Although the HEAD Revolution transformed the Terran primates at the time of this ancient Romance, nobody knows when it actually began. Some trace it to certain Alchemical cults of the early Dark Ages; some say it did not properly start as an organized movement until neuro-pharmacology began to replace old-fashioned "psychology" in the late Dark Ages (i.e., just before the time of this epic novel); some try to find its origins in primitive shamanism and yoga.
What is clear is that some primates on Terra began to transcend genetic four-circuit limitations many centuries, or even millennia, before true neuroscience appeared among them. Whether this was due to mutation, empirical hit-or-miss experimentation with alkaloid herbs, or other factors is unknown. In Egypt and China and other places, a few primates reported fifth-circuit raptures - the dawning of neurosomatic consciousness - two thousand or even three thousand years before the Space Age began.
The picture is the same on all planets. A few biots suddenly rise above the eat-it-or-flee-it imprints of the amphibian biosurvival circuit, above the dominate-or-submit imprints of the mammalian territorial-emotional circuit, above the either/or logic of the hominid semantic circuit, above the "good" and "bad" values of the tribal sociosexual circuit. They have transcended infantile feeding programs, childish emotional programs, adolescent philosophizing, and adult "responsibility" (pack role) all at once.
What has happened, of course, is that these biots have formed a fifth circuit in their brains. This is called the neurosomatic circuit because it allows conscious feedback between the nervous system ("mind", in prescientific primate language) and the soma ("body"). In the larval stages of this Hedonic Revolution, every planet exhibits the same monotonous pattern: Mysticism and monomania appear. Many of the mutated biots become convinced that they control everything (the "I-am-God" syndrome), not realizing that they merely control their own perceptual field. "Miracle healings" are reported. The neurosomatic ("mind body") feedback loop allows the mutant biots to become healthier, younger-looking, and sleeker ("handsome") than average. They soon believe, and are encouraged by their admirers to never doubt, that they can"cure" anything. Neurosomatic intolerance appears. The mutated biots grow annoyed, and become extremely critical about, the robot-mechanisms of first-circuit approach-avoidance, second-circuit domination-submission, third-circuit either/or logic, and static fourth-circuit sex roles. They call on everybody to float free like themselves, or like the wind.
The other biots usually declare these five-circuit mutants to be divine, or else they kill them. Sometimes they do both.
The condition was just becoming understood on Terra at the time of this Quantum Comedy, as neuropharmacologists slowly traced the links between neurochemistry and the creation of perceived reality-tunnels.
Nass El Ghiwane (arabe : ناس الغيوان) est un groupe musical marocain, né dans les années 1970 à Casablanca au quartier Hay Mohammadi, l'un des quartiers les plus pauvres de la ville et composé au départ de cinq musiciens : Laarbi Batma, Omar Sayed, Boujmîa Hagour, Allal Yaâla et Aziz Tahiri qui sera plus tard remplacé par Abderhmane Paco. Leur répertoire est puisé dans le creuset de la culture et la poésie marocaine et arabo-andalouse, mais aussi dans des textes religieux issus de grande figures religieuses de l'Islam. Grâce à leurs paroles engagées et poétiques reflétant les malaises de la jeunesse marocaine de l'époque et à leurs rythmes puissants, joués à l'aide d'instruments traditionnels, ils ont révolutionné la musique marocaine et maghrébine et laissé une marque indélébile dans le paysage culturel du pays. Le célèbre réalisateur américain Martin Scorsese a qualifié le groupe de « Rolling Stones de l'Afrique ». Ils se sont inspirés des chansons du style Aïta (Echems Ettalaa, Elhassada, Sif El Bettar, Ghadi Fhali ...), du Melhoun (Han wa Chfeq, Mezzine Mdihek, Qalet ...), des Gnaoua (Ghir Khoudouni, Lebtana, Mahmouma, Essadma, Jralek Ouach ...), des Hamadcha (Laayate Aalik) et des Jilala (Allah ya Moulana, Haoulouni) afin de créer une musique alliant le traditionnel du Maroc avec des sujets modernes. Malgré les années, « Les Rolling Stones de l'Afrique » restent très largement connus au Maroc et ailleurs, mais désormais sans Larbi Batma, décédé d'un cancer des poumons en 1997 et qui a rejoint feu Boujmâa décédé le 26 octobre 1974.
The majority of Terrans were six-legged, but we are not concerned with them. We are concerned with a tiny minority of domesticated primates who built pyramids and wrote books and eventually achieved Space Migration and entered into the galactic drama.
They were very clever primates - excellent at mimicry and even capable of creative thinking at times.
They never would have escaped from their planet and the boom-and-bust cycles of all life-forms adapted to planetside living if it hadn't been for the H.E.A.D Revolution.
HEAD means Hedonic Engineering and Development. It consists of learning to use the primate brain for fun and profit.
At the time of our story the HEAD Revolution, after an underground existence of many centuries, included only about 2 percent of the domesticated primates on Terra. The rest of the domesticated primates were still using their brains for misery and failure.
They did not know they were misusing their brains. They thought there was something wrong with the universe.
They called it the Problem of Evil.
Experts on the Problem of Evil were known as theologians. These were very erudite primates, skilled in primate logic, who wrote long books trying to answer the question "Why did God create an imperfect universe?"
"God" was their name for the hypothetical biggest-alpha-male-of-all. Being primates, they could not comprehend how anything could run if there weren't an alpha male in charge of it.
They assumed the universe was imperfect because it was obviously not set up for the convenience of domesticated primates.
The universe was not even designed for the convenience and comfort of the six-legged majority on Terra. The convenience and comfort of planetside species has very little to do with the cosmic drama.
A few of the primates had realized this. They were known as cynics.
Cynics were primates who realized the monotonous life-death cycle of terrestrial life, but were not imaginative enough to conceive of future evolution after longevity and escape velocity had been attained.
The six-legged majority on Terra, for instance, followed a life script of four or more stages. In general, the pattern was: (1) the embryonic or egg form; (2) the larval period; (3) the pupal or chrysalis stage; (4) the adult insect. During each stage the biot or biological unit - the so-called individual - passed through a metamorphosis during which it was totally or partially transformed.
The same was true of the domesticated primates. Most of them passed through, and kept neurological circuits characteristic of, the following four stages: (1) imprinting and using the self-nourishing networks of the primate brain - the neonate or infant stage (oral biosurvival consciousness); (2) imprinting and using the emotional-territorial networks of the primate brain - the "toddler" stage (anal status consciousness); (3) imprinting and using the semantic circuits - the verbal or conceptual stage (symbolic rational consciousness); (4) imprinting and using the socio-sexual circuits - the mating or parenting stage (tribal taboo consciousness).
It was all very mechanical - but that's the way planetside life is.
Estou em casa. Ouço Muslimgauze e uma pequena sequência sonora faz-me olhar para a porta pensando que alguém estará a bater. Então olho e não vejo movimento. A cortina está silenciosa. Então não estão a bater. À minha porta não estão a bater. Mas nas portas e janelas de Gaza [Janeiro 2009], nos telhados de uma cidade de refugiados estão a bater bombas cirúrgicas de fósforo branco. Numa semana morreram 500 pessoas. Os judeus deveriam lembrar a realidade nazi que viveram e fazer mea culpa com os palestinianos. Talvez seja uma das razões pela qual o Irão nega o holocausto de seis milhões de judeus.
Hoje poderia repetir-me e escrever o mesmo.
O mundo não mudou e tornou-se ainda mais estúpido.
'Paint me as a dead soul'
from the album 'The new backwards'
Lyrics by John Balance:
Paint me as a dead soul with a halo of black joy Medusa in a mirror etched out in acid the flesh, the image, the reflection One who dwells in scarlet darkness like animals in palaces drawing blood
The flesh, the image, the reflection let's complete the illusion
Paint me as you see me from memory or history In a fever or a frenzy Paint your lucid dreams and visions in a chamber of nightmares in a temple of locusts so violent, vile, and vivid May the colors make you fearful blind and hypnotizing in our subterranean heaven Paint my cunt with dragonflies my eyes as bright as diamonds my heart open like an ulcer or a sacred crimson rose Bathed in blood or drowning in my bed with the fragrance from the flowers in the gardens of the dead
Paint ghostly foxes, cats and camels a red dog and a black dog paint a putrid sunset in verdigris and violet ochre, amber, mauve
Four monks carrying a goat over the snows to nowhere And paint the shades that come with evening Peacock angels dream of leaving Paint me as you see me paint me as I see me Paint me as a Dead Soul
notes about the song
"Paint Me As a Dead Soul" is the LP's most experimental track, a Nurse With Wound-like concoction of wandering piano and harpsichord melodies, creaks, sputters, hiccups, and Balance reading a dream monlogue suggested by Aleister Crowley's anecdote in his Confessions. It's a haunting and effective track, and a nice respite from the rest of the album, all of which heavily utilizes loops, rhythms and low-end sounds. It doesn't seem to take anything recognizable from the Backwards sessions, but "Princess Margaret's Man in the D'Jamalfina" is a near exact recreation of "Egyptian Basses," with perhaps a little hint of the strings in "Crumb Time" thrown in for good measure. As such, it is simulateously one of the most familiar and uncanny tracks on the album. Familiar because it follows the structure of those earlier sketches closely, and uncanny because it sounds so much more vibrant and new than the old demos, whose muddy, muted sounds I had gotten quite accustomed to. Either way, it's a brilliant track, occupying that weird liminal region that Coil mapped out so well: cryptic jazz, haunted melodies, idiosyncratic sampling and weird, druggy textures. At one point two-thirds of the way through the song, we hear a distorted voice saying "Okay, yeah." Who or what this is, we may never know, but it's little details like this that push The New Backwards over the top for me.
The theory of sex-economy and its investigations of living phenomena can be stated in a few sentences.
Psychic health depends upon orgastic potency, i.e., upon the degree to which one can surrender to and experience the climax of excitation in the natural sexual act. It is founded upon the healthy character attitude of the individual's capacity for love. Psychic illness are the result of a disturbance of the natural ability to love. In the case of orgastic impotence, from which the overwhelming majority of people suffer, damming-up of biological energy occurs and becomes the source of irrational actions. The essential requirement to cure psychic disturbances is the re-establishment of the natural capacity for love. It is dependent upon social as well as psychic conditions.
Psychic illness are the consequences of the sexual chaos of society. For thousands of years, this chaos has had the function of psychically subjecting man to the prevailing conditions of existence, of internalizing the external mechanization of life. It has served to bring about the psychic anchoring of a mechanized and authoritarian civilization by making man incapable of functioning independently.
The vital energies regulate themselves naturally, without compulsive duty or compulsive morality - both of which are sure signs of existing antisocial impulses. Antisocial actions are the expression of secondary drives. These drives are produced by the suppression of natural life, and they are at variance with natural sexuality.
People who are brought up with a negative attitude toward life and sex acquire a pleasure anxiety, which is physiologically anchored in chronic muscular spasms. This neurotic pleasure anxiety is the basis on which life-negating, dictator-producing views of life are reproduced by the people themselves. It is the core of the fear of an independent, freedom-oriented way of life. This fear becomes the most significant source of strength for every form of political reaction, and for the domination of the majority of working men and women by individual persons or groups. It is a bio physiological fear, and it constitutes the central problem of the psychosomatic field of investigation. It has been until now the greatest obstruction to the investigation of the involuntary functions of life, which the neurotic person can experience in a mysterious and fear-ridden way.
The Legendary Pink Dots feel it is our duty to inform an unwary public that the new number of the Beast is 834. In fact we, the Legendary Pink Dots were instrumental in this turn of events. Let us explain...
The change occurred on a rainy morning in August when the Legendary Pink Dots, Lisa and friends of the Prozhtet Militat were holding a party to celebrate the completion of AsYlum - a cage into which they could retreat from worldly matters.
Naturally, the party finished with the traditional burning of Oogchuu, the fire baby. (We must point out that the burning of Oogchuu is not an act of cruelty. Oogchuu's purpose in the order of things is to be burned, and he never protests when Poison Barbarella strikes the first match.)..... http://legendarypinkdots.org/
O álbum 'Asylum' de 1985 pela banda The Legendary Pink Dots
Gorgon Zola's Baby Lyrics :
Gold chain. Bronze skin. Cheese brain. Holes. Yes, Gorgon Zola rules the beach. She strolls, she kicks some sand - the mild man winces, clears his eyes. Despises her. She's tall and cruel and cool as sour cream. His dreams are dry. She'll paralyze - an icepick in his spine. She'll fine him when his wheelchair's parked on double yellow lines. He takes it because he has to... because he's built like stale spaghetti. Zola's pointing the machete - so he jumps!