Wednesday, October 26, 2011

PHURDINI (short story synopsis)


for gypsies the weasel is called the phurdini which means the blower. a weasel 'blows or puffs when it is afraid or angry. gypsies have an almost morbid horror of puffs of air, and of wind. wind, they say, is the devils sneezing. all the nomads of the steppes fear this element, which throws their camps into confusion. the weasel's puff is a sign of ill luck (cf. the breath of classical dragons)'. now if you say the word 'weasel' it sounds like whistle. in fact you cannot blow a whistle without puffs of air. a whistle blower is someone who reveals wrongdoing to the public, sort of like a good action hero except the phurdini as a weasel has often been associated with bad luck. the phurdini here is a villain. along the same vein it is thought that the name "weasel" comes from the anglo-saxon root "weatsop" meaning "a vicious bloodthirsty animal". now if you say the word 'weatsop' it sounds like 'weak spot' meaning any vulnerable position. as a way of physically whistle blowing on other wrong doing the weasel preys on vulnerability so that which is thought of as bad luck or bad karma happening on a individual is actually the working of a malicious force of nature. the catch is that the weasel isn't voluntarily going about doing harm. the weasel is a living embodiment of bad karma that exists in a inner world of negativity, hate and fear. everything that gets close to it ends up destroyed as long as it already had it coming, if you catch my drift, meaning that, if i could use the phrase, 'what goes around comes around' and 'like attracts like' as they commonly say. in this story the weasel is the harbinger and hastener of bad karma sort of like a death angel. the phurdini gains power as superstitions grow and peoples fear of it increases. just before a victim meets his fate the nursery rhyme is sung in the background: 'half a pound of tuppenny rice, half a pound of treacle. that’s the way the money goes, pop! goes the weasel.' then the sound of a whistling kettle begins that shortly explodes from intensity into a climatic pop which sets off karmas full effect on the unsuspecting victim! 
if you look at the word 'phurdini' it kind of sounds like 'houdini'. houdini was a famous magician who was known for his disappearing act. after the damage is done the weasel scurries away without a trace as if it vanishes out of sight taking on the form of a human being. in conjunction if i may go even more deeper as with such movies like 'saw' and 'scream' there are at least one or more killers in the story but with the phurdini everyone is a potential killer. whoever becomes sucked into negativity, hate and fear becomes a manifestation of the phurdini (a weasel) for its set purpose of quickening fate in peoples lives. now, if i may side step, old withered witches, it is said, sometimes take the form of a weasel and a witch is equally defined as a old ugly woman and a charming or alluring young girl or lady. and here we have the punch line: 'looks can be deceiving when the 'enemy' lives within us. be careful who you allow into your lives as it could quicken your death'! 
'superstition surrounding the weasel is ancient and still strong. it was already existing in ancient greece. in several of aristophanes comedies, he shows the dissolution of assemblies at pnyx on the appearance of a weasel. this belief is found again in the maconnais distric in france' '…although this animal was abominated in india it was worshipped in egypt”. superstition is a fear that only increases the problem. abomination is a hate that only ignores the problem. worship is a reverential fear that only appeases the problem. love is a power that destroys the problem. through love we are able to provide a solution to the phurdini within us (or among us).


Wednesday, October 19, 2011

The Myth of Arion

  Mythology Guide - Arion
"Arion was a famous musician, and dwelt at the court of Periander,
king of Corinth, with whom he was a great favorite. There was to
be a musical contest in Sicily, and Arion longed to compete for
the prize. He told his wish to Periander, who besought him like
a brother to give up the thought. "Pray stay with me," he said,
"and be contented. He who strives to win may lose." Arion
answered, "A wandering life best suits the free heart of a poet.
The talent which a god bestowed on me, I would fain make a source
of pleasure to others. And if I win the prize, how will the
enjoyment of it be increased by the consciousness of my wide-
spread fame!" He went, won the prize, and embarked with his
wealth in a Corinthian ship for home. On the second morning
after setting sail, the wind breathed mild and fair. "Oh,
Periander," he exclaimed, "dismiss your fears! Soon shall you
forget them in my embrace. With what lavish offerings will we
display our gratitude to the gods, and how merry will we be at
the festal board!" The wind and sea continued propitious. Not a
cloud dimmed the firmament. He had not trusted too much to the
ocean, but he had to man. He overheard the seamen exchanging
hints with one another, and found they were plotting to possess
themselves of his treasure. Presently they surrounded him loud
and mutinous, and said, "Arion, you must die! If you would have
a grave on shore, yield yourself to die on this spot; but if
otherwise, cast yourself into the sea." "Will nothing satisfy
you but my life?" said he. "Take my gold, and welcome. I
willingly buy my life at that price." "No, no; we cannot spare
you. Your life will be too dangerous to us. Where could we go
to escape from Periander, if he should know that you had been
robbed by us? Your gold would be of little use to us, if, on
returning home, we could never more be free from fear." "Grant
me, then," said he, "a last request, since nought will avail to
save my life, that I may die as I have lived, as becomes a bard.
When I shall have sung my death-song, and my harp-strings shall
cease to vibrate, then I will bid farewell to life, and yield
uncomplaining to my fate." This prayer, like the others, would
have been unheeded, they thought only of their booty, but to
hear so famous a musician, that moved their rude hearts. "Suffer
me," he added, "to arrange my dress. Apollo will not favor me
unless I be clad in my minstrel garb."

He clothed his well-proportioned limbs in gold and purple fair to
see, his tunic fell around him in graceful folds, jewels adorned
his arms, his brow was crowned with a golden wreath, and over his
neck and shoulders flowed his hair perfumed with odors. His left
hand held the lyre, his right the ivory wand with which he struck
its chords. Like one inspired, he seemed to drink the morning
air and glitter in the morning ray. The seamen gazed with
admiration. He strode forward to the vessel's side and looked
down into the blue sea. Addressing his lyre, he sang, "Companion
of my voice, come with me to the realm of shades. Though
Cerberus may growl, we know the power of song can tame his rage.
Ye heroes of Elysium, who have passed the darkling flood, ye
happy souls, soon shall I join your band. Yet can ye relieve my
grief? Alas, I leave my friend behind me. Thou, who didst find
thy Eurydice, and lose her again as soon as found; when she had
vanished like a dream, how didst thou hate the cheerful light! I
must away, but I will not fear. The gods look down upon us. Ye
who slay me unoffending, when I am no more, your time of
trembling shall come. Ye Nereids, receive your guest, who throws
himself upon your mercy!" So saying, he sprang into the deep
sea. The waves covered him, and the seamen held on their way,
fancying themselves safe from all danger of detection.

But the strains of his music had drawn round him the inhabitants
of the deep to listen, and dolphins followed the ship as if
chained by a spell. While he struggled in the waves, a dolphin
offered him his back, and carried him mounted thereon safe to
shore. At the spot where he landed, a monument of brass was
afterwards erected upon the rocky shore, to preserve the memory
of the event.

When Arion and the dolphin parted, each to his own element, Arion
thus poured forth his thanks. "Farewell, thou faithful, friendly
fish! Would that I could reward thee; but thou canst not wend
with me, nor I with thee. Companionship we may not have. May
Galatea, queen of the deep, accord thee her favor, and thou,
proud of the burden, draw her chariot over the smooth mirror of
the deep."

Arion hastened from the shore, and soon saw before him the towers
of Corinth. He journeyed on, harp in hand, singing as he went,
full of love and happiness, forgetting his losses, and mindful
only of what remained, his friend and his lyre. He entered the
hospitable halls, and was soon clasped in the embrace of
Periander. "I come back to thee, my friend," he said. "The
talent which a god bestowed has been the delight of thousands,
but false knaves have stripped me of my well-earned treasure; yet
I retain the consciousness of wide-spread fame." Then he told
Periander all the wonderful events that had befallen him, who
heard him with amazement. "Shall such wickedness triumph?" said
he. "Then in vain is power lodged in my hands. That we may
discover the criminals, you must remain here in concealment, and
so they will approach without suspicion." When the ship arrived
in the harbor, he summoned the mariners before him. "Have you
heard anything of Arion?" he inquired. "I anxiously look for his
return." They replied, "We left him well and prosperous in
Tarentum." As they said these words, Arion stepped forth and
faced them. His well proportioned limbs were arrayed in gold and
purple fair to see, his tunic fell around him in graceful folds,
jewels adorned his arms, his brow was crowned with a golden
wreath, and over his neck and shoulders flowed his hair perfumed
with odors; his left hand held the lyre, his right the ivory wand
with which he struck its chords. They fell prostrate at his
feet, as if a lightning bolt had struck them. "We meant to
murder him, and he has become a god. O Earth, open and receive
us!" Then Periander spoke. "He lives, the master of the lay!
Kind Heaven protects the poet's life. As for you, I invoke not
the spirit of vengeance; Arion wishes not your blood. Ye slaves
of avarice, begone! Seek some barbarous land, and never may
aught beautiful delight your souls!"

Spencer represents Arion, mounted on his dolphin, accompanying
the train of Neptune and Amphitrite:

"Then was there heard a most celestial sound
Of dainty music which did next ensue,
And, on the floating waters as enthroned,
Arion with his harp unto him drew
The ears and hearts of all that goodly crew;
Even when as yet the dolphin which him bore
Through the Aegean Seas from pirates' view,
Stood still, by him astonished at his love,
And all the raging seas for joy forgot to roar."

Byron, in his Childe Harold, Canto II., alludes to the story of
Arion, when, describing his voyage, he represents one of the
seamen making music to entertain the rest:

"The moon is up; by Heaven, a lovely eve!
Long streams of light o'er dancing waves expand;
Now lads on shore may sigh and maids believe;
Such be our fate when we return to land!
Meantime some rude Arion's restless hand
Wakes the brisk harmony that sailors love;
A circle there of merry listeners stand,
Or to some well-known measure featly move
Thoughtless as if on shore they still were free to rove."


Monday, October 3, 2011

The Artist of Doom


Hans Friedrich Blunck says of germany: 'yes, this government half of which consists of men who once aspired to serve the arts is conscious of the artists role as an intermediary'. 'This government born out of the opposition to rationalism, knows the peoples inner longings their boundless dreams, to which only the artist can give form.'

‘set in medieval rome’

'Failed artists were characteristic of the leadership of the third reich. several of the men nearest to hilter had made serious artistic endeavors.' '...hitler himself, a failed painter who dreamt of being a architect. he never abandoned the dream.'  hitler exclaims 'oh how i would love to stay here working with art' shortly before war breaks out. this shows you where his heart was. his heart was in art. "he is a artist, not a politician and as soon as the war is over he will retire and devote himself to art'.

Hitler was deeply moved by wagner's opera called 'reinzi' which was set in medieval rome in which reinzi, the peoples spokesman rises against the aristocracy. he wants to turn the clock back 15 centuries and re establish the roman republic of antiquity. in that spirit he lets himself be made tribune of the people but reinzi falls victim to a conspiracy. he fights his last battle in the capitol as it crashes burning around him.' of this opera hitler said 'this is where it all began' and from this hitler plans his own future and the future of his people. its no wonder this opera has striking parallels to hitlers rise and fall from power. 'this experience cemented three fixations in hitler that would never lose their grip on him: his fixations on linz (his home city), on antiquity and on wagner. "hitler said 'whoever would understand nazism must first know wagner.' 'wagners political tracts were early favorites of hitlers'. hitler was fascinated by 'operas scenic possibilities, the fantastic illusion, the flight from reality'. 'in wagner he saw his idol: creative artist and politician in one person. hitler borrowed wagners props: antisemitism, the cult of a nordic legacy, the myth of pure blood' which '...all gave contour to hitlers world view. from wagner came also notions of art as the fundament of a new civilization, and the artist/prince risen from the people, who will unite life and art to herald the advent of the new state. hitler found use for his artistic bent in political work. he created nazi props, everything from uniforms to flags and standards.' 'the nazi mass rallies were quasi art of gigantic proportions with hitler as scenographer, director and leading actor.'   

‘the peoples spokesman rises against the aristocracy’ and ‘lets himself be made tribune of the people’

In january 30, 1933 hitler seizes power and 'gains control over every level of german society'. the first thing to be regulated was the art of germany. 'art was of first rank importance to the nazis.' the art from the cultural bolshevism or in other words modern art was put under scrutiny for its 'skewed perspectives' and advent garde nature. this art to the nazis spoke of impending doom. 'to them the chaos they perceived in it was visible evidence of spiritual and intellectual depravity.' ' the offensive against modern art soon took on a hygienic character. modern artists works were said to show signs of mental illness; their creators were ripe for the madhouse.' nazi member and art theoretician paul schultze naumburg said 'in the world of german art, the struggle for the death rages, not unlike the struggle in politics and it must be fought with the same gravity and singleness of mind.' in a lecture to illustrate his vision of art hygiene he showed modern art side by side with pictures of people that resembled it, most often pictures of the deformed and demented. by this he tries to show a link 'between physical degeneration and artistic perversion'. in naumburgs view 'art is not only a mirror of racial health...' '...but has as its duty to be a representative expression of the peoples longing for racial fulfillment.' from this ideology sprung up a new law of forced sterilization on all the sick to eliminate future degenerate generations. now the physician becomes the esthetician who through the control of health beautifies the german race. nazi ideology speaks of how 'once long ago the world was beautiful but race mixing and degeneration had polluted it. only a return to earlier ideals could make mankind flourish again.' 

‘he wants to turn the clock back 15 centuries and re establish the roman republic of antiquity.’

The first thing hitler did after taking over france was visit the art in paris. it was hitlers life long dream to see paris. hitler was admired and fixed on the antiquity of different lands. he saw it as a model for the society he hoped to build. he says 'if we are asked about our forefathers we must refer to the greeks'. he described sparta as 'the most racially pure state in history' and of ancient rome he said was 'the most mighty republic that ever existed'. 'athens, sparta, rome' of hitler said ' if we can create a synthesis of the three our state will never perish'. at the epoch of nazi germany was a museum of art collection. in hitlers inaugural speech he says 'this exhibit represents the end of lunacy in art and the denial of the german peoples culture. henceforth we shall wage a relentless purgative war against the rear guard of our culture's disintegration.' but it didn't stop there. 'nazism's ambition to beautify included every area of life..' even workplaces. 'cleanliness was the gospel of 'the beauty of labor'. 'new buildings were erected in order to characterize this new awareness to aesthetics'. until war broke out hitler devoted most of his time to the architect of the new germany. 'the dome in germany would be the largest assembly hall in the world with seats for 180,000 people.’ ‘hitler envisioned linz as the new centre of culture. all of the jewish art in vienna was taken away.’ of special importance to hitler was 'the acquisition of the classical greek statue 'the discus thrower' by myron. he says 'let us percieve how splendid mans physical beauty once was, and how we may only speak of progress when we have not only achieved such beauty, but even surpassed it. may we find here a measure of the tasks which confront us in our time! may we strive as one for beauty and elevation, so that both our race and our art will withstand the judgement of the millennial!' this correlation between man and art showed what they had envisioned to be the creation of a new type of man. 

‘falls victim to a conspiracy’

Furthermore "mass murder was the ultimate consequence in hitlers ambition to create a new man". in christianity the old man must die before the new man would rise and for germany the old man was the jews. ‘the nazi cult of beauty functioned as a mental cosmetic behind which the murderers could pursue their craft'. 'murder took on the guise of hygienic measure'. 'the cosmetic of the nazi beauty cult finally found its way into the gas chamber. the killing was a biological mission, a holy tribute to 'pure' blood'. the death factories were anthropological sanitation facilities, instruments to beautify the world.' germany provided one of the most finest medical care centers although 'their most important method of therapy was murder! the physician was healing with one hand and killing with the other.’ 'physicians played a major role in the killing process. it was they who selected the victims and saw to it that the poison gas' was used. afterwards it was they who checked to see if the victims were dead. the victims were forced to carry out the killings so that the actual killers would be spared the remorse. on the forms given to sick patients the physician in giving his decision would either put a blue minus meaning life or a red plus meaning death which is quite odd since the swastika kind of resembles a red plus. the swastika being the symbol of nazi germany. it was a symbol of death, bad luck. the guardians of the patients were sent out three letters. one saying that they were removed on account of the war, the second saying that they had arrived safely and the third stating a 'factitious death'. all of the letters are signed by doctors with fake signatures so that they cant be charged. the extermination of the jews was the final solution of the german nazi war being that not only was it the back up plan for the future of germany but it was the inevitable action towards procuring the new germany that would embody racial purity and aryan beauty. the extermination of the jews to hitler was simply a means to the end of: art, beauty, racial purity, the new german man, the new germany.

‘One must reflect over the nature of hitlers antisemitism. he saw the jews as sub human, a cancer spreading itself over the world.’ of this he says "i feel like the robert koch of politics, he discovered a microbe and broke new ground for medicine. i have exposed the jew as the microbe that subverts society." "the discovery of the jewish microbe is one of the greatest revolutions the world has known. the struggles of pasteur and koch must be carried on by us today. countless diseases have but one microbe as their cause: the jew. we shall be healthy when we have eliminated the jews." if you tell a lie long enough people will believe it. what is the best method to broadcast disinformation: the media. so a propaganda film was made called 'the eternal jew' in order to depict jews in a extremely bad light. this was done right before the beginning of the exterminations. they depicted all jews as a pathogen, a virus, a contagion, a spreading disease latched upon society as visible as a mole. they likened the jews to rats spreading germs although looking at the word german if you remove the ‘an’ at the end you get germ and if you add ‘el’ to the word jew you get jewel. despite the fact they made jews into something evil, sinful, demonic. they demonized all jews. they likened jews to vile animals running in flocks as if maliciously and malevolent in intent. they believed the jew was incapable of understanding beauty that being the nordic beauty. they said the jew was rootless, has no organs and is degenerate so that anything he does isn't right. hilter considered most of jewish art as degenerate. that it reflected the people. if you look at a lot of the jewish art of that time it resembled a new wave of cultural art that was unconventional to antiquity and not exactly monna lissa or picasso style. now everybody is not leonardo da vinci or rembrandt. for example look at the art of jean-michel basquiat or vincent van gogh. their paintings are not exactly the standard form of art. in fact not all the art hitler liked was german. who is to say what art is but hitler saught to suppress the expression of art because he believed the paintings reflected the spiritual state of the people, namely jews and that it was having a affect upon the minds of the country. he believed in the power of art in the advancement of a society and he only wanted aryan art to be displayed during his rule. 

Another film was made called "war in miniature" which was on pest control. jews were likened to pests in which the only way to get rid of them was extermination by gas. this was a full fledged example of subliminal messages where they weaved together science and racial politics. jews were depicted as bacteria, insects and vermin. himmler said 'anti semitism is like being deloused, getting rid of lice is hardly a philosophical issue; it’s a matter of cleanliness. similarly anti semitism is a hygienic measure that we have been forced to endure. we shall soon be deloused.’ although in ‘pre concentration camps the jews made up of less than 1% of the german population and more than half of them fled the country.’ himmler still goes on to say ‘there are only 20,000 lice left. they will soon be extinct in all of germany." now if you do this to any person breaking them down to nothing but lice you can understand how easy it was to kill so many people. these movies led people up to accepting the extermination of the jews. they systematically showed how the deadly gas was made to exterminate the jews and how it would be carried out. all this came through the media art.

It was the arts that inspired hitler for world domination and therein lies the power of art, that a fictional story can become a reality to the world. not only did the fantasies of wagner have prominent influence upon hitler but the imaginative stories of karl may. 'karl may was hitlers favorite author.' hitler 'ordered every officer to carry, beside his sword, karl mays book on how to fight indians'.  karl may wrote books about indians and romantic adventures - tales set in exotic surroundings, richness in style and detail and a realism that evokes travel books are characteristics of his work: descriptions of the indians fire making techniques, details on weapons, clothing and provisions. karl may had never visited the places he wrote about nor had he come in contact with foreign people or influences. he shared this lack of real experience with the untraveled hilter. even as a adult hitler continued to read karl mays books. during the war he could cite karl may as proof it wasn't necessary to know the desert to command troops in africa. hitler was well aware of mays lack of experience, he did not regard may as a garrulous adventurer though but rather in all seriousness as a fount of wisdom. he saw in karl may a kind of armchair visionary, with a clairvoyant's access to distant realities. on another occasion hitler names may as a example of how someone with imagination and the power of insight does not need to know a certain people (even as may did not know bedouins or indians) to know their souls better than any anthropologist who had studied them. to hitler karl may was proof that one needn’t travel to know the world. hitler explicitly held the view that imagination could provide the basis for knowledge. thus he was betrayed by his inability to distance himself from the visions that crowded in on him. this lack of critical distance was particularly obvious in one area where hitler's experience was scanty: his assessment of unfamiliar peoples.’ just like 'how limited hitlers intellectual world was' revealed in his collection of art work’ which was devoid of any variety of culture. this is all typified by his attitude toward the jews – anti-semitism. 

There is a classical document called "the protocol of the elders of zion", which falsely ‘purports to verify a jewish conspiracy to rule the world’. this ‘struck hitler like a revelation, while the question of its authenticity paled by comparison'. the grip these ideas had on hitler is evident in his paradoxical strategies. the more futile the war against the allies became the more zealously the annihilation of the jews was pursued. despite the constant dearth of vital equipment and transportation, extermination of the jews had the highest priority. to understand this seeming lack of logic, but because the jew had preserved his own racial purity he was the aryans fiercest rival for world domination. in hitlers imagination a fight to the death was raging against the strongest and most dangerous of enemies. to wage war without fighting this primary enemy was unthinkable for hitler. the more casualties the war reaped the more important extermination of the jews became.

‘he fights his last battle in the capitol as it crashes burning around him’

'To hitler losing the war would not mean the end of nazism. a grandiose german fall would provide inspiration to coming generations. extermination of the jews would enable the temporary weakened german nation to raise itself once more from the ruins.' 'the shame of defeat will be offset by the glory of germanys fall. hitler says 'out of total defeat new grain will sprout forth' 'if the war is lost the german people are also lost.' 'it isn't necessary to be concerned about what the germans will need for elementary survival; after this struggle only the inferior will be left. the good will have perished." one would ponder that the jews were among the good that perished.

‘this is where it all began’

'defining nazism in traditional political terms is difficult mainly because its dynamic was fueled by something quite different from what we usually call politics. this driving force was to a great degree, esthetic; its ambition was to beautify the world through violence. from the first murders of mental patients to the mass murders of jews there is no real political motive. it was not enemies that were liquidated nor opponents of the regime, but innocent people whose very existence was in conflict with the nazi dream. the civilian character of the mass killings makes it unlike war crimes. these were civilian murders under a miliary guise. the obscure mental baggage, the bizarre political notions, which constitutes a kind of under vegetation in european culture suddenly saw the light of day with hitler. hitler went from words to deeds without restraint he transformed a absurd ideology into a hellish reality.' 

source of material

DVD: the architecture of doom
(all the quotes are from this movie)


Sunday, October 2, 2011


Silence is the language of the night 
where not a critter in sight 
stirs its little head to delight 
in the stars above out of sheer fright 
for the blinding light of gloom 
to heave in and seal approaching doom. 
 This was every nocturnal's nightmare of emission 
that could be our fate’s decision! 

Jumping out of bed almost abruptly like as if being thrown back into ones body from a midnight excursion the little boy bellows ‘oh, have I got the greatest notion of a wonderful potion’! Echoing back from those words like a boomerang the voices of his mind resound in synchrony: ‘your crazy’ ‘what need of a potion is there?’ ‘are you some mad scientist?’ ‘your still dreaming’ ‘wake up’! and so he did or so he thought he did. how would you tell? he pondered to himself. I still have the greatest notion of a wonderful potion so what would it matter to me or to you if I am awake or dreaming cause what I feel right now is most appealing, the fact that I could live and dream at the same time is most intriguing so what need would there be of sleeping if I am dreaming while being awake? (that is if the only purpose of sleeping is to dream) wouldn’t that mean that I am sleeping while awake? so if I sleep while being awake I should never be tired but if I’m awake while sleeping then I should always be tired. What a bloody contradiction?! I should get some rest! and so he did.

(his head falls back onto the pillow, the room grows dim and the window starts to glow)

oh what do you know? we have here a sleeper! yes, that's a keeper. hurry up before he wake or else there be a quake. saddle up his garmets, hold his under arm pits, watch the head, turn to the side instead, seal the door, so that there's nothing more!

(the boy was taken in the night as he slept. all that happens hereafter to him would be a dream or would it?)

would it be, that i am dead? here laying on this bed. i see my body but that's not all of me. it happens to be, that i am on the other side they say. i have crossed over no longer can i hide in clay. all is bare, all is aware. i've put on quite a scare. look at them this is rare. for man to pull out his own hair. don't you see i am here, can't you hear me up over there. though i sleep i am awake, this is only a dream for goodness sake! or is it? and so it was.

to be continued.... 
('carrolling' madness, puzzling play of words, creative flow writing)