comes from--from Bill's sparsely scheduled private practice, or the sorts of under-the-table services we see rendered upstairs at the party? Dr. Harford is on call to that class of person who can afford not to wait in emergency rooms or die in hospitals--people like his friend Victor Ziegler, whose name denotes him as one of the world's winners. Bill uncomfortably tries to compliment the prostitute Domino's apartment by calling it "cozy" (and her use of the standard joke "maid's day off" to excuse the leftovers and mess only draws further awkward attention to the class gulf between them), but his own place looks cramped and cluttered compared to Victor's. Ziegler's house is reminiscent of the Overlook Hotel, with its vast ballrooms and grand staircases, its mirrors and gilt, its bedroom-sized bathrooms. And even Ziegler's place seems modest compared to the opulent Moorish palace of Somerton, where the secret orgy takes place (in Schnitzler's novella it is "a one-story villa in a modest Empire style." [6]) To some extent, the fact that no critics recognized this as deliberate is excusable; we've all learned to overlook the fantastic affluence of the sets and wardrobe in most movies and TV shows, just as black audiences had, for decades, to try to ignore the oppressive whiteness of everyone onscreen. But make no mistake: this is not a film about the "private dreams and frustrations" of what Victor condescendingly calls "ordinary people"; it is about really rich people, the kind that Lord Wendover in Barry Lyndon and Mr. Ullman in The Shining call "all the best people." And it shows us that these people are empty and amoral, using their social inferiors as thoughtlessly as if they were possessions, ultimately more concerned with social transgressions like infidelity than with crimes like murder--just as the film's audience is more interested in the sex it was supposed to be all about than the killing that is at its core.

There's no reason to assume we're expected to like Bill and Alice Harford (in fact, Kubrick once told Michael Herr he wanted to make a film about doctors because "everyone hates doctors." [7]) They don't, like typical Hollywood villains, literally slather or speak with foreign accents. The Harfords are what we think of, uncritically, as "nice" people--that is to say, attractive and well-educated, a couple who collect art and listen to Shostakovitch. But evil among our elites is more often a matter of willful ignorance and passivity--of blindness--than of any deliberate cruelty. And Kubrick emphasizes that culture and erudition have nothing to do with goodness or depth of character; in this film they have more to do with the exhibitionistic display of imperial wealth.

The paintings that cover the Harfords' walls from floor to ceiling (painted by Kubrick's wife Christiane) almost all depict flowers or food, making explicit the function of art in their environment as mere décor-art for consumption. Most of them probably come from Alice's defunct gallery, which brokered paintings like any other commodity. (Helena, the Harfords' daughter, helps her mother gift-wrap a massive collection of paintings by Van Gogh--the icon of an artist who died in obscurity but whose reproductions on calendars, ties, and coffee mugs now make quick millions for the canny marketers in the museum industry.) The Harfords aren't the only art--lovers in the film; the apartment of Bill's patient Lou Nathanson is decorated with even more expensive objets d'art (and his bedroom, like the hall outside the Harford's apartment, is wallpapered with imperial French fluers-de-lis); Victor Ziegler has a famous collection, including antique china arrayed in glass cases, a soaring winged statue of Cupid and Psyche in his stairwell, and, reputedly, a gallery of Renaissance bronzes upstairs; and the house in Somerton is hung with tapestries and oil portraits of stern patriarchs, and decorated in appropriated historical styles from Medieval to Moorish to Venetian to Louis XIV. Like the trashed mansion of the renowned playwright and pedophile Clare Quilty in Lolita, these people's houses are tastefully stacked with the plundered treasures of the world.

The film's elegant, antique appointments, its opening waltz, and its cast full of European characters (Sandor Szavost, the models Gayle and Nuala, the Nathansons, Milich, the maitre d' at the Sonata Café) all blur the distinction between Millennial Manhattan and fin-de-siecle Vienna, another corrupt and decadent high culture on the brink of an abyss. In the champagne haze of Victor's party the 1990s and 1890s become one, just as the '70s and the '20s merged in one evening at the Overlook Hotel. But the comparison is not only to the European capitals of the Gilded Age; a broad sweep of references establishes America's continuity with a number of previous imperial periods. Sandor Szavost, Alice's would-be seducer, inquires whether she has read Ovid's Art of Love, a reference fraught with sly implications. Art of Love is a satiric guide to the etiquette of adultery, set among the elite classes of Augustus's Rome, full of advice about bribing servants, buying gifts, and avoiding gold-diggers. (Szavost's drinking from Alice's glass is a move lifted right out of Ovid's pick-up manual.) And the fact that Ovid was an exile from his own center of empire further links him to the expatriate Hungarian. Szavost's extraordinary skill at the Viennese waltz, and his offer to show her Ziegler's collection of sculptures, extend the instances of imperially--sponsored high art from the Latin poetry of Rome to the ballroom dance of the Austro-Hungarian Empire and the plastic arts of the renaissance, bringing them all up to date in New York's glittering, art-encrusted façade.

While Alice resists Szavost's courtly come-ons, her husband is called away to the scene of a less polished assignation, where Kubrick shows us what lies behind that façade: unadorned exploitation and death. Behind the scenes at Ziegler's party, in an upstairs bathroom, Bill Harford finds the same thing Jack Torrance finds in room 237 of the Overlook, and that Private Joker confronts at the end of Full Metal Jacket: a woman's body. Banal dance music echoes from downstairs as we see the call girl Mandy sprawled naked in a narcotic stupor, while Victor hurriedly pulls up his pants, his use of her having been interrupted by an overdose. (Or has it?) After Bill brings her around, Victor impresses upon him that this near-scandal has to be kept "just between us"--but Kubrick, our own contemporary American artist-in-exile, in his own bitter Art of Love, tells all. With every detail and allusion he exposes the base, exploitative impulses behind imperial high culture: the erudite Szavost uses the classics, ballroom dance, and Renaissance sculpture as so many lines and props to seduce another man's wife, while Victor, looking distractedly down at Mandy as she lies naked and twitching, is framed by a painted nude. Asked about Alex's fondness for Ludwig Van in A Clockwork Orange, Kubrick answered, "I think this suggests the failure of culture to have any morally refining effect on society. Many top Nazis were cultured and sophisticated men, but it didn't do them, or anyone else, much good." [8] This point is reprised overtly in Eyes Wide Shut when we hear the title of a Beethoven opera used as the password to an orgy.

As omnipresent as the art in the film's backgrounds are its Christmas decorations. It isn't incidental that the story is set at Christmastime; Schnitzler's book, which the script follows closely in most other particulars, is not (it takes place "just before the end of carnival period"). [9] Stanley Kubrick seems to have gotten seriously into the Yuletide spirit in his last film. Hardly an interior in the film (except the Satanic orgy) is without a baubled Christmas tree. Almost every set is suffused with the dreamlike, hazy glow of colored lights and tinsel. In the film's first scene, the Harfords' daughter Helena wants to stay up to watch The Nutcracker on TV. And its denouement takes place in the toy section of a decidedly upscale department store, where they've taken Helena Christmas shopping. Eyes Wide Shut, though it was released in summer, was the Christmas movie of 1999.

There is a chain of allusions to the Judeo-Christian fall-and-redemption myth throughout the film: Alice's allegorical dream about being "naked," "terrified," and "ashamed," and fucking "in a beautiful garden," the Harford's Edenic apartment crammed with plants and paintings of gardens, the two temptresses at Ziegler's party, twined and undulating like serpents, practically molting out of their glittering skintight gowns, the picture of an apple with a single vaginal slice cut from it on the wall of the prostitute's kitchen, and the self-sacrificial "redemption" ritual at the orgy. This all seems like unexpectedly old-world symbolism coming from a famously atheistic director whose films all take place in a modern, Godless universe. (The most memorable Christian imagery in Kubrick's previous films are Alex's ceramic chorus line of can-canning Christs and his Hollywood-epic daydream about being a centurion who gets to flog Him in A Clockwork Orange. And in that film it's clear that Christianity is just a less effective version of the sadistic, Skinnerian Ludovico treatment.) But these Biblical references only serve to show us how bankrupt the Christian ethic is in America by the end of the second millennium A.D., how completely it's been coopted and undermined by commerce. As Ziegler angrily tells Bill in their final confrontation, "That whole play-acted 'take me' phony sacrifice had absolutely nothing to do with her real death!" No, her death had more to do with the cult of secrecy and power at the heart of wealth--in other words, just business.

In Eyes Wide Shut, much as in the real world circa 1999, Christmas is less a religious observance than an annual orgy of consumerism, the ecstatic climax of the retail year. MERRY CHRISTMAS banners hang in places of business alongside signs reading NO CHECKS ACCEPTED and THANK YOU FOR YOUR CUSTOM. Rows of Christmas cards are on display in Bill's office below a not particularly merry sign saying, "Payment is expected at the time of treatment unless other arrangements have previously been made." These juxtapositions undercut the supposed significance of the holiday and reveal the real nature of the season, its ostensible warmth and sentimentality belied by the bottom line. Even Milich, the Scroogelike owner of Rainbow Costumes, calls holiday greetings to the two men who have just come to "another arrangement" concerning the use of his daughter. The whole movie is brimming over with the spirit of the season. The equation of Christmas with crass desire is made explicit by the song heard in the Gillespie Diner: "I Want a Boy for Christmas." The Nutcracker is the story of a little girl whose toy comes to life and turns into a handsome prince, which the Harfords' daughter Helena wants to stay up to watch. "Christmas shopping" with Helena turns out to mean letting her run around picking out items she wants exclusively for herself.

The Harfords themselves (like most of the film's reviewers) don't really see their surrounding mise-en-scčne--their wealth, their art, the ubiquitous Christmas glitz. They're preoccupied instead with their own petty lusts and jealousies. But again and again Kubrick visually links his characters to their settings, indicting them as part of the rarefied world in which they live and move, through which his relentless Steadicam tracks them like an omniscient presence. At Ziegler's ball, the starburst pattern of lights on the walls is echoed by the lace edging of Alice's gown and by the blue stelliform ribbon on Szavost's lapel. Bill is haunted wherever he goes by the colors blue and gold, the color of the wallpaper outside his apartment. Domino first appears in a black-and-white striped fur coat, a pattern repeated in the zebra skin stool at her dresser and the coat of the plush tiger on her bed. These people are as much commodities as the art and décor-that is, everyone can be bought.

Alice's obvious resentment of her husband, which she only expresses when she's dreaming or drugged, is motivated by her unconscious recognition that she is a kept woman. We know Bill's supporting her, her art gallery having gone broke. She tells Szavost that she's looking for a job, but we don't see her looking; mostly we see her being looked at. Alice's role as a voyeuristic object is defined by her first breathtaking appearance and by her first onscreen line: "How do I look?" (And it rankles her that her husband doesn't see her anymore--he tells her that her hair looks "perfect" without even looking, and asks her the babysitter's name about twenty seconds after she's told him.) Everyone she encounters in the first fifteen minutes of the film compliments her appearance; Bill dutifully tells her she always looks beautiful, the babysitter es, "You look amazing, Mrs. Harford," and she's also flattered by such admirers of beauty as Victor Ziegler and Sandor Szavost. Ziegler tells her she looks "absolutely stunning--and I don't say that to all the women." "Oh, yes he does," retorts his wife--a joke that resonates unfunnily when we find out who "all the women" associated with Ziegler are.

Being beautiful is Alice's job, as much as it is the former beauty queen and call girl Mandy's or the hooker Domino's. During the quotidian-life-of-the-Harfords montage, in which her husband examines patients at the office, we only see Alice tending to her toilette: brushing her daughter's hair, regally hooking on a brassiere, applying deodorant in front of the bathroom mirror. Hers is the daytime regimen of a courtesan (or an actress), devoted to the rigorous maintenance of her looks. She's associated, more than any other character, with mirrors; we see her giving herself a critical once-over before leaving the party, and look of frank self-assessment in the medicine cabinet when she decides to get stoned. Her expression in the mirror as she watches her husband making love to her (the film's iconic image) begins as bemusement, giving way to fondness and arousal, but in the last seconds before the fade-out it becomes something more ambiguous, distracted and self-conscious; this is her moment of clearest self-recognition, an uncomfortable glimpse of what she really is.

Alice's real status is unmistakably suggested: the wife as prostitute. She's identified with the hooker Mandy through a series of parallels: they're both tall redheads with a taste for numbing drugs, we first see them both in bathrooms, and Mandy's last night "being fucked by hundreds of men" is distortedly echoed in Alice's dream. Alice is also associated with the streetwalker Domino by the purple of her sheets and Domino's dress, and by their conspicuous dressing-table mirrors (the essential accoutrement of anyone who lives by her looks). Mandy and Domino are connected, as in dream-associations, by the identical consonants of their names, just as Alice is connected with Domino's roommate Sally (their names being aural anagrams). When Domino disappears, she's replaced by Sally the next day, just as in dream-logic one person may turn into another yet remain the same. In a sense, there is only one woman in the film. Lee Siegel sees the various prostitutes that Bill meets as different incarnations of his wife, the woman he's really seeking all along. [10] But the similarities between them are more revealing (if less romantic) when read the other way--as insinuating that Alice is just another, higher-class whore. When we last see her in the film, in that toy store, she's surrounded by shelves full of stuffed tigers like the one on Domino's bed. (Kubrick also used tiger and leopard-print patterns in Lolita as a code to connote Charlotte Haze's predatory sexuality.) Even in this scene, as she delivers the film's ostensible moral, Alice is visually linked to a doomed hooker.

She's also grooming her daughter Helena (named after the most beautiful woman in history) to become a high-ticket item like herself. During the montage of their day at home, we see Helena alongside her mother in almost every shot, holding the brush while her mother gathers her hair into a ponytail, brushing her teeth at the mirror, learning to groom herself. When we overhear her doing word problems with her mother, she's learning how to calculate which boy has more money than the other. We hear her reading a bedtime story aloud, reciting the line, "...before me when I jump into my bed." In this film, a line about "jumping into bed" can't be innocent. Her mother silently mouths it along with her, echoing and coaching her. At Bill's office, we see a photo of Helena in a purple dress, like the one worn by the girl her father paid for sex the night before.

Like his wife, Bill Harford is defined by his first line: "Honey, have you seen my wallet?" She is a possession; he is a buyer. ("Doctor Bill," as both his wife and Domino call him, is a pun, like Jack D. Ripper or Private Joker.) He flashes his credentials and hands out fifty- and hundred-dollar bills to charm, bribe, or intimidate cabbies, clerks, receptionists, and hookers--all members of the vast, compliant service economy on whom the enormous disparities of wealth in America are founded. Including (unconsummated) prostitution, costume rental, assorted bribes, and cab fare, his tab for a single illicit night out totals over seven hundred dollars. He does not seem fazed by the expenditure. His asking Domino "Should we talk about money?" his repeated insistence on paying her for services not quite rendered, his extended haggling with Milich and the cab driver--all these conversations about cash are too frequent, drawn-out, and conspicuous to be included in the interest of verisimilitude. They do not occur in the novel. Doctor Bill is nothing if not a conspicuous consumer; he even tears a hundred-dollar-bill in half with a smirk.

Bill's nocturnal journey into illicit sexuality is, more importantly, a journey into invisible strata of wealth and power. Money is the subtext of sex from the very first temptation of Bill; the two models who flirtatiously draw him away from his wife at Ziegler's ball invite him enigmatically to follow them "Where the rainbow ends." At that moment he's called away, saying to them, "To be continued...?" After he's gone, the two models exchange a cryptic, conspiratorial look. The exchange foreshadows Bill's finding himself at Rainbow Costume rentals--"to be continued," indeed. We never find out exactly what the models meant, but everyone knows what lies at the end of the rainbow.

The colorful arc of Bill's adventure does lead to the pot of gold, Somerton, the innermost sanctum of the ultrawealthy where the secret orgy is held. The orgy scenes in particular were singled out by reviewers for disappointment and derision. Listen to the groans of critical blueballs: David Denby called it "the most pompous orgy in the history of film." [11] "More ludicrous than provocative," said Michiko Kakutani, "more voyeuristic than scary." [12] "Whose idea of an orgy is this," demanded Stephen Hunter, "the Catholic Church's?" [13] Again they misunderstood Kubrick's artistic intentions, which are clearly not sensual. When Bill passes through the ornate portal past a beckoning golden-masked doorman, we should understand that we are entering the realm of myth and nightmare. This sequence is the clearest condemnation, in allegorical dream imagery, of elite society as corrupt, exploitative, and depraved--what they used to call, in a simpler time, evil. The pre-orgiastic rites are overtly Satanic, a Black Mass complete with a high priest gowned in crimson, droning organ and backward-masked Latin liturgy. What we see enacted is a ceremony in which faceless, interchangeable female bodies are doled out, fucked, and exchanged among black-cloaked figures, culminating in the ritual mass rape and sacrificial murder of a woman.

The haunted ambiance here recalls that of the film's other big exclusive party, Zieglers; the opulent surroundings, the mannered, leaden dialogue, the camera afloat like the disembodied point of view in a dream. A ballroom full of naked, masked couples dancing to "Strangers in the Night" recalls not only Ziegler's party but the Overlook Hotel, whose ghosts also danced and coupled in costume. (Remember the quick, surreal zoom shot in The Shining of someone in a bestial costume fellating tuxedoed millionaire Horace Derwent in an upstairs room?) The two occasions, the party and the orgy, are conclusively linked in the back room of Rainbow Fashions, a sort of antechamber to Somerton, where we see a row of masked and costumed mannequins posed in front of the same cascade of glittering white lights that hung from the walls at Ziegler's.

The orgy makes the metaphor of sexual objectification visually literal. The prostitutes wear masks that render them anonymous and identical. Their nude bodies are unnaturally perfect, smooth and immaculate as mannequins, lit under a chilling white spotlight and photographed with that Kubrickian detachment that somehow desaturates them of any real eroticism. The ritualistic kisses exchanged are spooky and sterile, the sculpted white lips of one mask touching another's. The sex consists of static tableaux of spectators posed around mechanically rutting participants. A masked and tuxedoed valet on all fours serves as a platform for a fucking couple, a piece of human furniture like the tables at the Korova Milk Bar in A Clockwork Orange. One might remember, with a shudder, the Lugosian-toned Szavost inviting Alice to have casual sex upstairs, among the sculptures.

The masks worn by the revelers (Venetian--an allusion to another mercantile empire) serve a similar symbolic purpose: the transformation of the wearer into a soulless object. They certainly aren't expressive of ecstatic self-annihilation, as some critics suggested; they're creepy as hell. We see a bird with a scythe-like beak, a cubist face fractured in half, contorted grimaces and leers, a frozen howl, painted tears, blindly gazing eyes. These revelers have "lost themselves" not in erotic abandon but in the same way that the recruits in Full Metal Jacket lose their Selves, along with their hair and their names. The utterly still, silent shots of staring masks at Bill's "trial" are images of empty-eyed dehumanization, faces of death. Note that when Ziegler first sees Bill enter the ceremonial hall, even though they are both masked, he gives him a knowing nod. He recognizes him. Here the guests at Ziegler's party are unmasked for what they really are.

Masks and mannequins are a recurring motif in Kubrick's work: think of the fight with mannequin's limbs in Killer's Kiss, the anthropomorphic furniture at the Korova, the grotesque masks worn in The Killing and A Clockwork Orange. In Eyes Wide Shut we see them not only at the orgy but throughout the film, always as harbingers of death. A stone Greek mask keeps vigil by Lou Nathanson's deathbed. African masks gaze down, like the masked spectators silently watching the sex acts at Somerton, at the bed where Bill has his interrupted trick with the HIV+ hooker Domino. A "domino" is itself a kind of mask.

They also serve as metaphors for women being treated like possessions. Costumed mannequins surround Bill and Milich in the back room at Rainbow Costumes. "Like life, eh?" says Milich, just before he catches his daughter consorting with two men in wigs and livid makeup. Milich's daughter, for all the coquettish depravity at play in her face, looks somehow as eerily inanimate as the Grady twins in The Shining--her skin is smooth and white as the mannequins in the back room, her painted lips and glittering eyes flawless as a china doll's. In a carefully composed shot in the scene when Bill returns his costume, we see Milich and his daughter paired on the right side of the frame opposite Bill and one of the mannequins (seen through the door to the back room) paired on the left. "If Doctor Harford should ever need anything else," says Milich, hugging his daughter close beside the cash register, "Anything at all... it needn't be a costume." The line only reinforces the visual equation of the girl with the store's more legitimate merchandise. And the three times we see Mandy her face is always a mask: in Ziegler's bedroom, her eyes are lit to look like empty black holes in her face; at the orgy she is literally masked; and on the slab at the morgue her face is slack and white, here eyes wide open but sightless.

Although Bill doesn't actually fuck or kill anyone himself, he is implicated in the exploitation and deaths of all of the women he encounters. (Like the sign over the Sonata Café says... "The customer is always wrong.") He didn't give Domino HIV, but she contracted it servicing someone like him. Milich alternates with hilarious aplomb between berating the men he's caught with his daughter--"Will you please to be quiet! Can't you see I am trying to serve a customer?"--and unctuous apologies to Harford, conflating the two exchanges. (After all, Bill isn't just paying for a costume but for the illicit opportunity it affords.) And does it really make a difference whether Mandy was ceremonially executed by some evil cabal or only allowed to O.D. after being gang-banged again? Given Kubrick's penchant for blackly humorous literalism (think of "Gentlemen, you can't fight in here--this is the War Room!" or "I said, I'm not gonna hurt you--I'm just going to bash your brains in"), when Ziegler explains that Mandy wasn't murdered, "she got her brains fucked out," the contradiction should be obvious.

Bill learns about Mandy's overdose in a café whose walls are covered with antique portraits of women, while Mozart's Requiem plays. The setting and the music make the moment timeless, universal. Kubrick's last three films form a sort of thematic trilogy about our culture's hatred of the female. In The Shining, Jack Torrance despises his wife and child and tries to murder them, just as the previous "caretaker" murdered his wife and daughters. (We also hear, on a TV news bulletin, about a woman who's "disappeared while on a hunting trip with her husband.") In Full Metal Jacket, the institutionalized misogyny of the Marine Corps is pervasive, and the absence of women (we see only two hookers and a sniper) is so conspicuous it becomes a haunting presence. The film's climax is the execution of a fifteen-year-old girl. The requiem in the Sonata Café isn't just for Mandy but for all the anonymous, expendable women used and disposed of by men of Harford's class throughout the ages.

For all his flaunting of his money and professional rank, Bill Harford is ultimately put back in his place as a member of the serving class. Recall how he's summoned away from Ziegler's party in the same polite but perfunctory manner as his friend Nick, the pianist; like him, Bill is just hired help, the party doctor, called upon to repair (if possible) and cover up (if necessary) human messes like Mandy. When he goes to his patient Lou Nathanson's apartment, he's met by their housemaid, Rosa, who's also dressed in black with a white collar, in a perfectly symmetrical entry hall where every object is in a matched pair. The shot makes the doctor and the maid doubles; they're equals here. When Bill tries to infiltrate the orgy, he's given away by telltale class markers--he shows up in a taxi rather than a limo, and has a costume rental slip in his pocket. His real status at Somerton, as an outsider and intruder, is spelled out for him the next day when he returns to the estate, only to be dismissed with a terse typed note handed him through the bars of the front gate by a tight-lipped servant. (This isn't the only time we see Bill through bars--he has to bribe his way past the grated door at Milich's.) When Ziegler finally calls him onto the carpet for his transgressions, he chuckles at Bill's refusal of a case of 25-year-old Scotch (Bill drinks Bud from the can), not just because this extravagance would be a trifle to him, but because Bill's pretense of integrity is an empty gesture--he's already been bought. Bill may be able to buy, bribe, and command his own social inferiors, and he may own Alice, but he's Ziegler's man.

Although Ziegler has a credible explanation for everything that's happened--Harford's harassment, Nick Nightingale's beating, Mandy's death--we don't ever really know whether he's telling the truth or lying to cover up Mandy's murder. The script carefully withholds any conclusive evidence that would let us feel comfortably certain either way. But Ziegler does have suspiciously privileged access to details of the case: "The door was locked from the inside, the police are happy, end of story! [dismissive lip fart.]" He also claims to be dropping his façade and coming clean a few too many times to be believed: "I have to be completely frank," "Bill, please--no games," and finally, "All right, Bill, let's... let's... let's cut the bullshit, all right?" And notice how he introduces his explanation: "Suppose I were to tell you..." [emphasis mine]. He's not being "frank"; he's offering Bill an escape, a plausible, face-saving explanation for the girl's death to assuage his unexpectedly agitated conscience. (And it's one of the few things that Bill has a hard time buying--watch the way his hand adheres to his cheek and slowly slides off his face as he rises to his feet and walks dazedly across the room, trying to absorb the incredible coincidence Ziegler's asking him to swallow.) Ziegler's "no games" plea notwithstanding, this entire conversation is a game--a gentlemanly back-and-forth of challenges and evasions over a question of life and death, throughout which the two opponents circle each other uneasily around a blood-red billiards table.

When Bill persists in his inquiries, Ziegler loses his temper and resorts to intimidation and threats. He reminds him of their respective ranks as master and man: "You've been way out of your depth for the last twenty-four hours," he growls. Of his fellow revelers at Somerton, he says, "Who do you think those people were? Those were not ordinary people there. If I told you their names--I'm not going to tell you their names, but if I did, you might not sleep so well." In other words, they're "all the best people," the sorts of supremely wealthy and powerful men who can buy and sell "ordinary" men like Bill and Nick Nightingale, and fuck or kill women like Mandy and Domino. The "you might not sleep so well" is also a veiled warning, and it isn't Ziegler's last. His final word of advice--"Life goes on. It always does... until it doesn't. But you know that, don't you, Bill?"--proffered with an avuncular, unpleasantly proprietary rub of the shoulders, sounds like a reassurance but masks a threat. (We immediately cut from this to a less friendly warning, the mask placed on Bill's pillow.) Bill's expression, in the foreground, is by now so tight and working with suppressed and conflicting feelings that it's hard to read, but one of those feelings is clearly fear for his life--he looks as though he might burst into tears or hysterical laughter, and when Victor claps those patronizing hands on his shoulders, he flinches. In the end, he chooses to accept Victor's explanation not because there's any evidence to confirm it, but because it's a convenient excuse to back down from the dangers of further investigation. He finally understands that he, too, no less than a hooker or a hired piano player, is expendable.

So the questions remain: did Mandy just O.D., or was she murdered? Was Bill's jeweled mask left on his pillow by Alice as an accusation, or by Ziegler's friends as a third and last warning, a death threat like the horse's head in the bed in The Godfather? These are crucial questions, ones that Kubrick deliberately leaves unanswered. And yet most reviewers didn't even seem to notice that they were questions, instead automatically projecting their own interpretations onto the story--most assuming that Ziegler was providing redundant exposition, that Mandy's death was the coincidence Ziegler claimed it to be, and that Alice put the mask there herself. (Dream Story does not even include the character of Ziegler, or any final confrontation with a member of the secret society, and it also makes it clear that it was the protagonist's wife who placed the mask on the bed.) But Kubrick bends over so far backward to preserve these ambiguities that they become glaring, demanding of us that we, like Bill, consciously decide what we're going to believe. Bill's reaction when he sees the mask in his bed could be interpreted either as shame and relief at having his lies exposed, or as the terrified realization that his wife and daughter could have been murdered in their sleep. When Alice wakes up to Bill's sobbing, her expression doesn't betray whether she's startled to see the mask beside her or already knows it's there. When we cut to her the next morning, her eyes swollen and red-rimmed with weeping, we don't know whether she's crying because her husband almost cheated on her or because he's endangered their family. And the final dialogue between Bill and Alice is so vague and allusive ("What should we do?" "Maybe we should be grateful,") that it could as easily refer to Mandy's murder and the implied threat to their lives as to Bill's indiscretions. If we choose to believe the former, then the Harfords aren't just reconciling over their imagined and attempted infidelities; they're agreeing to cover up a crime, to be accomplices after the fact to a homicide.

This is the film's final test--a projection test, like the ambiguous cartoons with blank word balloons shown to Alex at the end of A Clockwork Orange to determine whether his conditioning has been broken. His lascivious and violent interpretations of the images proves that it has. But has ours? The open-ended narrative forces us to ask ourselves what we're really seeing; is Eyes Wide Shut a movie about marriage, sex, and jealousy, or about money, whores, and murder? Before you make up your own mind, consider this: has there ever been a Stanley Kubrick film in which someone didn't get killed?

In the film's upbeat but dissonant denouement, the Harfords have taken their daughter Helena Christmas shopping, but they respond to her wishes only politely, distracted by their own inner children. Like many reviewers, they're still wrapped up in psychology and sex, missing the sociological implications of what's onscreen. But, as in so much of Kubrick's work, the dialogue is misdirection; the real story is being told visually. As poor Helena flits anxiously from one display to the next (already an avid little consumer) every item she fondles associates her with the women who have been exploited and destroyed by her father's circle. Helena's Christmas list includes a blue baby carriage (like the blue stroller seen twice outside Domino's apartment), an oversized teddy bear (next to a rack of tigers like the one on Domino's bed) and a Barbie doll (reminiscent of Milich's daughter) dressed in a diaphanous angel costume just like the one Helena herself wore in the film's first scene. She herself has already become a doll, a thing to be dressed up with cute costumes and accessories. Another toy, conspicuously displayed under a red ring of lights, is called "The Magic Circle"; the name is an allusion to the ring of ritual prostitutes at the orgy, and the bright red color of the box recalls the carpet on which they genuflected to the high priest, as well as the felt of the pool table over which Bill made his own bargain with the devil. The subplot with Milich and his daughter is clearly echoed here, in another place of business, as the Harfords also casually pimp their own little angel out to the world of commerce.

ALICE: And, you know, there is something very important we have to do as soon as possible.

BILL: What's that?

ALICE: Fuck.

As Eyes Wide Shut closes, this final exchange between Bill and Alice suggests that all the dark adventures they've confessed ("whether they were real or only dreams"), and all the crimes in which they are complicit, have occasioned nothing more than another kinky turn-on, no more enlightening than the flirtations at the ball that inflamed their lovemaking when they got home. For all their incoherent talk about being "awake" now, their eyes are still wide shut. Reconciled, they plan to forget all this unpleasantness soon in the blissful oblivion of orgasm. (Try keeping your eyes open during orgasm.) Maybe, in the end, it is a film about sexual obsession after all; about sex as an all-consuming distraction from the ugly realities of wealth and power all around us. Maybe the customer is always wrong.

Certainly a subtler psychological reading of the film than has yet been attempted would be possible. But to focus exclusively on the Harford's unexamined inner lives is to remain willfully blind to the profoundly visual filmic world that Stanley Kubrick devoted a career's labors to creating. The slice of that world he tried to show us in his last--and, he believed, his best--work, the capital of the global American empire at the end of the American Century, is one in which the wealthy, powerful, and privileged use the rest of us like throwaway products, covering up their crimes with pretty pictures, shiny surfaces, and murder, ultimately dooming their own children to lives of servitude and whoredom. The feel-good ending intimates, in Kubrick's very last word on this (or any) subject, that the Harfords' daughter is, just as they've resigned themselves to being, fucked.

Acknowledgements: The seven hundred hours I spent in conversation with Rob Content about this film were invaluable in developing my argument. Bart Taylor of Giotto Perspectives pointed out some of the Christian imagery in the film to me. I am also indebted to Boyd White, guitarist and singer for The Sores, and to Ann Martin, editor of Film Quarterly, for their editorial acumen. Thanks to the University of California Press for permission to re-print this article.

Biographical Information: Tim Kreider is a cartoonist. His work can be seen at WWW.THEPAINCOMICS.COM and in the Baltimore City Paper.

Stanley Kubrick
1928-1999

Notes:

[1] Kakutani, Michiko. "A Connoisseur of Cool Tries to Raise the Temperature." The New York Times, 18 July 1999. p. 22. &Nbsp; back

[2] Ciment, Michel. "Second Interview" in Kubrick. Translated from the French by Gilbert Adair. New York: Holt, Reinhart, and Winston, 1980, p. 171. &Nbsp; back

[3] Blakemore, Bill. "The Family of Man." San Francisco Chronicle Syndicate, 29 July 1987. back

[4] Hunter, Stephen. "The Lust Picture Show: Stanley Kubrick Stumbled with his Eyes Wide Shut." The Washington Post, 16 July 1999, p. C5. &Nbsp; back

[5] Raphael, Frederic. Eyes Wide Shut: A Memoir of Stanley Kubrick. &Nbsp; back

[6] Schnitzler, Arthur. Dream Story. Translated from the German by Otto P. Schinnerer. Los Angeles: Sun & Moon Press, 1995, p. 128. &Nbsp; back

[7] Herr, Michael. Kubrick. New York: Grove Press, 2000, p. 13 &Nbsp; back

[8] Ciment, Michel. "First Interview" in Kubrick, p. 163. &Nbsp; back

[9] Schnitzler, Dream Story, p. 4. &Nbsp; back

[10] Siegel, Lee. "Eyes Wide Shut: What the Critics Failed to See in Kubrick's Last Film." Harper's Magazine, October 1999, vol. 299, #1793, p. 76 - 83. &Nbsp; back

[11] Denby, David. "Last Waltz." The New Yorker, 26 July 1999, p. 84. &Nbsp; back

[12] The ever-perceptive Ms. Kakutani, p. 22. &Nbsp; back

[13] That dimwit Hunter, p. C5. &Nbsp; back

Bonus track

Eyes Wide Shut and the Lacanian Real

by Slavoj Zizek

Excerpt taken from The Fright of Real Tears: Krzysztof Kieslowski Between Theory and Post Theory, by Slavoj Zizek, London: BFI Publishing, 2001, pp. 173 - 175. All Rights Reserved

In the summer of 2000, a disturbing advertising poster was displayed in all large German towns: it depicted a girl in her late teens in a sitting position, holding a TV remote control in her right hand, staring at the spectators with a resigned and, at the same time, provocative gaze; her skirt did not fully cover her slightly spread thighs, so that one could clearly perceive the dark patch between them. This large photo was accompanied by the words ‘Kauf mich!’ (‘Buy me!’). So what was this poster advertising? On closer inspection, it was clear that it had nothing whatsoever to do with sexuality: it endeavored to solicit young people to play the stock market and buy shares. The double entendre on which its effect relied was that the first impression, according to which we, the spectators, were interpellated to buy the young girl herself (ostensibly for sexual favors), was supplanted by the ‘true’ message: she is the one who is doing the buying, not the one who is for sale. Of course, the efficiency of the poster relied on the initial sexual ‘misunderstanding’ which, although it was subsequently supplanted, continued to reverberate even when one discerned the ‘true’ meaning. This is sexuality in psychoanalysis: not the ultimate point of reference, but the detour of an initial misunderstanding which continues to reverberate even after we reach the ‘true’, asexual meaning.

One of the anti-antifeminist prejudices against Lacan concerns his alleged claim that, since desire and Law are two facets of one and same thing, so that the symbolic Law, far from preventing desire, is constitutive of it, only a man – being entirely integrated into the symbolic Law – can fully desire, while a woman is condemned to the hysterical ‘desire to desire’. Such a reading misses Lacan’s point: desire, at its most radical, is a reflexive ‘desire to desire’. However, what one is tempted to do is to supplement this thesis with its quasi-symmetrical opposite concerning fantasy: only a woman can fully fantasise, while a man is condemned to the ultimately futile ‘fantasising about fantasy’. Recall Stanley Kubrick’s Eyes Wide Shut (1999): it is only Nicole Kidman’s fantasy that truly is a fantasy, while Tom Cruise’s fantasy is a reflexive fake, a desperate attempt to artificially recreate/reach the fantasy, a fantasising triggered by the traumatic encounter of the Other’s fantasy, a desperate attempt to answer the enigma of the Other’s fantasy: what was the fantasized scene/encounter that so deeply marked her? What Cruise does on his adventurous night is to go on a kind of window-shopping trip for fantasies: each situation in which he finds himself can be read as a realized fantasy – firstly the fantasy of being the object of the passionate love interest of his patient’s daughter; then the fantasy of encountering a kind prostitute who doesn’t even want money from him; then the encounter with the weird Serb (?) owner of the mask rental store who is also a pimp for his juvenile daughter; finally, the big orgy in the suburban villa. This accounts for the strangely subdued, statuesque, ‘impotent’ even, character of the scene of the orgy in which his adventure finds its culmination. What many a critic dismissed as the film’s ridiculously aseptic and out-of-date depiction of the orgy works to its advantage, pointing towards the paralysis of the hero’s ‘capacity to fantasise’. This also accounts for the efficiency of the shot of Nicole Kidman sleeping, with the mask at her side, on her husband’s pillow: in this version of ‘death and the maiden’, she effectively ‘steals his dreams’, being coupled with his mask, which stands for his fantasmatic spectral double. And, finally, this also fully vindicates the apparently vulgar conclusion of the film, when, after he confesses his nightly adventure to her, i.e. after they are both confronted with the excess of their fantasising, Kidman – upon ascertaining that now they are fully awakened, back into the day, and that, if not forever, at least for a long time, they will stay there, keeping the fantasy at bay – tells him that they must do something as soon as possible. ‘What?’ he asks, and her answer is: ‘Fuck.’ End of film, final credits.

The nature of the passage a l’acte as the false exit, as the way to avoid confronting the horror of the fantasmatic netherworld, was never so abruptly stated in a film: far from providing them with a real-life bodily satisfaction that would render superfluous all empty fantasising, the passage to the act is rather presented as a stopgap, as a desperate preventive measure aimed at keeping at bay the spectral netherworld of fantasies. It is as if her message is: let’s fuck as soon as possible in order to stifle the thriving fantasies, before they overwhelm us again. Lacan’s quip about awakening into reality as an escape from the Real encountered in the dream holds more than anywhere apropos of the sexual act itself: we do not dream about fucking when we are not able to do it – rather, we fuck in order to escape and stifle the excess of the dream that would otherwise overwhelm us.

Trivia for
Eyes Wide Shut (1999)

• Harvey Keitel and Jennifer Jason Leigh originally played Victor Ziegler and Marion Nathanson. After Keitel and Leigh had shot some scenes, Keitel, left the production due to his obligations to another project. His scenes needed to be re-shot, but Leigh was not available to reshoot them (due to a scheduling conflict with eXistenZ (1999)). Consequently, Sydney Pollack and Marie Richardson were brought in to play the respective roles.
• Melissa Joan Hart auditioned for a role in this movie.
• According to writer Frederic Raphael, the final form of Bill's family name (Harford, as opposed to Scheuer in the original story) was inspired by a debate about Bill's character. Raphael felt Bill should be Jewish as in the original, but Stanley Kubrick insisted Bill and Alice be "vanilla" Americans, without any details that would arouse any presumptions. Kubrick said that Bill should be a bit like Harrison Ford - hence the name Harford.
• In order for the film to be given an R rating in America, some scenes contain computer-generated people in the foreground obscuring some of the more explicit sexual action.
• When Bill Harford returns to Soho, a sign painted on the side of a building prominently features the name BOWMAN. David Bowman is a character in director Kubrick's 2001: A Space Odyssey (1968).
• One of the patients who Tom Cruise cancels is called Kaminsky, the name of one of the hibernating crew that HAL kills in 2001: A Space Odyssey (1968).
• The mask that Bill Harford wears with his costume is modeled from the face of Ryan O'Neal, a reference to Barry Lyndon (1975).
• The password "fidelio" (from the Latin root "fidelis" meaning "faithful") refers to Ludwig van Beethoven's only opera, "Fidelio". In the opera, Fidelio is a woman who disguises herself as a man to save her lover.
• In the film, Todd Field plays a character who dropped out of medical school ten years earlier. Ten years before this film was released, Field played a character who dropped out of medical school in Gross Anatomy (1989).
• This film contains in-joke references to almost all of Stanley Kubrick's films, including his first feature Fear and Desire (1953). At one point we see a scene from Blume in Love (1973) on a TV set. "Blume" was directed by Paul Mazursky, who made his acting debut in Fear and Desire (1953).
• A real estate agent's sign that appears briefly in shot at the end of a street carries the name Vitali. The newspaper article that Bill reads announcing the death of Mandy mentions that she was a model and that she had been involved with a designer named Leon Vitali. Leon Vitali is one of Kubrick's longest-serving colleagues and also plays Red Cloak.
• Stanley Kubrick died just four days after presenting Warner Bros. with what was reported to be a final cut of the film, after a legendary long shoot.
• A VHS copy of the movie Rain Man (1988) is seen in Alice and Bill's bedroom on top of their entertainment stand during their marijuana-enhanced argument.
• Numerous recurring shots of Christmas trees with colored lights (in almost every room/apartment) and wedding rings.
• The tremendous hype around the release of this film resulted in several rumors about the plot. The most widely circulated was the mistaken rumor that in the film, Tom Cruise and Nicole Kidman played married psychiatrists having affairs with their patients.
• The headline of the New York Post that Bill Harford buys when the bald man is stalking him reads: LUCKY TO BE ALIVE.
• When Bill enters his apartment for the last time (right before he discovers the mask on his pillow) we can see a stack of Stanley Kubrick videos from on the long table under the painting. The one on the top is Full Metal Jacket (1987).
• The letters and the newspaper read by Tom Cruise are written in Italian for the Italian version of this movie. Apparently, Stanley Kubrick shot those scenes with papers written in different languages, as he did for The Shining (1980).
• Stanley Kubrick had three assistants for "Eyes Wide Shut". Their credits are "Assistant to the Director" (Leon Vitali), "Assistant to Stanley Kubrick" (Anthony Frewin) and "Assistant to Mr. Kubrick" (Emilio D'Alessandro).
• Reportedly, the DVD version sold in Europe is completely uncensored: gone are the computer-generated people in the foreground obscuring some of the more explicit sexual action.
• Sky Dumont dubbed his part himself in the German release.
• Rade Serbedzija dubbed himself in the Italian release.
• Director Trademark: [Stanley Kubrick] [114] The room in the morgue visited by Bill is in wing C, room 114 (C-Rm114, or CRM-114). CRM-114 was the name of the decoding machine in Kubrick's film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), as well as the number printed on the medicine that Alex is given in A Clockwork Orange (1971).
• Cameo: [Emilio D'Alessandro] Kubrick's assistant appears as the book vendor.
• Stanley Kubrick's daughter Katharina Kubrick and his grandson Alex Hobbs appear as the mother and the kid patient who had his face examined by Bill.
• The music during the ceremony at the masked ball is a fragment of an Orthodox mass played backwards; the priest is singing in Romanian.
• The film was "pushed" two stops in processing, thus enabling Stanley Kubrick to film using existing source lighting (table lamps, overhead lights, etc.) whenever possible. The light level remained low even when lighting had to be supplemented with Lowell or Chinese paper ball lamps as fill or key lights.
• Entered into The Guinness Book of World Records as "The Longest Constant Movie Shoot".
• Though often referred to as Stanley Kubrick's "unfinished masterpiece", the final edit of the film was actually presented to Warner Bros. (by Kubrick) a full four days before his death.
• Filming on this movie lasted 400 days.
• The 13 and-a-half minute billiard room scene between Tom Cruise and Sydney Pollack took about three weeks of filming. The greeting scene at the party early in the picture took only two hours.
• Early on in production, Stanley Kubrick, a huge Woody Allen fan, considered casting him in the Victor Ziegler role eventually given to Sydney Pollack. He also considered casting Steve Martin in the role of Dr. William Harford, eventually given to Tom Cruise.
• Stanley Kubrick's first film to open at #1 at the US box office.
• When Stanley Kubrick was first developing ideas for the film in the early 1980's his first choice for the male lead was Steve Martin. Kubrick had greatly enjoyed The Jerk (1979).
• CAMEO(Lisa Leone: the set decorator and second unit production manager is playing Lisa.
• Cameo: [Brian W. Cook] served as co-producer and first assistant director and played the tall butler.
• Due to Stanley Kubrick's fear of travel virtually the entire film was shot in and near London (despite the movie's New York setting). Elaborate street sets built at Pinewood Studios were used for all the scenes showing Tom Cruise walking around the city.
• Christiane Kubrick (Stanley's wife) and Katharina Kubrick (Kubrick's stepdaughter) contributed original paintings to the film.
• Next to the Sonata Jazz club is a café called "Gillespie's", named after famous jazz musician Dizzy Gillespie.
• Paul Thomas Anderson made a visit to the set, where he offered the role of Frank T.J. Mackey in Magnolia (1999) to Tom Cruise.
• In a few shots of Tom Cruise walking through the city, background plates of actual New York streets were rear-projected behind the actor walking on a treadmill.
• The Harford's apartment is based on a New York apartment where the Kubrick family lived during the early 1960s.
• This movie spent almost a year in post-production.
• Variety reported that Stanley Kubrick himself selected the movie's release date after analyzing scores of box-office data provided to him Warner Bros.
• Stanley Kubrick and director of photography Larry Smith tested out different film stocks and finally settled on one that had been discontinued by Kodak. As a courtesy, Kodak offered to supply as many rolls of this film as would be needed for the project.
• Tom Cruise and Nicole Kidman signed open-ended contracts. They agreed to work on this project until Stanley Kubrick released them from it, however long that turned out to be.
• The article Bill Harford (Tom Cruise) is reading in the café titled "Ex-beauty queen dies in hotel drugs overdose" credits "Larry Celona" as the article's author. Larry Celona was the journalistic advisor for the film.

- 22:28 - Komentari (15) - Isprintaj - #

utorak, 13.02.2007.

HAMLET: SITNA AFERA U OBLAČNOM ELSINORU!

Gospel according to Shakespeare

Pooka

Isus naš dragi Krist je imao trideset i nešto godina kad je položio svoj život na (uh, kako kriva riječ) oltar beskompromisnog odjebavanja idiota i zlotvora.
Hamlet, njegov crni doppelganger, bio je navodno baš tih godina kad je položio svoj život na daske koje život znače i ne daju mu (životu) da ga idioti i zlotvori odjebu baš tako lako.
Hamlet, sin Hamletov, izgubljen među stvarnostima, neodlučan zbog odluke da zabije 'an ever fixed mark', referentnu točku za koju bi se mogao uhvatiti i prozvati stvarnim ono što ga izjeda iznutra kao crvi mrtvog psa pod blagoslovom plodotvornog sunca, onu 'Hic at ubique' sumnju da nije dostojan prave istine.
Hamlet, svrgnuti kralj koji nije ni mogao biti svrgnut jer nikad nije ni bio kralj, ipak svrgnut sa prijestolja-znaka koji nema referenta, samo svrgnut, pasivni subjekt bez atributa, bolno svijestan slijepog subjektiviteta svog pada.
Na aktivnost ga tjera duh oca Hamleta, sablasti kojoj ne zna porijeklo, koja može biti glas sa neba ili glas iz pakla, glas pravednika zatočenog između života i smrti ili glas zla, demona okuženog prokletstvom.
Ako je Isus bio siguran u svoju vjeru i nije mu trebao dokaz u vidu čuda kojim bi se, kao mentalnom štakom, odbranio od kušnje, Hamlet je izgubljen u potrazi za dokazom, zbunjen i nesiguran pred čudom sablasti svog oca.
Ako Isus uspostavlja sebe kao svog oca, Hamletov otac uspostavlja sebe kao Hamleta.
''Seem, Madam? Nay, it is, for I know not seem...'' – odlučan je mladi Hamlet u svom prkosu prema svemu što nije 'particular', prema svemu što nije individualno i posebno.
A onda na scenu stupa duh nesigurnosti, sablast simulacije, kod za dekodiranje truleži u kodu države Danske, simulacija stvarnosti izrečena ledenim dahom utvare bez referenta.
Ako je Isus bio dovoljno jak da uspostavi istinu svojih načela svojim prepuštanjem padu, Hamlet je toliko oslabljen teretom svog svrgavanja da svoju istinu pokušava uspostaviti simulacijom simulacije, predstavom u predstavi. I to mu ne uspijeva, šok njegovog strica pred simulacijom ubojstva svog brata još uvijek je indicija, koroboracija, razumna sumnja. Ali ne i istina.
Ako Isus iskoračuje i postavlja se između bludnice kojoj prijeti kamenovanje i onih koji joj prijete kamenovanjem, ako svoju vjernost ženi uopće uspostavlja poništavanjem preljuba kao grijeha koji se može sprati samo tako okrutnom smrću, ako preljub premiješta sa djela na želju, sa učinjenog na motiv, ako izdaju stavlja u misli kojima nitko nije imun, a ne u konkretne sudbine, ako ženu izjednačuje sa muškarcom i tako poklanja sebi njenu vjernost, Hamlet, naprotiv, pasivno sudjeluje u Polonijevom igrokazu i dopušta da mu izmakne i taj nagovještaj stvarnosti, ljubav i vjernost jadne Ofelije, jedinog lika potpunije izgubljenog u Elsinorskoj tragediji. Tjerajući žensku plodnost i vjernost u samostansku jalovost i izdaju, Hamlet se gubi u onoj najgoroj od svih ljudskih osobina, samozadovoljnoj orgiji samosažaljenja. Više ne traži dokaz stvarnosti, on sad uživa sakupljajući tragove njene nestalnosti.
Dok Isus uspostavlja stvarnost, stvarnost uspostavlja Hamleta.
Isus umire za krvavi ideal koji Shakespeare karikira u sonetu 116 – 'Love is not love which alteration finds... star (...) whose worth is unknown, thou it's hight be taken'.
Hamletov je sramotni pad ejakulacija u sonetu 129 – 'The expense of spirit in a waste of shame, is lust in action...'

Nedostižni ideal beskompromisne vjernosti i poraz pred požudom samokažnjavanja. Isusova bludnica odlazi živa i zdrava, uz savjet da više ne griješi, Hamletova Ofelija tone u ludilo i utapa se u potoku, uz savjet da ne rađa griješnike. Ako je Isus imao učenike koji su ga izdali, iznevjerili ga, posumnjali u njegovu istinu baš kad je on tu istinu zauvijek uspostavio kao stvarnost, kad ju je pretpostavio vlastitom životu, Hamlet je imao Rosenkrantza i Guildersterna, svoje vjerne prijatelje koji ga izdaju ne znajući to, koji su ga iznevjerili, posumnjali u njegovu istinu jer je on raspušta ludilom kojim se brani od agresivne simulacije stvarnosti koja ga polako počinje osvajati i rastvarati u kralja ništavila – 'King is a thing of nothing'.
Ako su Isusovi učenici imali mogućnost prenošenja njegove stvarnosti u budućnost, Rosenkrantz i Guilderstern su umrli čim su bili 'sent for'.
'Heads, heads, heads, heads, heads'... Stoppardov ritam nemoći zapečaćene znakom skrivene stvarnosti... 'Rosenkrantz and Guilderstern are dead'.
Suočen sa samim fenomenom smrti, lice u lice sa mrtvim Yorickom, Hamletu se diže želudac zbog smrada ljudske prolaznosti, on se prepušta lamentacijama o izgubljenim čarima osobnosti dvorske lude čiju lubanju drži u ruci.
Iz iskopanog, novog groba gleda ga Isus-grobar, čovjek koji ne ukopava ljude nego mrtvace, čovjek kojemu je jasna sva jalovost parazitskih stvarnosti kojima se ljudi maskiraju u strahu od dužnosti uspostavljanja svojih stvarnosti očišćenih od svih atributa prolaznog, zemaljskog.
Ako Isus poziva na odricanje od svojih roditelja i prihvaćanje njegove stvarnosti kroz uspostavljanje svoje osobne stvarnosti, slobodne od uvjetovanosti, dovoljno zrele da ne traži opravdanja ni u ocu, ni u majci, ni u Farizejima, ni u rimskom caru, Hamlet poražen stvarnošću koja je ubila Polonija i Ofeliju, stvarnošću koja ga šalje na pogubljenje u Englesku, konačno optužuje svoju majku za incestuoznost začaranog kruga vlastitog nemoćnog samosažaljenja sposobnog samo za konačnu autodestrukciju.
Laert, još jedan od tragedijom simulacije poraženih likova, pristaje na osvetu, pristaje baš na ono što Hamlet priželjkuje kroz cijelu dramu, osvetu... osvetu kao izraz potpune uvjetovanosti vanjskim, prošlim, stranim... kad Isus okreće drugi obraz to nije mazohističko prenemaganje već prekid niza uvjetovanosti, iskorak u novo, ponosna spremnost da uspostavlja stvarnost, a ne da bude njom uspostavljen. Okretanje drugog obraza nije pasivno prepuštanje na milost i nemilost zla, kad Isus kaže da volja njegovog oca (stvarnosti u ime čijeg uspostavljanja on govori) nije da se jednom od malenih, jednom djetetu dogodi išta loše onda je to poziv na zaštitu nemoćnih.
Laertova i Klaudijeva urota kojom se Laert osvećuje za smrt sestre Ofelije, okreće se protiv njih samih i stavlja Hamleta u položaj da konačno djelom poprati svoju želju za osvetom. Ali na koji način? Već potpuno odvojena od svog referenta, elsinorska simulirana stvarnost potpuno upravlja sudbinama svojih tragedijom ispranih likova, svedenih na puke znakove koji nemaju veze sami sa sobom već samo sa drugim znakovima bez sadržaja. Osveta, kao izraz potpune uvjetovanosti čovjeka okolnostima, postaje autonomna i ne bira svoje žrtve. Klaudije, Gertruda, Laert i Hamlet... svi oni pogibaju u zadnjem trzaju pobiješnjele stvarnosti, gotovo slučajno, kao nekakve kolateralne žrtve.
Hamlet ne ispunjava zahtjeve sablasti svog pokojnog oca, on ne ukida stvarnost uspostavljenu ukapavanjem otrova u uho svog oca, on posljednjim trzajem samouništenja kao jedinog načina ukidanja vlasti pomahnitalog demona lažne stvarnosti, skoro u padu ubija svog ujaka bratoubojicu.

'Ostalo je tišina'... 'Ostatak je tišina'... 'Ostala je tišina'... to su prijevodi zadnjih riječi mladog Hamleta. Bilo bi pretjerano očekivati od ljudi kao što je to bio Josip Torbarina, čovjek koji je svu kompleksnu ljepotu višeznačnih riječi Shakespeara uspio prebaciti u hrvatski izraz, a da ona zadrži svoju neodoljivu privlačnost... bilo bi nepravedno očekivati od nekoga takvog da dopusti sebi nešto slobodniji prijevod... 'Odmor je u tišini'... ili možda – 'Oslonac je tišina.' Oslonac, nešto čvrsto, 'an ever fixed mark', referentna točka oko koje se gradi stvarnost kojom se može manipulirati... oslonac, onaj referent tako mahnito tražen tijekom cijele tragedije, onaj 'in apprehensin how like a god' referent na kojeg bi se znak-ime mladog Hamleta pozvao i uspostavio stvarnost koja ga ne bi progonila sumnjom do same smrti. 'The rest is silence.' – konačni oslonac je tišina, jedini izlaz iz poniženja životom uvjetovanim nastranom stvarnošću... tišina samoponištenja je jedino što mladi Hamlet može sa sigurnošću nazvati stvarnim.
'It is finished!' – zadnje su riječi Isusove prema Evanđelju po Ivanu – 'Svršeno je!' – rekao je čovjek koji je svojim krajem, svojim izborom smrti u ime istine uspostavio oslonac koji će se kao moralna vertikala protezati cijelom budućom poviješću.
Na kraju 'Life of Brian', Monthy Pythonove 'pasije i dodatnih potpuno drugačijih stvari', pojavljuje se 'Suicide Squad', grupa ljudi koji sami sebi oduzimaju život u ime razapetog Briana. Samoukidanje samoubojstvom kao jedinim preostalim izborom dijametralno je suprotna nezamislivoj snazi volje kojom se netko po cijenu vlastitog života usuđuje promijeniti tijek stvari, uspostaviti novi poredak na kojem se može graditi nova stvarnost, prekinuti niz uvjetovanosti i iskoračiti iz nesigurnosti na najčvršće zamislivo tlo stvarnosti uspostavljene na način da se referent ne može odvojiti od svog označitelja, stvarnosti u kojoj je čovjek svrha, a ne sredstvo, stvarnosti u kojoj čovjek može biti velik koliko god to želi, stvarnosti u kojoj su svi odgovorni za svakog i svatko je odgovoran za sve.
Hamlet je vidio nešto proročansko u padu vrapca, Hamlet nije Isus, on je čovjek kao i svi mi, zarobljen košmarom uvjetovanosti, nemoćan i sam, prevaren i izdan... čovjek koji je ipak izabrao 'To be' , a ne 'not to be', svjestan ljudske savijesti koja nije igračka vremena, koja nije 'time's fool...that within it's bending sickle's compass come', ljudske savijesti jasne svima nama, siromašnim ili ne duhom... ljudske savijesti koja nije predviđena da pokorno služi zemaljskim okolnostima pa makar jedini oslonac za svoju izvanvremensku prirodu našla u tišini samouništenja. Hamlet nije poražen, on je porazio samog sebe. Baš kao što Isus nije pobijednik, on je puno više... on je pobijedio samog sebe.
Isus ili Hamlet? Sonet 116 ili sonet 129?
Od svih ljudi prema kojima osjećam veselo poštovanje i kojima se uz smiješak divim, od svih ljudi koji me održavaju u stanju radikalnog optimizma, Shakespeare je daleko najveći zajebant. I najljepši je. Najljudskiji.
Tako da umjesto izbora između ova dva lika koji su umrli jer nisu mogli pretpostaviti život savijesti, ja izabirem zadnje riječi iz Shakespearovog golemog opusa, riječi Prospera iz Oluje, čarobnjaka, scenarista i redatelja stvarnosti:

'As you from crimes would pardoned be
Let your indulgence set me free.'

Now my charms are all o'erthrown,
And what strength I have's mine own,
Which is most faint: now, 'tis true,
I must be here confined by you,
Or sent to Naples. Let me not,
Since I have my dukedom got
And pardon'd the deceiver, dwell
In this bare island by your spell;
But release me from my bands
With the help of your good hands:
Gentle breath of yours my sails
Must fill, or else my project fails,
Which was to please. Now I want
Spirits to enforce, art to enchant,
And my ending is despair,
Unless I be relieved by prayer,
Which pierces so that it assaults
Mercy itself and frees all faults.
As you from crimes would pardon'd be,
Let your indulgence set me free.

O auktoru

Moj je blog zasticen kopirajtom i to u ime Microsoft Corporatin pa ti ne gine ovrha ili, da se mene pita, uvaljao bi te u katran pa u perje i onda te za 4,7 sekundi cijelog ocistio Cilit Bangom*, he he he :))
nije problem, copy-paste, pisem da bi se citalo, Hamlet mi je prvo bio izgubljen u onim
Baudrillardovim porecima simulakra, ona 'play within the play' - Murder of Gonzago - to je basž hiperreala... onda mi je slucajno palo na pamet da je imao isto otprilike godina k'o pokojni Isus i tako sam to dvoje spojio i ispalo je Shakespearovo evandjelje.
ja sam iz dubrovnika, alkoholicar koji ne pije tri i pol godine, sklon psihoaktivnim supstancama, bivsi pirotehnicar-razminer (8 i pol godina), 36 godina, radikalni optimist, proamericki orijentira, oblacim se ko Superman i reklamiram Cilit Bang tako da letim paralelno sa putnickim avionima i kroz prozore pokazujem putnicima kako Cilit Bang cisti kovanice od oksida cak i na 6000 metara, pri temperaturi od -30 i brzini od 800 km/h.
osobni sam prijatelj vlc. Sudca kojeg sam jednom uspjesno sprijecio od napada bilokacije tako sto sam mu ukapao Haldol (haloperidon - ne Cilit Bang) u misno vino pa je isti ostao na mjestu ukopan (metaforicki receno).
eto. ako ti se da citati sto sam sve pisao po svom blogu mozes saznati jos puno vise, ali ne bi
trebao vjerovati sve sto pise jer su suglasnici trazili od mene da ih cesce koristim, a ja sam to
odbio pa sad poduzimaju razne industrijske akcije (to ti je k'o tihi strajk), znaci mijenjaju
medjusobno mjesta i tako i znacenje mojih rijeci pa sam imao neugodnih situacija kao onaj put kad je ispalo da pozivam Branimira Glavasa da dokaze nevinost tako sto ce preplivati Dravu sa selotejpom na ustima, pod opcom anestezijom jer je junak i raspolaze snagom volje koju ni najefikasnija trodijelna podijela drzavne vlasti ne moze savladati.
ajd zdravo i slobodno ti kopiraj sto god ja napisem, bar necu biti sam kad pocne hajka :))))
_____________________
*Cilit Bang: To shoot someone in the head with the sniper rifle on Snowblind.

Ja sam Bill Gates, ovaj Pooka je moj CEO za psihopatološki odjel pa ću da utužim i cijelu Vaseljenu i sve kojima u medicinskim kartonima piše 'Vertebrata' do zadnjeg najmanjeg dijeljivog dijela imovine i sve to uložiti u humanitarne svrhe što je u skladu sa najnovijim trendom prebacivanja socijalne funkcije države na 'charity' organizacije kao što je ova moja jer se tako PR i marketing troškovi smatraju transfernim plaćanjima i ne samo da su 'tax deductible' nego se i vraćaju kroz povrat poreza! bando piratska! (pooka pooka pooka pooka pooka pooka pooka pooka po 14.02.2007. 04:24)

Paul Falcone Poole, Tempest, 1856.

...look in Dead Souls for an authentic Russian background as it would be to try and form a conception of Denmark on the basis of that little affair in cloudy Elsinore.

Does anyone know of fictional texts in which Nabokov is
mentioned/appears as a character?

This is a note on Nabokov's appearance in two recent short
stories. The first is Ellis Sharp's "Tinctures, Stains, Relics", in
his collection _The Aleppo Button_ (London, Malice Aforethought
Press, 1991). The narrator of this story has a tendency to comically
mix up the lives of famous with not-so famous people (his biggest mix-
up is between Charles Fort and Karl Marx, to each of whom he
attributes the other's works). This tendency explains the following
paragraph (pp. 75-6):

I have the impression Lenin might conceivably have written
something of real worth had he not been knocked off his bicycle
and killed by a motorist near Juvisy-sur-Orge in the autumn of
1909. Another devotee of Fort's work was Trotsky, a long-
forgotten Russian exile who was captured in Petrograd by
the Provisional Government and killed in ambiguous
circumstances at the end of August 1917, after the successful
coup by General Kornilov. (There is even a story that Vladimir,
son of V.D.Nabokov - the Minister killed in the bungled
assassination attempt on Prime Minister Miliukov in March 1922
- had a hand in the killing, but it must be said that this
seems unlikely. Nabokov Junior, a minor comic novelist, cannot
help us here: he died in May 1940 when the _Champlain_ was
torpedoed off the French coast by a German submarine.)

(Nabokov senior, a leader of the Kadet Party, is incidentally
portrayed scathingly throughout Trotsky's _The History of the Russian
Revolution_ [3 vols., London, Gollancz, 1932-3].)

The second story is my own "Fog? Did You Say Fog?", in Mac Daly
and Ellis Sharp, _Engels on Video_ (London, Zoilus Press, 1995). This
story is narrated by Sigmund Freud, who has been summoned to Elsinore
by King Claudius to psychoanalyse the latter's step son. Hamlet keeps
failing to turn up for their appointments, however, and Freud is left
to wander the castle, where he meets, among others, Vladimir Ilyich
Lenin, who is on his way to Russia via Sweden and Finland. Lenin
tells him that Hamlet is "out raising sprits". The following is from
p. 145:

Hamlet crashed through the door in a condition of euphoria.
"Oh, Vlad!" he gestured. "Oh, Ziggy!" he added clamantly. "Oh ...
VLADIMIR NABOKOV!"
I looked aside at Vladimir, whose face wore a
sinking expression. "Not me," he affirmed. "Another Vladimir."
"The ghost of NABOKOV, huge and sullen and angry, rising
from sulphurous and tormenting flames! _Hamlet!_ he hailed me.
_Haaaaaaaamlet! What the fuck are you doing in a short fiction
with Freud and Lenin? If thou hast nature in thee bear it not,
but get back to chapter seven of my_ Bend Sinister _where you
belong! Taint not thy mind, nor let thy soul contrive against
me more! Move your arse and move it pronto!_ And so, my
friends, I must fly!"
"You bloody potato-head, Hamlet!" Lenin railed, getting
to his feet. "Don't you realise Nabokov is simply shitting
himself on account of the incipient Russian revolution? He
wants you back in his novel so that you can't be here to
guarantee me safe passage through Denmark! Has nobody told you
that you aren't even the hero in chapter seven of _Bend
Sinister_?"
Hamlet looked indignant. "Me? Not the hero? Who is?"
"Fortinbras!"
"What?"
"Yes."
"That's ... that's ..." For a moment Hamlet was genuinely
lost for words. "Why, that's just _awful_."
Lenin let this sink in. Just as Hamlet's resolve seemed to be
evaporating he offered a lifeline. "If you want to be of some use,
why don't you go to the Scylla and Charybdis chapter of Joyce's
_Ulysses_?"
Hamlet asked, "Will I be a hero there?"
"Of sorts," said Lenin. "Joyce will give you a uniform, a
modern military training, and a maxim to live by: _Khaki Hamlets
don't hesitate to shoot_. Then you could come to Russia with me."
Hamlet put a hand to his head. "I'll need time to think
about that one, Vlad," he said.

Neither book is distributed in the U.S., but both (in paperback)
can be obtained by mail order from Zoilus Press, London. Anyone who
wants more details should contact me.
I'll happily send "Fog? Did You Say Fog?" by e-mail to anyone who
wants it - again, drop me a note.

- 23:22 - Komentari (11) - Isprintaj - #

REMOTE CONTROL or TECHNO MAGICK

Dave McKean

The Performative Language of Magick and the Production of Occult Knowledge

And begin by combining this name, YHVH, at the beginning alone, and examine all its combinations and move it and turn it about like a wheel, front and back, like a scroll, and do not let it rest, but when you see its matter strengthened because of the great motion, because of the fear of confusion of your imagination and the rolling about of your thoughts, and when you let it rest, return to it and ask it, until there shall come to your hand a word of wisdom from it, do not abandon it.

--Abraham Abulafia (in Eco 1987:27)

It [the Sepher Yetzirah]'s a book on mysticism, not mysticism itself. [...] But I suspect someone is trying to play a trick on you.

--a Hebrew scholar to Agent Mulder The X-Files, "Kaddish," 16 February 1997

The Text Is Out There

In the X-Files episode entitled "Kaddish," FBI agents Scully and Mulder find a copy of the Sepher Yetzirah, the Jewish book of mysticism, under a corpse that has been desecrated. That corpse belongs to Isaac Luria, a Hasidic Jewish victim of a hate crime, who had been rumored to have risen from his grave to exact revenge on the young racists who killed him in the name of white supremacy. Mulder comments on how redundant the act of desecration is just before the book bursts into flames. Later, when questioning a Hebrew scholar on the book, Scully and Mulder are told that the Sepher Yetzirah is "a book on mysticism, not mysticism itself." The scholar then adds, "But I suspect someone is trying to play a trick on you." The entire episode plays on a complex dialectic of magical action (tricks) and speech-act theory, in which the hate speech encouraged by a paranoid propagandist who publishes and disseminates anti-Semitic pamphlets leads to murderous acts. When the propagandist berates the teenage boy who murders Luria, the boy retorts that unlike the propagandist, who hides behind words, he takes action. He then adds, "Do you think they killed my friends with words?" Ironically, words are exactly what bring about the creation of a golem, an abomination born out of language, given life to seek revenge.

The Hebrew letters aleph, mere, and teth, written on the golem's hand, spell the word emet (truth), bringing the golem into existence. To destroy the golem, one must erase the first letter, aleph, transforming emet into met (dead). The golem, then, is the truth that becomes a way to fight back, based on what the Hebrew scholar describes as "the power of the word to create as well as destroy." The golem-maker's father further proves this by emphatically asserting that he has given Mulder the truth after being questioned about the deaths of the racist boys. In fact, he has literally given Mulder the "truth," but in the physical form of the golem. All of these connections tie in nicely with the show's overall theme of the search for truth, demonstrated by the show's opening tag line, "The Truth Is Out There."

Howard Gordon, the episode's writer, has chosen the golem as a particularly fantastic example of how the Hebrew mystical philosophy and practice of Kabbalah utilizes words that, in an Austinian performative sense, "do something." The Kabbalistic principles central to "Kaddish" are caught up in the corpse and the redundancy of the golem, the body without a soul (or organs), the form without content, the cipher without meaning brought to life by truth. For my purposes, The X-Files becomes a fitting example of a highly disseminated media golem, illustrating how occult knowledge becomes produced and broadcast for both adept and uninitiated audiences. However, The X-Files is not only a popularization of the "occult" in terms of its content, but the program, with its cult status and highly recognized presence on the internet, also engages in a play on language, epistemology, and media trajectory. With internet technology, consumers can obtain information on the occult just as they can about The X-Files through episode guides, chat rooms, merchandising, etc. Commercial availability, promotional literature, and consumerism characterize the reciprocal relationship between technological media and the occult: both participate in an exchange that blurs their distinctions.(1) Proliferation, dissemination, and access are the magic words in this constant dance between secrecy and revelation that has threatened to implode the meaning of "occult" as "hidden" since the advent of late modernism. Indeed, when both Aleister Crowley and Israel Regardie scandalized the other members of the Golden Dawn--the highly influential magical society formed in late-19th-century England--by publishing "secret" rituals and knowledge about the Dawn, they insured its uneasy survival into the present day. But the typically occultist wink and nudge hinted that, of course they didn't reveal everything, that knowledge was more than books, and the experience of initiation was key.

These negotiations between secrecy and revelation become what I would call "occult performances": performed acts that simultaneously illuminate and obscure. In the context of a popular television show, occult performances are a series of nested operations that begin at a narrative level (the secret government agencies in relation to the protagonists), continue into content analysis (the series' writers in relation to the viewers), and land in media analysis (the X-Files phenomenon in relation to the fan who reads the books, uses the CD-ROM, accesses the website, etc.). However, these negotiations are not simply unidirectional. Occultism also describes the attitude of the consumer/producer acting as the interpreter who deciphers the text or the performance, thus insuring the continuation of the performance. The X-Files is the most salient example of this set of operations, and one of the most accessible forms of occultism available to consumers. Yet, this formula is certainly not limited to television viewing. Occultism becomes a methodology for approaching history, textuality, and media itself, including especially the proliferation of internet technology and its possibilities for widespread dissemination of information. This method is characterized by making connections between seemingly disparate facts and events and assuming a hidden discourse behind these facts and events. Like the X-Files viewer who weaves a conspiratorial narrative based on information the show's writers supply, the occultist consumer interprets perception and information according to self-determined laws, creating a system of coherence where one previously did not exist.

The Metaphysic of Dunces

Occultism in the West has not been taken seriously very often. However, after Hitler's blatant use of black magic and occultism as a propagandist tool, the world was forced to take notice. Once it was seen that occult belief and practice could not only influence politics, but could lead to dangerous, shocking, and earth-shaking events, occultism as a movement and belief system had to be studied. Writing in 1947, and still feeling the shock waves of fascism and anti-Semitism, Theodor Adorno laid out his "Theses against occultism," not only as a critique of late capitalism, but also as groundwork for his subsequent content analysis-based study of Los Angeles Times astrology columns entitled "The stars down to Earth." In this essay, Adorno would contend that the occult does have a "rational" place in popular culture, evidenced by the popularity of the astrology column as a text. Making a significant leap in thinking on the occult, he posits the concept of secondary superstition:
By this we mean that the individual's own primary experience of the occult,
whatever its psychological meaning and roots or its validity, rarely, if
ever, enter the social phenomenon to which our studies are devoted. Here,
the occult appears rather institutionalized, objectified, and to a large
extent, socialized. (1994:35-36)

The social phenomenon that Adorno describes is an occultism somehow separate from the psychic or supernatural experiences traditionally associated with the occult. Adorno claims that the occult, which he pejoratively categorizes as "the metaphysic of dunces," leads to a regression in consciousness. He argues that "occultism is a reflex-action to the subjectification of all meaning, the complement of reification" (1994:129), in which meaning, no longer easily recognizable in rationalist forms, is desperately attributed to irrational practices. In this way, Adorno believes, occultism can become a tool for ideological domination.

Although Adorno presents this irrational belief as the reason for the popularity of astrology columns, there is a crucial difference between this passive, irrational belief and what I would argue is an active, nonrational method for interpreting social phenomena and textual relations. His concept of secondary superstition certainly is valid in that those who practice this method may not have experience with supernatural or psychic phenomena as such. However, as authors in and out of the inner folds of magical practice have attested, this magic is nomadic, dependent upon the context in which it operates and the intention of the user. As Starhawk mentions in The Spiral Dance, one of the most widely read contemporary books on neopagan witchcraft and magic, "Magic, like chemistry, is a set of techniques that can be put to the service of any philosophy" (1979:28). Similarly, Michael Taussig, in The Magic of the State, ascribes to magic this status of free-floating signifier, claiming "these very same powers of confusion and illusion can be turned against the state and used by ordinary people" (1997:123). Thus, magic can be used to resist and empower just as easily as it can be used to manipulate and control.

The distinction here between occultism and magic is important because, as scholars like Richard Kieckhefer (1994) have gone to great lengths to prove, concepts of magic, specifically anachronistic anthropological theories, cannot be freely applied to every culture or every historical period. Occultism, then, is a series of attitudes, operations, performances, negotiations, and discourses that may or may not involve the practice of actual magic. In this context, magic consists of acts that are ritual performances enacted to achieve specific results. These acts are always grounded within a given culture, time period, and setting, and are contingent upon the personality of the magician(s). However, slippage between occultism and magic can become quite common, and acts like interpretation, performance, and dissemination--already occupying an occult space--take on the efficacy of magical acts.

Suspect, Only Suspect

The magical text used by The X-Files as a grimoire(2) for the manipulation of bodies and language is the Sepher Yetzirah, the Book of Formation, one of the earliest Kabbalistic texts. This work is a primary example of an occult text that can be used as foundational building blocks for magical ritual. The book's occult quality is first established by its unclear origin. The inability to mark precise origins becomes a defining factor for the occult text, allowing for easy reification. Although its precise date of composition has been disputed to be anywhere from between the third and sixth century C.E., legend claims that the text was transcribed by Abraham 4000 years ago. The Sepher Yetzirah, a remarkably small book of a few hundred words, contains the secrets of the universe encoded within the 22 letters of the Hebrew alphabet, in a direct application of what might be called a Kabbalistic semiotics. This encryption, achieving recent popularity thanks to Michael Drosnin's unlikely bestseller The Bible Code (1997), is a code that Kabbalists have spent their lifetimes trying to crack. According to legend, some magic-using Kabbalists have used the code for more practical applications, like golem-making.

Taking letters from the Yetzirah and using them to create the golem is just one example of how language from a sacred, mysterious text can be decontextualized and rearranged according to the will of the reader/magician. The most extreme textual use of magical Kabbalah can be found in the method of gematria, developed by 13th-century Kabbalist Abraham Abulafia. Abulafia used the Hebrew language as a technique to find correspondences between phrases. Each Hebrew letter is represented by a number, and the numbers that make up a word or phrase are added together, creating a mathematical sum. Words or phrases with identical sums are then connected and interpreted in order to find subtle meanings in the text. Depending on how the letters are combined, arranged, recombined, and rearranged, an innumerable set of hidden meanings can be discovered. Not only is the text never finished, but it continually hides a secret.

On the subject of the encoded text, Jacques Derrida points to that text's willing participation in the trick of hiding. He then denies that this hiding and disappearance is due to a secret, implying that one would always assume a secret discourse. He states:
A text is not a text unless it hides from its first comer, from the first
glance, the law of its composition and the rules of its game. A text
remains, moreover, imperceptible. Its laws and its rules are not, however,
harbored in the inaccessibility of the secret; it is simply that they can
never be booked, in the present, into anything that could rigorously be
called a perception. (1981:63)

Derrida, as trickster magician, must deny the existence of the secret, while at the same time propagating it by assuming an occult relationship with the text that must be disproven. This dance between what Taussig calls "the skilled revelation of skilled concealment" is the magical act predicated upon language, an esoteric art itself. This is the closely guarded knowledge that must be controlled. In order to speak about or write occult, one must always be in the act of erasure, constantly creating palimpsests.

In a recent translation and exegesis of a medieval magical text entitled Forbidden Rites: A Necromancer's Manual of the Fifteenth Century (1998), Kieckhefer recounts several tales of heresy trials in which magician's books were ascribed a personality, then accused, defended, and punished as if they were people. The reading of the text is tantamount to a dialogue with evil, and the text is treated as a co-actant in the assumed performance of magical rites. This unique relation between script and performance marks "a point of contact between sacred texts (permanent authoritative repositories of power) and their performance (which utilizes this power for specific occasions)" (1998:8). Thus, books were burned not so much because they were the magician's tools but because the texts themselves were guilty of heresy. Considering the frequency of such practices, the spontaneously combusting book of magic in The X-Files episode is an apt image.

Magical performance, then, assumes a particular relation between performer and text. In the magical act of citation, for instance, authoritative powers are evoked and bent to the will of the writer/performer. Like the academician, the magician is constantly interacting with available texts. Indeed, in studies on the library of the renowned Elizabethan mathematician and magician John Dee, much of his work was considered to be marginalia: notes written in other texts that constitute Dee's particular utilization of these texts for his own purposes, both magical and mundane (see Sherman 1995). Many modern magician/authors, when dealing with the medieval grimoires, like the Goetia or the Lesser Key of Solomon, usually agree that these texts assumed a certain amount of magical training that would help the magician avoid the traps intentionally laid in the text to protect the operations from being performed by the wrong hands (see Greer 1997; Kraig 1988). Similarly, magical miscellanies, the subject of Kieckhefer's book, were often simply notes and marginalia intended to aid the magician who presumably already knew what to do with the information at hand.

Therefore, the text is only raw material for the action, as in the case of the Sepher Yetzirah and the act of golem creation. The possible letter combinations that can create the golem are always predicated upon holy names, the most important name being the tetragrammaton: YHVH, Yod-He-Vav-Heh, the unspoken four-lettered name of God, the sacred and unknown acronym. The basis for Kabbalistic magic must be an uncertainty that is at the same time a basis for a faith and a technique. Derrida speaks of the holy name in terms of:
its untranslatability but also its iterability. (which is to say, of that
which makes it a site of repeatability, of idealization and therefore,
already, of technoscience [...]), of its link to performativity of calling
in prayer, of its bond to that which appeals to the faith of the other.
(1998:6)

The vibration of the holy name then becomes a technique, using language as a magical tool, a prosthesis. The goal is transformation of spirit into matter, as in the golem, or conversely, transformation of the matter of the magician into spirit attuned to the divine. As Derrida states in "Faith and Knowledge": "the space of such technical experience tends to become more animistic, magical, mystical" (1998:56).

Therefore, it is no surprise that the tool for recombining letters in order to discover a secret plan in Umberto Eco's novel Foucault's Pendulum is a computer. Eco's digital talisman is aptly named Abulafia. The character of Belbo celebrates his "totally spiritual machine" which, by way of its programmability and simple editing functions, can return writing to "the happiness of a first encounter" (1987:26). It is this highly mediated, almost ritualized, function of writing and programming with a computer that gives the illusion of unmediated immediacy. The computer screen becomes the Derridean Kabbalistic mirror, which simultaneously reveals and conceals. It is "the visible projection surface for images, and that which prevents one from seeing the other side" (1981:314). In Eco's novel, Belbo acknowledges the occult possibilities of a computer that protects secrets with passwords and magically transfers information to disk, easily transported and easily erased if it falls into the wrong hands. The first operation he performs is a simple program that calculates possible permutations for the tetragrammaton. Belbo's colleague Diotallevi resists the computerized golem, seeing it as a shortcut to divine wisdom:
My dear friend, you'll never understand anything. It's true that the
Torah--the visible Torah, that is--is only one of the possible permutations
of the letters of the eternal Torah, as God created it and delivered it to
the angels. By rearranging the letters of the book over the centuries, we
may someday arrive again at the original Torah. But the important thing is
not the finding, it is the seeking, it is the devotion with which one spins
the wheel of prayer and scripture, discovering the truth little by little.
If this machine gave you the truth immediately, you would not recognize it,
because your heart would not have been purified by the long quest [...].
The word must be eaten very slowly. It must melt on the tongue before you
can dissolve and reorder it. (1987:28-29)

Here, Diatollevi rejects technology for tradition, positing the notion of the "unwritten" Kabbalah, the book that is always in the process of being written even as it maintains its incorporeality: in essence, the ultimate readerly text.

The word not only becomes fragmented in order to facilitate permutation, it becomes erased even as it is invoked. Following the practice of Christian mystics, meditation on the word becomes more than just exegesis, it becomes a bodily digestion: a swallowing, as Michel de Certeau reminds us when he quotes Madame Guyon in "The Institution of Rot." The mystical word in the act of intake occupies an interspace, and "demands attention even though it has nothing to justify it other than what it produces here and there: a `formula' that is heard, a `small fragment of truth'--a splinter of what?" (1986:36). This mystical word, a name of God, is often invoked in Kabbalistic ritual as flaming letters--a substantive visualization. The power of the Kabbalistic magician consists in the ability to bring words, images, and thoughtforms(3) into manifestation. The magician visualizes the holy name before it is uttered, and through an act of will, creates a simulacrum in the Yetziratic world, a realm of existence consisting of images and ideas awaiting manifestation. Often referred to by magical practitioners as "the astral plane," this spirit world is the primary conduit through which magical acts are performed. The magician finally brings the power of the name into physical manifestation (the Assiatic world) by the act of utterance, performed in what is known as a vibratory formula, in which the word is loudly and resonantly chanted. The magical act consists, then, in traversing the astral gap between the potentially spoken and the actually spoken.

In a further Kabbalistic reference, the Jewish character who becomes golemized in the X-Files episode is named Isaac Luria, after the 16th-century Kabbalist who transformed Judaic thought by introducing the concept of zimzum to explain the creation of the universe. In an interesting twist on the word made flesh, Luria's God creates the universe not by revelation or emanation, but by concealment and contraction:
How did he produce and create the world? Like a man who gathers in and
contracts his breath, so that the smaller may contain the larger, so he
contracted His light into a hand's breadth, and the world was left in
darkness, and in that darkness He cut boulders and hewed rocks. (Scholem
1974:129)

A space is created through contraction, concealment, and silence. This is the space of the secret that will inevitably be filled by esoteric knowledge accessible only to those who have the password. Creating a space for the secret to hide--like the swallowing of the word and the process of gematria--becomes a magical performative act only obtainable through a technique, a ritual, a vibration. This "spacing" of the secret is an operation always linked with initiation, a way of accessing the secret knowledge. Initiation introduces the novice to the secret knowledge, often by physically bringing the initiate into the space where the secret is hidden: the temple, the cave, the concealed alcove, the crypt, the library.

The characters of Foucault's Pendulum learn that the process of gematria and the spacing of the secret become the ultimate technologies for finding hidden meanings:
Any fact becomes important when it's connected to another. The connection
changes the perspective; it leads you to think that every detail of the
world, every voice, every word written or spoken has more than its literal
meaning, that it tells us of a Secret. The rule is simple: Suspect, only
suspect. (1987:314)

Although this rule becomes a problematic yet powerful postmodern tactic for reading texts, histories, culture, and media in an always already magical world, its roots are Kabbalistic. Indeed, the polysemy of the Torah, Sepher Yetzirah, and other Kabbalistic works become raw material for manipulation only through the kind of occult operation Eco's characters theorize. In Derrida's essay "Dissemination," he recognizes the power of the absolutely disseminated Kabbalah, its correspondences, and computations of value. Taking into account both gematria and zimzum, Derrida states that "even while it keeps the texts it culls alive, this play of insemination--or grafting--destroys their hegemonic center, subverts their authority and their uniqueness" (1981:344).

The K-Files

Belbo and Casaubon are ultimately faced with the trick of the Secret: that there is no secret. Derrida brings this sort of paradoxical occultism into play when he imagines critics accusing deconstructionists of forming a secret society, in his essay on negative theology, entitled "How to Avoid Speaking: Denials" (1995). Just as Taussig concludes that it is this paradox that always resists the wedge of truth and is essential to the public secret upon which society is predicated, Derrida acknowledges that the existence of the insubstantial secret is a necessary part of apophatic discourse, and the spacing of the secret is tantamount to its existence: "It is necessary to stand or step aside, to find the place proper to the experience of the secret" (1995:90). In the past, this zimzum-like contraction was the necessary move for secret societies that initiate members. Now, the proper place for the experience of the secret has become virtual.

The attendant question becomes: Where does one find occult knowledge? When "occult" books, even ancient grimoires, are available at any bookstore, library, or computer, what is hidden? Widespread dissemination of once forbidden and secret occult knowledge in popular bookstores and on the internet has become an essential paradox in the study of esoteric magic. In fact, one could argue that the current explosion of internet use is tantamount to the point in medieval history when paper was made more available, allowing unprecedented access to books, wider dissemination of occult knowledge, and further opportunity for fear of literacy and heresy (Kieckhefer 1998). What happens, then, when the text implodes and the physical book gives way to the slippery dimensions of cyberspace?

The ancient quest for knowledge has become the web search, the pilgrimage to the sacred (web)site. Countless religious, magical, and mystical organizations have created sites as depositories of knowledge and nodes of networking. Prayers and requests for the Pope can even be sent to the Vatican's website. The internet is the spiritual ether carrying prayers across an unseen divide, the occult operation par excellence. In cyberspace, the astral and the technological converge in a process Derrida calls "cederomisation," the encoding of a text onto the medium of CD-ROM. He argues that religion--and I would also add the occult--fights its wars through technology, demonstrated by the cederomisation of papal encyclicals. The power of technological media is, according to Derrida, its power to bear witness, but is at the same time its magical ability to reveal and conceal, detaching and reattaching connections, playing with place: "It delocalizes, removes or brings close, actualizes or virtualizes, accelerates or decelerates" (1998:45). The written word becomes a hidden code and "information exhausts itself in the staging of communication." Stripped of its material textuality, "the medium and the real are now in a single nebula whose truth is indecipherable" (Baudrillard 1994:83).

Type in "kabbalah.com" and you arrive at the sleekly designed website for the Kabbalah Centre in southern California (plate 3). An earlier version of the homepage greeted the seeker with a continually changing series of topics, questions, and answers--all with accompanying graphics (for example, the title "Immortality" appears with a picture of the later Elvis)--that the site will presumably address. The site hints that it contains secrets pertaining to the origins of humanity, parallel universes, soulmates, and many other topics. Of course, one would assume that the Centre will give you the Kabbalistic interpretation. Once you reach the site map, you can click on the link entitled "The K-Files." Obviously, in reference to the popular television program, this particular page explains mysteries of the universe using pop-culture analogies. For instance, the Centre's take on the subject of free will and destiny goes something like this: "Life is like a movie. Reality is like a multiplex cinema." The page also presents gematria as a form of genetic engineering, in which DNA are a string of chemical letters, further connecting the body with the text in Kabbalistic style. Like its television namesake, the "K-Files" presents "secrets" in an appealing encapsulated form that never fully exhausts the quest. This tease is meant to intrigue and possibly urge the viewer to find out more information about the Centre and the teachings of Kabbalah.

When one attempts to research the history of Kabbalah and the Centre's role in it, the site presents a very particular history of the teachings, from the Archangel Raziel's gift of Kabbalah to Adam to the foundation of the Centre itself. We learn that the decree against teaching Kabbalistic principles was lifted by Rabbi Abraham Azulai in the 16th century. The narrative also tells the story of a woman who wanted to learn Kabbalah, unheard of because of the traditional belief that only orthodox married men over 40 may learn it. When she approaches a Rav Berg in Brooklyn, he refuses unless he is given a sign. In a typical tale of occult origins, the woman is visited in a dream by a Rav Brandwein, Berg's late teacher, who not only gives her his blessing, but urges her to provide the opportunity for all to learn about Kabbalah. Berg and the woman, Karen (her maiden name is never given), are then married and open the Centre. However, in the FAQ page, the Centre still makes the distinction between the basics of Kabbalah (Ta'amei Torah) and the secrets of Kabbalah (Sitrei Torah). The Centre only teaches Ta'amei Torah, in accordance to the injunction by Azulai. The secrets are still limited to those orthodox married men in their forties who qualify to be initiates.

Secrets here are temporary and tenuous. The impermanence of the virtual medium establishes the internet as the ideal locus for occult activity. The insubstantiality of the unwritten text is most clearly displayed when sites and information disappear without a trace. Websites are often updated, demonstrating the unique ability of the internet (and its magician-like programmers) to erase its contents in order to further mystify and obscure. Through this method, information can simply disappear from the screen and live only in the realm of esoteric knowledge, accessible only to those who remember the information being there. Indeed, the impermanence of the text is a recurrent occult trope caught up in issues of orality and textuality. For instance, a rule in ancient Druidry forbade the written record of oral information and tradition, since the act of writing would somehow profane the secrets. When Derrida tackles this issue in "Plato's Pharmacy," he appropriately invokes the multivalent figure of Thoth, the Egyptian god whose gift of writing to humankind was ambivalently viewed as both a memory aid and a trick to encourage forgetting. Thoth becomes the god of the occult arts, which once included reading and writing, and also the inspiration for the semi-divine Hermes Trismegistus, the pseudo-mythical figure whose attributed writings became the foundation for Hermeticism. This occult philosophy, emerging from Neoplatonism, was combined with Christianized Cabala to form the foundation for Western magical practice in the Renaissance period. It is no surprise that a trickster figure is the namesake for a tradition that has influenced much of current magical practice involving initiatory systems.

A quintessential model for such systems, the Hermetic Order of the Golden Dawn(4) (plate 5), now puts out the call for initiates who "are concerned about the development of society and the spiritual advancement of humankind"(5) through the internet, instead of posting manifestos on academy and church walls like the Rosicrucians of old. The Dawn, formed in 1887 by three Free-masons who were also members of an English chapter of the German Rosicrucians, became the primary repository for occult knowledge in the Victorian era. Their origins were similarly shrouded in mystery; founding member W. Wynn Westcott "discovered" an encoded letter conveying the authority to open a temple for a new secret: order. Although historians have often cited this cipher manuscript as a hoax, the Dawn's webpage claims it has new information that proves its validity. In time, the Order was responsible for synthesizing elements of Western occultism, including Egyptian mystery religion, Hermeticism, and Kabbalah. Producing members as varied as Aleister Crowley, W.B. Yeats, and the actress Florence Farr, the Dawn has been the single most important source of information and practice in occult history, influencing the neopagan movement and other magical systems, as well as contemporary knowledge on Tarot, alchemy, and astrology.

The current website for the Golden Dawn is introduced by the graphic of two pillars (plate 6), traditionally marking the entrance to the temple, with a frayed banner stating:
Before stepping between the Pillars, please be aware that any reference to
the Golden Dawn is only to the authentic Order formed in 1887. At no time
does this reference allude to any organization borrowing or claiming the
name today. The True Order has operated under many names over the
centuries. Its origins date back to antiquity [...].

Once again the battle call for authenticity is raised, and the internet traveler is taken through the pillars to the next screen for a further welcome. This time, the initiate passes through two Egyptian Anubis figures, underworld creatures who traditionally served the role of guardians before the entrance to the temple (plate 7). Finally, the initiate reaches the informational homepage for the site. Like many websites, the Golden Dawn site enacts a journey from screen to screen before the reader is able to obtain the knowledge the site contains. This amounts to a virtual pilgrimage, a disembodied dream journey similar to the various levels of spiritual attainment in mystical traditions as varied as the Egyptian, Tibetan, Babylonian, Jewish, and Christian.(6) In many cases, the entrance into the secret vault is only possible through a password, a magical word of passage.

To Know, to Will, to Dare, and to Be Silent

The Dawn thrives on the dialectic of concealment and revelation, demonstrated by a picture in the Initiation section of the homepage, in which the officers of the main temple in Los Angeles were pictured in full secret ritual garb, but with black boxes covering their eyes (plate 8).(7) The picture demonstrates what Derrida calls "a halting [that] opens an access without mediation or representation, hence not without an intuitive violence" (1998:49). This operation, a central tenet of postmodern magical practice, is what Taussig characterizes as "intricately moving medleys of skepticism and faith, continuously deferred through the opening and closing of the secret" (1998:240). Inherent in the secret is its at least partial revelation--the secret's own secretion. Taussig sees the secretion as a technical performance:
Secrecy is infinitely mysterious here because it is allied with and
creative of what we might call the sacredness of a hiddenness within the
theatricality that mediates between the real and the really made up, no
less than between trick and technique. (1998:234)

Occult performance, then, becomes like Thoth's gift of writing, a trick that hides further levels of meaning and meaninglessness.

In one of several articles on the Golden Dawn homepage, the author, who signs his work with the initials of his order name, writes about the oath of silence, in which "inner" powers are only brought into "outer" existence through the methods of controlled speech, or silence. Being silent is preferable to breaking the flow of manifestation, which would loosely and indiscriminately disseminate the seeds of wisdom. The author sums up this tenet in a passage from a Golden Dawn ritual: To Know, to Will, to Dare, and to Be Silent. This is a closed, controlled, hermetic experiment, in which the vow is a technical mediation and, according to Derrida, "a political shield, the solid barrier of a social division." The shield "protect[s] against access to a knowledge which remains in itself inaccessible, untransmissable, unteachable [... but] is nevertheless taught in another mode" (1995:93-94). Though the modes are now legion, the secret cannot truly be found in a text, or a website. It is more than between the lines and in the endless marginalia. It is in the experience and practice of magic rather than the reading. It is in the initiation.

Although self-initiation is often available through books and correspondence courses, it is usually discouraged by groups like the Dawn. Initiation must be given to the novice as a gift, an exchange that involves the immediacy of the teacher-student relation. This exchange is invariably both spiritual and economic, and in postmodern initiation, technological. In another article, disputing a "vocal minority" who believe Dawn members shouldn't pay dues, an author lists the resources that the order must provide to the hungry student: "over 900 sheets of paper, printing, audio tapes, etc. This doesn't even include the twenty-four hour fax, personal proctor, 7-day a week on-line Adept for teaching help, Order newsletter and magazine." The author then goes on to cite the Hermetic, alchemical principle called "exchange of energy," in which energy takes the form of anything from knowledge, to money, to heat. In this "no such thing as a free lunch" philosophy, haunted by the ghosts of Bataille and Marx, the exchange of spirit becomes simultaneously virtual and astral:
The mystical thus understood allies belief or credit, the fiduciary or the
trustworthy, the secret to foundation, to knowledge, to science as "doing,"
to a faith, to performativity and to technoscientific or tele-technological
performance. (Derrida 1998: 18-19).

In The Magic of the State, Taussig explores economic exchange in terms of spirit possession. He asks, "Could it be that with disembodiment, presence expands? Language is like that too. In fact language depends on this lingering on as an idea tracing an outline around a once solid, breathing form, troubling the body's once bodiedness" (1997:5).

The connection between the secret and disembodiment takes on further significance in the guise of astral travel, in which the astral form of the magician, a second body, may freely roam into higher spiritual planes or influence other forms of bodiedness. What Taussig describes above is undoubtedly the concept of the astral body. According to Kabbalistic theory, everything in the physical world has an astral double. This aura of energy surrounds everything animal, vegetable, and mineral. The astral body pre-exists its physical manifestation. To magically bring a desire or an object into manifestation, ceremonial magicians first create a double on the astral plane. During the act of astral projection, the magician sends his or her consciousness into the astral body, which is then allowed to travel through both time and space.

In another Golden Dawn homepage article, the concept of astral initiation is offered as an option for initiates who live more than 65 miles away from a temple. The astral plane, undeniably a model for the multinodal possibilities of entry and the free play of the internet, as well as the mystical journeylike aspects of virtual reality games, becomes a space where images, messages, encounters, and experiences take on the hyperreality of lucid dreams. At a point where the real and the hyperreal break down, the Golden Dawn homepage declares that the telltale signs of initiation, ranging from a tremendous influx of spiritual energy to resistance on a physical plane (illness and such), will undoubtedly affect an initiate living thousands of miles away. With respect to actual and astral initiates, the Dawn solemnly announces in bold lettering that there is no difference.

Techno-Magick and the Media Golem

Techno-magick is what articulates the channels of discourse that disseminate occult knowledge. Not only is technology caught up in the trope of magic, it becomes the medium through which this formerly hidden knowledge is now available to any individual with access to the internet. The virtual, mystical spaces are only available through technology. The technology of mystics was, at one time, language and writing, while today, the internet and cederomisation are the preferred magical tools. The Golden Dawn homepage is a prime example of how technology still participates in the dialectic of concealment and revelation, offering initiation to its applicants through a tease: We can't tell you everything, but we can tell you how to join and learn more. Thus, a leap of faith must be taken, a leap not unlike the one taken when the computer is turned on, or when one prays. Like the internet, the complex networks of occult discourse are impossible to constrain in a set structure. The knowledge is always fluid, disembodied and haunting, never fully locatable, accessible at many different possible nodes, and available to anyone who wishes to engage in the practice of magic. The discourse now winds its way through the astral plane of magical practice, the internet, and televised media.

The X-Files, in its identity as a cult phenomenon that has infiltrated television, print, and the internet, becomes part of a series of magically disseminated operations upon the consumer by occult media. The consumer is acted upon by the media golem, the body without a soul, while struggling to put the golem to use as a tool for interpretation. The writers make an interesting point when they transfer the golem's holy name from the head, as accounted in legend, to the hand, the tool for manipulation. This subtle difference between head and hand makes a crucial link between speech-act theory and magical theory. But these words do not "do something" just by being uttered. They must be vibrated, chanted, ritualized. Magic is, after all, a technology, both a science and an art, if Aleister Crowley is to be believed. And one must not forget what the X-Files episode brilliantly demonstrates: that these vibrations are undoubtedly political. Although the Kabbalah is probably studied today by more non-Jewish students of Hermetic magic than Hasidic Jews, the show's writers offer the viewer specific locations of culture, race, class, and gender(8) that make the creation of the golem necessary: as a survival mechanism, a resistance to extermination and the power of hate speech. But this golem technology threatens the people with what Derrida calls "an expropriative and delocalising tele-technoscience" (1998:56), and the golem becomes what Jane Goodall refers to as an "agency vacuum" (1997) which runs amok. It must be lovingly destroyed by its creator by erasing the letter aleph, removing the first breath of God from truth, the yoke of union with the divine contraction, the breathing in and swallowing that creates the universe.

As I write this article on my computer, the cursor flashes on the screen and disappears. This performative vibration moves and turns a Kabbalistic cursor, appearing and disappearing in rhythm, invoking a recombination of the holy names: Jacques Derrida, Michael Taussig, Jean Baudrillard, Umberto Eco, Richard Kieckhefer, Theodor Adorno, Starhawk, Michel de Certeau, Gershom Scholem. On the scrolling computer screen, the magic tablet upon which the ever mercurial word is written and erased, visions from the astral internet, constantly threatening to become media demons, must be manipulated deftly by the will and hand of the magician. I am talking about magic, performing it by the breath of its very mention. If my style has seemed overwhelmingly deceptive and in the romance of mystification it is because I am initiated in the secret society of academia whose secret I can only partially disclose; that "magic" (and I would add theory and discourse) "begs for and at the same time resists explanation most when appearing to be explained, and that therefore in its unmasking, magic is in fact made even more opaque, a point given a special twist here through the technique" (Taussig 1998:241).

But here I am circumambulating a much larger and more charged space than the well-worn trope of technology as magic. In this circle, the two are closer than twins. This is more than spirit possession, a ghost in the machine. These are recombined concepts whose numbers add up to the same sum. They take turns standing in for each other until you can no longer tell the difference between their borders, like an auric egg around an astral body. For my purposes, the term that best suits this confluence is Techno-Kabbalah, which holds in its definition of "received knowledge" the possibility for application involving an even more proliferated, decentered view of magic and language. It is here, in this circumscribed space, that performance is truly embodied and disembodied in an oroboros-like cycle.

Notes

(1.) The wild success of a similar media golem, The Blair Witch Project, is due to the independent producers' intense campaign on the internet, which began many months before the film's summer 1999 release. Not only did the ads and the website include teasers for the film, they provided the entire background, the mythology, and informative reports on the film's subject matter: the disappearance of three college filmmakers in the deep woods of Maryland and the discovery of their footage. The film, like The X-Files, is granted a life beyond the object of art itself, because of the clever deployment of its internet entity. This strategy is becoming increasingly trendy in "cult" television and film markets, where the target audience is internet savvy, and, in some cases, the cost of major print or television campaigns is prohibitive.

(2.) Grimoire is an older (presumably French) version of the word grammar used to describe a medieval book of magic, or a book written in that style. The archaic use of the word grammar to describe an object that is a text, particularly a magic one, points out another telling connection between language and occultism.

(3.) "Thoughtforms" are nonphysical entities created through ritual procedures to accomplish a specific task. They are, basically, thoughts that take on an astral form.

(4.) The Golden Dawn organization that runs this website has recently changed their name to the Hermetic Order of the Morning Star, following the move of the original order, which changed their name to Stella Matutina (Latin for Morning Star) after factional splits in 1900.

(5.) All quotes from the Golden Dawn website were taken from .

(6.) A salient example in Christian mysticism of this sense of levels is in Teresa of Avila's Interior Castle ([1577] 1961), which tells of seven levels of spiritual attainment through prayer and meditation within a castle structure.

(7.) As another example of the occult nature of the impermanent internet text, the black box picture was replaced in late 1997 by blurred faces. The following year, no picture at all was posted.

(8.) In the episode, a woman actually makes the golem, even though historically, the Kabbalistic magician would have been male. As Mulder points out, the woman who makes the golem is not necessarily just motivated by revenge, but by love, since the golem is the double of her fiance, killed by the white supremacists.

References

Adorno, Theodor W. 1994 The stars down to Earth and other essays on the irrational in culture. Edited by Stephen Crook. New York: Routledge.

Baudrillard, Jean 1994 Simulacra and Simulation. Translated by Sheila Faria Glaser. Ann Arbor: University of Michigan Press.

de Certeau, Michel 1986 "The Institution of Rot" and "Mystic Speech." In Heterologies: Discourse on the Other, translated by Brian Massumi, 35-46, 80-100. Minneapolis: University of Minnesota Press.

Derrida, Jacques 1981 Dissemination. Translated by Barbara Johnson. Chicago: University of Chicago Press.

1995 "How to Avoid Speaking: Denials." In Derrida and Negative Theology, translated by Ken Frieden, 75-141. Chicago: University of Chicago Press.

1998 "Faith and Knowledge: The Two Sources of `Religion' within the Limits of Reason Alone." Translated by Samuel Weber. In Religion, edited by Jacques Derrida and Gianni Vattimo, 1-78. Stanford: Stanford University Press.

Eco, Umberto 1987 Foucault's Pendulum. Translated by William Weaver. New York: Harcourt Brace Jovanovich.

Goodall, Jane 1997 "Transferred Agencies: Performance and the Fear of Automatism." Unpublished paper delivered at the Performance Studies Conference, Atlanta.

Greer, John Michael 1997 Circles of Power: Ritual Magic in the Western Tradition. St. Paul: University of Minnesota Press.

Hermetic Order of the Morning Star International, The 1996 "Astral Initiation - How and Why it Works," "Secrecy - The Oath of Silence," and "The Grade Material of Our Order." .

Kabbalah Centre, The 1999 "The K-Files," and "Origins of Kabbalah." .

Kieckhefer, Richard 1994 "The Specific Rationality of Medieval Magic." The American Historical Review 99, 3:812-36.

1998 Forbidden Rites: A Necromancer's Manual of the Fifteenth Century. University Park: Pennsylvania State University Press.

Kraig, Donald Michael 1988 Modern Magick: Eleven Lessons in the High Magickal Arts. St. Paul: University of Minnesota Press.

Scholem, Gershom 1974 Kabbalah. New York: Penguin Books.

Sherman, William H. 1995 John Dee: The Politics of Reading and Writing in the English Renaissance. Amherst: University of Massachusetts Press.

Starhawk 1979 The Spiral Dance: A Rebirth of the Ancient Religions of the Great Goddess. New York: Harper Collins.

Taussig, Michael 1997 The Magic of the State. New York: Routledge.

1998 "Viscerality, Faith, and Skepticism: Another Theory of Magic." In In Near Ruins: Cultural Theory at the End of the Century, edited by Nicholas Dirks, 221-56. Minneapolis: University of Minnesota Press.

Teresa of Avila, Saint 1961 [1577] Interior Castle. Translated by Allison E. Peers. Garden City, NY: Doubleday.

J. Lawton Winslade teaches in the English department at DePaul University, where he offers a seminar on occultism in popular culture and everyday life. He is currently completing his PhD in the Performance Studies department at Northwestern University, and is a performing artist in Chicago.

- 00:15 - Komentari (13) - Isprintaj - #

ponedjeljak, 12.02.2007.

BEWUSSTSEIN ili POLUDJELA PTICA

T
The sculpture of Fallen Angel in Parque del Buen Retiro at Plaza del Angel Caido of Madrid, created 1877 cast in bronze for Universal Exposition in Paris. Work by Ricardo Bellver, a spanish sculptor (1845-1924). *

LJUDI BEZ DUŠE

Price: Let oko kukavičjeg gnijezda kruženje je oko ničega!
Nekoć davno, Vanja Sutlić je kazao da bi cijeli svoj opus dao za Cesarićevu pjesmu "Poludjela ptica". Vanju ili nisu shvaćali - njegovu filozofiju - ili ga nisu shvaćali ozbiljno - poklič: Indijanci dolaze! - a u ovoj je opasci o Cesariću, koja je ostala do dan danas neshvaćena, sažet sav njegov filozofijski i misaoni i životni napor: tko se u 'Biti i suvremenosti' (Vanjina inačica Sein und Zeit) poduhvati Bewusstseina, ubrzo će doći na metaforu Poludjele ptice:

Kakvi to glasi cuju se u mraku,
Nad nocnim poljem, visoko u zraku?
Ko li to pjeva? Ah, nista, sitnica:
Jedna u letu poludjela ptica.

Nadlijece sebe i oblake trome,
S vjetrom se igra i pjeva o tome.
Svu svoju vjeru u krilima noseci,
Kuda to leti, sto bi htela doseci?

Nije li vrijeme da gnijezdo vije?
Kad bude hladno, da se u njem grije.
Ko li te posla pjevati u tminu?
Sleti u nizu, u bolju sudbinu.

Ne mari za to poludjela ptica.
Pjeva o vjetru, sto je svu golica.
A kad je umor jednom bude shrvo,
Nece za odmor nać nijedno drvo

Dragi moj Price, to je Let iznad kukavičjeg gnijezda: nemoj se ljutiti, ali s tvojom dušom nije problem njena bolest, nego, kako veli Heraklit, badava ljudima i oči i uši, kad imaju barbarske duše: ti si u svom nasilništvu pomislio da je poanta u kukavičluku, a riječ je o tome da kukavice nemaju svoja gnijezda, da je let iznad kukavičjeg gnijezda nadlijetanje sebe, vrtoglavo oblijetanje oko Ničega!
Tko pokuša posredovati Svijest i Bitak, uskoro će se naći u sličnom kovitlacu, znao je Vanja Sutlić! Vjerojatno stoga lavovski dio knjige posvećuje Ničemu.
Veliki Vanja Sutlić: u samo jednom jedinom djelu stigao je iskusiti sve što se uopćem može misliti!
Mi smo zaista svinje: umire Cipra, i jedva da će itko za njega i znati, a napisao je čitavu jednu Filozofiju, a ne Metamorfoze metafizike!
Bio jednom jedan Sutlić, ali koga to u ovoj geačkoj zemlji zanima.
I Pejovića je Heidegger zvao 'bistro zrno s Balkana', ali evo, to zna par nas, Parnas.
Umjesto da ih čitaju, današnji Gaju i Kangrgu i onog velikog Grlića ogovaraju; sitne duše.
Kako bi Eco kazao: možda smo mi i gore: ljudi bez duše!
Zato i imamo ložu: jer za nas ne vrijedi psihologija, nego para-psihologija.
Ljudi bez duše!
_____________________________________________
*"...Madrid, the only city in the world that boasts with a monument to a fallen angel, an unparalleled pleasure of the descent into the hell of the soul...".
Krivi navod: na krovu Doma Ante Starčevića, Oca Domovine, nalazi se statua Anđela lučonoše: Lucis ferro još je uvijek Lou Cipher, nije li!?

"Što se mene tiče (ako je uopće potrebno govoriti o tom uzvaniku), i ja sam nosio masku; manje vidljivu, dakako, i to je sve.
Kao u kazalištu, na sjedalu u sredini parketa, zato da ne zasmetate svojim susjedima, i dalje prisustvujete - iz pristojnosti, jednom riječju - prikazivanju neke drame napisane u zamornom stilu i sa sadržajem koji vam se ne dopada, tako sam i ja živio iz uglađenosti.

Vertebratajesi li zapamtio rečenicu (nemam prezentan tekst pa ću žrtvovati slovo duhu, što u Villiersovom slučaju zvuči profano i plebejski, kao da o Velikom Meštru pričam u pol bijela dana) o onome što bi bio Villiarov raison d'etre? U naslovnoj priči, Le convive des dernieres fetes, to je ona velika, složena, vijugava, a tako logična i rafinirana rečenica o tome kako on, kao kad u kazalištu pristustvujemo nekom komadu napisanom u zamornom stilu i predvidljivoga sadržaja ostajući unatoč tome sjediti u sredini reda tek da svojim odlaskom ne remetimo mir uzvanika, živi, u jednu riječ, iz uljudnosti.
Dramski precizno.

"Što se mene tiče (ako je uopće potrebno govoriti o tom uzvaniku), i ja sam nosio masku; manje vidljivu, dakako, i to je sve.
Kao u kazalištu, na sjedalu u sredini parketa, zato da ne zasmetate svojim susjedima, i dalje prisustvujete - iz pristojnosti, jednom riječju - prikazivanju neke drame napisane u zamornom stilu i sa sadržajem koji vam se ne dopada, tako sam i ja živio iz uglađenosti."

Da, Villiers to kaže bolje i kaže sasvim nešto drugo no što sam ja rekao, i nakon tolikih godina!
Ja sam moralist, citoyen, pa govorim o etiquette, o uljudnosti; on je Jean-Marie-Mathias-Philippe-Auguste, comte de Villiers de L'Isle-Adam - ah, dao bih sve svoje blogove za lordovsku titulu! - i govori o uglađenosti, jasno! Ne da se to naučiti! To je zaista u genima!
Ona opaska kralju: Nezahvalni ste kao pravi kralj!, na to mislim!

Jean-Marie-Mathias-Philippe-Auguste, comte de Villiers de L'Isle-Adam

- 17:00 - Komentari (10) - Isprintaj - #

ParaPsihologija ili LJUDI BEZ DUŠE

Da bi se razumio ovaj težak post prethodno je potrebno upoznati izuzetnog američkog slikara, Chrisa Marsa. Jedno od njegovih djela reproducirao sam post, dva niže, iznad patetične i fake storije o potrazi za istinom po ludnicam i zatvorima. Ovo je umjetnički statement Chrisa Marsa, njegov simbol:

2005

I learned it first from my Brother. He didn’t teach me; I watched it. They will pin a word on your chest and use it against you. They will create a word that’s excuse to take your humanity away. I saw it happen to him.

And everyday, this: A word to make you serve, and one to make grateful for it. There is a label out there just for you. This will make you easier to catergorize, and sell to. There is a word for the man next to you that makes you comfortable with the fact that you have so much more than he does. There is a word for you that tells you what to settle for.

There are the voiceless, who cannot speak for themselves. These are the easiest ones to shrink down. There are words for the non-conformers, simple words that can be quickly acknowledged by those that buy in. Crazy. Faggot. Gang. Rich. One is sinful, one is lazy, one is violent by nature and one is always, always good enough.

It’s such a precious thing that no one wants you to have it. You can’t be trusted with it. It’s such a delicate thing that it turns to something different in different hands. They might bury it but you can dig it up. You are strong enough for the Truth.

From my hands, my mission: To free the oppressed; to champion the persecuted, and the submissive; to liberate through revelation the actualized Self in those proposed by some to have no self at all. It’s in every single one of us, somewhere underneath that word on our chest.

In my hands, my version: All art is political in some sense, be it through conformity, reflection, propaganda or rebellion. My paintings are rallies and trials, photographs of a moment when Truth was made public, and Mercy known. Question why a villain is villainized, a victim martyred. Ask why a group is demonized, and the motives for control. See for yourself what the truth looks like in your hands. Dig it up and hold it for a while. This work you see, it’s my Truth. But please don’t take my word for it.

2003

When my brother "Bill" was fifteen years old, he was institutionalized for schizophrenia. He saw things, he heard things. Were these monsters? Was he?

Through some thirty year of his treatment, he encountered compassionate souls, both fellows and caregivers. He was also neglected and exploited by individuals and a system more interested in commerce and statistics than his very well-being. Were these exploiters monsters? He was fifteen. I was five. I went to see him. Did he see monsters? Or did I?

Let me tell you something about Monsters. I have great empathy toward Monsters, or more accurately, Perceived Monsters. To me, Monsters are more like misfits, people who are physically deformed, or rather, uniquely formed (as indeed we all are, each of us); or, people who are mentally on a different plane than the majority. By this definition, might I be speaking even of you? I am sympathetic toward Perceived Monsters, because I have known and loved perceived monsters, and have felt this way myself.

There are Real Monsters that walk this earth, cruel, evil people; oppressive, dehumanizing beliefs. I despise by Real Monsters, because of their nature and their acts; and because of a public willingness to have this label, "Monster", shared between those that are "different" and those that are evil. The word Monster in its original application describes a child born with a physical deformity. What does it mean that our society has taken this word now to mean "evil"? Where is that leap between appearances, either physical or emotional, and the specifically dark nature of one's soul? All of this speaks of a shallowness I seek to conquer. My work is about looking beyond the outer to the inner, and finding with this the true definition of Beauty - which is beyond form.
I use conventional vehicles such as light and composition and technique to invite the audience to my work. I use these conventional vehicles to specifically lure the viewer into my world, which is a direct product of the World, where Angels can be mistaken for Monsters, and actual Monsters for heroes or kings.

So look closely at my work, look hard. Because I'm trying to show you something beautiful.

2000

The imagery that is my work stems from the very strong visual and emotional impact of growing up in a family marked by mental illness. My eldest brother "Bill" suffers from schizophrenia. Bill experienced his first pronounced episode at age 16, and was immediately institutionalized. As a result, I acquired an early and lasting fear that if you are not one of society’s "Normal" members, then you are likely to be labeled, whisked embarrassingly away from your family, stripped of your freedom, drugged and humiliated. Bill was hospitalized on and off throughout my childhood and adolescent years. The seemingly medieval hospital visuals etched into my consciousness, along with the trauma of my brother being repeatedly taken from us. The sights, sounds and smells I experienced as a small child visiting him there are prevalent throughout my work.

As a child, I found identity with the monsters depicted in film and books. I believed I knew the unfortunates hunted by the angry mobs, the freaks who fall victim to a gang mentality which harbors ignorance. I believed I knew the deep lack of understanding plaguing these monsters. I connected here, and began with these symbols to wrestle the issues concerning my brother’s illness. Here, I could champion him. And so, this theme announces itself in my work now. I want people to consider the beauty that lives beneath the veneer of my troubled figures and faces. Through my work, it is my intention to bring these souls forward as a symbol of and a memorial to the many who live with mental illness, those who are labeled and thereby limited by some flaw that is in truth only a fraction of what that whole person is about.

In each piece, I am freeing my brother. I am creating a monument to him and those like him. I rescue Bill from the oppressive institutions of the 1960s, the stereotypes of society here today. Through my work, I challenge the cultural system that finds it easier to turn their heads, their hearts, away. I urge the viewer to consider the beauty, on a grand level, of that which may appear ugly at first.

As the environment defines the disease, so the environment defines my work. Pastel, paint, clay all speak in my work with a voice unique to them. The very surface on which I work is an environment which defines the materials I apply to them. I use colors designed to attract, forcing the eye towards the image, towards the people who live within it. Often, a city or grouping of buildings in the distance serves to symbolize the outsider status of the families which populate my work.

As an adult I can comprehend mental illness, even the need to institutionalize people. But as a child, my brother’s schizophrenia was met with horror, depression, confusion and fear: Fear of the system, fear of the words, the hospitals, the demons others saw. Fear that it would happen to me next. Through my own need to create, to communicate, I have gained through my work an understanding and insight into these early, lasting, and tragic events. I am continually compelled to explore this.

During my visits to the hospitals, looking into my brothers eyes, I knew so much more than the clinicians did. I knew the depth of this person, what made him laugh, his interests, what he was proud of. But what I could only and can only imagine is the hardship, confusion, embarrassment and despair that he suffered from being so singled out by a disease that at the time, they knew so much less about. Through my work, I try to understand this. I try to show my love. This is what I seek to share with you.

O LJUDIMA BEZ DUŠE

njetocka
nemoj, bre, o Siouxie da me ucis, majke ti.
a ni o glasovima kod disneya.
sve drugo moze.
a sta nije divna kaa? ja bih joj se pustila.

Nemanja
Čuj, Njetočka, nije to bilo napisano da bih te podučio ičemu, jer nisam ja ovdje iz milosrđa, nego da se ispostave čudne podudarnosti: kad već moram biti bezobrazan, još ću ih jednom istaknuti: čovjek koji je dao glas Češirskoj mački pjevao je pjesmicu Kaa, a Siouxie je izvodi na albumu koji opet zatvara krug s Alisom! Čudno, zar ne?
Ali, jedno ću ti ipak kazati: kad si se već stala na zadnje noge, vidi, Njetočka, o omiljenim vokalnoinstrumentalnim sastavima nema tko što koga učiti, ali, kad bi baš jebali mater istinu, morali bi kazati da je to muzika moje, a ne tvoje mladosti: ja sam bio njena ciljna skupina, meni - mojoj generaciji - je pjevala tih kasnih sedamdesetih i počektom osamdesetih! Ja sam naime, ni kriv ni dužan, jasno, uletio u pucanj novoga vala i kad je prvi put pjevala Izrael i kad je prvi put pjevala Nigh Shift, nama je pjevala. Kuiš? Vi ste još kopali nos i mijenjali čarobne kuglice slamnigove za neke druge pikse, kamenjarke recimo. Ako si pak i ti tih godina bila teenager, sorry, mislio sam da si mlađa.
Mada, sve to skupa nije više važno. Kao što sam napisao kod Kizze, idem ja drugovi i drugarice i možda se vidimo sljedeće zime. Svizac nije vidio svoju sjenu i gotovo je.
Njetočka, pusica, i do nekog drugog i drukčijeg bloggiranja, kiss i pozz!

Nemanja
Čan Li, velim da se ne kanim baviti podrumima tvoje podsvijesti, ali vidim da u njima čami želja da ostanem: s kim bi ti razgovarao da mene nema!? Stari, nema veze ovo pretproljetno buđenje i odlazak u prirodu s tobom: stara je škola učila prirodu i društvo, i kad ti ne paše drugo, još uvijek ti ostaje prvo. A, k tome, i vrijeme je: koji ću kurac za ovako lijepih dana na blogu?
Dakle, ne počinji s paranojom: ne događa se, zaista se ne odvija baš sve na svijetu s tobom u vezi!
Jednostavno, kao što i sam vidiš, ovdje svi imaju trajan PMS: na pjesmicu za laku noć ja uzvratim zgodnom opaskom o čudnim, čudnim podudarnostima, ali, to je i opet dobra prilika za prijekor! Nema smisla, očito je nešto u zraku: nije se prespavao zimski san, pretoplo je, što li!?
Nego, jesi li otišao na stranice Chrisa Marsa? Dolje, ostavio sam ti link. Klikni. Pogledaj što čovjek radi. Pročitaj i što on to slika i zašto slika. Vjerujem da si poneku od tih slika, doduše ne na netu, već vidio.
U svakom slučaju, želim ti dobar život!

njetocka
najdrazi nemanja
u one davne dane dok je lebićada bacala more preko zidića kojeg bezdusni ljudi namjeravaju srusiti, a zvona svetog Frane divljala, u mojoj je glavi siouxie pjevala najdrazu mi pjesmu (kako onda tako i danas):

Hanging
Hanging from your daisy chains
Swinging in the trees
Running from your enemies
And falling on your knees
On your knees (on your knees, on your knees)
Get down on your knees
Throw the dice
You three blind mice
Did you ever see
Such a thing in your life
You swallow the trail
But still arrive
Inside your entrails

Hanging....

Hanging out at party games
Dancing in the shadows
Up and down on the see-saw
Balancing the scales
You're drunk
Yet you're balancing the scales
Someone to blame
Someone to shame
Someone who you can claim
Go back the to pass the parcel
And follow the leader

Hanging....

Hanging from your climbing frames
Swinging in the gallows
Laughing with your buddies
But you can drown when you're shallow

You can drown....

krivo si me shvatio, ono je bilo napisano u uzbudjenju ponovne podudarnosti, jer hej, oboje smo svjesni cudesnog glasa zmije kaa, češirske mačke, ali, najveće li perverzije, i Winnie the Pooha (koji, definitivno, nije my kind of guy).
a malo sam bila i žalosna sto me više ne voliš. jer nemanja, ja sam te zavolela ko brata.
ne idi nemanja. ne idi, ne idi, neeee.

njetocka
naravno, nije mi se pejstao naslov pjesme, ali ću sad to da rešim. pjesma se zove... PLAYGROUND TWIST

Nemanja
Točkice, naravno da te volim. Zapravo, sad shvaćam da bismo mogli biti i vršnjaci. Pjesma, točnije sintagma koja je obilježila moj život i koju ne samo da izgovaram već dvadesetak godina, nego je oznaka vrlo, vrlo bitnih entiteta (sorry, ali uskoro, nakon zagrade, dolazi olakšanje!) koji uzimaju udjela u mome životu, jest Night shift:
My night shift sisters
Await your nightly visitor
They don’t bother me
No they don’t bother me
Naime, iz nekog ne odviše tajanstvenog razloga ja sam spojio ovo night shift s visitor, i to u množini, i te kasnonoćne vizitacije spominjem cijeli život: night shift visitors.

Nemanja
Točkice: Kad bi Kaa bila ti, i ja bih joj se prepustio.

vertebrata
Hvala za Villiersa, i sve ostalo. Pozdrav i sretno!

Nemanja
Vertebrata, drago mi je da ti se Villiers svidio. Hvala!

Nemanja
Vertebrate...nije tipfeler...čitao sam tvoj blog, točnije prelistao sam ga: Vatra, pozitivisti, Russell, Keith*...vidim da ću imati što raditi ovih dana. Još jednom, hvala tebi, ovaj put za sve ostalo.

Nemanja
Tonkica Palonkica se drži preporučenog joj Smullyana: Ja nisam praznovjerna, praznovjerje donosi nesreću!, pa u skladu s tim paradoksalnim naukom eufemiz(ni)zira Bardov komad, kako se pristoji tradiciji. O toj legendi o izgovaranju Machbeta u teatru kao prokletstvu trebalo bi napisati post.
A propos Barda, ljubavi, jesi li slušala nove 'Tuxedomoone', Bardo Hotel Soundtrack? Ako želiš, sutra ti šaljem par stvari pa ako ti se svidi, kod Dinka, u Toliku, Ilica 36, od prije par dana možeš kupiti album (reklamiram ga jer ima zaista samo nekoliko primjeraka albuma, baš kao i Tweedles, 'The Residentsa'). O naslovu albuma 'Tuxedomoona' možda nije na odmet sljedeća informacija: The record’s title refers in part to the bardo, according to Tibetan Buddhism an intermediate state between living and death. “In the bardo,” a study on Buddhism tells us, “the subtle consciousness undergoes all manner of extremely vivid experiences both intensely horrific and vastly peaceful.”
The title refers even more directly to a rundown Paris hotel with no name, where a group of Beat writers set up residence in the late 1950s. It was there that William Burroughs and Brion Gysin developed the “cut-up/fold-in” technique, which Burroughs would launch upon the literary world with Naked Lunch. Gysin would refer to the place in his memoirs as the “Beat Museum/Bardo Hotel.”
O The Residentsima sam već pisao (ovo je iskren zapis, barem u početku, s iznenađujućim krajem):
Dosta su oni meni zla napravili. Šta je previše, previše je! Vidi šta oni rade po svetu:
"Fate had again stepped in and The Residents saw no reason not to have a look at the studio. The group boarded a jet for Bucharest in early 2006 with the idea of recording a couple of tracks while taking a nice vacation in a country they had never visited. Since no ideas had been formed in advance as to what would be recorded, they felt it was appropriate to record everything during the trip, including the jet's take off. Once on the plane and bored, ideas started coming and soon The Residents were roughing out an idea for a whole album.
The group's ultimate destination was not Bucharest, but a town 400 kilometers away, Hunedoara. Hunedoara is in the area of Romania known as Transylvania, historically the home of Count Vlad III, fictionalized by Bram Stoker as the vampire Dracula. By the time they landed in Bucharest, they had outlined an album about a "vampire" of sorts. Not a Bela Lugosi vampire, but one that feasted on broken hearts; a man who devoured the romantic emotions of others as a source of power. A man who took the stance that anyone who would stoop so low as to love him was not worth loving in return. As it turned out, the group fell in love with Hunedoara and as they produced their story of sexual compulsion, their impromptu recordings of street musicians, church bells and a small traveling circus with its strong Felliniesque presence, soon made it into their electronic pieces. The Residents' product manager at Mute happened to be Romanian and he had connections with classical musicians in Bucharest."
Svašta! Šta sve ljudi neće da urade da budu u centru pažnje. (Nemanja 11.01.2007. 21:31)
A man who took the stance that anyone who would stoop so low as to love him was not worth loving in return. Dakle, fatalni muškarac! Ekvivalent femme fatale.
Drakula kao l'homme fatal!
U srce motiva, ovdje nije pretjerano kazati. (Nemanja 11.01.2007. 21:57)

Nemanja
Vertebrata, jesi li zapamtio rečenicu (nemam prezentan tekst pa ću žrtvovati slovo duhu, što u Villiersovom slučaju zvuči profano i plebejski, kao da o Velikom Meštru pričam u pol bijela dana) o onome što bi bio Villiar raison d'etre? U naslovnoj priči, Le convive des dernieres fetes, to je ona velika, složena, vijugava, a tako logična i rafinirana rečenica o tome kako on, kao kad u kazalištu pristustvujemo nekom komadu napisanom u zamornom stilu i predvidljivoga sadržaja ostajući unatoč tome sjediti u sredini reda tek da svojim odlaskom ne remetimo mir uzvanika, živi, u jednu riječ, iz uljudnosti.
Dramski precizno.

Nemanja
LJUDI BEZ DUŠE

Price: Let oko kukavičjeg gnijezda kruženje je oko ničega!
Nekoć davno, Vanja Sutlić je kazao da bi cijeli svoj opus dao za Cesarićevu pjesmu "Poludjela ptica". Vanju ili nisu shvaćali - njegovu filozofiju - ili ga nisu shvaćali ozbiljno - poklič: Indijanci dolaze! - a u ovoj je opasci o Cesariću, koja je ostala do dan danas neshvaćena, sažet sav njegov filozofijski i misaoni i životni napor: tko se u 'Biti i suvremenosti' (Vanjina inačica Sein und Zeit) poduhvati Bewusstseina, ubrzo će doći na metaforu Poludjele ptice:

Dragi moj Price, to je Let iznad kukavičjeg gnijezda: nemoj se ljutiti, ali s tvojom dušom nije problem njena bolest, nego, kako veli Heraklit, badava ljudima i oči i uši, kad imaju barbarske duše: ti si u svom nasilništvu pomislio da je poanta u kukavičluku, a riječ je o tome da kukavice nemaju svoja gnijezda, da je let iznad kukavičjeg gnijezda nadlijetanje sebe, vrtoglavo oblijetanje oko Ničega!
Tko pokuša posredovati Svijest i Bitak, uskoro će se naći u sličnom kovitlacu, znao je Vanja Sutlić! Vjerojatno stoga lavovski dio knjige posvećuje Ničemu.
Veliki Vanja Sutlić: u samo jednom jedinom djelu stigao je iskusiti sve što se uopćem može misliti!
Mi smo zaista svinje: umire Cipra, i jedva da će itko za njega i znati, a napisao je čitavu jednu Filozofiju, a ne Metamorfoze metafizike!
Bio jednom jedan Sutlić, ali koga to u ovoj geačkoj zemlji zanima.
I Pejovića je Heidegger zvao 'bistro zrno s Balkana', ali evo, to zna par nas, Parnas.
Umjesto da ih čitaju, današnji Gaju i Kangrgu i onog velikog Grlića ogovaraju; sitne duše.
Kako bi Eco kazao: možda smo mi i gore: ljudi bez duše!
Zato i imamo ložu: jer za nas ne vrijedi psihologija, nego para-psihologija.
Ljudi bez duše!

GEORGE W. BUSH, THEOLOGIAN.
“We will never show weakness in the face of these people who have no soul” *

The Stunning, a 90s era rock band from Galway in Ireland. One of their most powerful songs is Men Without Souls which is a condemnation of those who promoted terror in Northern Ireland.

"Men without souls
The whole world is filled with them
Dragging their filth with them
Madmen will kill for them
Their mothers will feel for them
Men without souls"

_____________________________________________

* Perhaps Bush is simply refering to the Akh, in which case he could almost be excused, as dealing with Egyption Eschatological models is befuddling for even Egyptologists, let alone layfolk. However, if he is refering to their Ka, than, as I understand it, this is a serious insult. But our dear Leader wouldn't dish outinsults, especially elaborate, backhanded Egyptian insults, would he?

EGYPTIAN SOUL

In Egyptian mythology, the human soul is made up of seven parts: the Ren, Sekhem, the Akh, the Ba, the Ka, the Sheut, and the Sekhu. During life, the soul, including those of animals, and of gods, was thought to inhabit a body (named the Ha (%Á), meaning flesh).
Egyptians thought of the Akh, Ba and Ka as immortal aspects of the soul. Yet, though it may sound paradoxial, these concepts could only survive if the body of the individual was preserved properly. The Ba for example could not return to the body if it was rotten and unrecognizable and therefore was to roam around forever, hence the mummification of deceased bodies.
Ren (name)
A person's name (ren in Egyptian) was given to them at birth and would live for as long as that name was spoken, which explains why efforts were made to protect it, placing it in large amounts of writings. For example, part of the Book of Breathings, a descendant of the Book of the Dead, was for ensuring the survival of the name. A cartouche (magical rope) was often used to surround the name and protect it for eternity. Conversely, the names of deceased enemies of the state, such as Akhenaten, were studiously hacked out of monuments.
Sekhem
The Sekhem is the Energy, Power, and Light of the person who has died.
Ab
The Ab is the Egyptian concept of the heart and soul, the principal of seven souls believed to be carried in a life. It was believed to be a drop from the heart of the mother of a child at conception. It was typically portrayed as a person who is weighed by the goddess Ma'at after death.
Akh
The Akh (meaning shiner), was a concept that varied over the long history of Egyptian belief. It was, at first, the unchanging unification of Ka and Ba, which united after the death of the physical body. In this sense, it was a sort of ghost. The Akh was then a part of the Akh-Akh, the panoply of Akhs from other people, gods and animals. In this system, it was the aspect of a person that would join the gods in the underworld being immortal and unchangeable.
In later belief, the Ka was considered to change into the Akh and Ba after death, rather than uniting with the Ba to become the Akh. At this stage, it was believed that the Akh spent some time dwelling in the underworld before returning and being reincarnated as a Ka, gaining a new Ba.
The separation of Akh / unification of Ka and Ba was created after death, by having the proper offerings made and knowing the proper efficacious spell, but there was an attendant risk of dying again. Egyptian funerary literature (such as the Coffin Texts and the Book of the Dead) were intended to aid the deceased in "not dying a second time" and becoming an akh.
Alternative: Khu.
Ba (soul/personality)
The 'Ba' ('b3') is in some regards the closest to the Western notion of the soul, but it also was everything that makes an individual unique, similar to the notion of 'personality'. (In this sense, inanimate objects could also have a 'Ba', a unique character, and indeed Old Kingdom pyramids were often called the 'Ba' of their owner). Like a soul, the 'Ba' is a part of a person that lives after the body dies, and it is sometimes depicted as a human-headed bird flying out of the tomb to join with the 'Ka' in the afterlife.
As with humans, deities could also have 'Bau' (plural of Ba), but in the case of divine beings, it was even more associated with their 'impressiveness', 'power', and 'reputation'. When a god intervened in human affairs, it was said that the 'Bau' (plural of 'Ba') of the god were at work [Borghouts 1982]. In this regard, the king was regarded as a 'Ba' of a god, or one god was believed to be the 'Ba' of another.
Ka (corporal presence/life force)
The Ka (k3) was the concept of life force, the difference between a living and a dead person, death occurring when the ka left the body. The Ka was thought to be created by Khnum on a potter's wheel, or passed on to children via their father's semen.
The Egyptians also believed that the ka was sustained through food and drink. For this reason food and drink offerings were presented to the dead, though it was the kau (k3w) within the offerings (also known as kau) that was consumed, not the physical aspect. The ka was often represented in Egyptian iconography as a second image of the individual, leading earlier works to attempt to translate ka as double.
Julian Jaynes in his theoretical work The Origin of Consciousness in the Breakdown of the Bicameral Mind suggests that the "ka" originally was a hallucinated god-voice similar to that experienced in schizophrenia. According to his theory, most people were not fully conscious in the early ancient period, and hence his theory is regarded as fringe by the mainstream.
Giacomo Borioni proposes in his work "Der Ka aus religionswissenschaftlicher Sicht" that, according to Friedrich Junge, the Ka was the "self" of a human being.
Sheut (shadow)
A person's shadow (šwt in Egyptian) was always present. A person could not exist without a shadow, nor the shadow without the person. The shadow was also proir to the soul of the living body, thus connected to death when life was deprived from it. The shadow was represented as a small human figure painted completely black as well as a figure of death, or servant of Anubis.
Alternative: Khaibit
Sekhu
The remains of a person, the physical body.

- 02:01 - Komentari (12) - Isprintaj - #

nedjelja, 11.02.2007.

patoLOGGIA: ANCIENT NOBLE ORDER of NUMEROUS IMBECILE MASONS

patoLOGGIA: ANCIENT NOBLE ORDER of NUMEROUS IMBECILE MASONS

KRONOLOGIJA

Sorry još jednom!
Isuse, kongres kretena, to je patologija! Nemanja 08.02.2007. 21:52

meni, dragi moj Markize, zvijezde vec odavna nisu naklonjene prema tome nema smisla da ih konzultiras osim ako imas kakvog utjecaja kod nebeske administracije.. cveba 08.02.2007. 21:56

nije to kongres, Nemanja, nego sabor..:-) cveba 08.02.2007. 21:58

više je to Loža kretena. mogli bi tražiti legalizaciju. vilenjak 08.02.2007. 22:44

Vilenjak, ovo je Loža takvih kretena da bi mogli i, zapravo, morali trežiti ilegalizaciju!¨
Kizzo, vidiš što je brain storming! Konačno smo došli do definicije Patoblogije: Loža kretena!
Budući da ovdje ima više majstora nego u Mystic Order of Veiled Prophets of the Enchanted Realm, zasigurno bi nam unijeli svjetlo još noćas, dok spavamo, direkt iz kapelice Grand Druid Councila.
Budući da sam konačno progledao i uvidio istinu, uskoro ću odbaciti svjetovno ime Nemanja i blog posvetiti Loži uboge braće Patobloga. Akronim nam može biti A.N.O.N.I.M. tj.
Ancient
Noble
Order of
Numerous
Imbecile
Masons
Mislim da se ovaj kurac od prijedloga mora usvojiti jednoglasno. Tko je za...dobro...tko je protiv...odlično...ima li suzdržanih...fino....dakle možemo zaključiti da je Loža nesuverenih i nesigurnih malih slobodnih zidara od Patoblogije osnovana.
Dixi! Nemanja 09.02.2007. 00:

Nego, Luce, ostani sekund: ti si ovde ipak jedna od najpametnijih - šta ti misliš o mojoj noćašnjoj ideji da blog preimenujem u Patologgiu, tj. Ložu patologije, a da Nemanja ode u povest? Mislim naime da su Hrvati takvi idioti da oni zaista veruju u to moje srpstvo pa ih sve nešto preči, rezumeš?
@Cveba, je li sve O.K.? Nemanja 09.02.2007. 20:54

Sigurno ćeš da se šališ i kad ti otkrijem da me zanima, KAD ti je ustvari pala ona revolucionarna noćna ideja da blog preimenuješ u Patologgiu, tj. Ložu patologije, a da Nemanja ode u povest! Ti Nešo, siguran sam da je tako, mora da si ono o preimenovanju vaseljene smislio davno prije dolaska ovdje.
ajbog cajkovski 10.02.2007. 15:27

Ich

- 06:32 - Komentari (30) - Isprintaj - #

subota, 10.02.2007.

SAMOKRITIKA

Samokritika je suprotnost mučnim sumnjama, koje pokapaju samopouzdanje.
Zdrava samokritika nije ništa negativno: nije preziranje sebe ni mučenje samoga sebe.
Samokritika vodi do spoznaje samoga sebe, djeluje oslobađajuće i čuva od razočaranja.
Ali: samokritika je jako teška. Ljudi koji su u dijeljenju kritike malo izbirljivi, često alergično reagiraju na kritiku njih samih.
Fanatici kritiziraju druge do uništenja, ali na sebi ne trpe nikakve kritike.
Kritika nerijetko nastaje prema motu: Što manje razloga, tim bespoštednije.
Često se u stvarnosti na ovaj način samo prikriva vlastitu nesigurnost i strah.
Kritika bez samokritičnosti je bježanje od sama sebe i od vlastite odgovornosti.
Zato može biti oslobađajuće da sebe kritički pogledamo u ogledalu.
Gdje sa samim sobom još nisam načistu?
Zašto sam tako agresivan prema drugima?

Tko se sam pogleda u ogledalo,
može doći do spasonosnih otkrića.
Tko je iskren prema samome sebi,
imat će i za druge više razumijevanja.
Ako želim popraviti svijet,
najbolje je da započnem od sebe.

Glas Koncila, broj 12 (1552), 21.3.2004.

BUDNOST

Dominantno stanje svesti u kojem se nalazio član Partije.
Podrazumevalo je stalnu podozrivost prema svemu što se ne uklapa u zadati šablon mišljenja zacrtan u najsvežijim partijskim dokumentima.
Pošto je okosnica partijskog delovanja bila borba protiv spoljnjeg i unutrašnjeg neprijatelja,
a pošto, poznato je, neprijatelj nikada ne spava, to je i član Partije morao da stalno bude budan.
Neke šaljivdžije su partijske kadrove (v.) vrednovali po veličini i boji podočnjaka koje su imali.

(Živoslav Miloradović)

The Shining

Nemanja, bre, ne mislis li da je malo kasno ?

Nemanja
Za samokritiku? Nikad, drugarice!
Zapravo, čudite me!
A da se ispovedite?

Chan Li - Duh sa sikirom!
Uf, uf, uf rekao bi Vinetu!
Puno si ti nama toga lepog napriča ovdje ali postoji jedna velika opasnost kad sebe gledamo u ogledalo jer ono daje samo odraz.
Narcizam je najgora boljka od svih bolesti jer čovjek njeguje svoj odraz a ne sebe samog a ne prepoznaje razliku između sebe i svog odraza!
Čuvaj se ponosa i iznad svega se čuvaj TAŠTINE!

Nemanja
To je tocno, Koheletu!

Taština nad taštinama, kaže Kohelet, taština nad taštinama, sve je taština.
3 Koja korist ima za čovjeka od sveg rada koji je obavio pod suncem.
4 Jedno doba odlazi, drugo dolazi, a zemlja traje uvijek.
5 Sunce se diže i sunce liježe, ono stremi onom mjestu otkud se diže.
6 Vjetar ide k jugu i okreće se k sjeveru, vjetar se okreće, okrene i odlazi, i preuzme vjetar ponovo svoje ophode.
7 Svi tijekovi idu k moru, a more nije ispunjeno; prema mjestu kamo tijekovi odlaze, onamo, oni idu iznova.
8 Sve su riječi iscrpljene, ne može ih se više reći, oko se ne zadovoljava onim što vidi, a uho se ne napuni onim što čuje.
9 Ono što je bilo, to je ono što će biti, ono što se učinilo, to je ono što će se učiniti: ničeg novog ispod sunca!
10 Ima li jedna stvar o kojoj se može reći: »Gledajte, to je novo, ovo! - to postoji već stoljećima koja su nam prethodila.
11 Nema nikakvog sjećanja o vremenima prošlim; glede sljedbenika koji će doći, neće ostati o njima nikakvog spomena kod onih koji će doći poslije.

Cadence and cascade
Kept a man named jade;
Cool in the shade
While his audience played.
Purred, whispered, spend us too:
We only serve for you.

Sliding mystified
On the wine of the tide
Stared pale-eyed
As his veil fell aside.
Sad paper courtesan
They found him just a man.

Caravan hotel
Where the sequin spell fell
Custom of the game.
Cadence oiled in love
Licked his velvet gloved hand
Cascade kissed his name.

Sad paper courtesan
They knew him just a man.

Chan Li - Duh sa sikirom!
Opala! Pa mi imamo filozofa koji vlada sa analizom! Dokle ste dogurali sa Hegelovom i Marksovom dijalektikom druže?

cveba
nije opala nego oplaaaaa, thanks amice, ja sam izbezumljena, my love flote for you, c'est la vie...who knows, who cares...i onda harmonika kao da smo u parizu, ti bokca, senzacionalna jedna vecer, merci.

Nemanja
Ti si izbezumljena? Ahahahhahaha...kako taktično, kakav smisao za humor, kako profinjeno retorično! Da izbezumljena! Opalaaaaaaaaaaaaaaa!
Tu se slobodno može kazati: Vitium Artis!

Nemanja
Do Gradiške, druže.

Chris Mars

Chan Li - Duh sa sikirom!
Hmmm...?
Zanimljivo!
Cveba mi zabranila komentiranje na blogu.
Namanja se počeo koristiti latinskim.
Pa čovjek poput mene bi mogao izgubiti ovo malo preostalog razuma, što bi za mene osobno bio ogroman gubitak.
Nemojte se plašiti jer sam se ozbiljno susreo samo sa matematičkom analizom na FSB-u, Hegelovu fenomenologiju duha sam počeo čitati prvi put sa 17 godina i nisam kurca kužio ope' sam pokušao par godina poslije i to je bilo uzalud pa sam za istinom počeo tragat u ludnicama i zatvorima jer je tamo istina ogoljena do koske.
Cvebi ne zamjeram što je zabranila komentiranje jer trenutno niti jedan psihijatar u Zagrebu ne želi imati posla sa mnom što vjerovatno znači i u cijeloj Hrvatskoj.
Tako da sam preveliki zalogaj za nju jer čisto sumnjam da je specijalizirala Psihijatriju.
Vjerujem da ste pročitali gomilu knjiga i da ste većinu pročitanog shvatili.

Nemanja
Moraš i ti shvatiti nešto: ne radi se o tome da si ti bilo kakav zalogaj za nekoga, jer te nitko ovdje ne doživljava kao medicinski izazov/fenomen, nego upravo zato jer si ti ovdje najprije čovjek, duševno biće, nikoga ne možeš obvezati na to da se njome bavi ako to iz bilo kojeg razloga ne želi! Mislim da je to fer odnos i ne možeš ni dottoresu ni mene kriviti što izbjegavamo o tebi govoriti u kategorijama psihoterapije. Ovo je pogrešna ludnica, stari!

Dođe mala Nefertiti u školu, učiteljica kaze: - Djeco izvadite pločice,
grebat ćemo diktat.
Mali Egipcani izvade pločice i učiteljica počne: - A sad pišite: Naš bog
Amon Ra je jako prepotentan...
Mala Nefertiti digne ruku:
- Oprostite učiteljice, ja sam bila bolesna prošli tjedan, ne znam piše li
se "prepotentan" s dva ili tri kurca?

FROM THE BEGINNING

There might have been things I missed
But don't be unkind
It don't mean I'm blind
Perhaps there's a thing or two
I think of lying in bed
I shouldn't have said
But there it is

You see, it's all clear
You were meant to be here
From the beginning

Maybe I might have changed
And not been so cruel
Not been such a fool
Whatever was done is done
I just can't recall
It doesn't matter at all

You see, it's all clear
You were meant to be here
From the beginning

njetocka
Trust in me, just in me
Shut your eyes and trust in me
You can sleep safe and sound
Knowing I am around

Slip into silent slumber
Sail on a silver mist
Slowly and surely your senses
Will cease to resist

Trust in me, just in me
Shut your eyes and trust in me

Nemanja
"Trussst in me
Jussst in Me
Ssshut your Eyesss
and trussst in me

"Ssslip in to sssilent ssslumber
Sssail on a sssilver missst
Ssslowly and sssurely your sssensssesss
Will csseassse to resssissst"

Draga moja Kaa, ti bi mene hipnotiziralaa i progutalaa!
A znaš li ti, Njetočkaa, da je Sterling Hollaway, koji je kao Kaa pjevao "Trust in Me", posudio svoj glas i Cheshireskoj mački u Alisi!?
A, kako je svijet malen? Ili je to samo svijet nas malih?

I, sad, na kraju, cukar: znaš li na kojem albumu Siouxie pjeva tu pjesmu?
'Through the Looking Glass'!
Trussst in me
Jussst in Me!

The Sandman

- 22:46 - Komentari (20) - Isprintaj - #

petak, 09.02.2007.

ROMEO I JULIJA, STAR-CROSSED LOVERS*

ROME, Italy (AP) -- It could be humanity's oldest story of doomed love.
Archaeologists have unearthed two skeletons from the Neolithic period locked in a tender embrace and buried outside Mantua. The site is just 25 miles south of Verona, the romantic city where Shakespeare set the star-crossed tale of "Romeo and Juliet."
Buried between 5,000 and 6,000 years ago, the prehistoric pair are believed to have been a man and a woman and are thought to have died young, as their teeth were found intact, said Elena Menotti, the archaeologist who led the dig.
"As far as we know, it's unique," Menotti told The Associated Press by telephone from Milan. "Double burials from the Neolithic are unheard of, and these are even hugging."
The burial site was located Monday during construction work for a factory building in the outskirts of Mantua. Alongside the couple, archaeologists found flint tools, including arrowheads and a knife, Menotti said.
Experts will now study the artifacts and the skeletons to determine the burial site's age and how old the two were when they died, she said.
Although the Mantua pair strike a rare and touching pose, archaeologists have found prehistoric burials in which the dead hold hands or have other contact, said Luca Bondioli, an anthropologist at Rome's National Prehistoric and Ethnographic Museum.
The find has "more of an emotional than a scientific value." But it does highlight how the relationship people have with each other and with death has not changed much from the period in which humanity first settled in villages, learning to farm the land and tame animals, he said.
"The Neolithic is a very formative period for our society," he said. "It was when the roots of our religious sentiment were formed."
The two bodies, which cuddle closely while facing each other on their sides, were probably buried at the same time, an indication of a possible sudden and tragic death, Bondioli said.
"It's rare for two young people to die at the same time, and that makes us want to know why and who they were, but it will be very difficult to find out."
He said DNA testing could determine whether the two were related, "but that still leaves other hypotheses; the Romeo and Juliet possibility is just one of many."

'I'd Rather Go Blind' lyrics by ETTA JAMES

Something told me it was over
when I saw you and her talking,
Something deep down in my soul said, ´Cry Girl´,
when I saw you and that girl, walking out.
I would rather, I would rather go blind boy,
Than to see you, walk away from me child, and all.
Ooooo So you see, I love you so much
That I don't want to watch you leave me baby,
Most of all, I just don't, I just don't want to be free no

I was just, I was just, I was just sitting here thinking
Of your kisses and your warm embrace, yeah,
When the reflection in the glass that I held to my lips now baby,
Revealed the tears that was on my face, yeah.
And baby, baby, I would rather be blind boy
Than to see you walk away, see you walk away from me, yeah
Baby, baby, baby, I'd rather be blind now

Yea, noise? then I'll be brief. O happy dagger!

Snatching ROMEO's dagger

This is thy sheath;

Stabs herself

there rust, and let me die.

Falls on ROMEO's body, and dies

___________________________
* Star-crossed lovers

"Star-crossed" or "star-crossed lovers" is a reference to those who fight against (or cross) their fate, which is written in the stars. The phrase is first recorded by William Shakespeare in his play Romeo and Juliet.

ACT I PROLOGUE

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;

It also refers to destiny and the inevitability of the two characters' paths crossing each other. It also usually means unlucky, since Romeo and Juliet's affair ended tragically. During Shakespeare's time, there was a great belief in the Hierarchy of Being, promoted extensively by the church, and this would be considered part of the predestined societal positions that Romeo and Juliet were attempting to usurp with their lust.

In the context of their fate being "written in the stars", the cross also represents hardships. This is clearly represented in Shakespeare's A Midsummer Night's Dream; Hermia says to Lyander of their troubles:

"If then lovers have been ever crosse'd,
It stands as an edict in destiny:
Then let us teach out trial patience,
Because it is a customary cross,
As due to love as thoughts and dreams and sighs,
Wishes and tears, poor fancy's followers." (Act I Scene I)

A clear representation of their troubles being something that was destined.

Other famous star-crossed lovers include Pyramus and Thisbe (usually regarded as the source for Romeo and Juliet), Lancelot and Guinevere, Tristan and Isolde, and Hagbard and Signy. More modern examples are Anakin and Padmé in the Star Wars saga, Jack and Rose in Titanic, and Tony and Maria in the musical West Side Story (a retelling of Romeo and Juliet).

- 23:35 - Komentari (13) - Isprintaj - #

srijeda, 07.02.2007.

MIDECA

- S.V.P. Monsieure de Sada, jel se moze uspostaviti nekakvoga reda vu ovemu anarhistickemu blogu, tu se vise ne zna tko skim hoce a tko sa kime ne ce, hm, ja bih Vam rado poslala neke patologije interkontinentalne ma se nema prostora, prosim, Nemanja pili svoje principijelno, ove sve vase puce Vasbprekomjerno vole i posamezno su zaljubljene, ima li tu prostora za anarholiberaliste i za sljedbenike naseg ambadora kovacevica, haaa?
- Mademoiselle Cveba, naravno da ima mjesta na patologiji. Moje srce je veliko, a kurac još veći.
Otkud vi na plaži? Priznajem da mi nedostaju one vaše afričke pričice s hijenama koje izjedaju strvine svakojake.
P.S.
Svaka politička informacija je dobrodošla zato jer samo destabilizacijom postojeće političke debilizacije možemo prokrčiti put velikomonarhijskoj ideji.
- hm, kolju po Somaliji a i sire no o tome ce povijest pricati vrlo brzo, mene momentalno zanima kako se dise glede i nazalost mihalicevoj smrti, to jest, da li ce politicki kriticari sve to prosrati ili ce se covjeku ( koji nota bene nie imao politickoga sluha, no boze moj ), ipak pokloniti glave, meni je to valjda vanzemaljski chitati iz kenije ali ipak, rado bih znala kako se dise..:-)
- Mene bi, draga Cveba, prvenstveno zanimalo kakve gaćice nosite? Preferirate li stopostotni pamuk zbog visokih temperatura i postaje li vaše međunožje u poslijepodnevnim satima izrazito vlažno pod utjecajem nemilosrdnih atmosferskih prilika?
- atmosferalija kaj se dotikavle..samo cotton i lan, no to su efemeride, ne sjede gljivice tam gdi vi mislite nego drugdje, bez zezanja, ovo su mucni prostori, tu se ljudi ne zajevabaju kao vi i kompanija, ali ipak...lijepo vas je citati jer me vracate prema nasim malim provincijskim hrvatskim horizontima koji znace jedno veliko DOMA..klanjam se..
- Tako bih želio znati čime se bavite u toj izdrkanoj državi. Jeste li možda lovac na slonovaču, časna sestra ili liječnica? Unesite dašak afričke avanture u ovu našu komornu atmosferu, šibajte nas zvucima tam-tama
- Recite mi Cveba, sprema li se u Nairobiju kakav državni udar?
Osjećam da imamo toliko tema za razgovor.
- Više ne nalazim zadovoljstva u bloganju.
- Čuj, mala, nadam se da ćeš tamo dobiti ebolu, jer si ionako poblesavila u međuvremenu, pa nikakva korist od tebe u nastavku tvog besmislenog života. Jer, što bi ovo značilo:"...prema nasim malim provincijskim hrvatskim horizontima"? A kakvi su kurac tvoji horizonti i tko si ti, budalo, da bi bilo čiji život na ovoj jebenoj zemlji za tebe bio olak, komotan i besproblematičan u odnosu na svu složenost situacije kojoj ti nazočiš? Kakva kurčeva Afrika, kakvi problemi? Tko im jebe mater. Već deset tisuća godina skaču po drveću i s majmunima igraju ćizu-blizu, jedino su oni Dogoni skužili Sirijus B bez teleskopa, a mi bi sad trebali biti nešto ganuti njihovom teškom sudbinom, što li? Neka prestanu bubnjati i počnu neki kurac raditi po tim svojim Kenijama i Tarzanijama. Jebote, kakvih problema s tim crncima, da sam znao da će ovako završiti sam bih brao pamuk!
Inače, zbilja sam zabrinut za tebe: prije godinu i pol bila si sasvim normalna djevojka, a sad dociraš, zabrinuta si za posljednji ispračaj pjesnika, hrvatski su ti horizonti iz kenijske perspektive provincijalni....u kurac, da nemaš AIDS?
- Izgnaniče, tako je meni s karanjem. Ali, onda ugledam neki prorez i bljesak butine, i poželim da pojebem sve što leti i treba da leti, a kamoli zimi!
Prolazna kriza.
Vidiš da je i Kiza u krizi. Priča o Najrobiju. Ha, ha, ha, ovo je za bogove. Samo ga pustite, svašta ćemo da čujemo.
- u nas nije zima vec je naopako od kod vas, tko ima AIDS nemre tipkati jerbo umire, Ebola je u Congu i tocno je da sam lijecnik, a pjesnika nam ovdje nedostaje ! cveba 06.02.2007. 02:36
- Vidim kćerce da si budna i da navraćaš i na moj. Čuj, a je li istina da u Keniji ima jedno drvo koje se noću premiješta po vrtu?
- I reci mi još ako si ti doktorica, ima li nama spasa? Mi smo već na patologiji, i iako su nas rastavili na dijelove, dušu nisu pronašli. Što da radimo?
- Idem ja sad spavati, možda sanjati, a ti razmisli o mojim pitanjima. Možda smo mi ljudi bez duše. Možda se mi samo pravimo kao da imamo dušu. Možda mi umjesto psihologije podliježemo zakonitostima parapsihologije. Možda ja sada potkradam gospodina Hockea. A možda ga je na kraju svoga romana pokrao i Eco. U svakom slučaju, u mojoj duši vladaju sudden choices.
Kao što iz tvoga PC-a, draga moja dottoresa, svakog časa može iskočiti Deus, kao ex machina.
I di smo onda?
Nego, jesi li sigurna da u Keniji nema neka kuća čija je sama arhitektura zla?
Raspitaj se!

Molim ovom prilikom da mi se ne obraćate zlorabeći captatio benevolentiae; boli mene kurac, naime, za vaše snishodljivo podilaženje. Kud bih ja došao kad bi meni do vas iole bilo stalo, ma koliko i ma kako mi podilazili!? Nemam ja vremana, ja sam biznismen.
Ja gledam samo svoj pro bitak (sein, suće). Jebe se meni za vas. Idem spat.

Kizza

Uzbuđen sam zbog iznenadnog javljanja patoblogerice Cvebe i njezine brige za hrvatsko pjesništvo. Danas nema kvalitetnih pjesnika, klasici umiru, smrt je svuda oko nas. Imam jednoga doma kojeg ljubomorno čuvam u ormaru i ne želim ga dijeliti s drugima. Još uvijek je živ.
Želim da nam pišeš kako je tamo u Africi. Objavljuješ li svoje radove u BMJ-u, Lancetu, East African Medical Journalu ili u nekom opskurnom časopisu koji, usprkos slabom impact factoru, ipak boduje radove koji su toliko potrebni za uspješan nastavak medicinske karijere?
Jesi li možda na specijalizaciji? Ako jesi deder nam opiši sve detalje iz svoje svakodnevice, zadovoljava li te mentor i kako su te prihvatili kolege s odjela. Želim znati posjećuješ li PubMed u traganju za relevantnim medicinskim informacijama ili si pretplatnik nekog znanstvenog medicinskog časopisa koji je tako prestižan za pokazivanje tvojim ubogim kolegama, premda ti samo 5% sadržaja zapravo nešto znači u životu. Divim se tvojoj požrtvovnosti i odličnom prosjeku ocjena koji te je doveo u Keniju.
Gadna je situacija s tim subspecijalizacijama. Imaš li pokatkad osjećaj kao da pripadaš nekoj egzotičnoj životinjskoj vrsti koja je pred izumiranjem i svi je gledaju s prezirom samo zato jer čita nekakve neobične tekstove s grafovima?
Oh, kako te ćutim moja afrička sestro!
Tako bih ti želio poslati novi udžbenik Medicinske fiziologije da ne moraš naprezati svoje lijepe oke kad ponavljaš gradivo na okupatorskom jeziku sile. Zamišljam kako sjediš u bijeloj kuti ispod ventilatora dok osluškuješ bilo maloga crnca, propuh mrsi tvoje kovrče koje padaju na bujno poprsje, pamuk na stidnici, lan na mekoj koži.
Gle vražjeg vjetra kako joj zadiže kutu! Miči te prljave afričke šape s tog neokaljanog trupla!
Kasnije, ižmikana, odlaziš kući i sjedaš za svoje računalo na kojem zapisuješ priče iz afričke divljine pridajući životinjama ljudske karakteristike kao Tolkien u Farmeru Gillu, u čemu je tvoje poznavanje anatomije neprocjenjivo blago dok opisuješ komadanje i proždiranje u tom neobuzdanom društvu anarhije.
Ah, kako bih želio ući u tvoj medicinski mozak koji nije zaboravio svoje korijene i brigu za bogatu književnu baštinu. Tvoja humanost me izluđuje. Osjećam određenu duhovnu povezanost i kao da slutim tvoj životni poziv. Kirurgiju sam odmah eliminirao prepoznavši tvoja umjetnička stremljenja, pretpostavljam da si pedijatrica ili neurologinja, premda ni dermatovenerologija nije isključena. Pomozite mi da proniknem u Cvebu-bebu. Želim je nekako nagraditi.

• ..alo herr primarius, pa necemo odmah na vidjelo sa svim tajnama premda si relativno blizu, u Afriku me nisu odnjele dobre ocjene nego strani jezici i politika - procitaj zadnji vienac ili neka ti Moljac slozi link na interview sa Bobom Novakom, odoh sad da dejstvujem :-) cveba 06.02.2007. 10:12
• Cvebić zar sumnjaš u moje surferske sposobnosti? Pročitao sam "dio" objavljenog razgovora koji je dostupan na njihovoj stranici, ali nisam našao nikakvu poveznicu s tobom. Želiš me natjerati da kupim novi broj? Markiz de ga Sad 06.02.2007. 10:42
• Počelo objavljivanje blog romana, pa koga zanima neka navrati na ovaj blog blog-roman 06.02.2007. 10:42
• Silno sročeno. I kniks od mene, jasno. :-) DerzaFanistori 06.02.2007. 10:58
• Hm da, primite na znanje, poštovana Cvebo, ako se netko ovdje osjeća pucom, to nisam ja. I ako Markizu ostavljam komentare tipa: jebi me u dupe, ne znači da sam groupie niti da mi je Markiz guru ili gurao. To znači da se vulgarno zajebavamo. Priličnog sam mišljenja da će vam se i druge "puce" koje zalaze ovamo slično izjasniti. Baka 06.02.2007. 11:40
• "Vidiš da je i Kiza u krizi. Priča o Najrobiju. Ha, ha, ha, ovo je za bogove. Samo ga pustite, svašta ćemo da čujemo.", rekao sam ja proročki!
Ja savjetujem Bako da svi mirujemo dok ne vidimo kud će to Kizu odvesti. Ja osobno mislim da je Kiza lud. Nanjušio je krv, vidi u maloj dottoresi priliku života, ukazuju mu se savane i lijane, ima i stanovitu skrivenu prednost koju mala ni ne sluti iako se Kizo već razmeče svojom i Greyovom anatomijom, i sve to, ukratko, neće dobro završiti, pa je najbolje na vrijeme zauzeti dobro mjesto, kupiti kokice i kolu, i fino i dokono posmatrati prizore okrutne.
Čudi me samo da je i pametnica Derza nasjela: ha, ha, da fino sročeno, i još se derište ponaša dobroodgojeno i kao sanktpetersburška debitantica! E, pa stvarno je svijet otišao k vragu! Kako Kizo ume da obmanjuje, to je strašno nešto! Varalica. Nemanja 06.02.2007. 12:25
• Blog-roman, pišite to štivo u krug! Da ga lakše na kurac nabijem. Ha, ha, ha, da roman na blogu! Kako te nije sram! Nemanja 06.02.2007. 12:27
• Kizzo: Ti se bre jezikoslovac. Manistra se igra rečima k'o dečkima. Luce je poetesa. Baka je Lijećnica. Pa dobro, majkumustaru, zar mora da kad o pički govorimo govorimo o stidnici? Odbijam takav starogovor! Odbijam te tabue i taj seksizam. Kakva bre stidnica, čega žena ima da se stidi! Molim da ovde i sada skujemo sasvim novu reč za to što su naši stari nazivali stidnicom. Prosto mi je neugodno da govorim jezikom koji se tako izražava. Nemanja 06.02.2007. 12:30
• Moj je predlog, jasno radni, a pomalo i trpni: bestidnica. To je već bitan pomak. Šta kažete? Nemanja 06.02.2007. 12:31
• Markizovih surferskih sposobnosti kaj se dotikavle mores lepo ici na:

www.matica.hr

pak kliknes desno gore na periodiku i imas celi razgovor sa Prosperovim Hvarskim, ostatka sto se tice moje je put u Afriku poceo u Dubrovniku tamo negdje u isto vrijeme kad i kongres PEN-a o kojemu Bobo tako sentimentalno prica, odatle asocijacija, o svemu drugom mozemo kasnije kad se rijesim klijenata kojih na ovom nesretnom kontinentu ima vise nego kobasica, itd.itd.itd. cveba 06.02.2007. 12:43
• Volim kako rabiš riječ kobasica. Odmah mi se javlja neodoljiva želja da si spolovilo natrljam senfom i gurnem ga kroz rešetke kaveza s tigrovima u zoološkom vrtu. Markiz de ga Sad 06.02.2007. 12:48
• Ha, ha, ha, ovo je odlično! Kad se Kizza otrijezni, brisat će i postove i komentare. Samo ga pustite, velim ja vama... Nemanja 06.02.2007. 15:05
• Ha, ha, ha, a tigrovi su inače najpoznatiji po tome da polude za kobasicama sa senfom! Ahahahhahaa..., za popizdit, Kizo će dobit aplauz na otvorenoj sceni: niti je on vidio tigra, niti on baš zna što tigrovi jedu, niti ga sve to zanima, ali je odličan, fantastičan je s ovom afričkom ekspedicijom, svaka mu čast! Ajmo Kiza, malo atmosfere, noćni velovi protiv moskitosa, dnevne mreže za safari, Viktorijini slapovi i Pigmeji, Mokele Mbembe (e, to je zajebana stvar, to biće za koje tvrde da ga periodički viđaju diljem crnog kontinenta), dobrotvorni rad naše predane dottorese, crnačke duge kurčine, Korak, Jane, Čita (gle majmun, pa čita, a ti Mujice...): kao što vidimo, ima tu materijala za cijeli jedan feljton pod naslovom: Ken i ja.
Čujmo, čujmo... Nemanja 06.02.2007. 15:52
• CVEBA, nisi mi odgovorila ni na jedno pitanje, a, moram ti kazati, ovaj mi je upis jedan od dražih posljednjih tjedana:
Čuj, a je li istina da u Keniji ima jedno drvo koje se noću premiješta po vrtu? I reci mi još ako si ti doktorica, ima li nama spasa? Mi smo već na patologiji, i iako su nas rastavili na dijelove, dušu nisu pronašli. Što da radimo? Možda smo mi ljudi bez duše. Možda se mi samo pravimo kao da imamo dušu. Možda mi umjesto psihologije podliježemo zakonitostima parapsihologije. Možda ja sada potkradam gospodina Hockea. A možda ga je na kraju svoga romana pokrao i Eco. U svakom slučaju, u mojoj duši vladaju sudden choices. Kao što iz tvoga PC-a, draga moja dottoresa, svakog časa može iskočiti Deus, kao ex machina. I di smo onda?
Nego, jesi li sigurna da u Keniji nema neka kuća čija je sama arhitektura zla? Raspitaj se! Nemanja 06.02.2007. 16:00
• mnogo lepo rečeno, markiže. Poželim i sama biti sidom zaraženo izgladnjelo afričko nejače... il bar vjetar... umjereno dlakavi grud 06.02.2007. 16:01
• Nemanja, oprosti na ovome rezidentni patolože, zar nisi sam sebi u usta skočio bestidnim prijedlogom? jezičak 06.02.2007. 16:19
• Rekao sam da je radni, pa čak i trpni. Dakle, trpi promene. Izvoli...
Ali, nešto sam drugo hteo da kažem. Kad smo već kod staroga poete, bio bi red da čujemo jednu pesmu velikog Slavka Mihalića. Za ovu prigodu neću one svoje, meni najdraže, o Kapetanima koji prete, nego jednu od koje za Patobloge nema bolje; poslušajmo:

Rastanak sa sobom

Sad je trenutak da svatko od nas
ode na svoju stranu: vi, noge, za koracima
o kojima toliko snatrite netom prilegnem;
ruke kud koja - lijeva, nespretna, u predjele
mašte, desna s vojskama; možda svi prsti,
dvadeset njih, odu na kakav drugi svijet;
ovaj su, misle, dovoljno razorili;
za njima će rebra, radna, uvrijeđena;
jetra će, zna se, u obližnju krčmu (tamo
već loču bubrezi, želudac, mjehur);
srce će na barikadu, ali bez krvi, u
šaputanju, toliko opredijeljeno za bitke ljubavi;
pluća među oblake, mozak u samo sunce;
a ja ću ostati sam s ovim gadnim
jezikom, stvorenim za otmjenost a stalno je
klepetao, uvaljivao me u sve gore nedaće.
Hajd, jeziče, sad pokaži što umiješ,
sad kad sam ostao bez ičega: napuni podrum,
tavan, smočnicu. Nemanja 06.02.2007. 16:38

• ..nemanji na znanje, ima, ima drfca koja setaju po parkovima a i po gjardinima, pache, traze vrtne patuljke koji su u ovijem krajevima rjedji nego pjesnici, setaju tiho i tak da ih niko ne vidi osim SOE na remote, ti bokca, ali lijeka i za to imamo -:) cveba 06.02.2007. 17:48
• ..Markize od Sada, tigrovi zive u Aziji prema tome vasa je lijepa metafora malo promasila cilj, a kopitnut se o dzilitnut svakome junaku zna se sto ide, zapravo sam razgaljena komplimentima, a o africi bum pisala kad mi dodje, imam zapravo trajnu bojazan da to nikoga ne bi interesiralo jer ja na ovim horizontima nisam turist vengo pregaoc, uslast vam svima, u mene je doba od vecere :-) cveba 06.02.2007. 17:51
• Nemanja vidi vamo, prosim, nekak mi se cini da se je ovaj blogek pretvoril vu chat - room no neka, ima tu gazda koji valjda pusta ili ne pusta...o dusama kad zborimo dusmani nisu daleko, ovi moji ovdje jos uvijek postojano vjeruju u boga i sudbinu, duse se sele ne prema onim orijentalnim obrascima nego lebde nad nama ( tak barem moji puleni tvrde ) pak kad nekome natocis pivu onda je se prvih par kapi polije po podu, kao for the encestors, nek mirno plutaju nad nama godinicu dvije, interesantna raca od ljudi, steta sto nisam etnolog ili antropolog, bavila bih se prosloscu a ne da tu naklapam idiotarije ! cveba 06.02.2007. 18:03
• Ahahahahah....e, Kizzo, jebemliteluda, pa jesam li držao vodu u istima i lepo te upozoravao da niti šta znaš o tigrovskima niti oni jedu gorušicu na kobasitzaman! Ha, ha, ha, da nema tigrova u Africi! I to si trebao ovako da doživiš. Jedino što te spasava jest što si, oprezno, tigrove smestio u kavez zoološkoga vrta, ali to ti je bre pleonazam, je l' de Bako: zoološki vrt u Africi! K'o da nosiš goluba u Veneciju ili drva u šumu! Ili, kao da odeš sa ženom na karneval u Rio!
Mala, eto, sjajna si: ovo sa slobodnolebdećim dušmanima zaista je bilo poučno. To mi radimo i ovdje u Zagorju, s prvom čašom vinjaka, oko pet ujutro: ruke nam se tresu do te mjere da pokapamo i pod i strop, tako da duše naših predaka nerado lebde ponad nas. Nego, molim te prestani pisati kao da si potomak Čore Držića: dosta je već to što pišeš o egzotičnim krajevima, da bi morala pisati kao braća Seljan tijekom bijega iz Abesinije. I još jedno griješiš: upravo nas tekstovi o Africi i zanimaju! A kaj bi nas drugo zanimalo? Nasdaq? Recepcija papine regensburške adrese u musimanskim zajednicama južne Afrike?
Piši ti nama o onim drvogredima (drvima koja gredu), to ti nas zanima! I reci, može li neki bizmis da se radi s vama Kenijcima? Nemanja 06.02.2007. 18:21

• ..no pa ja sam chist enchantee, Nemanja pa zagorec, ti bokca, imam ja jednu lepu hizicu drvenu iz koje gledam direkt na zvonik majke bozje bistricke, pak sam furt citst blazena...budem, pisala budem, upravo pregovaram sa ekipom na blog.hr da mi otvore moju staru stranicu, zaboravila sam lozinku i mjesecima ju nisam dirala a i bila je ostala vergine prazna kako i treba biti...nairobi je samo stanica ili baza, nairobi je zlatna krletka po kojoj niti ne setamo niti ne trcimo, samo skupljamo kilograme, iz nairobija se leti i ide po vascelom kontinentu, takva mi struktura a i posel pride, nairobi nije nesto o cemu bi se pisalo, o tome je sve baronesa Blixen davno napisala i nije dobila nobelovu nagradu ali joj je Hemingway dao reverenciju u svome cuvenome govoru pred stocholmskom akademijom, etc.etc. cveba 06.02.2007. 18:39
• Zamislite vi ovo:
"Sibirski tigar (Panthera tigris altaica) ili mandžurski tigar stanovnik je Azije. To je divna, prekrasno ukrašena i obojena mačka. Vitka je, viša i lakše građena mačka od lava. Sibirski tigar može biti dug od vrha njuške do kraja repa čak do 4 metra. Visina do ramena može biti do 1,10 metara, što ga čini najvećim i nasnažnijim među tigrovima. Težina koju može doseći prelazi nevjerojatnih 300 kilograma. Crne pruge na tigrovu hrđavo-žutom krznu prekrasno su raspoređene po cijelom tijelu; ne postoje dvije identične životinje, a pruge se mogu usporediti sa otiskom prstiju kod čovjeka."Nevjerojatno pojetično: pruge su fingerprint! Divno.
Čuj, moala, reci ti meni gdje je tebi u Afriki najljepšije? Nemoj molim te sada kao stranci o Hrvatskoj, bjutiful koust, najs pipl, nego ono, kuiš, di si ti stala zabezeknuta i kazala: Majko Božja Bistrička!? Čemu si ti dala reverenciju, kad je o chapeauu riječ?
Drugim riječima, što bi čovjek poput mene mogao da posjeti u toj Africi? Nemanja 06.02.2007. 19:01
• ..Rwanda Nemanja, Rwanda, tamo sam prvi puta bila mirisala africki zrak negdje nakon pokolja (sto bi se markizu nadasve dopalo kad ne bi bio strasljiv ), Rwanda dakle, jezero Kivu, jedno od najdubljih vulkanskih jezera na svijetu, Congo preko pura a otok Idjiwi u sredini, izgleda kao more, otoci ispred selendre koja se zove Kibuye, cijeli mali zeleni arhipelag, krave plivaju s kopna dotamo na pasu, banane, nesretnici, svejedno je lijepo bilo. A kaj bi vraga isao gledati macke, na uglu Rwande i Ugande je lanac vulkana i tropska suma u kojoj obitavaju zadnje zajednice gorila na svijetu, kolosalan izlet, samo nesmes pusiti ni pricati, ckomis i gledas..:-) cveba 06.02.2007. 19:11
• Čuj, imaš li ti Earth-Google? Ako ne, brzo ga skini, to je čas posla. Naime, baš sam gledao taj tvoj Nairobi. Google me odvede do nekog kružnog toka kraj kojega je nekakvo trkalište, hipodrom, što li, kao i poveći (rezidencijalni) kompleks s respektabilnim bazenom. E, sad - ako skineš Earth Google, označi mjesto gdje stanuješ, pa nam pošalji na mail. Možeš Kizzi, možeš na nigdjezemska@yahoo.com! Nevjerojatno je tako smucati se na 300 metara visine ponad nepoznatih dalekih gradova, mjesta gdje nas dvoje skupa nikada ne ćemo (st)ići. Posljednjih dana lud sam za Earthom: lebdim ponad Šangaja ili drugih kineskih gradova (pravo otkriće: pa mi pojma nemamo o svijetu u kojem živimo!), ili ponad Bombaja, Kalkute, Delhija....čudesno!
Jedno je takvo čudo i taj Nairobi. 2695902 stanovnika, a jedan je od njih naša dottoresa! Sve je danas tak poetične.
Weltšmerc! Nemanja 06.02.2007. 19:12
• Sad ću ja to upisati u tražilicu Eartha. Rwnda, Kivu, dakle. OK. Ne bude li čisti sex, nagrabusila si! Čuj, ovaj tvoj opis nije daleko od pojezije koja se pisala u doba onog Wolframa von Eschenbacha o kojemu sam natuknuo jučer. Naime, jedan od troubadura, minezengera i ostalih poijeta naročito je cijenio motiv jutra nakon bitke: proljetno polje, zelena trava, i krv na vlatima kao rubinska rosa! Čovjek je takovom strašću opisivao tu krvavu rosu, tu svježu, ver sacrum travu, taj modri trnac prošaran nebrojenim truplima, leševima, strvinama i svakovrsnim kadaverima što se još puše, da nije znao bi li se prije mašio pera ili kurca! Srećom, bio je plodan autor. Nemanja 06.02.2007. 19:18
• ..tah tvoj google earth bu pricekal do sutra, doma mi je net spor a i ne da mi se sada, vec je skoro pol deset a budim se zorom, no sutra budem zloupotrebila svoj polozaj u sistemu, tipkaj si sam ako ti je drago as follows..Nairobi ( od milja Nairoberry ) Westlands, Westlands School Lane, near the Sarit centre..business u kenyi vode indijci i to vec decenijama, kakav vrazji Bombay, tam je sve zmazano i kolera permanentno flotira, samo ti svrati vu istocnu afriku, ima se tu kaj za pogledat a boga mi i za dozivit..:-) cveba 06.02.2007. 19:25
• Našao sam. I odmah sam našao na granici s Kongom lake resort, Gisenyi. Samo, baš ti je dobro jezero:
Lake Kivu is one of the Great Lakes of Africa. It lies on the border between the Democratic Republic of the Congo and Rwanda, and is in the Albertine (western) Rift, a part of the Great Rift Valley. Lake Kivu empties into the Ruzizi River, which flows southwards into Lake Tanganyika. It gained notoriety as a place where many of the victims of the 1994 Rwandan genocide were dumped.
Krasan izlet! Nemanja 06.02.2007. 19:25
• ..ajde, ajde, pa to je bilo devedeseticetvrte, a najvise ih je plutalo po akagera river prema lake victoria, nista se ne boj, ljepota je nepokvarljiva, nedodirljiva i slobodna, i nemoj citati neke vikipedije ili kako se vec zovu vec radje citaj national geografic, trust me, ja se volim druziti sa patologijom cisto metaforicki..a pitao me bio jucer i sam markiz ( valjda guta palacinke ) o africi, pa eto ! cveba 06.02.2007. 19:35
• Draga moja, osim Rancho Santa Fea mene zapravo malo što zanima od bjelosvjetskih destinacija. Ipak, priznajem da me ovo levitiranje ponad gradova svijeta fascinira. Jezero je cudesno, ali i straši. To je unheimblich...ta neprozirna vulkanska grobnica ispunjena noćno modrom vodom! Brrrr... Nemanja 06.02.2007. 19:36
• Našao sam The Norfolk hotel, ali ne više dakle od centra i tog repera. Fale toponimi. Nema veze.
Hvala na društvu. Laku noć i buhe te afričke debele dosadne grizle vascijelu noć i naše ti domaće došle u ponoć u pomoć! He, he... Nemanja 06.02.2007. 19:44
• ..the latest press release on Guinee

Unions have announced this day 6 Feb. that protest and general strike will resume on 12 Feb. if the President fails to nominate the new Prime Minister before that date.The Guinea Red Cross has mobilized over 600 voluntees countrywide to help deal with the humanitarian aspects of the crisis.

I sto ce tih sest stotina stazista na zapadnoafrickoj pozornici prosim, cirkus se dakle nastavlja iza kulisa kao i kod naseg HNK, daklem sve fkep en drek, pokojni Kuzmanovic bi me razmel, u to sam sasvim sigurna, adieu alors. cveba 06.02.2007. 19:55
• Nije to Vikica, to Earth Google pristojno iznese osnovne podatke o mjestu vizitacije. Nemanja 06.02.2007. 19:55
• ..ti bokca, instalirala sam si ga, samo nemrem naci kak da ga aktiviram, gdi se klikne prosim profesore, ja sam nespretna sa tim novotarijama tipa :

CBS Seismic Monitor
Display of real-time, worldwide earthquakes.

Open CBS Seismic Monitor

ja definitivno ne bum mogla nocas spavati, bio je pred nekoliko godina gadan potres u Gomi (vidi pod Gisenyi, kod Nemanje ) lava se potom bila prelila preko case lokalnog vulkana i sve je curilo u jezero, svaka vam cast ! cveba 06.02.2007. 20:53
• Rancho Santa Fe....Demographics
As of the censusGR2 of 2000, there were 3,252 people, 1,204 households, and 947 families residing in the CDP. The population density was 183.8/kmÂ˛ (476.2/miÂ˛). There were 1,339 housing units at an average density of 75.7/kmÂ˛ (196.1/miÂ˛). The racial makeup of the CDP was 93.33% White, 0.46% (15 people) African American, 0.15% (5 people) Native American, 2.77% Asian, 0.06% (2 people) Pacific Islander, 2.15% from other races, and 1.08% from two or more races. Hispanic or Latino of any race were 5.32% of the population

what a nice racial makeup...ko da smo u varazdinu, e moj nemanja, pada ti zvijezda u ocean. cveba 06.02.2007. 21:08
• Ne, Cveba, nisi shvatila: nema veze koliko je tamo plavih, žutih, bijelih, crnih, crvenih! Nisu svi krajevi ove kugle Afrika, pobogu, pa da je rasno pitanje presudno! Kao da sam kazao da me zanima Tibet, a ti mi odgovoriš: Sve je to OK, ali, hebiga, nema tu crnaca brale! Rancho Santa Fe je poznatiji po kojecemu drugom; recimo:
Rancho Santa Fe is an unincorporated census-designated place in San Diego County, California, United States. It is the second highest income community in the United States. Rancho Santa Fe has strict design restrictions. Many streets outside of the downtown area are lined with landscaping; on side streets the landscaping of individual properties provides ambient decor. Very few homes are visible from the road. Aesthetics and architecture within the Covenant are protected by an Art Jury, a non-governmental organization which must approve any exterior alteration to any building, fence, sidewalk (although no sidewalks exist outside of the downtown area), or other structure.(...)

Rancho Santa Fe is and has been inhabited by many persons of note. Among them:

Rick Aguilera, former baseball player [3]
Douglas Barnhart, primary contractor of Petco Park[4]
Glen Bell, founder of the Taco Bell chain of restaurants.[4]
Benjamin deForest Bayly, nuclear physicist [5]
Lloyd Bentsen, late Texas Senator [5]
the Sultan of Brunei
Clair Burgener, local politician [6]
Kevin Carmony, CEO for Linspire, Inc.
Ted Donny, owner of SONY, Inc.
Bill Clinton, former United States president west coast house [5]
Joseph Coors, of the Coors brewery family [4]
Randy "Duke" Cunningham, embattled former Congressman[7]
Tom DeLonge, guitarist and vocalist of the bands blink-182, Box Car Racer, and Angels and Airwaves; owner of Macbeth Footwear [8]
Sidney Frank, liquor promotions billionaire [9]
Bill Gates, Microsoft CEO [10]
(...) Nemanja 06.02.2007. 21:30
• Što ne znaš instalirati? Earth Google? Nemanja 06.02.2007. 21:34
• ..Sidney Frank, liquor promotions billionaire [9]

ovaj me narocito privlaci...mnee, instalirala sam taj tvoj vrazji program samo se ne snalazim vu repertoire, kliknula sam ja kenya na geogrqafskoj karti a kad tamo nista, nikaj se ne mice i tak, bu probala sutra otkriti navodila za uporabo, danas mi je bil uzbudljiv dan pak ne bum insistirala. cveba 06.02.2007. 21:45
• Kad imaš afričkog miša!
Evo ti zato vic o njima:
Tri miša sjede za šankom i piju tekilu. Prvi miš strusi tekilu, lupi čašom o šank i kaže: 'Ja sam toliko hrabar da svaki dan otkinem malo mišjeg otrova i žvaćem ga, tek da budem high.' Drugi ga miš pogleda, strusi dvije tekile, lupi čašom o šank i kaže: 'Ja sam toliko hrabar da svaki dan odem do mišolovke, dignem prečku i malo se bildam na njoj.' Treći ih miš pogleda, strusi tri tekile, lupi čašom o šank te krene prema vratima. Dva ga miša u čudu gledaju: 'Kuda ćeš ti?' 'Idem poševiti mačku.'
Ahahahahaha... Nemanja 06.02.2007. 22:27
• Sidney Frank je genije, bog mu dao duši lako. Slušaj ovo:
At 5:20 on a Sunday morning in the summer of 1996, Sidney Frank—liquor baron extraordinaire, dapper elderly gent, CEO of the Sidney Frank Importing Co.—picked up his phone in a fit of inspiration. He dialed up his No. 2 executive, who listened in a groggy daze as Frank proclaimed, “I figured out the name! It’s Grey Goose!”
And so was born one of the most astonishing brands in the history of distilled spirits. Grey Goose vodka, invented from thin air that summer morning, had as yet no distillery, no bottle, and—perhaps the most pressing order of business—no vodka. Yet this past June, almost exactly eight years after Sidney Frank gave name to this nonexistent liquor, Grey Goose was sold to Bacardi for more than $2 billion. Cash. (To understand how much that is, consider that IBM’s personal-computer business, nurtured, honed, and advertised since 1981, recently sold for $1.75 billion.)
After the Grey Goose sale, everyone at Sidney Frank Importing Co. got a hefty bonus. Longtime SFIC secretaries were handed checks for more than $100,000 apiece. Grey Goose was a spectacular success. And now the ride was over. The only question left: What’s next? Nemanja 06.02.2007. 22:31

• ..hm, srela sam ja, negdje tamo oko Nove Godine u Dubrovniku misa zvanog Jurica, operirao je bio po Pilama danima, topla kuhinja i obilje dobrodusnih ljudi i pasa, u nas doma je moja Marina montirala neku napravu da bi se mis ulovio ali ne agresivno, Jurica je glodao mandarine i narance u kuhinji danima, Marina mu je davala jesti sira kao desert. Jednog jutra, dok smo se svi spremali na iz;et u istru, Jurica je svecano pao, skandal u kuci i prijepor sto ce biti s misekom, gazda od kuce je huskao kucka : ajmo, cetnici, k vragu s njima..gazdarica nije dala Juricu nego se doticni odnio ispred dubrovackog IUC-a, metnul se pod neke daske i pustil na slobodu...tako to mi dolje recimo delamo.. kucki su usli u auto, potom smo i mi smo usli u auto i opalili prema istri, tako sam ja vidjela tu nasu kolosalnu Dalmatinu, priznajem da sam bila fascinirana, jedino me je na kraju bilo strah Ucke, hebi ga, to je u vozackim genima. cveba 06.02.2007. 22:42
• TI si Dubrovkinja? I spremali ste se na izlet u Istru? I koliko si se dugo vozila od Dubrovnika do Istre? Nemanja 06.02.2007. 22:47
• ..taj tvoj prijatel Sidney Frank je vjerojatno druga inkarnacija Ostapa Bendera koji je, izmedju ostaloga, poznat kao pretenciozni patentant tzv. stolichnice, votke koja je izvorno potjecala od bukova stolca..ej kad bi se ti i ja udruzili gdje bi nama bio kraj...:-))))) cveba 06.02.2007. 22:50
• ..da dubrovkinja, o boze moj, samo jos da vam liferujem neke sumnjive adrese, ma keee, lahka vam noc i stojte mi dobro. cveba 06.02.2007. 23:02
• Ja mislim da je Dubrovnik dokaz postojanja vanzemaljaca.
Argumentum Ragusarium pokušat ću prigodno formulirati ovako:
Unatoč stanovitim aberacijama, ljudska rasa kroz povijest napreduje: svaki sljedeći naraštaj ima bolje zubare od prethodnog, primjerice.
Prihvaćajući ovaj postulat, morat ćemo se složiti da preci današnjih Dubrovčana nikako nisu mogli sagraditi ovako divan grad: kakvi su današnji Dubrovčani, njihove predšasnici teško da bi sagradili kućicu za ptice, a kamoli Grad!
Budući da su Mlečani izbjegavali Republiku, a Turci su ratovali s Crnogorcima, sasvim je očito da je Dubrovnik morala sagraditi neka izvanzemljačka civilizacija.
A tko drugi, rekao bi pokojni Tuđman.
QED Nemanja 06.02.2007. 23:04
• ..ma cuj,ne bih htjela zvucati defanzivno, nisam ja dubrovkinja, ja sam samo tamo adoptirana pitaj majku bozju zasto, elemm sam agramerka i kajkavka ma me ono dolje boli, me razmes, volim ih i bavim se vec par vremena tom njihovom midetzom, dragulj u kruni bez gospodara, to ti je Grad. cveba 06.02.2007. 23:15
• Vodka vaša, ideje naše!, draga moja Petrunjelo.
Ideja prva
PODLESNAYA TAVLA, Russia--Here is a desperate recipe: Take an old Russian washing machine, toss in a few ounces of yeast, a 22-pound sack of sugar, a gallon of fresh milk and 10 gallons of water, churn the brew for two hours and distill.
Ideja druga
The recipe for samogon in three hours comes from a slim pink booklet containing 140 moonshine recipes, including alcohol made from tea, bread, rice, potatoes, beet root or other staples. Ostap Bender, a favorite rascal in Russian fiction, said you could even make samogon from a taburetka—a wooden stool. Nemanja 06.02.2007. 23:18
• vrag te dal i skelil..bum jemput noticu napisala o tome kako su u doba (sherijatske i Khartoum based ) prohibicije u jednom dijelu juznog Sudana delali votku od datulja, kolosalna stvar, smrdila je, ne po zmazanim muzkim carapama nego jos gore, nisam seksist u dusi ali mi je ova poredba krucijalna, daklem proizvodnja je bila mucna a rezultat...kolosalan ! cveba 06.02.2007. 23:26
• Meni je Đelo Jusić prošle godine kazao sjajnu prispodobu o Dubrovniku: kazao je da je Dubrovnik kao konzumiran brak: svaki se dan susrećemo, pozdravljamo, trudimo oko minimalne pristojnosti zajedničkoga života, ali nema tu više strasti ni ljubavi! Meni je taj mentalitet istovremeno privlačan, kad Dubrovčane susrećem po svijetu, i odbojan, kad sam gost u Dubrovniku. Ne mislim na svakodnevne ljude: taksiste, frizerku, bedinericu, konobara, majku moje prijateljice, njenu susjedu...mislim na drkađije koje nose svoje porijeklo kao čin, kao da su samim rođenjem lišeni obveze bilo kakvog drugog životnog napora. A tek to anakrono akomodavanje! Sa svakijem lijepo, sa nikim iskreno! Mideca? Što je točno mideca?
Znam da se uvlači u kantune kuće, ali što je točno mideca, ne znam! Nemanja 06.02.2007. 23:28
• bdw, blagodarim, uvelike me je (i to lijepo ) iznenadilo vase poznavanje scheme ideje nase - novac vas, zbiljam ste me razgalili amice cveba 06.02.2007. 23:35
• Midetza...to je stanje duha, to je ono sto se moglo vidjeti na izlozbi Slavena Tolja gore u Galeriji preko Bozica i Nove 2007-e, ja sam pred neko vrijeme mislila da se o midetzi moze pisati ali nakon ove izlozbe se o tome vise nema smisla trositi ni versa, Slaven je sve rekao u tisini..meni je narafski zao da tu nema neke pismene podrske no to je Grad...a poslije sam se vratila u Afriku i tu su prioriteti krvaviji i desperatniji nego li dolje..etc. cveba 06.02.2007. 23:42
• E jebogati, Cveba. Pa definiraj to pojmovima, ne kao dijete: to je ono što se moglo vidjeti...jebiga, a kaj ako ja nisam mogao vidjeti izložbu Slavena Tolja? Sad se mogu jebati i opet ne znam kaj je mideca! Daj definiraj to stanje duha, pa valjda možeš pronaći neku prikladniju definiciju od ove ostenzivne: to ti je ono gore, vidiš, na ormaru... Nemanja 06.02.2007. 23:47
• Cveba, pročitao sam još jednom ovo tvoje o mideci i bojim se da ti tamo miješaš alkohol i ove svoje zelene i žute pilseve. Kakav tok svijesti! Ljubavi, polakše! Dakle, koji je vrag ta mideca?
Kakvo je to stanje duha? Javlja se za južine, vele, ali, to su oprobani alibiji da se stvar izbjegne objasniti.
Inače, schema glasi: benzin vaš - ideje naše. Ne novac, benzin. Nemanja 06.02.2007. 23:49
• benzin..ispricavam se, dakako da je benzin,pusti pticu.:-))

mideca, sto mene pitas o mideci, pitaj one dolje ili bogisica ili boba novaka ili pak paljetka..mideca je ono memljivo stanje gdje plijesan prede preko drustva u nekakovim vrucim danima pa kad se ohladi onda ostaje ne samo na zidovima nego ide unutra, mideca je ono sto je u zapadnoj africi tromjesecna kisa bez prestanka, mideca su tamne tropske sume iz kojih se ne vidi svjetlo danje, mideca ti je kad letis preko conga danima i samo gledas tepih od zelenila, gustog zelenila, kao bouclet od granja a dolje ne vidis nista, mideca ti je daklem nistavilo...ali bi se ipak dalo zasaditi nesto samo da se ljude razdrma, me razmes ? cveba 06.02.2007. 23:57
• "Već danima pada, mideca je u svakom kantunu kuće.", evo, tako piše jedna Dubrovkinja na svome blogu. Jebiga, kaj je sad to? Južina je, danima pada, a mideca je u svakom kantunu kuće. Kakve sad to ima veze s tvojom definicijom midece? Nemanja 06.02.2007. 23:58
• Cveba, daj si instaliraj i skype da možemo razgovarati kao ljudi. Jebeš ovo. Sad će me cijelu noć moriti idiotska mideca. Možda je to to: nekaj kaj te mori jer ne znaš kaj je to kaj te mori, ili, mideca je neuroza koja se javlja izazvana pitanjem o tome što to znači mideca? Nemanja 07.02.2007. 00:07
• ..sorry mon amie, nisam ja studirala te vase filozofije a bogme ni lingvistike, kao sto rekoh, mideca je stanje duha a ne klimatska pojava, mideca je upravno protivno onome stanju duha u kojemu su rockeri ilirci gradili svoj juvenilni program, mideca je negativna definicija ( bojim se ) a morti je i pozitivna samo ju ja nemrem ovak pisano izraziti, mideca je u ostalom problem dubrovcana, oni jako dobro znaju o cemu se radi pa prepustimo to njima, mideca je jedna velika tema o kojoj bi se trebalo u nas ozbiljno popricati ma nam fali motora i benzina, dakako ! cveba 07.02.2007. 00:10
• Je li i ovo mideca?:
Telegrafski stup, telegrafski stup,
I smrznuto polje,
I pogled zasićen i tup,
I život bez volje. Nemanja 07.02.2007. 00:11
• ..nije nemanja, oni imaju jos gore..stup od zicare na Srdju kud im zasiceni pogled danomice seta, hebi ga ! cveba 07.02.2007. 00:28

Skužio sam što je mideca. Samo, to je kao Tao, neizgovorivo. Dubrovnik je pun nihilista.

- 01:17 - Komentari (11) - Isprintaj - #

utorak, 06.02.2007.

*ROMA + ANTIKA = UNHEIMLICH

- Nemanja oprosti, pisala sam na brzinu. pod romantičkim dvojnikom sam mislila na romantičkog blizanca, kao u rodoskrvnom idealu romatizma gdje pjesnici i junaci tragaju za samim sobom u seksualno izmjenjenom obliku (poglavito Byron). U tebi nalazim toliko vlastitih nagnuća, npr. oduševljenje veličanstvenim Carollom, da se, romantična kakva jesam, vec pomalo brinem dokle cu se znati odupirati snazi tvog zavodljivog knjizevnog ukusa. Zato sam te pitala i za onog drugog virtuoza engleskog jezika, Wildea, da vidim dokle seže preklapanje. njetocka 03.02.2007. 18:44 03.02.2007. (19:31) - #

- Once upon a time, profesor Despot učio je da je klasični njemački idealizam, kao čežnja za zavičajem, najčišća forma romantizma.
Stoljeće prije, comte de Villiers de l'Isle-Adam ljudski je rod podijelio na romantike i glupane.
Kizzo, recimo, nije romantik.
Što se tiče Doppelgängera , u nordijskom je folkloru poznata riječ vardogr: taj je termin, kao je vjerovati Wikipediji, definiran kao "a preminatory sound or sight of a person before he arrives".
The vardogr is a spirit predecessor.
Ovakvo mi je tumačenje Doppelgängera milije nego ono uobičajeno: sresti nečijeg dvojnika, to je malum omen, kako sam već dolje nagovijestio. 04.02.2007. (00:47) - #

- Nemanja, nemojmo o Hamletu jer po tom pitanju osećam strastveno pa se bojim da se ne zagrcnem. Raduje me da te zauokupljaju devojčine sise i da pokušavaš da im pronikneš značenje. Svako bi objašnjenje bilo antiklimaktično, a ja ti želim pružiti samo vrhunce. 04.02.2007. (19:36) - #

- Točkice, ako te pitam što to znači "Radite ražanj a zec je još u šumi", ne znači da nisam vegetarijanac.
Ne sumnjam pak da mi možeš pružiti samo vrhunce, barem dva za sada, što nas ipak vraća ne temu sisica. Zašto si toliko sramežljiva?
Čuj, a voliš li ti Villiersa, kad smo već kod afiniteta? 04.02.2007. (20:18) - #

- Ne poznajem gospodinov rad, ali ga njegov životni put (as described in wikipedia) otkriva kao čovjeka od ukusa. 04.02.2007. (22:15) -

- Nabavi zbirku priča "Uzvanik posljednjih svečanosti", u niski fantastičke književnosti 'Babilonska biblioteka', Ricci/Borges; genijalan prijevod Višnje Machiedo! To je moja knjiga za uzglavlje: dakle, kad bih spašavao svoju biblioteku, nedajbože, prvo bih zgrabio Borgesa i Metamorfoze metafizike, jednom rukom, a u drugoj bi već bio Villiers. Najbolje napisane priče ovoga svijeta, a "Mučenje nadom" je zaista, ali zaista mi vjeruj najbolja kratka priča svih vremena. Ima toga i po knjižnicama, ali bolje bi bilo da potražiš po antikvarijatima: ionako, kad pročitaš Villiera, ne ćeš moći bez svoga primjerka. 05.02.2007. (02:04) - #

- U užasnom sam poslu zato samo kratko o Carrollu:
Carroll said of boys; "Boys are not in my line: I think they are mistake."
Ne znam ti objasniti zašto, ali to mi je preslatko. 05.02.2007. (22:29) - #

A u vezi romantizma:
Romanticism makes a regression to the primeval, the archaic night world defeated and repressed by Aeschylus' Orestia. It brings a return of the Great Mother, the dark nature goddess whom St. Augustine condemns as the most formidable enemy of Christianity. 05.02.2007. (22:38) - #

- Samo kratko na opasku o Carollu...
Što se tiče Carollove ljubavi za girls, moram te prisjetiti na Maurice Chevaliera i njegovu besmrtnu pjesmicu:

Thank heaven for little girls
for little girls get bigger every day!

Thank heaven for little girls
they grow up in the most delightful way!

Those little eyes so helpless and appealing
one day will flash and send you crashin' thru the ceilin'

Thank heaven for little girls
thank heaven for them all,
no matter where no matter who
for without them, what would little boys do?

Thank heaven... thank heaven...
Thank heaven for little girls!

Divno, zar ne! Ne znam zašto, no i meni je ovo preslatko, zapravo dirljivo. Ne pomisao na Lo, i sve aliteracije koje the tip of the tongue što taking a trip of three steps down the palate to tap, at three, on the teeth, nego na Carolla Humbera i sve one koji misle - na sreću - da su boyz mistejk! Ne znam što misli o toj rečenici Don Ante Guzina, ha? 06.02.2007. (01:27) -

Što se tiče velike bijele boginje, one koje trči z vukovima, sumnjam da je romantizam ikakav regresus ad uterum, a u pogledu Augustina ovaj je citat posve proizvoljan, da ne kažem da je falsifikat. - pogledaj glave 24. i 26., pa ako je tu riječ o ikakvoj opasnosti od Velike Majke po kršćanstvo, onda sam ja Veliki Meštar slavnog i starodrevnog Škotskog rituala Plave podvezice. Zapravo, činjenica da autor ovog navoda o Velikoj Materi falsificira njen značaj u Augustinovu tekstu, dovoljno govori o znanstvenom dignitetu cijele njegove teze. Kad smo već kod tih tema, Gravesa bi trebalo čitati a ne te šarlatane; ako nisi, uzmi, jer ćeš se jako zabavljati odgonetkama značenja gordijskoga čvora ili imena Zvijeri.
No, vratimo se temi: Romantika je Roma + Antika. U tom je smislu povratak zavičaju, ali je heimat ovdje bitan, duhovan zabičaj, dakle nešto najsuprotnije onome što se u tvom citatu tvrdi: kakva primordijalna juhica, kakva noć svijeta, kakava utroba Velike Matere! Usput budi kazano, kad smo kod ove utrobe, pada mi na pamet jedna od najboljih metafora svijeta, ona Venedikta Jerofejeva, iz Valpurgijske noći, koji na pitanje kako je ogovara otprilike ovako: Osjećam neko nesavršeno blaženstvo...kao...kao...kao u utrobi maćehe! E, jebiga, da sam ja ovo napisao, kupio bih kartu za Moskvu, i ravno na Crveni trg!
Ja mislim da je Romantika čežnja za čežnjom. Čežnja čežnje za samom sobom. Samosvršna čežnja. Sada mi je na pamet pala jedna Budenova rečenica, čekaj da je nađem, jebiga, sad ću se opet natražiti jer niti znam točan citat, niti u kojem je eseju...čekaj malo...imaš sreću, jer da je nisam odmah pronašao, pronašao bih tebe, a onda bi Točkica obrala Boston! Dakle, Buden, pokušavajuć nemoguće, prevesti unheimlich - nadnaravnu jezu, tj. osjećaj koji se javlja pri pogledu na nešto prisno što se odjednom ukazuje kao tuđe - kaže da ista riječ "odgovara i onom drhataju duše kad se suoči s istinom ljubavi tako jasno izraženom u njemačkoj uzrečici:"Liebe ist Heimweh" (Ljubav je čežnja za zavičajem, nostalgija). Buden kaže da "riječ unheimlich prati čovjeka na njegovu putovanju kao zagonetna slutnja neke univerzalne Itake, i jeziva i lijepa u isti čas, kao i sve ono što na sebi nosi nerazdvojive znake Erosa i Thanatosa. Ambivalenta je, jer iznosi na vidjelo ambivalentnost stvari same."
E, pa sad ti sama izvedi dijalektiku, moja Njetočkice! Ako je ljubav heimweh, a klasični njemački idealizam je najčišći oblik romantičke čežnje za zavičajem, onda su dečki od Kanta do Schellinga nostalgičari, zar ne? Budući da se jedan od onih koji su na teke pisali hen kai pan otrovao, drugi je zašutio a treći poludio, zaista bi mogli pomisliti da je riječ o melanholicima. Ipak, istina je manje romantična. Istini za volju, istina nikada nije romantična.

- 02:47 - Komentari (3) - Isprintaj - #

subota, 03.02.2007.

CHESHIRE CAT

"Well! I've often seen a cat without a grin," thought Alice; "but a grin without a cat! It's the most curious thing I ever saw in all my life!"

Upravo kao onaj koji ga je prevazishao pleshe paperjastom gracioznoschu neuobichajenom za ta, vasha, podneblja po vashim mladim i ustreptalim podruchjima stida pod opsadom.
Igra

• @Vertebrata, prije svake rasprave moram da ti citiram wikipedijsku natuknicu o Kafki: "...Repetitivni i besmisleni tlačiteljski postupci nerazumljivog i svemoćnog birokratskog aparata, mehaničke i apsurdne reakcije "junaka" koji nemaju izraženi osobni identitet, usamljenost i nemogućnost komunikacije među likovima koji se grčevito i bezuspješno trude da spoznaju mehanizam opresije koji ih muči i proganja bez ikakvog vidljivog razloga, realnost zbivanja koja je bliža događajima u snu nego u «običnoj» stvarnosti, iracionalni i fantastični element u radnji koji ne može biti reduciran na psihopatološke poremećaje ...". Vidiš, Very, to je već apsolvirano, i tvoja je pozicija čak ne niti moderna, nego bih rekao predpostmoderna: moderno je to psihologijsko praznoverje, ali ta otužna i vulgarna mitologija sekularnog sveta stvarno je nešto passe i prevaziđeno! Reši se toga: ne može sve na ovom svetu da bude svedeno na paranoje i šizofrenije i je l' neko video mamu i tatu usred onoga što nazivamo coitus a tergo.
Inače, ostalo, igra označitelja i označenoga, jedan na jedan, naravo, jukstapozicija, dijalektički dvoboj, sve to ide odmah direktno u roman. Nema tu šta da se priča, sve si ti to dobro video, vidi se da pratiš literaturu i sazrevanje književne teorije na ovom stupnju razvoja proizvodnih snaga i odnosa, jasno, odmah se vidi: svetski čovek, i ako imaš još kakovu ideju ti je bre batice odmah zabeleži i javi.
Zahvaljujem, tvoj, Nemanja 01.02.2007. 18:34

• Hamlet je kreten, to se slažemo. ali komad nije baš loše napisan.
nemanja, zaboravio si štiklice, a one su ključne. njetocka 01.02.2007. 18:35

• Točkica, nisam, samo ne mogu stalno da ih pominjem, vidiš bre koliki psihoanalitičari kruže uokolo, k'o ronini, čovek ne moš da se opusti ni da oko ubije - da ih spomenem još jedared, zacelo bi mi pronašli neku falinku u detinjstvu, u najmanju ruku! Ne brini, draga, ti samo:

Obuci se k'o sto umes i isturi grudi
Neka tvoja gola noga krene
Nek polude ljudi

bože, sav sam se naježurio kad te zamislim u onim štiklama!
A što se tiče Hamleta ne samo da je komad dobro napisan, nego je Hamlet genije: Hamlet, danski princ, predugo okleva da bi osvetio smrt svoga oca, kaže se u jednom filmskom vodiću u objašnjenju radnje filma! Hamlet je svjestan da je usred tragedije tragedije, ne mogu to kraće i bolje da kražem. Ti Njetočka znaš sve te skolastičke fazone: mimesis je nasljedovanje samodjelatne biti prirode ljudskim stvaralaštvom, a svaki je poiesis mimeza prakse; budući da je svaka ljudska praksa propadna, i Šeki je duboko svestan propasti tragedije kao poprišta životnih istina; čak i ove novoveke, čija je tragika u tome što je moglo da bude drukčije, a ne u tome što drukčije nije moglo biti. Tu svest dobri dragi Francis B. usađuje danskom princu, Hamletu. A to je tek početak!
Ako želiš, dobio sam neke nove ploće pa možemo da slušamo i ovako časkamo kao svi mladi: ja ću da ti pričam o Hamletu, a ti će da me zadivljeno gledaš, pa da se predaš. E, ajde, majke ti, ne budi pička! Nemanja 01.02.2007. 18:50

• nemanja, komad je genijalan, ali je hamlet tenkre, o tomu nema spora. rado bih ti objasnila svoje gađenje prema tom bezmudom mlohavcu, ali moram na fitnes. tamo cu zamisljati kako mu jebem mater (divnu mudru zenu) dok on gleda i napaljen i nemocan ko svinjce, pa cu, ako prizor ne bude odvise mucan, posle sve potanko da ti prepricam. njetocka 01.02.2007. 19:09

• to ti je otprilike kao:
devojko, imas ti sise?
pa sto ih nisi bre ponela.
sad sam besna. idem njetocka 01.02.2007. 19:23

• Evo, opet psihoanaliza uz zrnca kave! Ti ćeš zamišljati kako mu jebeš mater (Hamletu), dok on, (Hamlet), gleda istovremeno: a) napaljen, b) nemoćan k'o svinjče.
Da sam nekorektan, primjenio bih na ovu piktijastu fantaziju imanentan psihoanalitički kriterij: lezbijstvo (jebeš mu mater), feminizam (divnu mudru ženu), sadizam (dok on gleda napaljen), eufemizam (nemoćan ko svinjče), ali, to bi bilo suvišno i nedostojno.
Prije bih htio upozoriti da na hermeneutičku grješku koju činiš: u Hamletov lik upisuješ projekcije vlastite seksualne frustracije: on tako postaje bezmudi mlohavac, i samo i jedino zato gleda, napaljen i nemoćan istovremeno, kako mu jebeš mater! Zaista frivolan i, recimo to odmah, sasvim promašen pristup.
Hamlet je genij koji uviđa svu suvišnost bilo kakva djelovanja, a kamoli osvete, ali ne, kako bi se vama današnjima činilo stoga jer osveta ne može ništa nadoknaditi, nego (mislim da bi Hannah Arendt zastupala ovakvo čitanje!) zato jer nije dovoljna! O tome zaista možemo dobro oznojeni!
I, tek još nešto: ne pristoji se mladoj dami poput tebe izjavljivati ovako prostačke besmislice, pogotovo kad ih zaista ne zastupa: to da bi on, koji je quintessence of dust, bio kreten, zaista je neukusno čuti iz tvojih jebačkih ustiju!
Ako pak želiš zaista saznati o čemu se u biti u Hamletu radi, evo, ovo je ulitmativni sex s Hamletom. Nakon ovog eseja čak je i S.Ž., div iz Ljubljane, počeo ozbiljno razmišljati o Hamletu određenom specifičnim atralnim konstelacijama.
P.S.
To što kažem da u Hamletov lik upisuješ projekcije vlastiti seksualne frustracije nije psihologiziranje - to je logička, spoznajna radnja, metodološki sasvim apartna od bilo kakve psohologizacije. Ali, ti to i sama vrlo dobro znaš. Nemanja 01.02.2007. 19:40

• e znaš da je hannah arendt JEDINA kanonska filozofkinja uvrštena u naš Opći leksikon?? jedina, buraz. pročitala u toj studiji o rodno-spolnom definiranju vremenoprostora. kako zanimljivo štivo, da znaš.
općit ćemo kasnije, pusa! manistra 01.02.2007. 19:51

• Mani, ajde se onda posle, ali oko 10, 11, javi na mom. Sada odem da se tuširam, obrijem, lepo sredim, jer ne mogu o literaturi da razmišljam bez Viloresi "Vetivera" ne sebi.
U kojoj studiji si čitala o r/s definiranju vremenskoprostornog kontinuuma? To me zaista zanima! Gdje ja to mogu pročitati? Nemanja 01.02.2007. 19:58

• može, do tad ću fino da depiliram prepone, ne volim kad mi svila zapinje o dlačice. manistra 01.02.2007. 20:01

• Manistra, ti si žena. Razumš li ti što je Njetočkica htela da kaže poslednjom upadiciom, koja je očito jako važna, jer je Njetočka, pre no što će otići na fitnes, još jednom sjela za komp inapisala mi sljedeće:
to ti je otprilike kao:
devojko, imas ti sise?
pa sto ih nisi bre ponela.
sad sam besna. idem

Ništa ne razumem! Nemanja 01.02.2007. 20:02

• NJETOČKA JE SAMSARA!! manistra 01.02.2007. 20:08

• Ha, ha, da Njetočka Samsara! Bilo bi to romantično, ali nije, iako je Njetočka nešto tužna u poslednje vremene pa posrće.
Ipak, Točkica je mudrica, a Samsi je boginja - pogledaj gore! To može samo Samsara, jedna i neponovljiva, tako uleteti u razgovor posve nesvesna bilo kakvog konteksta.
Znaš Mani što ja radim kad se želim odmoriti?
Razgovaram sa Sasmarom, draga!

Inače, ne moraš posebno da se mučiš oko prepona; nakon mene, depilacija ti neće trebati. Bit ćeš čvrsta, napeta i glatka kao čela Ace Stankovića. Iz čega nemoj izvlačiti presmele zaključke. Nemanja 01.02.2007. 20:19

• ti, nemanja, kao da si naumio da me, makar silom, zavedes. pretvaras se u mog romatickog dvojnika. zanima me tvoje misljenje o oscaru wildeu. njetocka 02.02.2007. 14:29

• Tjeram se. Luce 02.02.2007. 20:54

• Iako svi misle da je poput rižinih polja, blještav a plitak, ja mislim da ima veliku vrlinu: uvijek je u pravu.
Jorge Nemanja 03.02.2007. 15:06

• nemanjice, nekako mi je tvoj komentar prekratak (mislim, za tvoje standarde). je li sve ok? nisi valjda nesto tuzan. njetocka 03.02.2007. 15:45

• Ljubavi, žurio sam u grad, a htio sam biti pristojan, pa sam odgovorio zagontekom: naime, nadao sam se da ćeš u prvom dijelu odgovora prepoznati najznamenitiji zajedljivi citat o Wildeovoj literaturi, dok u drugome nudim Borgesovo iskupljenje tog opusa: naoko je zaista tome tako - kao i pri površnom čitanju Krausa - da je sav Wilde u igri riječima, površnim paradoksima, površ(i)nosti (osobno, da je sav Wilde samo u tome, u savršenoj dekorativnosti dosjetke, meni bi i opet dostajao!); ne znam je li baš tome tako da je uvijek u pravu, ali opravdanje zvuči toliko efektno, da sama pomisao kako Wildeovo dijelo sugerira ideju, ili dojam, da je tako, otklanja bilo kakvu potrebu (egzaktne) provjere!
S Wildeom u vezi ipak postoji jedna otužna, vrlo ozbiljna stvar: Wildea se, kao što je shvatljivo i iz gornjeg tumačenja, uzima odviše olako: vjerojatno Wilde nikada ne bi, shvaćajući da njegovo djelo posjeduje samo estetsko savršenstvo, tj. da ga se uglavnom tako percipira, poput Kafke zahtjevao da ga se prepusti vatri, ali bez obzira što bi većina Wildovih obožavatelja kazala da izvan tog estetskog savršenstva ništa drugo i ne postoji, ipak postoji i praktična, moralna i politička dimenzija Wildeova opusa, i litetarnog i životnog: hoću kazati, tek kad se blještavost toga stila jukstaponira sumornim tonovima njegove životne sudbine, shvatljiva je sva težina lakoće s kojom je izircao i najteže, naoko olake stavove. Ova jukstapozicija nije ništa anakrono, u smislu zastarjelih načina pristupa tekstu i njegova tumačenja naivnim učitavanjem biografije u djelo: između Wildeova teksta i životne naracije postoji izravna dijalektika, iz koje je stav da bi cijeli svoj opus žrtvovao za lordovsku titulu itekako razumljiv i nimalo ironičan! Tko ne razumije da bi to Wilde ZAISTA učinio, taj ne razumije Wildea: ni njegovu književnost, ni njega kao čovjeka.
Pa ti sad reci da veličina nije važna!
Mislim i na Wildea. Nemanja 03.02.2007. 17:08

• Točkice,nisam zapravo razumio tvoju opasku: čime te ja to zavodim, zašto makar silom, i, konačno, zašto romantičan dvojnik?
Izvoli... Nemanja 03.02.2007. 17:09

• Macuhica je ubacena kao subverzivna stilisticka obmana. xiola bleu 03.02.2007. 17:13

• Zašto je mit postao klit, je li tome pogodovalo razviručenje?
Ovo je zagonetka, a ne one vaše limunade. Luce 03.02.2007. 17:18

• samo vas posmatram.
jebacu vas sve, kad-tad.

voli ve usamljeni desperado u begu pred hiljadama kamikaze-pichkama, razjapljenim, lepljivim i uopce teshkim za po-imanje.

vidite na meni, chemu sluzi po-jezija; na meni koji ne poseduje dovoljno razuma da bi istinu jednom slikom iskazao.

nemanja, klanjam ti se , majstore. ahahahahahaha 03.02.2007. 18:09

• Ave, Igačko,

Dobrodošao u Kazalište sjena!
Dugo si izbivao, mračnjače.
Predstava može početi!
Miiijjaaaaauuuuu! Nemanja 03.02.2007. 18:13

• A što se tiče Mani, mogu samo jedno da kažem: Cheshire cat!
Podastrijet ću jedan do dva oboriva dokaza:
Dokaz I.

-The Cat:"We're all mad here.I'm mad, you mad".
-"How do you know I'm mad?" said Alice.
-"You must be". said The Cat."Or you wouldn't have come here".

Alice in Wanderland (Ch.6. Pig and Pepper.)

Dokaz II.

The Cheshire Cat is a fictional cat appearing in Lewis Carroll's Alice in Wonderland. It appears and disappears at will, engaging Alice in amusing but sometimes vexing conversation. The cat sometimes points out philosophical points that annoy Alice.

At one point, the cat disappears gradually until nothing is left but its grin, prompting Alice to remark that she has often seen a cat without a grin but never a grin without a cat. This has become a point of notability for the cat: most people remember it most strongly performing its vanishing act. Nemanja 02.02.2007. 09:31

• ACHTUNG
Budući da sam uglavnom po ženskim blogovima, PC mi je pun virusa.
Stoga ga jednom mjesečno dajem na remont.
Tako je to ovoga vikenda.
Vratit ću se do nedjeljne večeri.
Bože, što sad? Nemanja 02.02.2007. 12:29

• Ali, vi ste već ogoogleali na moje izostanke, kao i na moja pojavljivanja. Možda sam ja Češirska Mačka, tko zna?
Bilo kako bilo, sada ćete moći vidjeti grin without a cat!
Kao i moj vanishing act.
Dojmljivo, zar ne? Nemanja 02.02.2007. 12:40

• Nemanja, mogao bi biti the Magical Mr. Mistoffelees. Baka 02.02.2007. 12:44

• nešo ostani još malo ubacila sam ti nešto u sandučić. a nije dinamit. manistra 02.02.2007. 12:55

• Imam pjesmu za Nemanju:
NE MANJA
Neša Ješa
najeo se leša
peša
. Markiz de ga Sad 02.02.2007. 13:01

Čim se maknem a ti nož u leđa! Stoko.

Kiza, bliza

Kizu, blizu
guze
igraju se deca:
debeli trbušćići,
čmarni ugrušćići.

Kiza i Maka

Kiza i Maka
dva pedera laka.
Drugari.

Nemanja 02.02.2007. 13:19

• Nemanja i Kizina seka

Neša, Kiza, seka,
kara, pica, apoteka.
Nema leka!
Drugari.

Nemanja 02.02.2007. 13:22

• Za sve vas seljačine koje se niste Makle dalje od Frankfura, evo pojašnjenja Bakina prrrrrrijedloga (to ja sad predem, budale jedne kak ne kužite):

MR. MISTOFFELEES

By T.S. Eliot

You ought to know Mr. Mistoffelees!
The Original Conjuring Cat--
(There can be no doubt about that).
Please listen to me and don't scoff. All his
Inventions are off his own bat.
There's no such Cat in the metropolis;
He holds all the patent monopolies
For performing surprising illusions
And creating eccentric confusions.
At prestidigitation
And at legerdemain
He'll defy examination
And deceive you again.
The greatest magicians have something to learn
From Mr. Mistoffelees' Conjuring Turn.
Presto!
Away we go!
And we all say: OH!
Well I never!
Was there ever
A Cat so clever
As Magical Mr. Mistoffelees!

He is quiet and small, he is black
From his ears to the tip of his tail;
He can creep through the tiniest crack
He can walk on the narrowest rail.
He can pick any card from a pack,
He is equally cunning with dice;
He is always deceiving you into believing
That he's only hunting for mice.
He can play any trick with a cork
Or a spoon and a bit of fish-paste;
If you look for a knife or a fork
And you think it is merely misplaced--
You have seen it one moment, and then it is gawn!
But you'll find it next week lying out on the lawn.
And we all say: OH!
Well I never!
Was there ever
A Cat so clever
As Magical Mr. Mistoffelees!

His manner is vague and aloof,
You would think there was nobody shyer--
But his voice has been heard on the roof
When he was curled up by the fire.
And he's sometimes been heard by the fire
When he was about on the roof--
(At least we all heard somebody who purred)
Which is incontestable proof
Of his singular magical powers:
And I have known the family to call
Him in from the garden for hours,
While he was asleep in the hall.
And not long ago this phenomenal Cat
Produced seven kittens right out of a hat!
And we all said: OH!
Well I never!
Did you ever
Know a Cat so clever
As Magical Mr. Mistoffelees!

- 18:20 - Komentari (10) - Isprintaj - #

četvrtak, 01.02.2007.

*ILUMINATI

Zanimljivo Iluminati znaš kaj više o toj temi ? (Pacijent 31.01.2007. 23:04)

Dawn of time to 1000 C.E.

Alpha and Omega -- Immanentizing of the Eschaton.
20,000,000 BC -- Recent Epoch of geeology begins; Ice Age ends; human beings spread to all parts of the world.
30,000 -- First Illuminatus, Gruad, rules in Atlantis.
20,000 -- Mythical Lloigor inhabit continent of Mu.
10,000 -- Approximate beginning of agriculture. Estimated date of inscriptions on stone disks by the Dropa tribe, a diminuative people of the Bayan-Kara-Ula Mountains on the border of China and Tibet; disks describe how the tribe came to earth in flying machines; ancient Dropa graves contain human remains with huge heads and small bodies. Earliest estimated date of carving of the Crystal Skull found at Lubaantun in the Yucatan. Hyborian Age in Europe.
9,000 to 10,000 -- Date of Plato's Atlantis.
6,000 -- Picture writing develops.
5,000 -- First alphabet begins to develop.
4,000 -- Approximate date of discovery of metals, beginning of cities, constellations of stars first recorded. Egyptians begin placing small pieces of crystal on the forehead of deceased prior to mummification.
3,000 -- Approximate date of building of the Sphinx and Great Pyramid at Giza and other pyramids elsewhere in Egypt. Indus Valley civilization develops complex government, writing and well planned cities. Minoan civilization flourishes in Crete. Earliest parts of the Bible written. Beginning date of Olmec calendar from Central America:
3113 BC. Trephination (cutting a hole in the skull) practiced by people all over the world.
2,500 -- Sarmoung Brotherhood of Babylonia flourish according to Gurdjieff.
2,100 -- Egyptians record star configurations on which the 24 hour day is based.
2,000 -- Stonehenge and other stone circles built in England.
1,800 -- Huge Silbury Mound constructed near Stonehenge.
1,700 -- Babylonian Enuma Anu Enlil, early roots of astrology based on celestial phenomena.
1,500 -- Approximate date of the destruction of Thera, on which Atlantis legends are probably based. Early references to Mithraism on cuneform astronomical tests. Quadrants of the moon recorded in China.
1,360 -- Akhenaton's monotheistic sun worship in Egypt.
1,344 -- Tutankhamun, Akhenaton's successor who revived polytheism, buried at Thebes; curse reading "Death comes on swift wings to he who opens this tomb," written on tomb doorway.
1,300 -- Approximate date I Ching written in China.
1,184 -- End of the Trojan War, Illium falls to the Greeks.
1,000 to 2,000 -- Legendary Thule civilization in the Gobi region destroyed by a catastrophe, "possibly of an atomic nature," survivors migrating to Agarthi and Schamballah.
1,000 -- Huge Sacrificial Table built at Mystery Hill near North Salem, New Hampshire.
950 -- Approximate date of building of Solomon's Temple in Jerusalem, traditional origin of the Masonic fraternity; alleged assassination of Temple master-mason Hiram for refusing to reveal masonic secrets.
900 -- Approximate time settlers from Europe and the Middle East established colonies in North America.
800 -- Twenty-two "moon stations" in monthly lunar cycle recognized in Babylonia, India and China.
753 -- Legendary founding of Rome by Romulus.
700 -- Jordanian city of Petra is carved out of sandstone by unknown culture.
600 -- Approximate beginning of money with first coins in Lydia.
575 -- Nebuchadnezzar completes building Tower of Babel in Babylon.
500 to 600 -- Time of Buddha, Lao Tse, Confucius, Zarathustra, Orpheus, Pythagoras, Zachariah and Daniel--an Illuminated century.
500 -- Sun-Tse's Treatise on the Art of War, first intelligence manual.
485 -- Execution of Spurius Cassius in Rome.
450 -- Development of the 12 constellations of the zodiac in Mesopotamia, recognizing the importance of the plane of the elliptic through which the sun, moon and planets move.
440 -- Assassination of Spurius Maelius.
400 -- Druidism in England. Astrological ideas from Enuma Anu Enlil transmitted to India.
390 -- Approximate date Plato's The Republic written, featuring such Illuminoid images as the Philosopher Kings, the Divided Line and the parable of the Cave.
355 -- Plato's Timaios and Kritias, earliest accounts of Atlantis.
300 -- Invention of Mayan calendar in Yucatan, based on advanced astronomy. Fabius family of Rome reaches its greatest heights.
275 -- Approximate date Greek poet Aratus makes first sytematic record of star constellations in Phaenomena.
273 to 232 -- Rule of Asoka, king of India who allegedly founded the Nine Unknown.
212 -- Archimedes uses burning-glass to set fire to Roman fleet at Syracuse, early use of lens as weapon.
133 -- Land reformer Tiberius Gracchus murdered and hundreds of his followers killed by followers of powerful Roman patricians; death of Scripio Africanus a few years later.
121 -- Gaius Gracchus and 3000 of his followers massacred by patricians.
100 -- The Great Teacher of the Essenes. Essentials of modern astrology worked out.
95 -- Approximate date of assassination of Saturninus and Glaucia.
92 -- Assassination of Rutilius Rufus.
91 -- Assassination of Livius Drufus.
73 -- Revolt of gladiators led by Spartacus.
44 -- Assassination of Julius Caesar.
4 -- Birth of Jesus of Nazareth, accompanied by various Illuminoid trappings: three early Men-In-Black disguised as the Wise Men; strange lights in the sky; miracles such as visits from angels, prohpecy and suspension of time are reported.
0 -- Carnation-Painted Eyebrows Society, Copper Horses, Iron Shins and other secret societies active in China.
C.E. 30 -- Assassination of the radical Jesus, allegedly on Illuminati orders; more Illuminoid trappings; an eclipse; an earthquake; visitorsfrom the sky roll away the stone from the sepulcher and liberate the crucified Jesus.
100 -- Hero of Alexandria devises primitive steam-engine.125 to 150 -- Simon Magus, Menander, Valentinus and others develop Gnostic religious doctrines of esoteric knowledge (illumination).
135 -- Approximate date Ptolemy records 1,022 stars in Almagest; also recorded astrological ideas from Enuma Anu Enlil in his Apotelesmatika.
150 -- Roman Mithraism competes with Christianity. Yellow Turban Society subdues northern China, Triad cult formed in opposition.
200 -- First book of the cabala, Sepher Yetzirah, compiled.
216 to 276 -- Life of Mani, the Illuminator, who founded Manicheism, based on ideas from Judaism, Christianity, Zoroasterism, Gnosticism, etc.
325 -- Council of Nicaea in which Christian begins to rigidify.
500 -- Chinese use of gunpowder.
570 to 632 -- Life of Muhammad, founder of Islam.

670 -- Ca -- Estimated date of carving of stone statues found on Easter Illinicus invents Greek Fire, primitive incendiary bomb.
673 to 735 -- Life of the Venerable Bede, the greatest scholar of Saxon England whose Ecclesiastical History of England (731) contained many occult and unexplained occurances.
700 -- Sufi mysticism begins.
730 -- Al Azif written in Damascus by Abdul Alhazred.
772 -- Charlemagne allegedly established Holy Secret Tribunal which becomes the Holy Vehm.
850 -- Ismaili and Fatimid missionaries throughout Islamic Empire preach revolution against the ruling Sunni order and Abbasid state.
900 -- Beginning of the Bogomils of Bulgaria, a Manicheian sect, roots of Cathari.
909 -- First Fatimid caliph in Egypt.
920 to 1003 -- Life of Pope Sylvester II who allegedly visited the Nine Unknown in India.
950 -- Al Azif translated into Greek as Necronomicon.
1000 -- Approximate founding of Yezidi cult by Sufi Sheikh Adi in Iraq. Abode of Learning active in Cairo. Spread of Cathari Manicheism throughout Europe. Leif Ericson explores North

1000 C.E. to 1776 C.E.

1000 -- Approximate founding of Yezidi cult by Sufi Sheikh Adi in Iraq. Abode of Learning active in Cairo. Spread of Cathari Manicheism throughout Europe. Leif Ericson explores North America.
1034 to 1124 -- Life of Hasan-e Sabbah, founder of the Assassins of Persia. Member of the Ismaili sect, Hasan seized fortress of Alamut in Daylam in 1090; split with Fatimid dynasty in 1094; Assassins flourished for next several centuries.
1050 -- Approximate date of founding of the Order of Hospitallers in Jerusalem.
1058 -- Member of the Abode of Learning sect gains temporary control of Bagdad.
1092 -- Assassins murder Persian minister Nizam al-Mulk.
1095 -- First Crusade.
1100 -- Approximate date Sufi Gilani founds Arabic school of Illuminati, Kadiri Order of Sebil-el-ward, in Bagdad. Assassins infiltrate Thug cult of India. Bogomil leader Basil burned in Constantinople. Albigensian Cathari sect flourishes near Albi, France. Avengers and Beati Paoli active in Italy. Joachim of Floris founds primitive Christian sect, Illuminated Ones. Robin Hood active in England.
1119 -- Knights Templar founded in Palestine.
1123 -- Abode of Learning suppressed by Turkish Vizier Afdal.
1140 -- Rapid growth of Cathari sect begins.
1149 -- First Cathari bishop established.
1162 to 1227 -- Life of Genghis Khan, conquerer of China and Russia, invader of Europe and Islamic Empire, destroyer of Assassin power. Approximate beginnings of the wandering of the Gypsies of North India.
1167 -- Cathari council near Toulouse.
1170 -- Assassination of Thomas a Becket.
1171 -- Last Fatimid caliph dies.
1176 -- Peter Waldo founds the Poor Men of Lyons. Sultan Saladin invades Assassin territory, gains truce.
1184 -- Waldenses excommunicated, suppressed.
1200 to 1300 -- House of Wisdom in Cairo, roots of the Afghan Roshaniya. Origin of the Mafia in Sicily.
1208 -- Albigensian Crusade begins suppression of Cathari heresy.
1212 -- The Children's Crusade. Genghis Khan invades China.
1233 -- Founding of the Inquisition to suppress Cathari and other heresies.
1235 to 1315 -- Life of Dr. Illuminatus, Ramon Llull (Raymond Lully) in Spain.
1241 -- Mongols invade Europe through wise use of intelligence information and strategy, introduce gunpowder from Asia.
1244 -- Massacre of Cathari at Montsegur, France.
1250s -- Approximate beginning of Holy Vehm in Westphalia. Approximate time of Hulagu Khan's defeat of the Assassins.
1254 to 1324 (?) -- Life of Marco Polo, early European traveler in China, Persia.
1258 -- Hulagu Khan destroys Bagdad; Mongols destroy Mesopotamia, the mother of civilization.
1260 -- Mongol invasion of Islamic Empire turned back.
1270s -- Cathari hierarchy fades.
1275 -- Assembly of traveling mason guilds in Frankfort. Zohar, second book of the cabala, compiled by Moses de Leon in Spain.
1280 -- Roger Bacon, deviser of early eyeglasses, independently invents gunpowder.
1291 -- Hospitallers retreat to Cyprus.
1300 -- White Lotus Society founded in China. Inquisition begins suppression of witches and other pagan groups.
1307 -- Philip IV of France suppresses Knights Templar for witchcraft and heresies; Jacques de Molay imprisoned in the Temple in Paris.
1308 -- Assassination of Holy Roman Emperor Albert I.
1309 -- Hospitallers acquire the isle of Rhodes.
1313 -- Knights Templar dissolved by papal decree.
1314 -- De Molay and others burned in Paris.

1327 -- Assassination of King Edward II in England.
1329 -- First appearance of the Tarot in Germany.
1360 -- Approximate date of the earliest known Satanic cults; black masses celebrated in France.
1369 -- Timurlane becomes Great Khan.
1375 -- Another assembly of traveling mason guilds in Frankfort.
1379 to 1482 -- Alleged life of Christian Rosenkreuz, fictitious founder of Rosicrucianism.
1390 -- Gypsies begin to appear in Europe.
1400s -- Cathari sect dies out. Concave lenses developed.
1404 -- King Robert revises code of Holy Vehm.
1410 -- Secret society formed in Italy which eventually joins with Rosicrucianism.
1437 -- Assassination of King James I of Scotland.
1456 -- Gutenberg Bible begins modern printing.
1458 -- Abramelin's Book of Sacred Magic translated from Hebrew to french according to followers of the cult of the Guardian Angel.
1471 -- Assassination of King Henry VI of England.
1472 -- University of Ingolstadt founded. Fernando Poo discovers Fernando Poo.
1483 -- Assassination of King Edward V of England.
1492 -- Rodrigo Borgia, head of the powerful Borgia family, becomes Pope Alexander VI. Columbus sails the ocean blue.
1493 to 1541 -- Life of Paracelsus, possible founder of Roscrucianism; discover of zinc around 1530; model of the Faust legend.
1500 -- Approximate date of Roshaiya, Illuminated Ones, in Afganistan. Beginning of Alumbrados in Spain and Charcoal- Burners in Scotland. Cesare Borgia has his brother-in-law assassinated.
1502 -- Cesare Borgia arrests and executes enemies who have conspired against him.
1503 to 1566 -- Life of Nostradamus, visionary prophet.
1507 -- Fra Dolcino's version of Joachim's Illuminism suppressed by the Bishop of Vercueil.
1510 -- Beginning of systematic importation of African slaves into the West Indies.
1513 -- Machiavelli's The Prince published.
1519 -- Spanish conquest of Mexico, enslavement of Amerindians.
1522 -- Hospitallers lose Rhodes to the Turks.
1530 -- Hospitallers given Isle of Malta by Charles V, become Knights of Malta.
1537 -- Assassination of Alessandro de Medici, Duke of Florence.
1568 -- First Inquisition edict against the Alumbrados.
1574 -- Second edict against Alumbrados.
1575 -- Approximate date of founding of British Intelligence services.
1575 to 1624 -- Life of Jakob Bohme, visionary mystic, illuminated one.
1584 -- Assassination of William I of Orange in England.
1587 -- English colony established at Roanoke Island, Virginia; no trace of the "lost colony" was found when supply ships returned three years later.
1589 -- Assassination of King Henry III of France.
1590 -- Janssen makes first compound microscope in Europe.
1597 -- Anonymous alchemist seeks to start Rosicrucian-like society in Europe.
1605 -- Rosicrucian constitution published.
1607 -- Italian secrect society headed by Count Bernard of Germany merges with Rosicrucianism. First permanent English settlement in America, Jamestown, Virgina.
1608 -- Apprentice to Dutch spectacle-maker Lippershey discovers principle of focusing lenses; Lippershey builds first telescope.
1609 -- Galileo independently builds telescope, begins study of astonomy. Spanish settlement at Santa Fe, New Mexico, founded.
1610 -- Assassination of King Henty IV of France.
1614 -- Fama Fraternitatis published, fictional story of Rosenkreuz by Johann Valentin Andrea.
1619 -- First slave ship in America, Jamestown, Virginia.
1620 -- Plymouth Colony, second English settlement, arrives on Mayflower.
1622 -- Posters appear in Paris warning that the Rosicrucians are "amongst you...visibly and invisibly."
1623 -- Final papal edict against Alumbrados; Guerinets appear in France. First submarine built by Cornelius van Drebbel in England.
1638 -- Milton meets Galileo.
1640 -- Beginning of subliminal persuasion when Rembrandt imbeds the word "sex" in a painting.
1642 -- Civil War in England between King Charles and Parliament.
1646 -- Earliest known Masonic Lodge to allow non-professional or "free" masons, in Warrington, England.
1647 -- Alleged correspondence between Cromwell and Ebeneezer Pratt plotting the overthrow of King Charles.
1649 -- King Charles convicted and beheaded by Parliament.
1654 -- Illuminated Guerinets come to public notice in France.
1667 -- Milton's Paradise Lost published.
1675 -- Leeuwenhoek discovers "animalcules" through the microscope.
1676 -- Sperm discovered by Leeuwenhoek's student Ham.
1680 -- Madame Le Voisin, innovator of modern Satanism, executed in Paris.
1682 -- Tamanend, sachem and chief of the Lenni-Lenape tribe, welcomes William Penn to America, traditionally considered the beginning of the Tammany Society.
1689 -- William III of Orange becomes king of England, allegedly through the plotting of the Illuminati.
1694 -- Bank of England founded.
1700 -- Quietism of Fenelon and others.
1701 -- Earliest record of "operative" or professional Masonic Lodge in Alnwick, England.
1702 -- First daily newspaper in England.
1717 -- Founding of modern Freemasonry with the Grand Lodge of London by Desaguliers. Voltaire imprisoned in the Bastille.
1721 -- British King George I cracks down on the flourishing Hell Fire Clubs, popular Satanistic cults.
1723 -- Anderson's Constitutions of the Freemasons published. Ebrietatis Enconium and other early anti-Masonic works published.
1724 -- Publication of the anti-Masonic Grand Mysteries of the Freemasons Discovered.
1731 -- Benjamin Franklin initiated into Freemasonry.
1734 -- Franklin elected Grand Master of Pennsylvania.
1736 -- Death of the last leader of the Afghan Illuminated Ones.
1749 -- Rousseau's spontaneous "enlightenment" launches the Romantic Movement.
1750 -- Hell Fire Clubs continue to flourish in Dublin and London. Fictional alchemist Joseph Curwen writes letter stating "I laste Nighte strucke on ye Wordes that bringe up Yooge-Sothothe," perhaps the real power behind the Illuminati.

1754 -- Six year old Adam Weishaupt is orphaned and goes to live with the Jesuits.
1757 -- First year of Swedenborg's "New Era."
1759 -- Voltaire's Candide published.
1760 -- St. Germain founds chemical dye factory in Holland, fore- runner of I.G. Farben; disappears with 100,000 guilders. Franklin invents bifocals.
1761 -- St. Germain discovered living in Russia. Chinese Emporer issues edict against secret societies.
1762 -- Illumines of France founded. Sandwich invented.
1763 -- Swedenborg's Doctrine of Life for the New Jerusalem published.
1764 -- Voltaire's Philosophical Dictionary published; he begins a prodigious attack on dogmas of church and state.
1765 -- British Stamp Act imposed to help pay for the French and Indian War debt. Sons of Liberty clubs formed to resist the tax.
1767 -- Townshend Revenue Act, another British tax on the colonies. Kunta Kinte kidnapped into American slavery.
1768 -- Virginia's legislature dissolved for its opposition to the Townshend Act. Weishaupt graduates from the University of Ingolstadt, becomes tutor and catechist. Macfarguhar, Ball and Smelie begin compiling the Encyclopaedia Britannica. Mesmer commissions 12 year old Mozart's first opera, Bastien and Bastienne.
1770 -- Boston Massacre: British troops fire into a crowd. Townshend Act repealed.
1771 -- Encyclopaedia Britannica published.
1772 -- Weishaupt becomes professor at University of Ingolstadt.
1773 -- British Tea Tax on colonies. Boston Tea Party in protest. Weishaupt marries. Alleged meeting of Meyer Rothschild and others to plan a world revolution. Suppression of the Jesuits. Franklin's Rule by Which a Great Empire May Be Reduced to a Small One published.
1774 -- Britain's "Intolerable Acts" designed to punish rebellious colonies. First Continental Congress. Washington begins training troops. Louis XVI becomes king of France. Casanova becomes secret agent for the Inquisitors of Venice. Catherine II shuts down satiric journals in Russia. Jefferson's Summary View of the Rights of British Americans published.
1775 -- Second Continental Congress authorizes naval warships, sets up secret committee to procure weapons, names Washington commander-in-chief of the new American Army. George III proclaims America in open rebellion. Initial battles of the Revolutionary War: Lexington, Bunker Hill, Toconderoga. Bushnell's first experimental submarine and torpedo tested. Prince Hall lodges (for blacks) chartered by Grand Lodge of London, rejected by American lodges.
1776 -- Illuminati founded by Weishaupt. American Declaration of Independence, written by Jefferson, adopted by Continental Congress. Battles of Long Island, White Plains and Trenton. Nathan Hale executed as spy by British. Franklin becomes ambassador to France, is affiliated with French Masonic lodges. Opening of Freemasons' Hall, permanent headquarters of English Masonry. Cagliostro initiated into Masonry. Saigon captured by Tay Son brothers. Aaron Burr serves as assistant to Benedict Arnold. Thomas Paine's Common Sense and The Crisis widely read. Adam Smith's Wealth of Nations published.

1776 C.E. to 1920 C.E.

1776 -- Illuminati founded by Weishaupt. American Declaration of Independence, written by Jefferson, adopted by Continental Congress. Battles of Long Island, White Plains and Trenton. Nathan Hale executed as spy by British. Franklin becomes ambassador to France, is affiliated with French Masonic lodges. Opening of Freemasons' Hall, permanent headquarters of English Masonry. Cagliostro initiated into Masonry. Saigon captured by Tay Son brothers. Aaron Burr serves as assistant to Benedict Arnold. Thomas Paine's Common Sense and The Crisis widely read. Adam Smith's Wealth of Nations published.
1777 -- Weishaupt joins Munich Lodge of the Order of Good Council. Articles of Confederation adopted by Continental Congress. Battles of Bennington, Brandywine, Germantown, Princeton and Saratoga. Washington has his mystical vision of the future of the United States while at Valley Forge. War of Bavarian Secession begins.
1778 -- France recognizes American independence, signs treaty and provides aid. Franklin assists in initiation of Voltaire into Masonic Lodge of Paris. Masonic Convention in Lyons organizes Knights of Benficience.
1779 -- John Paul Jones says "Damn the torpedos!" Benedict Arnold becomes a traitor and spy for the British. War of Bavarian Secession ends.
1780 -- John Andre, British agent, captured with secret documents from Arnold; Arnold escapes to join British; Andre hanged as spy. Weishaupt's wife dies. Illuminati begins rapid growth. First use of the title Odd Fellows. Order of the Brotherhood of Asia, Rosicrucian off-shoot, founded.
1781 -- Battle of Guilford Court House, surrended of Cornwallis at Yorktown. John Hanson becomes first President of the United States in Congress Assembled. Weishaupt seeks abortion for his sister-in-law while awaiting dispensation to marry her. United Masonic Lodges of Hamburg headed by Fraximus, a secret Rosicrucian. Kant's Critique of Pure Reason published.
1782 -- British cabinet agrees to recognize American independence, preliminary agreement signed in Paris. Hanson commissions the "Eye in the Pyramid" Great Seal, finishes term; Elias Boudinot elected second President of Congress Assembled. Illuminati dominate European Masonry. Casanova retires as secret agent.
1783 -- Treaty signed between America and England. Washington disbands army, resigns. Hanson dies. Thomas Mifflin third President of Congress Assembled. Ex-Illuminati Utschneider sends letter denouncing the Order to monarch of Bavaria. Rite of Swedenborg founded by Marquis de Throne. Eclectic Rite founded by Baron Knigge in Frankfort. Webster's American Spelling Book published.
1784 -- Treaty with England ratified by Congress. Richard Henry Lee fourth President of Congress Assembled. Bavarian Monarch Carl Theodore outlaws secret societies. Cagliostro moves to Lyons from Bordeaux to found the Mother Lodge of Egyptian Masonry. Royal Commission in Paris, including Franklin and Guillotine as members, investigates Mesmerism and returns a negative report.
1785 -- Weishaupt flees to Gotha; new edict outlaws Illuminati; High-ranking Illuminatus Lanz killed by lightning and Illuminati papers found on body by police. French "Diamond Necklace" affair. Napoleon graduates military school. Franklin returns to America; Jefferson becomes French ambassador. Rosicrucian Order suppressed in Austria. Anonymous pamphlet appears in Germany revealing secrets of ancient Egyptian ceremonies.
1786 -- Wisdom Lodge founded in Virginia. Secret congress in Frankfort where Louis XVI and Gustavus III of Sweden condemned to die by Illuminati. Italian Illuminatus Buonarroti's library of Masonic and subversive books confiscated by state authorities. Nathaniel Gorham fifth President of Congress Assembled. Napoleon writes pamphlete defending Rousseau.
1787 -- German authorities publish letter by Weishaupt admitting he sought abortion for his sister-in-law; Weishaupt replies, blaming "extenuating circumstances." German Union (extension of outlawed Bavarian Illuminati) founded by Bahrdt. Washington elected President of Constitutional Convention in Philadelphia; new constitution adopted by the convention. Arthur St. Clair sixth President of Congress Assembled. Jefferson meets secretly in Paris with Brazilian rebel to discuss American aid to revolution in Brazil. Shay's Rebellion in Massachusetts to protest unfair taxes. Goethe visits Cagliostro's family in Palermo. Swedenborgian Church founded in London. Society for the Abolition of the African Slave-Trade founded in London.
1788 -- American Constitution ratified by the states. Individual American states begin to outlaw slavery. Cyrus Griffen seventh President of Congress Assembled. Paine visits London and Paris. The Federalist essays published by Hamilton, Madison and Jay.
1789 -- Washington elected President of the United States; first Congress under new Constitution. Jefferson returns to U.S. to become first Secretary of State; Hamilton becomes first Secretary of the Treasury. French Revolution begins.
1790 -- Rebellion and massacre throughout France. Cagliostro arrested by Inquisition of Rome. Bavarian edict against Reading Societies. Blake's Marriage of Heaven and Hell published.
1791 -- Napoleon joins the Jocobin Club. First Bank of the United States chartered. Burr begins converting Tammany Society into a political machine. The anonymous Vie de Joseph Balsamo (Joseph Basalmo was Cagliostro's name before he joined the Masons), first recorded link of the Illuminati and the French Revolution, appears in several European countries. Mozart's The Magic Flute, containing Masonic elements, performed.
1792 -- Washington re-elected. War between France and Austria. Louis XVI imprisoned in the Templars Temple tower. Massacres of September, in which priests, bishops and others are killed. Elections for the National Convention, a triumph for Robespierre and his followers. France declared a Republic. First Swedenborgian church in America. Catherine II outlaws Masonry in Russia. Life of Joseph Balsamo translated into English in Dublin. Assassination of Gustav III at the Stockholm opera.
1793 -- Year One of the French Republic; the year of the Terror, Louis XVI found guilty of conspiracy, condemned to be executed. French government kills thousands of its citizens. France declares war on England and the Dutch United Provinces; war breaks out with Spain and Austria; Russia and Prussia begin partition of Poland. French food riots.
1794 -- Year Two; France passes laws distributing confiscated property to the poor, leads victorious battle against Austrians. Would-be assassin of Robespierre fires on Collot d'Herbois instead; the next day a young girl arrested as suspected assassin; she and 40 others sent to guillotine. Other attempts of Robespierre's life; his enemies accuse him of attempting to have himself declared divine by Catherine Theot, an old woman who preached a mystery religion; Robespierre guillotined. Monroe becomes minister to France. Whiskey rebellion in Pennsylvania to protest liquor taxes.
1795 -- France makes peace with Prussia and Spain, invades Holland. Napoleon suppresses revolt in Paris and goes to Italy as Commander-in-Chief. Yazoo land fraud: bribed Georgia legislators sell Mississippi.
1796 -- Adams elected President. Paine publishes letter critical of Washington.
1798 -- Illuminati scare in New England. Knights of Malta lose their island to Napoleon.
1800 -- Death of Thomas Waley, one of the last Hell Fire Club leaders. Napoleon comes to power, allegedly through Illuminati manipulation.
1805 to 1881 -- Life of Auguste Blanqui, French socialist, founder of numerous secret societies modeled after Buonarroti.
1815 -- Napoleon's Waterloo. Secret societies which eventually become the Decembrist Movement formed in Russian Masonic lodges.
1817 -- Suppression of the Lodge of Jupiter the Thunderer begins. Irish immigrants force entry into Tammany Society, changing its direction.
1818 -- Mary Shelley's Frankenstein published.
1819 -- American Independent Order of Odd Fellows founded. Founding of National Freemasonry, the most important of several Polish secret societies devoted to ousting the Russians from Poland. Liberation of Columbia by Bolivar.
1822 -- Russian government suppresses Masonry. Equador liberated by Bolivar.
1825 -- Decembrist movement suppressed in Russia after brief uprising. Bolivar liberates Bolivia. Founding of Vienna bank by Solmon Rothschild and Naples bank by Carl Rothschild.
1828 -- Tammany Society backs Andrew Jackson for President. Anti- Masonic Party founded, first third-party in America. Attempted assassination of Bolivar.
1829 -- Alleged Illuminati meeting in New York decides to unite Atheists and Nihilists into Communist movement.
1830 -- Anti-Masonic conventions in Massachusetts and Vermont find evidence linking Masonry with Illuminism. Book of Mormon published. Weishaupt and Bolivar die.
1831 -- Anti-Masonic Party runs Wirt for President, assuring that Mason Andrew Jackson would be re-elected. Poe dismissed from West Point.
1833 -- Jackson orders U.S. funds withdrawn from Bank of the United States, effectively killing the institution.
1835 -- The socialist League of the Just founded in Paris, later becoming the Marxist Communist League. Attempted assassination of Jackson with two single shot pistols, both of which jammed. Revolver invented.
1844 -- Morse builds first practical telegraph. Bahai religion begins when the Bab proclaims his mission in Persia.
1848 -- Fall of monarchy in France. Republic established in Rome. Abdication of Ferdinand I in Austria. Revolts in Denmark, Ireland, Lombardy, Schleswig-Holstein and Venice. Germany briefly united in a parliament at Frankfort; unity destroyed by the King of Prussia. Marx and Engles publish the Communist Manifesto (allegedly commissioned by the Illuminati) and travel in France and Germany encouraging discontent with the Establishment. Woman's Suffrage Movement gets underway in Seneca Falls, New York. Spiritualism born in Wayne County, New York, when the teenaged Fox sisters communicate with poltergeists. Fortean tidbits: moon turns "blood-red" during total eclipse; a great comet fails to return at the time predicted; visions and "phantom soldiers" seen in the skies of France and Scotland; Captain M'Quahae of H.M.S. Daedalus reports seeing a "huge, unknown creature" in the ocean. Gold discovered in California.
1849 to 1936 -- Life of Sir Basil Zaharoff, "mystery man of Europe," who made a fortune as an armaments dealer and financier, selling weapons to both sides in World War I and other conflicts.
1852 -- Benjamin becomes first professed Jew elected to Congress.
1859 -- Oil wells invented. Darwin's Origin of Species published.
1860 -- Lincoln elected. Electric storage battery invented.
1860s -- Attempts to suppress the Mafia in Sicily are unsuccessful.
1861 -- Confederate states secede; elect Jefferson Davis president; Benjamin appointed Confederate Attorney General, later Secretary of War. American Civil War begins. Emancipation of serfs in Russia. Jacolliot writes about the Nine Unknown in Calcutta. Gatling gun patented.
1862 -- Benjamin appointed Confederate Secretary of State.
1863 -- Rockfeller builds his first refinery.
1865 -- Assassination of Lincoln; Andrew Johnson becomes president; "Booth" killed; coded message found among his effects; the code key later found in possession of Benjamin, alleged Rothschild agent. Civil War ends. Thirteenth amendment abolishes slavery.
1866 -- Ku Klux Klan founded as a social club in Pulaski, Tennessee. Benjamin flees to England. Death of Phineas Quimby, magnetic healer, founder of Free Thought movement, teacher of Mary Baker Eddy.
1867 -- Ku Klux Klan reorganized along political and racial lines near Nashville, Tennessee.
1868 -- Assassination of Thomas D'Arcy McGee, first Canadian political assassination.
1869 -- St. Germain allegedly completes 85 years in the Himalayas after his "death." Mendeleev composes first periodic table of the elements in Russia. U.S. transcontinental railroad completed.
1870 -- Standard Oil Company incorporated.
1875 -- "Whiskey Ring" conspiracy of distillery owners revealed. Madam Blavatsky founds Theosophy Society. Mary Baker Eddy's Science and Health published.

1875 to 1947 -- Life of Aleister Crowley, the Great Beast, Golden Dawn leader and occult figure.
1876 -- Disraeli again warns about dangers of secret societies. Battle of the Little Big Horn. Bell patents telephone. Otto builds four-cycle gasoline engine.
1877 -- First of seven wills in which Cecil Rhodes leaves his money to establish a secret society to expand British rule throughout the world.
1878 to 1945 -- Life of Edgar Cayce, visionary, trance-channeler who spoke of reincarnation, Egyptian mysteries, and Atlantis.
1881 -- Garfield assassinated. Czar Alexander II assassinated by secret society. Disraeli publishes Lothair, a novel about secret societies and European politics.
1884 -- Fabian Society founded in London by Sidney and Beatrice Webb and others.
1885 -- First practical horseless carriage built by Daimler.
1887 -- Golden Dawn founded in London by Mathers and others. Mitchelson-Morley experiement disproving ether theory.
1888 -- Unsolved murders of London prostitutes by "Jack the Ripper," suspected of being one of those implicated in the Cleveland Street Affair involving high-society Victorians and their patronage of a brothel staffed by messenger boys.
1889 -- Second Communist International organized.
1890 -- Biologist Yersin visits India, purportedly to recieve plague and cholera serum from the Nine Unknown. Wounded Knee massacre.
1891 -- Rhodes gains control of 90% of world's diamond supply. The Round Tables, a secret society allegedly funded by Rhodes and the Rothschilds to gain financial and political power, founded in the U.S., Canada, Australia, India, South Africa and New Zealand. Rockefeller grant founds University of Chicago. Nikola Tesla invents Tesla coil, becomes U.S. citizen.
1892 -- Rockefeller trust transferred to holding company: Standard Oil of New Jersey.
1893 -- Assassination of Chicago Mayor Harrison.
1894 -- Assassination of President Carnot of France.
1896 -- Maconi's patent No. 7777 for radio. First "flap year" for UFOs: wave of sightings of unidentified airships in U.S.
1897 -- Assassination of Premier Canovas of Spain. Zionism founded in Basil, Switzerland by Theodore Herzl.
1898 -- Assassination of Empress Elizabeth of Austria. Pavlov begins study of conditioned reflex in dogs.
1899 -- Tesla discovers terrestrial stationary waves which can produce electricity; reports receiving signals from another planet. Alleged meeting in England at which the Morgans, Rothschilds and Warburgs become affiliated.
1900 -- Assassination of King Umberto I of Italy and Kentucky Governor-elect William Goebel. Tesla suggests alien beings might be living "in the very midst of us." Boxer rebellion in China. Approximate date Adolf Lanz founded the Order of New Templars, a fore-runner of the Nazi mentality.
1901 -- Assassination of McKinley and Russian Education Minister Bogolepov. Rockefeller Institute for Medical Research (Rockefeller University) founded in New York. First trans- Atlantic radio broadcast: Marconi sends the letter S.
1902 -- Assassination of Russian Minister of Interior Sipyagain. Paul and Felix Warburg immigrate from Germany to the U.S. Rockefeller General Education Board founded.
1903 -- Assassination of Bogdanovich, Governor of Ufa. Protocols of Elders of Zion, alleged plan for Jewish world takeover, published in Russian newspaper.
1904 -- Assassination of Russian Premier Vischelev von Plehev.
1905 -- Assassination of Grand Duke Sergius and Idaho Governor Steunenberg. Abortive revolution in Russia. Expanded version of Protocols of Zion published.
1906 -- Assassination of Russian General Dubrassov.
1907 -- Financial panic and depression allegedly caused by J.P. Morgan to gain support for the central bank concept.
1908 -- Assassination of King Carl of Prussia and Crown Prince of Portugal. FBI founded. Founding of the Armanen Initiates, another proro-Nazi secret society.
1910 -- Attempted assassination of Mayor Gaynor of NYC. Secret meeting of bankers and politicians at Jekyll Island, Georgia, results in Federal Reserve Act.
1911 -- Assassination of Prime Minister Staliapin of Russia by police double agent. Standard Oil of New Jersey broken up as illegal monopoly.
1912 -- Assassination of Primier Canalegas of Spain. Attempted assassination of Teddy Roosevelt. Colonel E.M. House, adviser to Woodrow Wilson, publishes Philip Dru: Administrator, a political romance which proposed modern social legislation. Founding of Germanen Order, another pre-Nazi secret society.
1913 -- Assassination of George I of Greece. Rockefeller Foundation founded.
1914 -- Attempted assassination of Archduke Ferdinand of Austria by Masonic agents, followed an hour later by successful assassination; in Russia, Rasputin stabbed the same day. World War I begins.
1915 -- Sinking of the Lusitania by German submarine; allegedly carrying secret munitions for the Allies, the ship supposedly sacrificed by British and American authorities to drum up war hysteria in U.S. Alfred Wegener proposed theory of continental drift, receives ridicule and contempt from his fellow scientists. Ku Klux Klan revived.
1916 -- Assassination of Rasputin.
1917 -- United States enters World War I. Russian Revolution begins; Cheka, secret police of Bolsheviks, founded.
1918 -- Assassination of Russian Czar Nicholas II and his family. Attempted assassination of Lenin. New Thought lecturer David Van Bush hires H.P. Lovecraft as a ghost writer.
1919 -- Founding of Thule Society in Germany; Hitler recruited. League of Nations founded at Paris Peace Conference. Meeting at the Majestic Hotel, Paris, between Wilsonian intellectuals (House, Dulles and Dulles, etc.) and "like-minded Englishmen" to discuss forming an organization "for the study of international affairs." Royal Institute of International Affairs founded. Freud draws attention to Austrian neurologist Poetzl's experiments with the tachistroscope, an early device for studying subliminal perception. Charles Fort's The Book of the Damned published. Hitler joins the German Workers' Party.
1920s -- Assassination of estimated 400 German public figures begins. U.S. entry into League of Nations blocked in Senate. Development of modern advertising techniques emphasizing manipulation rather than information.
1920 -- GWP becomes the National Socialist German Worker's Party.

1920 C.E. to 1950 C.E.

1920s -- Assassination of estimated 400 German public figures begins. U.S. entry into League of Nations blocked in Senate. Development of modern advertising techniques emphasizing manipulation rather than information.
1920 -- GWP becomes the National Socialist German Worker's Party.
1921 -- Council on Foreign Relations incorporated; founded by Wilsonians House, Dulles and company upon their return from Paris, with the help of the Round Table Group. Marconi states he believes mysterious V code on pre-WWI radio came from space; Tesla recalls seeing lights, vivid images, when he was a boy. Hitler takes over the NSGWP.
1922 -- Mussolini, alleged British Intelligence agent, comes to power in Italy, begins attempt to eliminate Mafia in Sicily. Cheka reorganized as GPU, Russian secret police. CFR journal Foreign Affairs founded. King Tutankhamen's tomb opened in Egypt, thus invoking "King Tut's Curse"; 14 violent deaths in as many years linked to the curse.
1923 -- Assassination of Pancho Villa in Mexico. Founding of Hitler's National-Socialist (Nazi) Party in Germany. International Police (Interpol) founded in Vienna. In the face of the Teapot Dome and other scandals, President Harding visits Alaska and receives a "long ciphered message" which visibly upsets him, causing him to ask what a president could do when friends betrayed him; he died soon after among conflicting rumors about the cause of his death. Fort's New Lands published.
1924 -- J. Edgar Hoover takes over FBI. During Mars' closest approach radios around the world went off the air in order to allow interception of any possible messages from space; when translated onto photographic tape, signals received produced crudely drawn faces. Lovecraft ghostwrites for Houdini.
1925 -- Lionel Curtis organizes the Institutes of Pacific Relations in at least ten countries for the Round Table Group.
1926 -- Suicide of synchronicity researcher Paul Krammerer, biologist, freemason.
1927 -- Rise of the CFR due to Rockefeller and other foundation funding. The Crystal Skull discovered in ruins of Lubaantun in British Honduras.
1928 -- Nomination of Catholic Al Smith sparks last spurt of growth for the KKK. Soviet produced film shows conditioned reflex experiments on humans.
1929 -- CFR moves to Harold Pratt Building on 68th Street. Great Depression begins. Quisling's About the Matter That Inhabited Worlds Outside Ours and the Significance Caused by It to Our Philosophy of Life published.
1930 -- Pavlov begins applying knowledge of conditioned reflex to human psychosis.
1930s -- Mafia becomes integral part of the U.S. organized crime. Continuing political assassinations accompany Nazi rise to power.
1931 -- Fort's Lo! published.
1932 -- Fort dies after publishing his last book, Wild Talents.
1933 -- Attempted assassination of Franklin Roosevelt; Chicago mayor Cermak killed instead. FDR orders use of Great Seal of the U.S. on reverse side of the dollar bill. Reichstag Fire, set by Nazis, used to suspend civil liberties.
1934 -- Assassination of S.M. Kirov, Soviet leader and Stalin collaborator. Russian GPU renamed NKVD. Beginning of Hitler's Black Order. Unexplained "ghostflier" broadcasts in Sweden.
1935 -- Assassination of Senator Huey Long. First lobotomy performed by Egas Moniz in Lisbon.
1936 -- Beginning of Moscow Purge trials in which numerous communist leaders were brainwashed into false confessions and then executed.
1937 -- Spanish Civil War begins. First of 48 "Lost Colony" stones found in North Carolina; stones supposedly tell the story of lost Roanoke Island colony. Amelia Earhart Putnam, aviator, disappears.
1938 -- Assassination of Leon Sedov, Trotsky's son; first assassination attempt against Trotsky. Nazi invasion of Austria; Interpol exiled -- or taken over by Nazis; German expedition to Antarctica stakes out 600,000 square kilometers, lands near the South Pole. Electroshock treatment discovered. Orson Welles' dramatization of H.G. Wells' War of the Worlds scares American radio listeners.
1939 -- Attorney Leon Cooke, friend of Jack Ruby and financial secretary of the union which employed Ruby, killed by union president Jack Martin; union subsequently taken over by Mafia. League of Nations suspended. Germany invades Poland; World War II begins. CFR offers it services to U.S. State Dept. Interpol grouped with Gestapo. Amateur radio astronomer Grote Reber receives dot-dash signal from space. Attempted assassination of Hitler.
1940 -- Assassination of Leon Trotsky in Mexico. British secret police renamed MI-5 and MI-6 for duration of war. Interpol moved to near Berlin., with Reinhard Heydrich in charge. Nazis allegedly begin building Hitler's secret hideout in Antarctica. Roosevelt sends Gen. "Wild Bill" Donovan on info-gathering mission to Europe; Donovan recommends a central intelligence organization. U.S. State Dept. creates Division of Special Research headed by CFR member Pasbolsky.
1941 -- Japan attacks U.S. Fleet at Pearl Harbor, allegedly through the maneuvering of Roosevelt and his advisors to provide an excuse to enter the war. Donovan made head of new Office of Coordinator of Information. The Books of Charles Fort published.
1942 -- Assassination of Interpol chief Heydrich in Czechloslavakia. Donovan's OCI evolves into the Office of Strategic Services (OSS).
1943 -- LSD-25 discovered by Swiss chemist Albert Hofmann. Nazi Admiral Doenitz boasts the German submarine fleet has built "in another part of the world a Shangri-La on land, an impregnable fortress." Juan Peron and other pro-Nazi leaders take power in Argentina. Pilots on both sides of the war report seeing "foo- fighters," unexplained flying objects, while flying war missions.
1944 -- Attempted assassination of Hitler. Nazis begin sending millions of dollars worth of jewels, paintings and cash to Argentina for safe keeping. Russian NKVD reorganized as MGB. Donovan prepares plan for Roosevelt to establish a central intelligence agency which is pigeonholed, later reconsidered by Truman. American band leader Glenn Miller disappears on unarmed flight over the English Channel.
1945 -- Alleged assassination (suicide) of James Forrestal at Bethesda Hospital Neurological Ward, after his attempt to warn Roosevelt of Illuminati plot. Roosevelt dies, Truman becomes president. Mussolini killed. Hitler allegedly escapes from Berlin after arranging for a fake suicide cover story; Hitler's death announced, Admiral Doenitz takes command; submarines U-530, U-977 and others begin secret journey from Norway soon after Quisling allegedly refused Hitler's offer to take him "aboard a submarine to a safe refuge"; two months after Germany surrenders submarines U-530 and U-977 give themselves up in Mar del Plata, Argentina, after allegedly being lost from the submarine convoy taking Hitler and others to their hideout in Antarctica; Nazi leader Martin Bormann escapes without a trace from Berlin after supervising Hitler's "suicide." First atomic bombs dropped. World War II ends. General Gehlen, Head of Nazi Intelligence, captured by U.S. Army and flown to Washington; other Nazi and British agents imported to U.S., along with Werner Von Braun and other developers of the V-2 rockets. Interpol dissolved -- or reorganized with headquarters in Paris, the story varies. OSS disbanded, its agents moving to military intelligence agencies and the State Dept. CFR allegedly takes over State Dept. United Nations founded. "Official beginning of Bermuda Triangle mystery," when Flight 19, made up of five naval bombers, disappears off the coast of Florida; another plane sent to investigate also disappears -- 6 planes and 27 men vanished. An Air Force plane's engines fail over Iwo Jima as foo- fighters maneuver around it.
1946 -- Murder of wire service king James Ragen by Syndicate friends of Jack Ruby; indictment dropped following additional murders. John Kennedy and Richard Nixon elected to House of Representatives. Truman's executive order sets up the National Intelligence Authority and Central Intelligence Group. Gehlen returns to Germany to continue intelligence work for U.S. Army. Interpol reorganization meeting held in Brussels. Admiral Byrd allegedly leads Naval "research" expedition to Antarctica to attack Hitler's secret hideout; attempt allegedly fails and Hitler and his "UFO scientists" continue their activities. Waves of unexplained "ghost rockets" seen in Europe, especially Scandanavia.
1947 -- Attempted assassination of Minneapolis Mayor Hubert Humphrey. Partition of India receives "strong impetus from the Round Table Group." National Security Act establishes Dept. of Defense, National Security Council and Central Intelligence Agency. France creates SDECE, similar to CIA. Second UFO flap year; Kenneth Arnold reports flying saucers near Yakima, Washington, and other reports soon follow. Maury Island "hoax": an early Men-In-Black incident three days before the Arnold sighting, in which a "donut-shaped object" dropped slag on a boat near Tacoma, Washington; the next day an MIB visited Harold Dahl, who was piloting the boat, and warned him not to discuss the sighting; the boat's owner, Fred Crisman, was suspected of being a CIA employee and was later called to give secret testimony at the trial of Clay Shaw in New Orleans; pilot Dahl disappeared and UFOlogist Arnold, who investigated the case, reported unexplained failure of his own plane's engine soon after two Air Force investigators were killed taking off from Tacoma's airport.
1948 -- Assassination of Mahatma Gandhi. Attempted assassination of labor leader Walter Reuther. Beginning of Operation Ohio, a CIA program responsible for one hundred European assassinations during the next ten years. Beginning of CIA interest in UFOs as a "security" problem. McCord employed by the FBI. Nixon gains prominence in the Alger Hiss case as member of the House Un- American Activities Committee; goes to Miami where he meets Bebe Rebozo and goes yachting with other underworld-connected figures. Martin Bormann reported living in Argentina. New nation of Israel creates Central Institute for Intelligence and Security. World Council of Churches founded in Amsterdam.
1949 -- Report critical of CIA filed and forgotten, unread by Truman; Central Intelligence Act exempts CIA from disclosure laws. E. Howard Hunt becomes CIA agent; Clay Shaw becomes agent for CIA's Domestic Contact Service. The Gehlen Organization transferred to CIA control. U.S. Army begins 20 years of simulated germ warfare attacks against American cities, conducting at least 239 open air tests. Interpol granted consultive status by UN. Chaing Kai-shek flees to Formosa; mainland China taken by communist leaders; Social Affairs Dept. and other Chinese secret police created. Trial of Cardinal Mindszenty in Hungary following his brainwashing and confession of conspiracy.
1950 -- Attempted assassination of Truman by Puerto Rican nationalists. Korean War begins. Congress passes McCarran's Internal Security Act setting up program for detention of subversives. Hiss convicted of perjury; Nixon elected to Senate after smear campaign against California opponent. U.S. Army engages in "simulated" germ warfare in San Francisco and the Pentagon. National Council of Churches founded in U.S. CIA organizes the Pacific Corporation, a large holding company which was the first of many CIA "private" enterprises. Alleged CIA plot to introduce UFO contact ideas with "Little Green Men" stories and radio contact "from space." Malcolm X receives visit from an MIB while in prison. Worlds in Collision by Immanuel Velikovsky proposes a catastrophic theory of ancient history in which a huge "comet" of matter is ripped out of Jupiter, approaches Earth close enough to cause universal fire/flood legends in primitive folklore and the settles into orbit as a new planet, Venus; Velikovsky receives ridicule and contempt from his fellow scientists, thought 20 years later Jupiter is generally considered a "cold star" rather than a planet and Velikovsky's prediction of a hot climate on Venus is confirmed. Approximate starting date of building of Mount Weather, secret American government fortress.

1950 C.E. to 1973 C.E.

1950 -- Attempted assassination of Truman by Puerto Rican nationalists. Korean War begins. Congress passes McCarran's Internal Security Act setting up program for detention of subversives. Hiss convicted of perjury; Nixon elected to Senate after smear campaign against California opponent. U.S. Army engages in "simulated" germ warfare in San Francisco and the Pentagon. National Council of Churches founded in U.S. CIA organizes the Pacific Corporation, a large holding company which was the first of many CIA "private" enterprises. Alleged CIA plot to introduce UFO contact ideas with "Little Green Men" stories and radio contact "from space." Malcolm X receives visit from an MIB while in prison. Worlds in Collision by Immanuel Velikovsky proposes a catastrophic theory of ancient history in which a huge "comet" of matter is ripped out of Jupiter, approaches Earth close enough to cause universal fire/flood legends in primitive folklore and the settles into orbit as a new planet, Venus; Velikovsky receives ridicule and contempt from his fellow scientists, thought 20 years later Jupiter is generally considered a "cold star" rather than a planet and Velikovsky's prediction of a hot climate on Venus is confirmed. Approximate starting date of building of Mount Weather, secret American government fortress.
1951 -- Assassination of Ali Razmara of Iran, Riad Al-Sulh and Abdullah of Jordan and Ali Knah Liaquat of Pakistan. Army simulated germ warfare project in Mechanicsburg, Pennsylvania. Approximate date CBS begins active cooperation with CIA. McCord moves from FBI to CIA. North Korean brainwashing of American prisoners begins. Time magazine popularizes the term brainwashing.
1952 -- Eisenhower elected president, Nixon vice-president; Kennedy elected to Senate. Army germ warfare project in Key West, Florida, and Ft. McCellan, Alabama. CIA agent Downey and Fecteau captured while on spy mission in China. Third UFO flap year. First UFO "contact" case: George Adamski meets Venusians in California desert; alleged CIA plot to start UFO scare. UFOlogist George Williamson, one of Adamski's witnesses, claims he also witnessed ham radio operator establish contact with another world.
1953 -- Dr. Frank Olsen commits suicide after having been given a secret dose of LSD by the CIA, under the direction of the mysterious Dr. Sidney Gottlieb. CIA contemplates developing drugs to cause amnesia in retired agents. CIA's Robertson Panel views UFO reports as national security threat. Army germ warfare project in Panama City, Florida. Return of Korean War prisoners, including some who underwent brainwashing. 21 POWs defect. Mau Mau (Hidden Ones) formed in Kenya to overthrow white rule. UFOlogist Albert Bender closes down his International Flying Saucer Bureau after being visited by three MIB.
1954 -- Attempted assassinations of several U.S. Congressmen by Puerto Rican nationalists. First Bilderberger meeting takes place at the Bilderberg Hotel, Oosterbeek, Holland. Condemnation by the U.S. Senate of Joseph McCarthy following his charges of subversion in high places. Hunt involved in CIA overthrow of communist regime in Guatemala, Carlos Castillo-Armas becomes president. Richard Bissell joins the CIA. Army germ warfare project in Point Mugu and Fort Hueneme, California. Russian KGB created to replace earlier secret police. Broadcaster Frank Edwards fired for discussing UFOs on the air. Strange voice "from space" speaks from turned-off radios in midwest U.S. and London, warns against preparations for war.

1955 -- Assassination of Jose Antonio Remon of Panama and Adnan Al-Malki of Syria. Bilderberger meeting in Barbizon, France. Lee Harvey Oswald meets David Ferrie of the New Orleans Civil Air Patrol. Doug Durham joins the Marines. The Office of Naval Research allegedly receives a copy of Morris Jessup's The Case for the UFOs with marginal notes in three different hands, supposedly by "Gypsies" knowledgeable in UFOlogy; ONR reprints several hundred copies for internal use; an MIB called "Carlos Allende" is implicated in the affair.
1956 -- Assassination of Anastasio Somoza of Nicaragua. Bilderberger meeting in Frednsborg, Denmark. Clay Shaw's CIA contact allegedly stopped. Oswald joins Marines. Durham receives special CIA training. UFOlogist Gray Barker publishes They Knew Too Much About Flying Saucers which reported numerous MIB incidents.
1957 -- Assassination of Carlos Castillo-Armas of Guatemala. Exiled Ukranian politician Lev Rebet assassinated by KGB agent in Munich. Alleged assassination of Joseph McCarthy at Bethesda Hospital Neurological Ward, after warning of Illuminati plot. Bilderberger meetings in St. Simon Island, Georgia, and Fiuggui, Italy. Oswald assigned to base at Atsugi, Japan, where CIA U-2 planes were launched; shoots self in elbow. General Edwin Walker commands federal troops sent to enforce racial integration at Little Rock, Arkansas. CIA helps Iran form SAVAK, secret police later accused of assassination Iranian dissidents. Experiments in behavior modification sleep-teaching take place at California penal institution Woodland Road Camp. Fourth UFO flap year. Anti- atomic bomb propaganda disseminated by saucer clubs -- another CIA plot? Unexplained short wave radio signals received worldwide.
1958 -- Assassination of Abdul Llah, Faisal II and Nuri Al-Said of Iraq. Bilderberger meeting in Buxton, England. Russia launches first space satellites. Unidentified ex-Marine lives in Minsk, USSR, apparently gathering information for the CIA. Oswald on maneuvers in the Philippines involving U-2 flights. Francis Gary Powers released from Air Force and assigned to covert CIA spying. Kerry Thornley and Gregory Hill found Discordianism and publish Principia Discordia, or How I Found Goddess and What I Did To Her When I Found Her; Thornley joins Marine Corps. John Birch Society organized by Robert Welch. Nelson Rockefeller elected governor of New York. Ham radio operators pick up a male voice claiming to be Nacoma of Jupiter and warning of atomic bomb disaster in English, German, Norweigian and his own unknown language.
1959 -- Assassination of Solomon W.R. Bandaranaike of Ceylon. Exiled Ukranian politician Stephan Bandera assassinated by KGB agent in Munich. Attempted assassination of Senator Bircher of Ohio and Governor Almond of Virginia. Apparent suicide of UFO researcher Morris Jessup who had received communications from "Carlos Allende," one of the MIB and whose book was mysteriously annoted by UFOlogical Gypsies. Bilderberger meeting in Yesilkov, Turkey. Fidel Castro assumes power in Cuba; Cuban Intelligence (DGI) begun. Ruby visits casino owner in Havana. Kerry Thornley first meets fellow Marine Oswald in California; Oswald released from Marines, defects to Russia. Thornley assigned to U-2 base in Atsugi, Japan. Durham discharged from Marines, stationed at CIA base in Guatemala. UFO sighting at CIA headquarters after Naval officer contacts "space people" while in CIA-observed trance. Condon's The Manchurian Candidate published.
1960 -- Assassination of Hazza Majali of Jordan. Bilderberger meeting in Burgenstock, Switzerland. Eisenhower authorizes training and arming Cuban exiles, allegedly issues orders for the assassination of Congolese leader Patrice Lumumba. Nixon, CIA agent Bissell and others plan Bay of Pigs invasion, obtain permission to use Guatemala as launching point. Bernard Baker serves as conduit for Bay of Pigs funding. CIA buys Southern Air Transport; contemplates development of "recruitment pills" and other drugs; studies mysterious amnesia of Korean war prisoners moved through Manchuria; contemplates giving truth serum to brainwashed American POWs. CIA spy Powers shot down in U-2 over Russia; summit conference cancelled. Kennedy-Nixon debates; Kennedy elected president. Oswald assigned job in Bellorussian Radio Factory in Minsk, USSR. Thornley discharged from Marines. Project Ozma, searching for intelligent signals from another part of the universe, receives unexplained signals from space.
1961 -- Assassination of Lumumba of the Congo, Rafael Trujillo Molina of the Dominican Republic and Louis Rivagasore of Nurundi. Attempted assassination of Castro by Hans Tanner. Michael Rockefeller disappears in New Guinea. Bilderberger meeting in Quebec, Canada. Thornley arrives to New Orleans; Slim Brooks gives Thornley "the haircut" on his 23rd birthday; the same day, the CIA invasion of Cuba at the Bay of Pigs, launched from Guatemala, fails due to poor planning and cancellation of support by Kennedy; the CIA, the Mob, Cuban-exiles, right-wingers and Nixonites supposedly vow revenge against Kennedy. Kennedy develops extracurricular relationship with Judith Campbell, Sam Giancana's girlfriend; Giancana and John Roselli enlisted by CIA to attempt Castro assassination. George De Mohrenschildt on hiking trip through Guatemala. Brooks introduces Thornley to his "brother-in-law," Gary Kirstein, allegedly an undercover E. Howard Hunt; Thornley and "Kirstein" begin nearly three-year relationship of discussing Nazis, mind-control, the status of philosopher- kings, and plans to assassinate Kennedy. Robert Morrow, working with Ruby, Shaw and Ferrie, allegedly smuggle weapons from Greece to Central America for the CIA; also picks up information for CIA from "Harvey" in the Soviet Union. Ferrie, Gordon Novel and two others arrested in burglary of Louisiana arms bunker. Unidentified Marine from Minsk divulges information to CIA agent in Copenhagen. General Walker resigns after criticism of his anti-communist indoctrination of troops. U.S. Military Advisor Group begins defoliation project in Vietnam which eventually covers over 12% of land area. Milgram's Yale experiments demonstrating dangers of obedience to authority. Unexplained transmissions from space monitored by ham radio operators worldwide; Bob Renaud, ham operator, allegedly makes contact with aliens.
1962 -- Suicide of Marilyn Monroe under questionable circumstances. Bilderberger meeting in Saltsjobaden, Sweden. Oswald returns to America with his Russian wife, an alleged KGB agent. Retired General Walker arrested on Attorney Robert Kennedy's orders when Walker became involved in the racial disorders in Oxford, Mississippi; Walker stripped naked and flown to Springfield, Missouri, prison for examination; Walker reported to be incompetent but was later released and ran against John Connally for Governor of Texas. Hunt becomes head of CIA's new Domestic Operations Division. CIA interference in Ecuadorian politics. CIA allegedly pays a Canadian agriculture technician to infect Cuban turkeys with Newcastle disease (though the technician supposedly double-crossed them). Ruby allegedly flies from Mexico City to visit Havana. CIA begins using secret terror teams in Vietnam, roots of Operation Phoenix. Dr. Edgar Schein outlines behavior modification programs for U.S. prisons, based on Korean brainwashing techniques. Cuban missile crisis. De Mohrenschildt, friend of the Kennedys, befriends the Oswalds in Dallas. Durham employed by Des Moines Police Dept. UFOlogist Williamson disappears in South America. Film version of The Manchurian Candidate released.
1963 -- Assassination of Sylvanus Olympio of Togo, Abdul Karim Kassem of Iraq, Medgar Evers of US, Ngo Dinh Diem of South Vietnam and John Kennedy of US; Texas Gov. John Connally wounded, police officer Tippit and Oswald killed. Attempted assassination of General Walker in Dallas earlier, allegedly by Oswald; Oswald also supposedly threatened to kill ex-Veep Nixon, or was it Veep Johnson? the Warren Commission wasn't sure. Alleged assassination attempt of JFK in Miami but right-winger Milteer spills the beans; another attempt in Chicago also supposedly foiled. Attempted assassination of Castro in which CIA agent Rorke is killed. Bilderberger meeting in Cannes, France. Johnson becomes president; almost immediately reverses JFK's decision to withdraw from Vietnam. CIA begins weather modification project over Hue, Vietnam. Equadorian government overthrown. Profumo scandal in England, involving sex and spying, brings down Conservative government. Russia sends first woman into space. Unexplained radio transmission interrupts astronaut Gordon Cooper in unidentified language. Numerous MIB spotted in Dealy Plaza.
Oswald in New Orleans
Oswald's Fair Play for Cuba Committee established at same address as ex-FBI man Guy Bannister's private detective office, also used for E. Howard Hunt's (allegedly the "brother-in-law" Thornley met with several times over period 1961-1963) Cuban Revolutionary Council and other anti-Castro fronts; confrontation with Carlos Bringuier, another agent for CIA's Domestic Contact Service, in front of Shaw's International Trade Mart; Oswald asks Bringuier to hit him, pleads guilty when they are arrested, asks to see an FBI agent, is released and appears on radio and TV the next day to publicize his activities; Oswald allegedly meets Shaw, Ferrie and other operatives of the FBI and CIA; Oswald, Shaw and Ferrie allegedly attempt to register to vote in rural Clinton, Louisiana, attracting attention by arriving in a black Cadillac; Oswald and Thornley allegedly meet at nightclub; Thornley thinks it was a "look-alike"; Jack Ruby visits New Orleans to obtain "the services of a stripper known as 'Jada,' who became his featured performer."
Oswald in Mexico
Although Oswald was allegedly on a bus to Mexico at the time, someone calling himself "Harvey Oswald" appeared at the Selective Service office in Austin, Texas, to discuss his undesirable discharge; the next day Cuban refugee leader Sylvio Odio is visited in Dallas by two Latins and "Leon Osward" (whom they called "Leopoldo") to discuss violent anti-Castro activities and revenge against Kennedy -- though Oswald was supposedly on his way to Mexico City; Albert Osborne, who allegedly paid for 1000 Hands Off Cuba leaflets which Oswald distributed in New Orleans, allegedly rides the same bus with him to Mexico City; Oswald, or someone impersonating him, attempts to go to Cuba from Mexico City; while Oswald was in Mexico a second Oswald appeared at a Dallas rifle range to shoot bull's-eyes, have his scope adjusted and talk to people there; Oswald returns to Dallas on bus No. 332, or was it No. 340? which had the name "Oswald" added to the manifest after the trip.
Oswald in Dallas
Soon after returning from Mexico Oswald and his family allegedly drove to Alice, Texas, to talk with the manager of KPOY -- though Oswald didn't drive and the Warren Commission concluded he couldn't have been in Alice then; Oswald attends General Walker's John Birch meeting lecture and two nights later attends an ACLU meeting where he criticizes Walker's alleged racism; someone looking like Oswald visits a furniture store in Irving, Texas, with his family, looking for a part for a gun; the second Oswald visits the Irving Sports Shop to have three holes drilled in a rifle, though Oswald's only had two holes and they were drilled before he got it; the second Oswald cashes a $189 check at an Irving grocery store, buys groceries Oswald was unlikely to buy and gets a HAIRCUT accompanied by a teenager who allegedly exchanged leftist remarks with him; Oswald II visits the Lord-Lincoln auto agency to look at cars, test drives one at 70 mph and brags about coming into money soon and returning to Russia; Oswald II begins visiting Dallas/Irving rifle ranges to demonstrate his marksmanship, shooting bull's-eyes and hitting other people's targets; Oswald I writes a letter to the Dallas FBI which is destroyed soon after the assassination; Oswald I writes to "Mr. Hunt" asking to "discuss the matter fully before any steps are taken by me or anyone else"; two days before the assassination Oswald II creates a scene in a Dallas restaurant where Officer J.D. Tippit "glowered" at him; Oswald I allegedly seen at the Carousel Club, plotting with Ruby, Tippit and/or Bernard Weissman; Oswald I or II allegedly ordered distribution of the anti-Kennedy "Wanted for Treason" leaflets in Dallas; Oswald, or was it Billy Lovelady? photographed standing in the doorway of the Book Depository building at the moment Kennedy was shot; Oswald II allegedly seen fleeing from the back of the Book Depository immediately after the assassination; Oswald II confronts Tippit, Oswald I arrested in the Texas Theatre; Oswald's voice prints show he told the truth when he said "I didn't shoot anybody, no sir."
Faces in the Crowd
Among the several hundred witnesses to the assassination were the following: the "umbrella man" who supposedly signaled assassination teams to fire by closing his black umbrella; the "Babushka Lady," who allegedly was introduced to "Lee Oswald of the CIA" by Jack Ruby and who also filmed the assassination, only to have the FBI confiscate the film and never return it; Joseph Milteer, the National States Rights Party leader who had disclosed the Miami plot against JFK and who had links through the NSRP to James Earl Ray's brother Jerry; three tramps who were arrested soon after the assassination, two of them allegedly resembling E. Howard Hunt and Frank Sturgis, the third possibly being Oswald II; Lee Harvey Oswald and George DeMohrenschildt who, so DeMohrenschildt told a hospital roommate just before his death, were together watching the parade when the shots were fired -- Oswald ran and that was the last time DeMohrenschildt supposedly saw him.
Some Nagging Doubts
Nixon, having attended a convention of Pepsi-Cola executives in Dallas, leaves for New York an hour before the assassination and was one of the few people who later forgot where he was at the time; J. Edgar Hoover also alleged to have been secretly in Dallas on the same day. Texas oilman H.L. Hunt taken into protective custody by federal agents after the assassination and kept in another city for several days to avoid threats by those who might think he was involved. DeMohrenschildt, in Haiti, expresses belief Oswald was a patsy and that the FBI killed Kennedy (though later DeMohrenschildt claimed to have been the link between H.L Hunt and Oswald in a right-wing plot to kill JFK). Ferrie allegedly flies to Dallas on evening after assassination but his actual whereabouts remain unclear. Ruby, allegedly in hypnotic trance, shoots Oswald after an unexplained horn honk signal in the Dallas Police building basement. Cuban Bay of Pigs veteran named Ruedelo arrives in Madrid, Spain, five days after Kennedy assassination, jailed for invalid visa. Murder of Jack Zangetti, Oklahoma motel owner who told friends the day after the JFK killing that Ruby would kill Oswald and a member of the Sinatra family would be kidnapped soon afterward to distract attention from the assassination. Frank Sinatra, Jr., kidnapped, released unharmed.
1964 -- Assassination of Jigme P. Dorji of Bhutan. Deaths associated with Kennedy assassination: Betty Mooney MacDonald, former Carousel Club stripper who had met Oswald at a party and provided an alibi for Darrell Wayne Garner (who was accused of wounding Tippit-killing witness Warren Reynolds), found hanged in her cell after being arrested for fighting with her roommate; Garner disappears, later found dead; Hank Killam, whose wife Wanda was also a stripper at Ruby's club and who was a friend of John Carter who once lived in Oswald's rooming house, evades police for several months, then found with a slashed throat in Pensacola, Florida; Gary Underhill, former Life editor and CIA agent who begged friends to protect him because he knew who killed Kennedy, found shot in left side of head -- ruled suicide even though he was right-handed; Bill Hunter, Long Beach Press-Telegram reporter, who had met with Ruby's roommate George Senator and Ruby's attorney Tom Howard at Ruby's apartment a few hours after Oswald's murder, shot to death by a policeman in Long Beach, California, police station, accidentally; Jim Koethe, Dallas Times-Herald reporter also present at the meeting in Ruby's apartment, killed by karate chop to the throat as he emerged from the shower; Mary Meyer, painter, niece of forester Gifford Pinchot and one of JFK's lovers (who allegedly funneled LSD from an unsuspecting Timothy Leary to JFK), shot while taking a walk in Washington, D.C. -- her secret diary confiscated by her CIA friend James Angleton, later allegedly destroyed. Robert Kennedy allegedly stalked in assassination plot during his New York senatorial race by Frank Chavez, associate of Ruby; Puerto Rican Teamster Ramon Ducos and Miguel Cruz who was allegedly arrested with Oswald in New Orleans and who claimed to have killed Kennedy; Chavez later killed by his bodyguard, Miguel Cruz. Durham kills wife, terminated from Des Moines police. Bilderberger meeting in Williamsburg, Virginia. Congress passes the Tonkin Gulf resolution giving LBJ power to make war on Vietnam. Virginia Miller, later known as "Blue Dove," allegedly begins career as "disrupter" in the Amerindian community; later serves as FBI informer on Indian activities. Report of the Warren Commission on the Assassination of President Kennedy released; Commission finds that Oswald, acting alone, killed JFK.
1965 -- Assassination of Pierre Ngendandumwe of Burundi, Hassan Ali Mansour of Iran, Malcolm X of US and Mario Mendez Montenegro of Guatemala. On the day Malcolm was killed Pio Ghana de Pinto, who had been working with him to coordinate poor Americans and Third World Africans, was machine-gunned at his home in Africa. Deaths associated with Kennedy assassination: Tom Howard, Ruby's attorney who met with Senator and others after Oswald's death, died of a heart attack after "acting strangely" for two days, no autopsy performed; Rose Cherami, another Carousel stripper who told a psychiatrist Kennedy had to be killed two days before it happened and who said she'd seen Oswald at Ruby's club many times, killed in a hit-and-run car accident near Big Sandy, Texas; Dorothy Kilgallen, columnist and TV panel-show figure who had a private half-hour interview with Ruby and said she was going to break the Kennedy case wide open, found dead in her apartment of an apparent overdose of alcohol and barbiturates; William Whaley, Dallas cab driver who took Oswald from the Book Depository to his rooming house after the assassination, killed in an auto accident -- the first on-duty cabbie death in Dallas since 1937; Karen Bennett Carlin, another Carousel entertainer who reported seeing hate-ad signer Bernard Weissman at Ruby's club and was the last known person to speak to Ruby before he shot Oswald, died of gunshot wounds in the head in Houston. Bilderberger meeting in Lake Como, Italy. Fighting in Vietnam escalates into major war. US Army explores sites in the Middle East for potential locations for nuclear devices intended to set off earthquakes. Early prison behaviour mod program, CASE, begins in Washington, D.C., boys school. Durham involved in various Mafia activities and acts as informer for police, possibly CIA. Fifth UFO flap year. Three Russian scientists report receiving unexplained signals from space. California highway inspector Rex Heflin, who took pictures of UFOs, visited by MIB who took the original photographs and left; NORAD denies they were their men, as claimed. Another ham radio operator, Sidney Padrick, makes contact with UFO aliens.
1966 -- Assassination of Sir Abubakar Balewa of Nigeria, J.T.V. Ironsi Aquiyi of Nigeria and Hendrick F. Verwoerd of South Africa. Attempted assassination of James Meredith in US. E. Howard Hunt serves as CIA contact in assassination plot against Castro. Retired naval Lt. William Pitzer, who had photographed the secret JFK autopsy and was beginning a job with a TV station, found dead with a bullet in his head. Bilderberger meeting in Wiesbaden, Germany. CIA begins weather modification experiments over Cuba, later used in an attempt to ruin Castro's sugar cane crop. Army simulated germ warfare project in New York City.
1967 -- Assassination of American Nazi George Lincoln Rockwell in Virginia. Che Guevara killed in Bolivia after CIA questioning. Deaths associated with Kennedy assassination: Jack Ruby, whose lawyers charged Dallas authorities with neglecting his health, died of cancer while awaiting retrial; David Ferrie, who was to be a key witness in the trial of Clay Shaw, found dead in his locked apartment in New Orleans, ruled suicide though how the ruptured blood vessel which induced his brain hemorrhage could be self-inflicted was unexplained; Eladio del Valle, a friend of Ferrie's who had hired him to fly bombing missions over Cuba, found shot through the heart in a parking lot in Miami, Florida, the same day Ferrie was killed. Dr. Mary Sherman, another friend of Ferrie, shot in New Orleans, her body partially burned by her killer. Bilderberger meeting in Cambridge, England. Beginning of Clay Shaw trial; DA Jim Garrison subpoenas Allen Dulles and ex-CIA employee Gordon Novel to testify; both escape testimony. CIA's Operation Phoenix, which was to assassinate and torture over 40,000 in Vietnam, officially launched. Beginning of CIA's $21 million rain-making program over Indochina which would make 2,600 sorties by 1972. Approximate date La Costa Resort hotel built near San Clemente, California: meeting place of Mob figures, Teamsters, politicians and other big-wigs. Winthrop Rockefeller elected governor of Arkansas. Black Panther party formed. Military takeover of Greece allegedly executed by secret Operation Prometheus. Australian Prime Minister disappears while swimming. Jim Thompson, ex-OSS commando and "Silk King of Thailand," disappears on Easter Sunday; five months later his sister is murdered. Rex Heflin again visited by MIB in connection with his photos of California UFOs; similar MIB incidents in New York and elsewhere; another MIB, Mr. Dixsun, allegedly visits Colorado University UFO researcher Edward Condon and offers to help him contact the space people.
1968 -- Assassination of Martin Luther King, Jr., in Memphis, Tennessee, and Robert Kennedy in Los Angeles, California. Dr. Nicholas Chetta, who performed autopsies on Ferrie and Dr. Sherman, died of an apparent heart attack; Richard Carr, JFK assassination witness about to testify in the Clay Shaw trial, learns police have arrested a man planning to shoot him. Bilderberger meeting in Mont Tremblant, Canada. King assassination: James Earl Ray begins international travels thanks to "Raoul" who sounds very much like his younger brother Jerry Ray; FBI begins search for Ray as lone assassin, ignoring considerable evidence of a conspiracy with Ray as patsy -- including reports of the mysterious "sausage and eggs man" who was seen in the neighborhood of King's motel with a rifle before and after the murder. Following King assassination black leader Ron Karenga meets secretly with California Governor Reagan and later with Los Angeles police chief Thomas Reddin. Spiro Agnew's law-n-order handling of riots following King's assassination brings him to national attention; Agnew allegedly chosen for Nixon's vice-president to obtain CIA and Greek oil and shipping firms' contributions. Robert Kennedy assassination: Sirhan Sirhan, who wounded Kennedy in the shoulder pad, still doesn't remember what happened but perhaps security guard Eugene Cesar, who carried the same caliber gun as Sirhan, does; Kennedy was shot in the back of the head at close range -- Cesar was close behind him, Sirhan several feet in front; a "girl in the polka dot dress," who earlier had been seen with Sirhan, reportedly leaves the scene saying "We've shot him!" Nixon and Agnew elected. Approximate date group called The Kaisers founded -- 60 German-Americans allegedly planning to make Nixon a dictator. FBI begins secret Cointelpro campaign against New Left and black radicals. New York police BOSS unit founds local Black Panther party using undercover agents. FBI informer William O'Neal infiltrates Chicago Black Panthers, becomes chief of security, Los Angeles police establish Criminal Conspiracy Section which employs Donald DeFreeze, Louis Tackwood, Ron Karenga, the Steiner brothers and other agents to infiltrate prison reform and black power groups. CIA penetrates the Students for a Democratic Society at Columbia College; National Caucus of Labor Committees (NCLC) formed within the SDS. Congress creates LEAA to fund state and local police programs. Behavior mod token economy program set up in West Virginia youth center. Mystery ship Scheersberg disappears between Antwerp and Genoa with 200 tons of uranium believed to have been taken to Israel. Astronauts circling the moon interrupted by unexplained voices. Unexplained distress signals from the mid-Pacific received by radio stations, no ships found during search. UFOlogists Steiger, Whitenour and Keel smeared during MIB visits in UFO flap area. Continental drift theory confirmed.
1969 -- Assassination of Tom Mboya of Kenya and A.A. Shermarke of Somalia. Clyde Johnson, who had allegedly attended parties with Ferrie, Ruby and Oswald and who was beaten up to keep him from testifying at the Clay Shaw trial, shot to death near Greensburg, Louisiana. Richard Carr, while visiting in Atlanta, is attacked by two men with knives. Fifteen Russian generals die in "unrelated" incidents within a month's time. CIA-linked Professor Thomas Rika disappears from Boulder, Colorado. Bilderberger meeting in Copenhagen, Denmark. First manned lunar landing. Chappaquidick accident involving Edward Kennedy; Mary Jo Kopechne dies. Trial of Shaw for conspiracy to assassinate JFK; with Jim Garrison's witnesses dead or discredited by CIA or FBI and other government agencies, Shaw was soon found not guilty. Nixon issues Executive Order No. 11490 establishing plans for dictatorial control in the event of a "national emergency." New York Times reveals secret US bombing of Cambodia; Nixon authorizes phone taps of Kissinger's staff to discover leak. Chicago police and FBI raid Black Panthers, kill Fred Hampton and Mark Clark (who were possibly drugged by O'Neal); a series of earlier clashes had left other Chicago Panthers dead. Black Panther leaders killed in Los Angeles by the Steiner brothers, members of Karenga's United Slaves; Panther headquarters raided by SWAT team. New York Panthers indicted for conspiracy. CIA's Colton Westbrook returns from Phoenix program in Vietnam to become involved in Black Culture Association (BCA) program in California prisons. DeFreeze sent to Vacaville, California prison, begins to undergo personality changes. Pentagon and Department of Interior researchers study methods of inducing earthquakes by injecting fluids into deep wells. Alleged CIA spy Humberto Carrillo Colon arrested by Cuban government which seized his Very Low Frequency transceiver and coded messages describing strange lights, a minisubmarine and other unexplained items. MIB "Carlos Allende" visits UFOlogists Jim and Coral Lorenzen in Tucson, gives them a copy of the ONR reprint of Jessup's Case for the UFOs. Woodstock rock festival in New York state draws well over half a million.
1970 -- Assassination of union leader Joseph Yablonski and his family in Pennsylvania. Attempted assassination of Pope Paul VI. Reuther dies in plane crash under suspicious circumstances. Bilderberger meeting in Bad Ragaz, Switzerland. US Army experts complete a "mock assassination" project against the president and Congress, demonstrating that determined terrorists could wipe out US leaders through use of chemical of germ warfare. US invasion of Cambodia; Kent State killings; massive protests. Nixon staffers develop the Huston Plan and "Plumbers Unit" in plot to use police and intelligence agencies at all levels for political purposes. Attorneys Lefcourt in New York and Gary in San Francisco are subject to the first of over 100 unsolved break-ins which take place over the next five years; valuables untouched but sensitive political information taken. FBI/police attacks on Black Panthers in Seattle, Baltimore, New Bedford, Philadelphia, New Orleans, Toledo, Detroit and Carbondale. Westbrook meets DeFreeze; BCA at Vacaville encourages revolutionary ideas and racial hatred in inmates. Personality- altering Prolexin administered to 1,093 inmates at Vacaville; Special Programs Unit behavior mod program begins at Joliet, Illinois, under Dr. Martin Groder; Bureau of Prisons requests funds for Federal Center for Correctional Research in Butner, North Carolina. Approximate date of the "Korea-gate" scandal: Korean CIA undertakes massive influence-peddling campaign, 50 congressmen accept bribes, links made with Nixon Administration and the Unification Church.

1971 -- Assassination of Wasfi Tal of Jordan. Daughter of conspiracy investigator Mae Brussell killed in suspicious car accident. Bilderberger meeting in Woodstock, Vermont. Pentagon Papers published. Hunt hired by White House to gather damaging evidence against Daniel Ellsberg, Edward Kennedy and other "enemies"; Hunt hires Barker and other Bay of Pigs veterans to make break-in at Ellsberg's psychiatrist's office. Barker attempts to get plans to building which will house the Democratic Convention. Plumber chief David Young, former Kissinger aid, contacts CIA for psychiatric profile of Ellsberg, referred to Howard Osborn, a possible Oswald link. White House agent Sergretti meets with FBI, Minutemen and others to plan kidnapping of radicals during the 1972 convention -- a plan later scrapped. FBI begins (or continues) illegal break-ins, mail-openings and wiretaps, conducted by Squad 47 of the internal security division in search of Weather Underground fugitives. Future SLA members Camilla Hall and William Wolfe move to Berkley, become involved in radical and prison reform activities. Electroshock treatments given to hundreds of inmates at Vacaville. Black Panther party in shambles; Cointelpro supposedly disbanded. Zimbardo's Stanford experiments demonstrating dangers of prisoner/guard role-playing. "Deprogrammer" Ted Patrick begins kidnapping Jesus Freaks and reconverting them to conventional behavior. John Keel's Our Haunted Planet discusses more MIB cases.
1972 -- Assassination of Abeid Karume of Zanzibar. Attempted assassination of George Wallace in Maryland by "loner" Art Bremer who had more money than he should and had alleged connections with CIA-types. Warren Commission dissident Hale Boggs disappears on flight to Alaska. Death of E. Howard Hunt's wife Dorothy in plane crash while carrying large amount of cash -- alleged murder described separately under Flight 553. Other alleged murders involving secret funds include Rep. William O. Mills (suicide) and his assistants Col. J. Webster and James Glover; a Mr. Taub, Kalmback employee; Dennis Cossini, alleged CIA contact with Bremer; Lou Russell, security cop employed by McCord Associates; and Mrs. Andrew Topping, wife of man alleged to be plotting assassination of Nixon during 1972 convention. J. Edgar Hoover dies. Bilderberger meeting in Knokke, Belgium. A series of dirty tricks eliminates Muskie as presidential contender; Humphrey and Jackson also smeared; Nixon aides and west coast Nazis cooperate in attempt to keep Wallace of California ballot; Hunt ordered to break into Bremer's apartment but refuses. Watergate break-in; FBI official Charles Bates placed in charge of investigation. Agnew allegedly meets Brienguier (Oswald's buddy) in New Orleans. Tackwood alleges that plans are made to disrupt Republican convention in San Diego, declare martial law, assassinate Nixon (or make false attempt). ITT scandal forces Republicans to move to Miami. CIA attempt to crack columnist Jack Anderson's information source fails. William and Emily Harris, Angela and Gary Atwood and others move to Bay area, become involved in radical and prison reform activities. Thero Wheeler, another alleged police agent, meets DeFreeze at Vacaville; DeFreeze moved to Soledad prison. Black Abductor, anticipating the Hearst kidnapping, published by unknown California publisher. Exposure and defeat of planned psychosurgery program at Vacaville; CARE behavior mod program begins at Marion, Illinois; START program begins at Springfield, Missouri; Joliet unit closed. West German authorities produce a skull they say was Martin Bormann's a few days after articles appear with evidence he is alive in Argentina.
Flight 553
Chicagoan Lawrence O'Connor, who had used United Airlines Flight 553 or its equivalent to fly from Washington to Chicago on Friday nights for years was warned by a White House source not to take this flight; among those killed in the crash at Midway Airport, Chicago, were: Dorothy Hunt who was carrying $50,000 in Watergate payoff money and close to $2 million she was attempting to place in foreign banks; Michele Clark, CBS newswoman who was to interview Mrs. Hunt on a story that could allegedly destroy Nixon; at least four people alleged to have knowledge of a large labor union "donation" to the Committee to ReElect the President (CREEP), paid to stop the indictment of a Chicago labor hoodlum; and a group of gas pipeline lobbyists, attorneys and gas company officials (Robert Moreau, Nancy Parker, Ralph Blodgett, James Drueger, Lon Bayer, Wilbur Erickson) who had allegedly gathered evidence against former Attorney General John Mitchell in an anti-trust case involving El Paso Natural Gas Co.; also aboard was a "hit-man" using the cover of Harold Metcalf, of Drug Abuse Law Enforcement, who told the pilot, Captain Whitehouse, he was carrying a gun and was assigned a jump seat near the food galley and rear door; Captain Whitehouse and six of the Watergate-related passengers were found to have unexplainably high cyanide content after the crash, though the other 35 passengers killed did not; following the crash hit-man Metcalf, in a jump suit, walked out the cracked open fuselage; up to 200 FBI and CIA agents allegedly took over the crash site immediately, beating the fire department to the scene, refusing to allow in a medical team, confiscating Control Tower tapes, interviewing survivors and witnesses before National Transportation Safety Board (NTSB) investigators had a chance to; CBS News requested immediate cremation of Michele Clark's body; evidence of sabotage includes possible tampering with altimeter and air data computer, malfunctioning of the runway visual range recorder and the Kedzie localizer which acted as the runway's outer marker, a series of misdirections from air traffic controllers and the failure of Flight 553's standby power system; an in-flight robbery gang known as the Joseph Sarelli mob allegedly came into possession of some of the Hunt money and Mitchell documents soon after the crash and reportedly fenced it for $5 million; the day after the crash Nixon aide Egil Krogh, Jr., of Ellsberg burglary fame, appointed Undersecretary of Transportation and placed in charge of the two agencies investigating the crash (NTSB and FAA); ten days later Nixon assistant Alexander Butterfield, a CIA-aviation liaison, appointed head of Federal Aviation Administration; a few weeks later Nixon aide Dwight Chapin becomes top executive with United Airlines.
1973 -- Assassinations of US diplomats Cleo A. Nobel, Jr., and George C. Moore and Belgian diplomat Guy Eid by Palestinian guerrillas in Khartoum; Richard Sharples of Bermuda, Mohammad Ali Osman of Yemen, Salvador Allende Gossens of Chile, Luis Carrero Blanco of Spain and Dr. Marcus Foster in Oakland, California; assassination of an American Army officer by insurgent group in Iran. Senator Stennis shot in Washington, D.C. Bilderberger meeting in Saltsjobaden, Sweden. Trilateral Commission founded under the direction of David Rockefeller, with Jimmy Carter and Walter Mondale among the founding members. Agnew resigns. Sidney Gottlieb, head of CIA's LSD and other drug programs, destroys records to hide details of program. Kissinger and his deputy General Scowcroft order a series of CIA spying operations in Micronesia. Hunt beaten in his cell before testifying about the Bremer connection. Durham becomes FBI agent, infiltrates American Indian Movement (AIM), becomes chief of security. Liberation of Wounded Knee, South Dakota, by AIM. Blue Dove becomes an FBI agent. DeFreeze escapes from Soledad; Wheeler escapes from Vacaville. "Race war" in Bay area culminates in the killing of Dr. Foster which the SLA claims credit for in its first communique. Experiments with implanting electrodes in the brain carried out at Vacaville and elsewhere. Behavior mod unit started at El Reno, Oklahoma, prison; START- type program introduced to Maryland public schools by Behavior Research Institute. Sixth UFO flap year.
Flight 553 Revisited
Alex Botto, Jr., who had infiltrated the Joseph Sarelli air piracy gang for the Citizen's Committee to Clean Up the Courts (CCCUC), seized by federal marshals, taken to the federal prison hospital at Springfield, Missouri, and held for 40 days without hearing or trial; Botto and another CCCUC agent, Joseph Zale, testified to seeing evidence from the sabotaged United Airlines Flight 553 in the Sarelli mob's possessions and turned over evidence on this and an earlier crash robbery to Nixon's Strike Force in Chicago; just before the reopening of the case Zale was indicted in an alleged frameup by federal agencies; CCCUC chairman Sherman Skolnich revealed at the 553 hearings that his group had stolen the entire government file, 1300 pages of documentation, and was presenting it as evidence of foul play in the Midway Airport crash.