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Exponentiation 03
n
E exponentiation ezine [3.0] ISSN 1555-693X
http://www.anus.com/zine
This is War
When we look at our situation in the world as individuals, we must
recognize that we are dependent upon the world around us. If our
atmosphere goes away, or war comes to the land, we cannot escape it by
changing the channel. Reality is here and will affect our future as well
as our feelings toward how well our lives are spent. Knowing that we
die, we wish meaning from life, but we would want it otherwise, as the
alternative is emotional entropy a.k.a. boredom.
The heroic versus the machine
Nature is a large machine, if viewed in terms of function: sunlight hits
plants, plants feed animals, animal droppings feed plants, and through
natural selection better animals and plants emerge, culminating in
sentient organisms. With sentience, we have the ability to choose our
future: it is a dimension added to natural selection. If we choose
badly, it will take many years for the truth to be known but the
consequences will be felt.
We live in a world where most people not only do not think but believe
themselves to be powerless. If they knew what lurked unnoticed inside of
them, the inner potential to be heroes or vagrants, they would waver
with a sense of vertigo: each decision is a potential castle built or
leap off a precipice. They see modern society as something that has not
only happened to them but will never change. If this magazine
accomplishes anything, it is to remind them that they have _choice_ and
can wield that.
Nature's machine has an ultimate goal, namely itself; it seeks to make
itself better constantly so it can produce new dimensions of existence
such as consciousness (choice). In contrast, the machine of modern
society is both a mindset and a reality based on the idea of material
product. Our goal is not to rise, in a sense of our personal abilities
or spiritual growth, but to produce material objects and wealth and thus
to enjoy comfort -- the pursuit of pleasure.
There is no greater pleasure however than rising above the trivial to
find the transcendent, those moments of peace in which we see that not
only is life worth living but that we enjoy it for its struggle, the
overcoming of doubt and material sensation in order to achieve greater
things. Giving birth is painful, and children die, but to raise children
is a quest that approaches the religious in its ability to deny the
risks and aim for a goal: that each generation be better stronger
brighter more noble than the past.
Our quest is not to rage against the machine, but to replace it. We do
this by making ourselves better via discipline and the kind of hope that
is grounded in what our minds and hands can do. We do this because we
believe in life. Life is not merely function and comfort, but a process
of putting our failures behind us and becoming stronger in infinite
ways. To a writer, it is describe reality more fully and to inspire
others; to a musician, it is to make music that both transports us from
our world and makes us see it with new eyes that can perceive the
potential for greater things in every moment.
We are not talking about objects and sensations here, but
_significance_. A moment of great personal victory -- climbing a
mountain, writing an album, triumph in battle -- involves discomfort and
suffering and loss, but the significance of having achieved that victory
outweighs all else. Modern society does not recognize this viewpoint. It
is a machine that takes raw materials and makes products
that people want to buy. When we say we are at war, we are fighting
against that mindset and its eventual outcome, which will be the
consumption of all earth and human souls by the machine.
Moderndoom
Why would anyone object to this society? We have better medicine, more
comfortable homes, cheaper food. Yet as anyone who has goofed off in
class while the teacher was absent knows, there are eventual
consequences. We can put them off but they will happen nonetheless. As
our natural land disappears, our climate changes and species vanish; the
earth can no longer renew itself as it once did. And suddenly we're
surrounded by people, most of whom we would not care to know -- faceless
drones, prone to opportunism either behind a desk or with a weapon,
driven only by their desire for comfort and pleasure.
Steadily the progress of modernity has revealed itself. But more than
any physical destruction is the loss of our souls, what both makes us
human and makes us inclined to rise above human failings to achieve the
great works of art and action that mark our history. We no longer
believe in life as a pursuit of learning and accomplishment; it is rote
task, making money and having a "life" in which all goals are set by
others and there is no chance for the finer things such as
transcendence.
In becoming modern, we have traded material discomfort for spiritual
discomfort, in that we are no longer sure our lives as _experience_ are
a fair trade for inevitable death. What is great in being promoted, or
in starting our own business in a model that's well known? No frontiers;
no space left to conquer; only places in the machine. This dulls our
spirit and makes us see the entire world as material, and thus love
becomes sex, cuisine becomes large portions, satisfaction becomes
comfort and wide-screen TV, religion becomes having the "right"
opinions. When we make war, we make war against this mentality.
Heroism
To go into battle is to be ready to die not for one's own comfort but
for an ideal. Whether it is the survival of a tribe, or the
establishment of a political or philosophical position, it is a willing
sacrifice: to say "I believe in life enough that if my life is lost it
is a fair trade." There are many ways to describe what we believe
(traditionalism, existentialism, nihilism, idealism) but ultimately it
is this process of putting ideas before comfort. We can design a better
reality. We can apply design to ourselves and make ourselves better as
people.
This is a creed that applies in every time period because it is inherent
to the nature of being a thinking being. We call it heroism.
The goal of this magazine is not to amuse you or to pass the time, but
to inspire you to see that in yourself the possibility of this heroism
is dormant, much as even in our world of endless concrete and plastic
there is the potential for something better. There is no material proof
for this. Only you can motivate yourself to make what does not now
exist, but can be had for the price of some suffering and loss. And
since with death all is lost at any rate, why do you hesitate? This is
war -- together we raise our hands to better ourselves and our
world.
CONTENTS
I. News
II. Culture
III. Features
IV. Self-Sufficiency
V. Literature
-------
News
-------
Mall Escalator Malfunctions; Sixty Perish
June 21st, 2006
CROSS CITY, FL Sixty citizens perished and countless others were
injured in a tragic escalator accident at the Cross City Mall on the
morning of Monday June 19th. "This is the worst tragedy our city has
ever seen,"remarked Cross City city councilor Roy Ingram.
On Monday morning a two-story escalator inside the Cross City Mall
grinded to an unexpected halt. Customers aboard the escalator, carrying
heavy shopping bags which made climbing stairs unreasonable, stood and
looked around at each other in confusion. The escalator then started
with a jerk, and riders with loose shoe-strings were caught in the
device, kicking and screaming in peril as their feet were ground up
through the accelerated machine.
The jolt sent other consumers flying, plummeting to their deaths. Obese
shoppers with 0% trans-fat lite veggie burgers wrapped in McDonald's
bags rolled and crushed other riders, including six members of the
morning division of the elite "Senior Citizen Mall Power Walking Team"
(SCMPWT).
Cross City resident Janie Smits recalls the incident, "I was eating my
typical Monday morning energy booster of five scoops of Häagen-Dazs
double chocolate fudge ice cream in the food court when I suddenly heard
a loud banging noise followed by a lot of people cursing, then there was
a loud grinding and the most horrible screams Ive ever heard in my
life."Smits continued, "it was horrible, there was blood being sprayed
everywhere, and what was worse, some of it got all over my ice cream,
but I guess ce le vie cause I was able to lick around most of it."
The incident has caused an outrage among human rights activists of the
United Homosexual Church of Christian Migrant Non-denominationalists.
Spokesperson for the group, Aaron Tite, gave the following comment, "Our
citizens should not have to go through the shopping mall in mortal
terror. We cant allow this travesty to occur a second time. Its
immoral and inhumane what has happened here and we at the Homosexual
Church see the mall management as a group of cold-blooded killers for
not inspecting their escalators closely enough.
Cross City city council called an emergency meeting in order to deal
with the problem of mall escalators. One of the proposed solutions is to
raise a bill that will ban all escalators in Cross City. Other members
of the city council vehemently opposed the idea, claiming that citizens
should not be forced to burden themselves by walking up two flights of
stairs with heavy shopping bags.
The custodial engineers of the Cross City Mall have looked directly into
the escalator's problem and have implemented a temporary remedy
involving bubble gum and twist ties. "If I finished the job now," says
subordinate custodial mechanic Raum Mohammed, "I would have nothing to
do tomorrow, and I'd be out of a job--they'd fire me. I have kids to
feed. Five of them! I have to make money somehow. Besides we placed a
little two by two sign about three feet away from the escalator with a
danger warning painted on it, that should be good enough for now."
The escalator is currently in operation. Consumers oblivious to the
dangers of such devices are still riding them nation wide.
-=-
Nations Frats Experience "Genital Leprosy"Epidemic
June 20th, 2006
HARTFORD,CT (UCONN) - Scientists have determined that an extremely
virulent strain of gonorrhea is responsible for the outbreak of what has
been dubbed "Genital Leprosy"among the nations college fraternities.
The bacteria Neisseria gonorrhoeae is believed by experts to have
altered its genetic character. Bacteriologist Harvey Whitfield claims
this mutation is "due to exposure to high levels of known mutagens
present in cheap beer such as Bulldog Light."Whitfield went on to say,
"when the cheap beer is consumed in large quantities by male revelers
carrying the infectious agent, a breeding ground is created for this new
strain, which in turn is passed on to girlfriends,
girlfriends-on-the-side, intoxicated party chicks who think theyre
bisexual, and other frat brothers on the down low.
Initial symptoms include feelings of fatigue, penis complexes, and a
general lack of motivation, which leads to a mental, emotional and
spiritual numbness that keeps sufferers from ever doing something about
their self-inflicted epidemic. Symptoms soon progress to swelling and
numbing of the genitals, and finally gradual sloughing off of tissue.
"Frat brothers engage in a self-medicating/denial behavior involving
more Bulldog Light and grooving to 50 Cent on their trash and bodily
fluid-caked dance floors,"notes Whitfield. Current studies show this
practice does not have any healing effects. Some experts believe such a
response by carriers of the genital ailment makes the disease worse.
Those at risk are not letting their lives be run by fear. Despite there
being no current treatment, students are taking it in stride, and
continuing to have sex for status while getting drunk on cheap alcohol.
Says Krystal, a sophomore at Dartmouth College and girlfriend of an
Omega Chi Pi member, "I wont let this disease stop me from dating the
only real men around here. If I had to stop going to the frats, who else
would I hook up with? Those art fags? My boyfriend is in a frat, which
will help him become CEO of Earth Pavers Inc. so he can make lots of
money to spend on me.
Currently 65% of college frat boys are confirmed as being carriers of
the disease. Estimates are that 85% of fraternity males will have the
disease by the end of the year should the standard frat party behavior
continue.
----------
Culture
----------
Music:
Aphex Twin-"Selected Ambient Works 1985-1992. Vol. 1"(2002 Pias America)
On volume one, its a mixed bag between uplifting minimalist ambient
techno and more rhythmically oriented club fodder. Songs here are
clearly designed to meet pop expectations of electronic music, with
incessant 4/4 beats, heavy repetitive bass lines, and airy synth patches
now familiar to the genre all rendered in spacious clear production
values. In other words, one might be inclined based on this description
alone to totally dismiss this album as knob-twiddling tripe. Not so.
While some tracks do verge toward populist, style-over-substance
tendencies, the better ones here show micronarratives of thematic shift
within the kind of consistent sonic patterning characteristic of ambient
music. Most of these pieces consist of a pair of dominant melodic
themes: one anchoring rhythmic structure and the other a tangentially
developing phrasal pattern floating into aural space to carry the
initial motion to its final conclusion. Minute details flush out the
rest: pauses and subtle manipulations of timbre to provide the contrasts
necessary to keep the listeners interest. Like the best ambient, its
about using details and subtly developing thematic counterpoints to give
more depth and complexity within consistent mood as if going from
viewing a two dimensional picture of a scene to actually being immersed
in it. Highlights: Tracks 1-3, 9.
Aphex Twin-"1994 Selected Ambient Works Vol.2"(1994 Sire/London/Rhino)
It isnt until this second showcasing that we see more consistency in
quality along with some degree of aesthetic advancement from simple
ambient techno. The bass-heavy techno rhythm tracks have largely been
replaced with more subtle percussion, or often, a total lack of it in
order to emphasis the newfound sense of negative space that brings us
another dimension of musical expression.
Overall this is a more contemplative affair, featuring fluid melodic
soundscapes of digital yet warm tones that gently ease their way into
the listeners framework of perception. While still minimalist, this
release employs somewhat more complexity in detail of layering.
Prominent musical devices, as heard on tracks like to achieve this are
delay and volume swells allowing fragments of minor key melody to
overlap and momentarily express their significance in new ways while
driving bass counterpoints may enter to resolve direction of mood under
these shimmering textures of sound.
The mood of the album tends to be darker in comparison to the former yet
there is still a variety to be heard, perhaps to a greater extent. Songs
like Cliffs and this reviewers favorite, Z Twig are uplifting singular
moments of musical ideas enwrapping each other in baths of echo. Other
tracks like Hexagon and Weathered Stone weave gentle melodic phrasing
with brainy bass riffs as if contrasting humanitys tendency toward the
earthbound with their desire to aspire toward the higher yet less
gratifyingly tangible. In fact this could be the common theme that
unites all of Aphex Twins best ambient works providing the conceptual
ground for their composition and elevation above that which is merely
wall paper being passed off as ambient. Highlights: 1,3,5,7 of CD 1 and
1,5,6,7,8 of CD 2. - No Fun
-=-
Ashtorath - "Darkstorm Entwined" (2002 Independent)
Unheard of and celebrated only by underground dark ambient fans,
Ashtorath is a unique ambient project coming out of Canada. While most
ambient artists, at the time this album was recorded, used synthesizers
and various technical editing to achieve an ambient atmosphere,
Ashtorath focused on physical instrumentation and thereby actively
engaged with the music itself to form a coherent listening experience.
With delicate and noble emotion, Ashtorath set out to form a concept of
classical music meeting metal.
Ethereal and magical is the atmosphere found in these dark and romantic
pieces that explore the romanticist side of life. Hanging ambient key
tones flow between high and low points, switching from far away to close
distance, serving as leading melodies to inflict an emotional mood upon
its own basic structure. The rasping sound of a nail shaking a guitar
string with ease fill the sometimes wondrous void, as a communicator of
magical worlds and immersive myths and legends.
Because this is what Ashtorath is a master at; creating magical moods
and the ability to set the listener into a distant world where time is
an illusion and romanticism is reality. The beauty stems not only from
the harmonies between ambient and metal but also from the spirit of
classical music that arises within each piece. The collaboration between
the distant, fading sounds of guitar strings, blowing wind and soft
church bells define each moment as special and unique, drenched in
darkness.
If one could use the word "art", one would apply it to "Darkstorm
Entwined", and that rightly so. The influences from classical music is
at most times benevolent and real, and gives the music a clear vision of
what it tries to present. Lively but ambiguous, this music works at both
an emotional and philosophical level; there are no restrictions
regarding the expression of the music itself, only endless
possibilities.
The new guitar techniques found on "Darkstorm Entwined" were, at the
time of the creation of this album, new and inspiring for numerous
underground ambient and metal projects to come. As felt and heard when
the finger rides on a string after a note within a larger melody is
being played, these techniques are used to the advantage of the artist
and turned into melodies themselves, voices of birds from afar.
The sound of icicles meeting, thunderstorms roaring and strings played
upon by a creature unhuman, unknown, are but few of the ways in which
Ashtorath keeps the overall mood going. This gothic monument is as
ethereal as it is enchanting and moving; there is no lack of emotion and
dedication to art in this album. Competent, but not the least, true to
itself and its creation, the words trying to express the poetry found
within each statement are mere attempts to reach the height of
abstraction felt and lived by the music and creator. When day turns to
night and time passes, there will be nothing left but the echoes of a
dimension beyond this one, upholding experiences that transcend physical
reality.
Breathtaking. - Alexis
-=-
Cocteau Twins "Garlands" (1982 4AD Records)
An adventure into the darker realms of ethereal music, this 1982 release
from Cocteau Twins blends together elements of post-punk, punk and new
wave to create endearing atmospheric music with a heavy Gothic
sensibility. The music on Garlands is more straightforward and cut from
the mold of the early post-punk scene than are later Cocteau Twins
releases. Its atmosphere is less dreamy than future albums and is
instead darker and grittier, however elements of this bands trademark
sound can be found tucked away in nooks and crannies of this release.
The bass guitar is the dominant instrument on this album, it shifts
tones in the Gothic rock tradition while a guitar that makes full use of
arpeggios and pedal effects layers ambient and ethereal atmospheres
behind it. Simple and metrical drumbeats add backbone to the swift and
haunting guitar melodies, but they also have a tendency to degenerate
into simplistic dance beats that cover up the beauty of the harmonic
sections. This is a minor gripe, as it does not do enough to detract
from the beauty of the music as a whole.
Of important note on Garlands is the wonderful vocal performance
presented by Liz Fraser. Frasers vocals are playful and unique and add
dreamy qualities to the guitar created atmospheres. As always Frasers
vocals are one of the strongest aspects of Cocteau Twins music. There
are not many vocalists in the world that have quite the dynamic range
and beauty of her voice and her presentation is one of the most unique
in all of music; her vocals are less about making lyrics audible and are
more about creating unique sounds and sublime verbal textures. While
Lizs performances are always unique, her presentation on Garlands,
though not her best, is one of a kind as she adds many laughs and
giggles into the music that heighten its otherworldly qualities.
While a great album in many ways, Garlands exemplifies a young band
still finding its own voice. Musicianship here is more than competent,
but the relationship between the instruments is not as integrated and
harmonious as later Cocteau Twins albums, this is in part what causes
this album to be less dreamy. The repetition of harmonies, melodies and
rhythms can be this bands strong point as these musical elements lend
themselves to creating a transcendental atmosphere but they can also be
a weak point, as they can grow monotonous if not integrated properly.
For example the repetitive drum section on Garlands has a tendency to
undermine the harmonics. It occasionally becomes too pronounced and
drowns out the ambient and melodic sections. Luckily on future albums
they improved and downplayed the role of the drum machine.
Even though this album has a few shortcomings in its structure and
identity, it still lucidly expresses a band with a vision to create
inspiring and atmospheric music. With Garlands, Cocteau Twins have
successfully crafted a brooding and ethereal album that transports the
mind to a mysterious realm. This is a top-notch album in the
post-punk/gothic tradition and it is highly recommended. The music found
here should appeal to fans of other 4AD bands such as Dead Can Dance and
Bauhaus. - phantasm
-=-
Books:
"Going Postal: Rage, Murder and Rebellion: From Reagans Workplaces to
Clintons Columbine and Beyond" by. Mark Ames. 284 pages. Soft Skull
Press (2005)
Its been one year since Jeff Weise, the friendless, husky teenager with
a broad chin characteristic of his Chippewa heritage, murdered ten
people, including his grandfather on the Red Lake, Minnesota reservation
and high school in what remains the largest American teen-rage murder
since Columbine. Last April, as the media storm lingered over the
motives (video games) and interests (Goth music) of the sixteen year old
shooter, Mark Ames, writing in New York Press, offered a view that was
apparently quite ludicrous to his journalistic peers:
"Jeff Weise is the offspring of an exterminated nation whose people
suffer from rates of alcoholism, poverty and early death usually found
in African countries. His father committed suicide; his alcoholic mother
regularly beat him until she crashed her car and wound up a vegetable.
It is easy to imagine that Weise connected his personal misery to the
larger misery of his people...In that sense, Jeff Weise looks more like
an insurgent than a simple psychopath."*
Ames, dismissing the medias generalization of a deranged "Nazi, was
only hinting at the widespread culture of bullying and intimidation
assumed by Americas educational and corporate institutions. His new
book, "Going Postal"offers a detailed analysis of the psychology,
background and future implications of this largely stateside,
middle-class phenomenon. Key to his theory is debunking the general
belief that rage-killers, like serial killers, can be profiled. Indeed,
Weise, a poor Indian from the reserve is not the only subject to deviate
from the common illustrations of white male anomie. Since its
impossible to lock onto a fixed criteria within the lives of these
killers, common external factors must be the prime motivation. His
argument is twofold; by attributing the contemporary environment of the
workplace and high-school, a shift from paternal management toward an
intentional climate of fear, to the economic practices of the Reagan
presidency cemented during Clintons term of globalization, Ames
contextualizes the dispiriting environments and cut-throat ideals that
pervade each generation since.
For most Americans, work exists as a routine, not a vocation of skill.
With its atmosphere of petty dictators, snitches, gossip-hags, cursed
fluorescent lighting and forced cheerfulness implicit in customer
service, employees trudge through their routine day after day, amongst
tiers of both the sexless and sexually frustrated. These conditions are
concurrent to all office-based jobs, increasing with the scale of the
company. Its a real-world sentence involving what Evola called an
"artificial increase"of human needs.** For those young enough, lucky
enough or willing to take a risk, it may only last a decade before
theyre able to accumulate some savings and move on to something better.
Most wont, no matter the indignity. Its this idea that consumes the
second half of Ames argument, which draws comparisons between the
contemporary employee and lowly slaves, touching on both the Romans and
Arabs, but primarily concerned with Americas early history. In the
colonies slave rebellions were a rare occurrence. The reason? While
those uprisings that did occur were squashed almost instantly, most did
not want to leave their masters at all; contrary to the triumphant
pictorials of slaves in modern education (read: television). But it was
not so much fear of the military or the White Mans law which prevented
escape; it was, as Ames reasons quoting Frederick Douglas, a fear of the
unknown.
There are many convenient traps offered by Americas quotidian model.
For one, it fills an otherwise hapless existence with familiarity and
responsibility. The same familiarity and defined space that helped keep
slaves in tow, leading relatively untroubled lives so long as they
conformed. Indeed, most Americans love work! Its built into our
National ideal, which in the last few decades has taken on grotesque
dimensions. As Ames notes "Entertainment is no longer about joy or
escape. Its about reliving life at the office, even if youve just left
the office fifteen minutes ago."But for all this dreary life of
schlepping and sorting and keying in, it used to be more tolerable; at
least Americans were well compensated for it, receiving benefits and
earned vacation time. Even for the ones privileged enough to receive
either of these more humane accommodations today, many are afraid to
take the advantage; wouldnt want to look like youre falling behind.
Thus, when this rigid, consuming life of eat, sleep, laugh, shit work is
disrupted, often in degrading shows of pseudo-strength and corporate
apathy, the consequences can be legion. Is this mere rhetoric and
hyperbole? Ingest these gems from former Intel CEO Andy Grove and the
Wall Street Journal and then think when they were applicable to your
life. (Although if youre European, with an average vacation time of six
to seven weeks compared to Americans ten to fourteen days off, it might
be tough).
"The most important role of managers is to create an environment in
which people are passionately dedicated to winning in the marketplace.
Fear plays a major role in creating such passion. Fear of competition,
fear of bankruptcy, fear of being wrong and fear of losing can all be
powerful motivators.
"The workplace is never free of fear and it shouldnt be. Indeed, fear
can be a powerful management tool."
This sentiment has become manifest throughout decades in literal
monsters like Andy Dunlap and sneering assholes like Neal Patterson down
to the callous pit-bosses in Oklahoma, San Diego and Kentucky. And
Columbine; for what are todays schools but farming systems for the next
crop of drones? Shifting focus from education to selective discipline,
aggravated disasters like high-school were up until a few years ago, a
place where bullying was just a fact of life -- preparation for the
business world. Always concerned with teaching how not to think, one of
the most curious themes explored by Ames is the medias convergence upon
racism as a motivation for teenage killers, often in place of the more
logical activators, such as humiliation and alternative-less defeat.
Says Ames, "It is as if the adult world needs to find racist motives in
the school shooters and plotters in order to bracket them as
exceptionally evil, rather than, as is usually the case, typical. As
The Misfits used to sing, "Blame it all on Nazi Youth!
*http://www.nypress.com/18/14/news&columns/markames.cfm
** "The turning point was the advent of a new life that...adopted as
its highest ideal an artificial increase and multiplication of human
needs and the necessary means to satisfy them, in total disregard for
the growing slavery this would inexorably constitute for the individual
and collective whole."Men Among the Ruins pg 173. - Smog
-=-
Polar Shift
by Clive Cussler and Paul Kemprecos (2005, Penguin, New York)
Writers of mainstream books know that they are essentially making
written television, but a handful have decided to eschew the Dan Brown
route -- making the mundane seem profound -- and try its inverse, or
encoding the profound into mundane form. Look at the surface of a
Michael Crichton or Clive Cussler novel, and you see people shooting
machine guns out of helicopters and chasing dinosaurs; look inside, and
you will see a subtle discussion of the philosophical and political
demographics of our time. It is not like Schopenhauer, which is written
about the individual; it is about the ideas individuals share that thus
change our world by their currency in assumption.
"Polar Shift," like most of these books, combines far-out science with
very real world conclusions, and in that alone are a warning for the Few
Who Still Think, but as this plot unfolds, it gains sinister
implications that warn us about some of our illusory thinking and our
tendency to accept that people's stated motivations are what actually
drive them. Without giving away too much of the plot, this book is about
the technology for shifting magnetic poles of the earth developed by a
Hungarian scientist, and how years after his death, a tussle erupts
between corporate interests and counter-Elite revolutionaries -- who
have some problems with ideological clarity that lead them closer to the
state of their enemies than their actual friends. The action is
fast-paced; the words are simple; the emotions very basic and as always,
there's a beautiful chick somewhere who in a nod to women's rights is
also a brilliant scientist. It doesn't take a magnifying glass to see
through the formula, but as a great writer said, a book is not the
techniques it uses by the ideas it provokes. - vijay prozak
-=-
Cinema:
Repo Man (dir. Alex Cox 1984)
The culmination of postmodern thought is a kind of paranoia that is both
figurative and literal: we cannot trust social institutions, or even
universal abstracts like "truth" and "good," because they can be
manipulated; part II is that, having said that, we have to assume most
of our society is not only indulging itself in fantasy but, because
deluded, is actually opposed to truth... Repo Man is a movie that makes
good on this principle by showing us the empty path of growing up
suburban in the 1980s. There is the easy life -- "normal people" as
defined by Bud, the anachronistically witty repossessor -- represented
by Otto's family, who are living out a _Brave New World_ satiation by
drugs, religion, sex and wealth while important decisions are offhand,
unnoticed and denied. In contrast to normalcy, which we see is as empty
as eating two Big Macs instead of a single (1) quality steak, is the
life of the underworld: punkers committing senselessly graceful crime,
kids gathering for secret parties at abandoned industrial locations,
repo men trying to at least fool themselves into a modern chivalric
code. Otto is defining himself by the path he takes through this mess,
and his ultimate guiding light becomes a sense of truth "in the Real" as
he rejects the sordid amusements, passive untruths, and failing paths of
others. Almost every character in this movie comes to self-destruction
as a result of losing sight of the pursuit of Realism: Bud shot down as
he pursues money, Duke dying in a holdup, Archie fried on a dare, J.
Frank Parnell destroyed by the radiation he considered a friend, Leila
never gets to examine the aliens, Kevin becoming a pointless toadie to
Mr. Humphries. Like most postmodern works, this movie is a subtle
assimilation of 18th-century Romantic ideals into a modern sense of
duality brought about by the difference between reality as it is
described, especially by bureaucratic institutions, and reality as it
exists... the indefinable, unbureaucratic _now_. Characters are as much
icon as human being, and re-appear whenever their particular traits and
failings need airing. Their names are ridiculous, from the customer
"Arthur Pakman" (Pac-Man defining the arrival of video games, and soon
computers, as trend in the 1980s) to the repo men named after different
beers (Lite, Bud, Oly, Miller). Characters and events also satirize
characters and events as portrayed by movies: Lite, the macho man
African-American male; Leila, the classic insane but passionate movie
woman; Marlene, parody of women on shows like "A-Team" who were tough
and carried guns but had few ideas. Other incidental parodies include
the skewering of generic products, televangelism, new age religions,
Hispanic culture, wealth, the emptiness of Anglo suburbs, the astounding
ugliness of modern cities. Although it seems an unlikely source, this
movie melds macabre humor and post-counterculture insight into a single
clear voice, at a time when the world needed such a thing (and
coincidentally, a time when the last postmodern works of any quality
were written). With the mathematical-scientific metaphor of most
postmodern movies, it summarizes how we have gone wrong ("Linear and
inverse vectors merge in zero" -- one way of saying if you simplify life
into a single variable like money or power, you bring it closer to death
through repetition) while making us grin. In theory, it was about
nuclear war -- as shown through the duality of harmful/helpful
radiation, and aliens existing/being a hoax -- but it ended up being a
critique not of an event or tendency but the underlying emptiness of our
social and political outlook. Now that we once again have a president
who talks fanatically about God while bandying weapons about, it's not a
terrible time to view this snapshot of the 1980s that is dramatically
relevant today. -vijay prozak
-=-
Dawn of the Dead (dir. George Romero 1978):
"When theres no more room in hell, the dead will walk the earth
These haunting opening lines to George A. Romeros epic horror film Dawn
of the Dead foretell both the world of the film and the substance of our
modern culture. Dawn marks the second film in Romeos "dead trilogy"and
it is the most ambitious and competent of the three.
Dawn of the Dead begins in a disgruntled newsroom full of hectic chatter
and anarchistic fray as scientists bicker on the television over what is
causing the plight of zombies to raid their beloved society. The cities
in Dawn of the Dead are degenerating into hellish prisons and wastelands
full of squabbling, degenerate humans and waves of the undead. The film
follows two policemen and two media employees as they flee the cities in
a helicopter in order to find a safe haven away from the growing chaos
and ever increasing legions of the undead.
Their trip takes them to an abandoned mall where they decided to take
haven and create a society for themselves. Inside the mall mindless
zombies wander aimlessly through the shops and along escalators as
cheese-ridden mall music blares over the loudspeakers. While the
mindless automatons we see in Dawn of the Dead are flesh eating zombies
they are virtually indistinguishable from the living automatons that
wander the malls daily. In this regard Dawn of the Dead removes the veil
of western consumerism and exposes its hollow insides.
The protagonists of the film eventually take on the consumerist
characteristics of the mall culture and begin to revel in the material
goods of the mall. They essentially become the mindless themselves in
the process. The filmmaker pulls no punches in making this point known.
He has his smiling protagonists run wide-eyed through open stores full
of useless junk as if they are kids in a candy shop. The protagonists
attempt to create a society for themselves out of all the goodies they
have accumulated in the mall while the world outside continues to tear
itself apart.
Skillfully the film slows down the horror and terror in these sections
and allows us to dwell in this new society along with the protagonists.
We, like them, begin to forget about the dark underbelly lying just
outside. The reality remains elusive to them as they indulge in mall
junk. Eventually their mall wonder world comes crashing down as the
terror on the outside finally manages to leak in. At that point the film
resumes the terror in full and implies that as we grow fat on indulgence
in the west this same end waits to leak in and finish us off - the
illusion is only waiting to be striped away.
Although the film at times makes its critique of consumerist western
culture from a manipulatively liberal perspective and loses the subtlety
of quality satire in favor of indulging in irony, it should by no means
deter from the power of the main point of the film. When the
manipulative aspects of the film are peeled away the value of the
message shines though and stands as a resolute attack on the lost and
materialistic culture we live in today.
Dawn of the Dead is a rich allegory about modern consumerist culture and
the degenerate and passive lifestyles most westerners joyfully engage in
daily while remaining unaware of the doom waiting for them just around
the corner. By utilizing the horror medium and turning zombies into a
symbol for mindless consumerism, Dawn of the Dead manages to break down
the illusionary walls of our modern society to expose the hell and
emptiness that roams within. - phantasm
-=-
Food:
Sourdough Bread
Bread Basics
Leavened bread is known to have been baked perhaps as early as 4000
years ago, by the ancient Egyptians. Its more basic counterpart,
unleavened bread, stretches back far further, beyond history. It is not
known how the Egyptians discovered methods of rising their bread, but we
know they were also brewers, and the use of yeast could have easily been
transferred to breads, either deliberately or accidentally. Bread has
been a dietary staple across innumerable cultures ever since, being a
lasting, portable and (until fairly recently) healthy food type.
When the microscope was developed in the nineteenth century the
leavening agent, a single celled fungi named yeast, was discovered and
soon began to be produced commercially. With economic pressures,
commercial yeasts were bred for speed, stability and lack of strong
flavor. Also, another bacteria, lactobacillus, which lives in symbiosis
with yeast, was not included in commercial developments of yeast as it
was technically unnecessary, despite being present in all prior leavened
breads. Combined with ever more refined flours, and the addition of all
sorts of fats, oils and sugars, bread continually progressed (or
regressed) toward the bland, white, sweet enclosure for sandwiches for
know today, which coincidentally happens to be edible. This cheap
impostor foodstuff has made baking at home redundant for most people.
Mercifully, one can still bake bread in the healthy tradition, though it
now sadly, and ironically, takes more effort than relying upon
industrial processes. Baking ones own is nutritionally superior,
develops simple but important skills and lowers reliance upon industrial
society (if only a tiny bit), tastes fantastic, and cultivates patience.
It also makes the kitchen smell fantastic. For these simple reasons its
a rewarding practice.
Knowing the basic processes of leavening can be of aid for the would-be
baker. Yeast is a single celled organism that feeds on carbohydrates and
excretes carbon dioxide and alcohol. The carbon dioxide is what fluffs
up the bread, whilst the alcohol evaporates in a bread-making situation
(in a brewing situation it remains and the carbon dioxide escapes).
Lactobacillus feeds on by-products of yeast fermentation and excretes
lactic acid, which causes the environment to sour. This discourages
other microbes from developing, which protects the bread from spoiling.
Both organisms are capable of speedy reproduction and are very difficult
to kill. The only way to kill off a population is to raise the
temperature of their environment to over about 38 degrees Centigrade
(100 degrees Fahrenheit). Both organisms are encouraged by sugars and
starches, such as potatoes, flours, sultanas or grapes, and are
discouraged by salts, fats and oils. A final important component of
bread is gluten, which is found in the protein of flour. Gluten is what
gives the dough its elastic structure, ensuring the crumb of the risen
dough will hold itself together, instead of crumbling like a cake or
cookie. Gluten is developed in dough by kneading it thoroughly. Knowing
these basics can greatly help you trouble shoot quality issues with your
bread making.
Sourdough Starter
Sourdough bread making doesnt rely upon commercially produced bakers
yeast, but cultivates organisms predominantly already present in the
flour (though some maintain that its caught from the air). It is thus
the least reliant upon the crutch of industry. It is however, a more
involved process than normal baking, but with heightened rewards. It is
recommended that the would-be baker begin with normal bread making to
get adept at the other tasks of baking before trying sourdough, but
nevertheless, if youre keen to cultivate some free yeast just for the
hell of it, by all means have a go.
To begin cultivating a population of yeast and lactobacillus combine
equal parts (preferably by weight) flour and water, perhaps 20g each, in
a jar, put the lid on to discourage any other life forms and leave it in
a warm place (about 70-85 degrees Fahrenheit, if room temperature is far
from this, try an idling oven) for 48 hours. Check it after 24 to see if
any bubbles are visible on the sides of the jar. If bubbles have formed,
youre in business. If none have formed after about 48 hours, discard
the slush (though none of your confidence) and begin again. When youve
got a visible set of bubbles around your jar, you need to feed your
starter. Discard half of it (or even more, theres enough bacteria in a
few mL), and to the remainder add equal parts water and flour. Leave
again and observe to see if its frothing up again, and smell it each
time also. It should smell sour, and different to its initial smell
(i.e. flour and water) and not rotten. The culture will typically not be
very stable for at least a number of feedings like this, so dont be in
any kind of hurry.
The culture will have a cycle that you will slowly get to know if you
persist with maintaining it. As it gets to the stage where almost all of
its food is eaten, population growth will slow, and therell be much
waste product in your starter. The smell typically wont be particularly
nice, and there may be a layer of brown liquid, called hooch, atop your
starter. This is the late stage which you want to avoid. Before your
starter reaches this point, you want to have divided and replenished it
with fresh food. That said, the culture can still improve from such a
state. Remove the hooch, keep a small amount of the starter and feed it
normally.
To get a starter ready for baking, aim to rise the starter twice to the
point where it expands so much that it collapses of its own accord. If
its nearing the top of the jar, stir it a little so it reduces in
volume (but dont count that as a collapse). Once youve done this, you
can refrigerate the jar, which reduces yeast activity and means you
dont have to feed it so often. Keep it away from the hooch stage
though, by checking on it and feeding it once every one or two weeks as
necessary.
Rye flour is regarded as the best flour to use for starters; and it
tastes great too.
Baking
Baking sourdough takes longer than normal bread that relies on
industrial yeast, but if youre a good person, youll know that in spite
of the modern axiom time is money, youd rather more of the former
than the latter. What you want to do when preparing a sponge from your
starter is mimic the process of feeding a starter, but to increase the
volume with each feeding until you have a sponge of about 100% hydration
(which is achieve by adding equal portions by weight of flour and water
each time) containing about 40% of the total volume you aim to have for
your loaf.
Firstly you need to activate your starter, so take it out of the fridge
about 2-3 hours before you want to begin, and let it warm up. Then take
with 20g starter, and add 20g flour and water each. This should give you
60g sponge after a 3 or so hours fermenting. Then add to this 60g flour
and water each, which after another fermenting spurt, should yield 180g
sponge. I find that this is enough for a 500g gram loaf of sourdough,
though more may be better. Mix the 180g active (it should be very
bubbly) sponge with your other chosen baking ingredients. For me this
means: a small addition of rye flour, some white flour, more water, 2
tsp of salt and perhaps 50g butter or 60mL olive oil. It is possible to
actually make great sourdough from merely flour and water though. The
amount of water and flour required are relative to each other. For a
normal loaf, 500g flour will require about 300mL water. But with
sourdough you need to factor in the water and flour contained in your
sponge. I find that it can be easier, particularly if you already have
baking experience, to just add your flour up to the desired amount and
carefully add water as necessary. For cautions sake, I tend to over
water (but only by a tiny amount), as the flour will take up the
moisture more as you knead it, particularly if youve got any wholemeal
flours in the dough. Next, knead the dough very thoroughly: you should
be able to observe the dough becoming more homogenous and elastic as you
knead. It should take at least 6 minutes, but if in doubt, keep
kneading, it cant hurt.
Leave the dough to ferment for about 7-8 hours (again use an idle oven
for warmth), knocking the dough back, re-kneading and shaping it about
halfway through. The dough should double in size with the fermentation
process, if it doesnt, the starter may need to be worked up to a more
vigorous standard, or your dough may need to rest somewhere a little
warmer, aim for about 28-32 Centigrade (around 80-90 degrees
Fahrenheit). When sufficiently risen, place in a very hot oven (about
250 degrees Centigrade, or 480 degrees Fahrenheit) for 15 minutes. Lower
temperature to 200-220 degrees Centigrade (400-425 degrees Fahrenheit)
and bake for a further 15 mins. If the loaf appears to be burning at
all, lower the temperature a little further.
To ensure that its cooked, after removing it from the oven, gently tap
the bottom of the loaf: if it sounds hollow, youre in business. Turn
out onto a wire rack, and dont eat it before its well cooled. -
Fieldmouse
----------
Features
----------
"Perennial Philosophy, Buddhism, and Richard Wagner's Der Ring des
Nibelungen"
The whole world is in flames, the whole world is consumed by fire, the
whole world trembles. - Buddha, Samyutt., 1.133
One of the most evocative figures in the history of art is Richard
Wagner. Wagner composed many extraordinary operas within his time, yet
one of the most monumental productions of his is The Ring of the
Nibelung. With The Ring, Wagner attempted to create a national epic for
the German people formed from several texts of Nordic and Teutonic sagas
and folk-tales. In doing so, Wagner not only revived an ancient,
traditional way of life, but he also infused several modern elements
with these elder worlds. One of the greatest influences on Wagner
throughout his life was his interest in India and the Orient, which
preceded the further encouragement of this interest by the philosophy of
Arthur Schopenhauer. Though the interpretation of Eastern philosophy
has often been erroneous, in Wagner's time this was mainly due to the
general lack of authentic translations or any at all. Wagner seems to
find common ground between ancient German and Indian Traditional culture
(both being scions to an original Indo-Germanic culture) - for instance,
the notion of gradual decline of the gods throughout the Ring and the
forewarned destruction of Walhall. This decline is one of the major
facets of the Eastern religions - the belief in the cyclical nature of
history which begins with a "Golden Age" and ultimately decays
internally to an age of cultural fragmentation and decadence, the last
cosmic age before the end of civilization. This last age, known as Kali
Yuga to the Indians and ma-fa to the Chinese, was known as Fimbulvetr to
the Norse, and the following cosmic destruction was known as Ragnarok or
Götterdämmerung, the doom of the powers. In addition to the non-creedal
(or non-dogmatic) Pagan remnants of ancient Teutonic spirituality in the
Ring and the inclusion of Aryo-Indian spirituality (which differ only
superficially), elements of modern philosophy may also be found in his
Ring. This is significant because the core tenet of Perennialism is
that the Perennial Philosophy is a "[...] common inheritance of all
mankind without exception [...]" (Coomaraswamy). All major religious
traditions originally extend from this Perennial Philosophy, which has
become misrepresented, distorted, and ultimately forgotten over time by
all except for esoteric and mystical sects which have retained this
tradition. Perennialism not only includes the Pagan religions of India
and ancient Europe, but also Middle-Eastern religions, including
Christianity. However, aside from the underlying Christian aspects,
modern philosophical influences are also seen in The Ring, most notably
the influence of Arthur Schopenhauer, whose philosophy of the denial of
the will to live was supported by the examination and unfortunate
misinterpretation of Buddhist and Brahamical beliefs by himself and
other earlier Oriental scholars. Although many of Schopenhauer's
interpretations were off, his most important contribution to philosophy
was a reintroduction to Western thought of a system of cosmic ideology,
which greatly influenced Wagner's works, including The Ring. This paper
will attempt to analyze some of the Perennial aspects of the Ring which
are derived from its Indo-Germanic spiritual basis, including European
Paganism and Indian Buddhism, within the light of modern Schopenhauerian
philosophical components which were introduced to the opera via the
composer himself, Richard Wagner.
A basic understanding of the Perennial Philosophy must be in place
before considering its significance in the works of Richard Wagner.
According to Aldous Huxley, the Perennial Philosophy in its entirety
cannot be verbally expressed without some form of bias on the part of
the speaker, whether sociological or personal. However, despite the
uncertainty brought about through many different interpretations, there
is an underlying "Highest Common Factor" of the most important religious
and philosophical movements over the past twenty-five centuries
(xi-xii). In his introduction to the Bhagavad-Gita, Huxley posits four
fundamental doctrines of the Perennial Philosophy, the first of which is
that there is a Divine Ground of which "the phenomenal world of matter
and individualized consciousness" (xii) are manifestations. "Being" for
all manifestations is derived from this Divine Ground, and without it
these manifestations would not exist. The second doctrine asserts that
man is capable of realizing the Divine Ground through "direct intuition,
superior to discursive reasoning," uniting "the knower with that which
is known" (xiii). The third doctrine affirms two natures of man: a
"phenomenal ego" and an "eternal Self," the latter being of the "same or
like nature" as the Divine Ground. In Hinduism the spirit (Atman) is
identical to the Divine Ground (Brahman); in Christianity, however, the
human spirit is not identified with God, but "assimilated and purified."
Unitive knowledge of the Divine Ground can be achieved only in
overcoming the cult of personality, which prevents awareness of one's
inner being. The fourth doctrine is the assertion that this unitive
knowledge of the Divine Ground, the "discovery of Truth," is man's
single, ultimate purpose in life (xv). Huxley states that
"contemplation of truth is the end, action the means." The modern,
industrial world, however, contradicts this. With the developments in
technology over the past few centuries, Western man, in particular, has
come to believe that life itself and all of its components, including
society and culture, is being made to be continually and progressively
better. Thus a "Utopian future" becomes the center of man's concerns,
instead of an ever present and eternal Truth which need not be
manufactured but rediscovered through personal experience. The fourth
doctrine of the Perennial Philosophy is reversed from seeking the
discovery of unitive knowledge with the Divine Ground through
achievement, to contemplation and discovery becoming the means to
achievement (xvi). This "heresy" is one that is widely accepted, and
becomes entrenched in the mind through media, education, and politics.
Because the "metaphysical discipline of discrimination between the real
and apparent [...] is exceedingly difficult," a fifth doctrine
concerning Incarnations of the Divine Ground is most often included with
the Perennial Philosophy. This Incarnation reminds other humans what
they have forgotten: "if they choose to become what potentially they
already are, they too can be eternally united with the Divine Ground"
(xvii).
The doctrine of the Perennial Philosophy can be found at the base of all
of the world's major religious traditions, including various forms of
Paganism, which would include Hinduism, Shintoism, and pre-Christian
European heathenism. Thomas Carlyle states that while some scholars
today may consider the Pagan religions of the past as "mere quackery" or
the allegorical "play of poetic minds," what we regard today as Pagan
mythology was originally to a "rude" Norseman the beholding of the
"great deep sacred infinitude of Nescience," the organic function of
Nature-Universe or the Divine Ground ("Lecture"). Being unable to
express themselves in the "scientific" terms modern man does, but
possessing the "free open sense of a child," the Pagan mythological
world was reality for the first Pagan thinkers. The gods are
"impersonations of the visible workings of Nature" (Carlyle). For these
men everything was a reflection or manifestation of the Divine Ground,
and nothing reflected this more than man himself, particularly the great
man. Thus began the practice of Hero-worship, "heartfelt prostrate
admiration, submission, burning, boundless, for a noblest godlike Form
of Man" (Carlyle). Of all the gods, Oðinn or Wotan is the impersonation
of the Noble Man. He realizes the true nature of the universe, the
Divine Ground, and has come to identify himself with it, transcending
all other manifestations of it. It is through his foresight and
meditation that he is able to lead men and enforce his "will," or to be
more specific, the impersonal Perennial doctrine, with his spear, Force.
With recognizing the divinity of Nature and Man comes realizing the
transience of the world as a manifestation of the divine, like the flux
of the Rhine, a continuous process of becoming and ending. Even
civilizations and the entire cosmic order must end, and this is what is
known in Germanic mythology as Götterdämmerung. Carlyle states that the
ancient Germans realized that "all dies, and even gods die, yet all
death is but a phoenix fire-death [...]." Although the established order
ends, eternal principles remain. Götterdämmerung begins after the end
of an age of cultural decay called Fimbulvetr, known in Hindu cosmology
as Kali Yuga, in which the basic foundations of a civilization or
society, Perennial Doctrine, become so obscured that they are negated or
reversed. For instance, with the establishment of industry, commerce,
and technology as the highest values in the West instead of such things
as culture, spirituality, and nature, these latter values become
poisoned and Truth becomes something which is not eternally present and
able to be realized, but something in the future waiting to be
established or experienced. Perhaps this is why so many people around
the world feel the appeal of the ancient Greek, Roman, Indian, and
Scandinavian epics: they realize the truth in
Perennialism/Traditionalism, the sacredness of Nature, the divine spark
within Mankind as a part of Nature, the cyclical pattern of history,
ever establishing and re-establishing Tradition followed by gradual
decline, an archetype engrained in what Carl Jung would call the
"collective unconscious."
One of the most renowned contributors to Traditionalism (or
Perennialism) is the esotericist Julius Evola, an Italian baron whose
primary works were written in the first half of the 20th Century and
pertain to a vast area of subjects, including politics, philosophy,
religion, and history. One of these works includes an analysis of
primitive Buddhism, intended to be offered as an alternate spiritual way
to self-discipline and heroic action for mankind in the age of Kali
Yuga. Jean Varenne, who wrote the introduction to Evola's The Doctrine
of Awakening, takes notice to compare Evola's aristocratic background
and the noble origins of the Buddha, Prince Siddhartha (Varenne xvii).
Varenne also points out that Evola takes a very scholarly approach in
his gathering of large numbers of original Pali sources, which is the
language which the Buddha spoke (Varenne xix). Few religions have been
able to express the Perennial Philosophy more clearly and holistically
than the Brahmanic religions of Hinduism and Buddhism. Although the
doctrines of the Perennial Philosophy are evident in the many different
cultural manifestations of it, the Brahmanical religions, most
importantly early Vedism and early Buddhism, provide some of the oldest
methods of ascesis for obtaining what is known as self-mastery, the
unconditioned, nirvana. This awareness begins with the realization of
samsara, the world of becoming, of "experience itself, consuming itself
in its own momentary content" (Evola 44). The process is continuous,
yet it is "a succession of states that give place to one another
according to an impersonal law, as in an eternal circle" (44). Each
individual life is recognized as khanda or santana, which are understood
to be a conglomeration and a current respectively, and dhamma or dharma,
defined as "factors or variables of existence that apply, or which have
particular values, at each instant" (Everett), and which Evola describes
as formations of "vortices or currents of psychophysical elements and of
allied states" (45) that are built up under certain conditions and later
dissolve once these conditions change and conglomerate at some other
point in samsara. From this comes the Buddhist saying in the
Dhammapada, which Evola quotes: "'All the elements of existence are
transitory' ? 'All things are without individuality or substance'" (45).
Evola asserts that upon achieving samsaric consciousness, the illusion
of the "I" is realized as "a flux, current or indefinite series of
insubstantial states determined by dukkha" (56), which roughly
translating as agitation, suffering, or restlessness (49). After
samsaric consciousness is "mastered" one can find the passage to the
"unconditioned and extra-samsaric." (56).
Much of the information which Evola presents comes from some of the
earliest Buddhist texts, such as the Sutta-pitaka and the
Samyutta-nikaya. However, during the time of Richard Wagner, many of
these texts were not available. Because of the lack of earlier Buddhist
texts and the often inadequate translations of the available texts, the
German philosopher Arthur Schopenhauer misinterpreted and misunderstood
much of Buddhism, which is not entirely his fault, since these "Pali
texts that fully expounded the philosophy of dharma [...] were not
translated into Western languages before the end of the century"
(Everett). Schopenhauer's philosophy is based around the denial of will
to live, which "does not in any way imply the annihilation of a
substance; it means merely the act of non-volition: that which
previously willed, wills no more" (Schopenhauer 61). Schopenhauer
interpreted the Buddhist concept of nirvana as a state of non-being,
whereas in actuality, nirvana is not a state being or not-being, and is
technically impossible to be explained directly. This misinterpretation
in turn misled those influenced by Schopenhauer in how they regarded
Buddhism, who would include not only Friedrich Nietzsche but also
Richard Wagner. Indeed, Wagner was very much influenced by
Schopenhauer, of whom Wilhelm Halbfass speaks of, in his India and
Europe, as "the only philosopher whom Wagner really recognized" (124).
Although Wagner had previously been exposed to Indian thought,
especially through Indologists, such as his brother-in-law, Hermann
Brockhaus, Wagner found within Schopenhauer " a metaphysical key to his
own artistic endeavors" (Halbfass 124). Indeed, Wagner had planned to
compose a Buddhist opera, Die Sieger, which was to be based off of the
Sardulakar?avadana of Buddhist lore, however this venture was never
fulfilled (Halbfass 124).
Nevertheless, due to the inaccuracy or Schopenhauer's interpretation of
Brahmanical and Buddhist religion, such as the interpretation of nirvana
as a state of non-existence, is essentially false because, as a dharma,
nirvana is something which exists, even though it is "intrinsically
undefinable and inexpressible" (Everett). In a letter to his
father-in-law, Franz Liszt, written in 1955, Wagner states:
This act of denying the will is the true action of the saint [...] it is
ultimately accomplished only in a total end to individual consciousness
-- for there is no other consciousness except that which is personal and
individual [...] in truth they were striving only to achieve the
destruction of their own individuality, i.e. their existence. This most
profound of all instincts finds purer and more meaningful expression
[...] in Brahmin teaching, and especially in its final transfiguration
in Buddhism, where it achieves its most perfect form.
- Wagner, Letter to Franz Liszt, 1855
The fundamental error seen in Wagner's understanding of Buddhism is that
he accepts "individual consciousness" as the only consciousness, whereas
in the documents Evola has researched, the individual and individual
consciousness are mere currents within the continual flux of samsara.
Wagner, as well as all other Westerners of his time, had no knowledge of
the Buddhist notion of the unconditional, or what Aldous Huxley would
refer to as unitive knowledge of the Divine Ground, which is continually
reflected and made manifest within the physical world. To Wagner,
then,
the destruction of the individual, or the removal of the cult of
personality becomes an end in itself rather than a step in the process
to contemplation of a higher Truth, similar to how Friedrich Nietzsche
tried to describe nihilism not as the end in itself but a tool used to
distinguish mentally-contrived illusion from reality. With the
convergence of Paganism, Perennial Philosophy and Buddhism with Wagner's
Schopenhauerian denial of the will, one is spiritually torn between the
implications of Wagner's pessimistic ideology of redemption of the will
to live found within The Ring and the original overarching significance
of the Nibelung epic as the affirmation of life through transcendental
realization of the "will" or the "I" as subject to a higher force.
Although the later personal philosophy of Wagner seems to be a
fatalistic one of redemption and denial of the will, the intrinsic
Perennial aspect is a positive one which recognizes a transcendent force
"connected with the emotive and irrational energies [...]" that " [...]
gradually identifies itself as the very force that rules the profound
functions of physical life, over which the 'will,' the 'mind,' and the
'I' have very little influence, to which they are external and on which
they live parasitically [...]" (Evola 55). The fatalism of Wagner,
which can be otherwise characterized as a negative nihilism, is a very
pronounced feature within the Ring, becoming particularly evident within
the character of Wotan. Wagner's Wotan brings forth into being through
his "will" Walhall. However, in making a contract with the giants upon
his spear, he promises Freia to them. It is with this error that
Walhall, and the reign of the gods, comes into being. This is
reminiscent of Wagner's accounting of the Brahmanical myth of the
creation of the world:
[Brahminism] puts forth a myth in which the world is created by God; but
it does not praise this act as a boon, but presents it as a sin
committed by Brahma for which the latter atones by transforming himself
into the world and by taking upon himself the immense sufferings of the
world; he is redeemed in those saints who, by totally denying the will
to live, pass over into nirvana, i.e. the land of non-being, as a result
of their consuming sympathy for all that suffers.
- Wagner, Letter to Franz Liszt, 1855
In creating the world, Wotan commits a sin, an error, and through
Wagner's interpretation of Brahmanic myth, Wotan too must atone for this
sin, putting the "immense sufferings of the world" not only upon his
shoulders, but upon the shoulders of his offspring, the Wälsungs and the
Walkyries. Although Wotan often interferes, he cannot achieve total
redemption unless some saint should totally deny the will to live
without intervention. This brings about the question of who in Wagner's
Ring this saint is. Siegfried and Brünnhilde are the two most likely
candidates since the entirety of the epic is balance upon them as the
final two major characters in the opera. Although Siegfried bears the
sufferings of Wotan greatly, he is heroic in nature: he asserts the
value of life as a whole, neither as a path for individual material
gain, nor a great cosmic blunder for which mankind must atone. He has
spent his entire youth within the forest, which as an organic system of
order is one of the most supreme examples of the hierarchical cosmic
ideology of the Perennial Philosophy. From his experience in the forest
he would certainly have a greater natural wisdom or, more appropriately,
intuition of the cyclical, sa?saric nature of existence, and from this
understanding he is able to transcend the "individual" and attune his
eternal Self with the Divine Ground. It is only through intoxication
from the nepenthe given by Hagen to Siegfried that he makes a tragic
error.
However, on the other hand with Brünnhilde there is much to suggest the
role of the saint. Everett points out that Wagner, being "under the
influence of Indian thought" changed the ending of Götterdämmerung. In
the original text Brünnhilde claims to know everything, meaning the
circumstances of Siegfried's death; however, in the 1865 version, ten
years after his letter to Liszt, she "declared that she became die
Wissende [the Knowing One], which, Carl Suneson suggested, we are to
interpret in the Buddhist sense of a bodhisattva." Wagner clearly
expresses his idea of the Buddha in reference to one who redeems Brahma
in his letter to Liszt:
The Buddha was just such a saint; according to his doctrine of
metempsychosis, every living creature will be reborn in the shape of
that being to which he caused pain, however pure his life might
otherwise have been, so that he himself may learn to know pain; his
suffering soul continues to migrate in this way, and he himself
continues to be reborn until such time as he causes no more pain to any
living creature in the course of some new incarnation but, out of
fellow-suffering (Mitleid), completely denies himself and his own will
to live.
- Wagner, Letter to Franz Liszt, 1855
From these two pieces of evidence one is able to infer that Brünnhilde
is intended to be the saint upon whom the redemption Brahma and the
world is fulfilled. In her self-immolation she returns the ring to the
Rhinemaidens, ending the curse that had caused so much pain to the
world. It is in these actions of ending suffering and the denial of the
will to live that Wagner intends for the world to be redeemed.
Upon noting the origins of this saintly woman, Brünnhilde, one also
finds an uncanny connection. Her father, Wotan, "raging or possessed,"
the warrior-artist on whom the redemption of the world is placed is
confronted with the wise Erda, who is a Wala. The term "Wala" is rooted
in the Indo-Germanic "wal/walh-," which signifies someone or something
that is strange or foreign, and specifically for a German - a
non-German. This encounter of Wotan with the Wala could perhaps be a
symbolization of early encounters of the ancient Germans with the Celts,
the bearers of an ideological system that very much paralleled that of
India. Yet even beyond this, perhaps there lies a metaphor for Wagner,
as Wotan, and his own encounter with India (Erda). A romantic
nationalist such as Wagner, taking upon himself the embodiment of the
consciousness of the German race, would most certainly consider the
Indians as "Walh" much like ancient Germans considered their Celtic
neighbors "Walh," and from which the names Wales, Wallonia, and
Wallachia come. It is from this love affair between Wotan (Wagner) and
the Wala Erda (India) that Brünnhilde, the Saint, the path to the
redemption, is born, much as Wagner's discovery of the Eastern religions
and Schopenhauer's pessimistic philosophy prompted him on the road
towards the denial of the will to live.
However, Wagner cannot achieve his ultimate goal of redemption with a
fearless, life-affirming hero such as Siegfried, who has shattered the
corrupt law of Wotan with his sword. Therefore it is necessary for the
Hero to be introduced to fear, and it is through the love of Brünnhilde
that this occurs. Love, in the end, is what brings the Hero to his
death, and through love the Saint denies the will to live and redeems
the world with her self-immolation and the return of the Ring to the
Rhine. This redemption of the will through love is found throughout many
of Wagner's other operas, such as Tristan und Isolde, however, some
propose that one of the main reasons Wagner never completed his Buddhist
opera, Die Sieger, is because of his failed attempt "to correct the
philosophy of Schopenhauer so that it would accommodate the possibility
of a total pacification of the will through love" (Everett). Thus, this
gradual advance toward the abandonment of redemption through love not
only takes a pessimistic turn in The Ring, with the utter destruction of
an entire cosmic order, but actually may have led to the prevention of
one of Wagner's intended creations.
Of this turning toward redemption and denial of the will to live which
occurred towards the end of Wagner's life, Friedrich Nietzsche said:
"There is nothing on which Wagner has reflected so much as redemption:
his opera is the opera of redemption." (459-60). It is uncertain
whether or not Wagner intends the raising of a better world, a new
Golden Age, out of the ruins of Walhall. However, it is certain that to
the original Pagan authors of the Nibelung saga embraced the Perennial
Truth and the cyclical view of history, that from the ashes of the
previously fallen civilization and cosmic order only those who are the
most heroic will arise with a "new-birth into the Greater and the
Better! It is the fundamental Law of Being for a creature made of Time,
living in this Place of Hope" (Carlyle). Although Wagner intends to
introduce Buddhism as a path to the negation of the will to live, it is
with the utmost irony one finds that being interpreted properly through
the earliest texts and accurate translations, as Evola has done,
Buddhism itself affirms Life on a holistic, transcendent level, even
further affirming the Pagan Perennial element of the original myths from
which Wagner derives his Ring. In Wagner's opera the burning of Walhall
and the destruction of the entire cosmic order is redemption and denial
of the will to live, the passing into what Wagner perceived of as
"non-being." In connection to the several leitmotivs in The Ring, it is
also interesting to observe that in a note preceding Julius Evola's The
Doctrine of Awakening, an anonymous editor comments on how many of the
Buddhist teachings are "set forth in the form of leitmotif [...]
passages that recur in various texts, almost in identical form" (v).
One of these repeated symbolisms is that of the "burning world," which
Evola has commented on and explained as symbolizing the driving force
behind samsaric existence, a sort of craving and thirst. With the
Perennial perspective in mind, one is able to draw a deep insinuation
from The Ring: in the gradual decline of Wotan from assertive and
heroic to withdrawn and fatalistic, so too does civilization decline
from its Golden Age to a period of decadence which eventually consumes
itself with the fire of desire, aversion, and delusion. Yet this fire,
tanha, is the "central force of samsaric existence" which is also found
"in birth and death, in decay, in every kind of pain and suffering"
(Evola 49). As surely as the world burns it will give birth again to a
new age, but it is only through the actions of the transcendent Hero,
through whose actions contemplation and discovery brings mankind in
union with the Divine Ground and we enter a new Golden Age.
Works Cited:
"A Note on Sources." The Doctrine of Awakening: The Attainment of
Self-Mastery According to the Earliest Buddhist Texts. 1943. Trans. H.
E. Musson. Rochester, VT: Inner Traditions, 1996. v.<br>
Samyutta-nikaya. Trans. C. A. F. Rhys Davids and F. L. Woodward. Pali
text ed. 4 vols. London, 1923.<br>
Carlyle, Thomas. "Lecture I. The Hero as Divinity. Odin. Paganism:
Scandinavian Mythology." On Heroes, Hero-Worship, and the Heroic in
History. May 5, 1840. Rpt. November 1997. ProjectGutenberg.com.
http://www.gutenberg.org/dirs/etext97/heros10.txt<br>
Everett, Derrick. "Wagner, Buddhism and Parsifal." (2003).
http://home.c2i.net/monsalvat/india.htm#Buddhism<br>
Evola, Julius. The Doctrine of Awakening: The Attainment of
Self-Mastery According to the Earliest Buddhist Texts. 1943. Trans. H.
E. Musson. Rochester, VT: Inner Traditions, 1996.<br>
Halberfass, Wilhelm. India and Europe: An Essay in Understanding. New
York: State University of New York, 1988.<br>
Huxley, Aldous. "Introduction." The Bhagavad-Gita. Trans. by Swami
Prabhavananda and Christopher Isherwood. New York: Signet, 2002.
11-22.<br>
Nietzsche, Friedrich. "From The Wagner Case." The Portable Nietzsche.
Ed. and trans. Walter Kaufmann. New York: Viking/Penguin, 1988. 459-
461.<br>
Samyutta-nikaya. Trans. C. A. F. Rhys Davids and F. L. Woodward. Pali
text ed. 4 vols. London, 1923.<br>
Schopenhauer, Arthur. "Essays and Aphorisms." Sel. and trans. R. J.
Hollingdale. London: Penguin, 1970.<br>
Varenne, Jean. "Julius Evola and Buddhism." The Doctrine of Awakening:
The Attainment of Self-Mastery According to the Earliest Buddhist Texts.
1943.<br> Trans. Guido Stucco. Rochester, VT: Inner Traditions, 1996.
xvii-xx.<br>
Wagner, Richard. "Letter from Richard Wagner to Franz Liszt, 7 June
1855." Selected Letters of Richard Wagner. Tr. and ed. Stewart Spencer
and Barry<br> Millington, London: Dent, 1987. Rpt. 2003. "Wagner,
Buddhism and Parsifal." Derrick Everett.
http://home.c2i.net/monsalvat/india.htm#Buddhism. - unzeitgeist
-=-
"The Development of the Ego"
It is said that man's best bet on survival is to adapt, and that I
wholeheartedly agree with. But what is adaptation from a spiritual
aspect? Isn't it submission under the laws of nature, denying of the
absolute worth of self? It certainly is, to the horror of the "modern
individualist", who seeks to assert his own ego and belief of his
intrinsic uniqueness, like so many others.
Self-image, the ego, most likely developed when nature couldn't rule
with such an absolute power over the tribes of ancient times and these
tribes then found themselves distanced a bit from nature, not being so
entirely dependant on it anymore, although not fully free either. Of
course, the ego wasn't totally nonexistent during those more
"shamanistic" times but it wasn't as strongly underlined and placed high
on a pedestal as it is nowadays, due to the "misty" connection with the
land: the sources of food were not permanent due to depletion or the
fleet feet of wild game following the turning of seasons. To the
hunter-gatherer tribes of old, adaptation was the way to go and the only
thing egoistic in that was that of tribe serving the best interest of
the tribe itself.
The introduction of agriculture struck a wedge between man and nature,
although a miniscule one compared to the jackhammers of today. Man
"found" himself through being capable of more than mere survival and
realized that there is something that cuts through the wind when
standing against it: him. He desired change, he was passionate to carve
his mark on the stone of eternity. And so, the people of that time were
idealistic to a degree: "Victory or defeat, I will nevertheless push
forwards!" That was, and is, the only way to achieve true change. One
must be like a vector, pushing towards a certain direction, steadfast
and never loosening grip on one's axe to achieve. Anything else would
have been adaptation, incompatible with such a culture focused towards
triumphing. Although the difference was not this stark initially, it
developed and grew. However, as all things cycle and morph all the time
and nothing stays static, these striving cultures created civilizations
and these civilizations, well, built upon themselves, towering far above
the ground. So, we are being distanced from our surroundings, further
and further every passing day - a far cry from the pre-agricultural
mentality of people. But surely not everyone is a vector in today's
world? No, not everyone, as there are many who simply choose to adapt to
the status quo, which may be an unconscious remnant from the ancient
times; the phrase "to go with the flow" applies in both the social and
metaphorical contexts. In other words, they might themselves feel like
vectors, but when the pretense is stripped they move nowhere by
themselves on the system of coordinates, perfectly adapted to their
immediate surroundings like a driftwood gently rocking between two waves
in a stream.
In the other end of the spectrum there are the tower-builders, who lay
stones upon stones to rise higher, although the spot where they laid the
stone foundation has not moved anywhere over the course of centuries,
and how could it have? You cannot pull a thread from a fabric without
breaking it up, can you? As colossal as the change brought by
cultivation of land was, still it did not free people from the cycle of
seasons, the winds of the world; much in the same manner, our current
towers sway by the passing of these winds, regardless of their age. It's
only that gusts of air are not so evident up in the skies, far above the
clouds, until they pummel the tower itself.
Vectors make change, static dots adapt to their position. The forces in
power push us upward on this narrow path, perhaps toward a looming black
hole and the fortified focus on individualism keeps us blind from what
happens in our surroundings: is the building on which we build on
already weak and fragile, destined to crumble from piling even one block
on it? We do not know nor care, we only want to toss a dozen blocks on
it. Would it be reasonable for us to strive to adapt to the land
surrounding this tower, to be a countering force as even the chances of
mere survival look frighteningly dim? - frostwood
-------------------
Self-Sufficiency
-------------------
Composting:
Reduce the amount of waste that goes to the landfill by composting. If
you live out in the country or in an apartment in the heart of a large
city you can compost.
For those unfamiliar, composting is a natural soil decomposition process
performed by soil inhabiting macro and microorganisms such as fungi,
earthworms and protozoa. During the process of decomposition a
brown/black, nutrient rich byproduct is produced called humus. When
humus is produced you have compost that is rich in nutrients.
Composting can be utilized to break down organic matter from ones own
home, such as kitchen scraps, as well as soil and plant materials like
leaves, grass clippings and hay. Utilizing the decomposition process
reduces the amount of material waste sent to the landfill and the
nutrient rich fertilizer produced can be used to fertilize any soil of
your choice.
What to Compost
Good things to compost: Grass Clippings, Leaves, kitchen scraps,
shredded paper, saw dust, wood chips, hay, straw, corn cobs, fruit and
vegetable leftovers, shredded cardboard, egg shells, and most anything
else organic and easily biodegradable.
Bad things to compost: Chemical waste, Styrofoam, fats and grease,
chemically treated woods, human waste, dairy, meat, oil, plastics.
*note: Fats, grease, oil, meat and dairy are generally not recommended
for compost piles because they attract bad smells, rodents and insects.
If you are willing to deal with smells, insects and rodents, then go
ahead and compost meat, oil, grease and dairy products.
How to compost
Composting is a relatively simple process. Its almost as easy as
putting your compostable waste items (as noted above) into a pile and
letting them decompose naturally. However doing it like this takes a
long time, therefore in order to fully take advantage of the
decomposition process, an understanding of the factors making a
successful active compost pile is in order.
Regardless of the method you choose to use for composting, these are the
four most important factors you need to keep in mind for a successful
compost pile:
1. Aeration
2. Moisture
3. Carbon to Nitrogen ratio
4. Temperature
Aeration - Aerobic life forms are the dominant decomposers in a compost
pile therefore it is essential to make sure your compost pile remains
aerated. Allow the pile to remain lose and dont compact it.
Compacting will limit airflow. Occasionally turning and shifting the
compost pile increases aeration and is virtually necessary to keep up
efficient decomposition. Also cutting up scraps that go into the pile
exposes more surface area, which speeds up the decomposition process.
Moisture - The next important thing to keep in mind is the moisture of
your pile. Decomposers require moisture in order to live, thus you must
make sure your compost pile maintains a certain amount of moisture. The
moisture level should be about the same as a wrung out sponge. If there
is greater or less moisture than this the decomposition process will go
much slower. If you live in a dry climate plan to put your pile in a
shaded place so that less moisture will evaporate and be sure to add
moisture to it more frequently. If you live in a rather wet climate put
your compost in a dryer area and perhaps have some sort of cover
available to keep out excess rain and moisture.
Carbon to Nitrogen Ratio - This is one of the most important things to
consider when starting a compost pile. Micro and macro organisms doing
the decomposition need carbon and nitrogen to survive, however too much
carbon and nitrogen can be harmful to them. The ideal carbon to
nitrogen ratio for composting is 30:1.
Heres a brief list of carbon to nitrogen levels found in some commonly
composted items.
Compost Items: C:N Ratio:
Hay 12:1
Kitchen Scraps 15:1
Grass Clippings 19:1
Coffee Grounds 20:1
Rotten Manure 20:1
Leaves 60:1
Paper 180:1
Wood chips 300:1
In order to get good compost, mix and match some of these ingredients
into your compost pile. Fresh material generally has a lower carbon to
nitrogen ratio than does material that has had a while to decompose.
Since most materials are higher in carbon than nitrogen make sure to
consciously add nitrogen rich materials to your compost pile.
As a rule of thumb, green materials are higher in nitrogen while brown
materials are generally higher in carbon. So an easy way to think of
the carbon to nitrogen level is 30 parts brown and 1 part green, or for
the amount of kitchen scraps put into the compost pile, put an equal
amount of brown material. Following this rule of thumb should give you
a healthy compost pile.
Temperature - As decomposition takes place the microorganisms produce an
exothermic reaction that heats up the pile. If you have a good carbon
to nitrogen level, moisture, aeration and volume for your pile this
reaction will create a temperature anywhere between 110 to 140 degrees.
However if you live in a climate where the temperatures get
exceptionally cold you will need to locate your compost pile in a place
that averages a temperature of at least fifty degrees. If your pile
freezes it will only temporarily stunt the decomposers and decomposition
will begin again once the pile thaws.
Methods of Composting
Compost Heap: An open compost heap is a recommended method only for
those individuals who have open land and are willing to spare some of it
for composting duties. Creating a compost heap is quite simple.
Section of an area of your land and begin filling it with yard and
kitchen scraps. Make sure the compost stays moist and occasionally turn
the heap for quicker composting time. Covering your heap with a tarp and
or straw will help it keep more stable composting conditions.
Once the heap starts to get to a good size-this might take anywhere from
6 to 24 weeks depending on your waste output-begin a new pile so as to
let the old pile fully decompose. You will know the pile is done
decomposing when it emanates an earthy aroma and is a rich brown or
black color.
Pros: Takes little to no money and is easy to do.
Cons: Not orderly or aesthetically pleasing. Pile occasionally
needs to be turned manually.
Composting in Bins and Containers: Composting in containers or holding
units is relatively easy and inexpensive. There are many different
kinds of composting containers and holding units that can be purchased
or made. I will list a few container options and how to construct them
yourself:
Mesh Wire Bin: Take a 10-foot long, 36-inch wide sheet of 1-inch
galvanized chicken wire and fold its short ends back three or four
inches. Bring together the folded ends to make a circle and tie them
tightly together using industrial strength wire. Set the newly
constructed wire cylinder in the place you wish to compost. You can
apply stakes around the inside boarder of the wire circle for added
stability (this is an optional step).
Buckets: Composting can also be done in 10 gallon buckets. Simply
place the composting items in the bucket, take into account all the
SAME factors listed in the 'how to' section and allow for
decomposition to take place. The downsides to this method are its
lack of space, and the difficulty in mixing the materials together.
If you choose this method make sure to have a few buckets on hand so
that when one gets full you can leave it to the side to decompose
and start filling a new one. This method, along with the other bin
methods, takes time.
Trashcans: Get a plastic or metal garbage can and poke holes in the
bottom, the sides and the lid to help with aeration. Place the
trashcan on top of bricks and put a pan underneath to collect any
water runoff. Put a bit of soil and grass clippings at the bottom
of the trash can and then begin filling it with compost materials as
normal.
Wooden Pallet Bin: Grab four wooden pallets like the ones found
behind grocery stores. Stand them erect and place them next to each
other to create a square bin. Screw them together or use wire to
tie them together. If you want a bottom, grab a fifth pallet and
place it on the bottom. This is a simple and nearly free way to
make a decent wooden compost bin. The bin can be converted into more
bins by adding more pallet walls.<p>
These are just some of the ways you can compost using bins and
containers. If none of these appeal to you or you find them unfeasible,
consider designing your own small compost bin. Ideal compost piles are
3 feet wide and 3 feet deep, but there are no rules about making them
smaller. For apartment dwellers a couple of these methods are
applicable, such as the trashcan and bucket methods.
Pros: Keeps pile neat and orderly and is a quick and inexpensive
method.
Cons: Slow decomposition time
Compost Tumbler: A compost tumbler is something you can buy or make
yourself. Buying it can cost you over 100 dollars so my recommendation
is to make it if you have the time. I wont go into the details of
making a tumbler yourself as it is a more extensive process than the
other methods discussed, but I will say that if you scour your local
scrap yard you should find many of the materials needed for the project
such as a 55 gallon drum, metal piping, and wood. This method of
composting is perhaps the quickest way to compost a lot of material.
Pros: Fastest form of composting
Cons: Expensive when buying, time consuming and labor intensive when
building
Vermiculture: This method involves composting with red wriggler worms
(Eisenia foetida). Since worms are natural decomposers they break down
the items you put into a composting bin. An advantage of vermiculture
is that it requires less time and space than other methods, which makes
it perfect for those living in an apartment.
Build a container to your preferred size, or find an old trunk and or
wooden container and convert it into a worm bin. You want your
container to be at least six to twelve inches deep and it needs to have
a lid. Holes also need to be drilled into the container to allow for
aeration (8 to 12 holes in the bottom should work, but make sure to
elevate the bin if you put them in the bottom).
Once you have your container layer it with shredded newspaper,
cardboard, and leaves (sawdust, straw and other dead plants will work
well too). Cover those items with a bit of sandy dirt. Fill your
container about three-quarters full with bedding before you put in the
worms and make sure that the bedding is loose.
As for how many worms you need to put in your container, it varies based
upon how much food waste you dump out per day on average. A general
ratio is one pound of food waste a day requires two pounds of worms
(2000 worms). Make a note of this ratio and use it when deciding how
many worms you will need.
It is important that you keep the soil in the bin at a temperature
between 40 to 80 degrees Fahrenheit otherwise the worms will die. If
you keep your bin outside, consider taking it in on particularly cold
nights. If you live in a very cold area, it is a must that you keep it
inside someplace warm on freezing nights.
Pros: Great for composting food scraps in apartments
Cons: Temperature needs to be kept up. Large amount of worms needed
to effectively decompose kitchen scraps.
Trash Bag Composting: Put the same things you would normally compost
into a large black or opaque trash bag and add a couple of cups of soil.
Make sure there are no holes in the bag, if there are mend them with
duct tape. When full, seal the bag and let it lay out in the sun. The
contents of the bag should turn to usable compost in three to four
weeks. This method is simple, quick, and perfect for anyone living in
an apartment, as it doesnt require a large amount of space.
Pros: Simple and quick method
Cons: Doesnt hold much, wastes bags.
Special considerations for Apartment Composting:
Since most apartment dwellers dont have access to grass clippings,
leaves and other sorts of vegeatation, they should make a special
attempt to gather leaves, grass clipping and wood shavings from around
the community.
Another bit of advice to those living in an aparment is to assess the
space you have to work with before going to buy materials to build a
compost bin. Take a bit of time to measure out an area of your patio or
balcony beforehand, it could save you time and resources.
Time Disclaimer
Composting takes time, its not an overnight process. Keep this in mind
when you decided upon what method you want to use when composting.
Depending on the size of the pile composting can take anywhere from 3
weeks to 24 months. Generally small, active compost piles take 4 to 6
weeks, which means that if you are in an apartment or small residence
your composting time will be shorter. If you have the land to start a
large pile of well over 3 feet wide and 3 feet deep, it will take around
12 to 24 months for the compost to finish. You can keep adding material
to the compost and it is recommended that you eventually start a second
compost pile to allow the original one to finish without having half
decomposed materials in it. If you can only begin one pile, throw the
still decomposing materials into your next pile.
Conclusion
Once your compost is ready you can use it to fertilize your own garden.
If you dont have a garden you can give it to someone who does and if
that isnt an option for you, you can go and fertilize an empty dirt
lot. Even if you cant use the fertilizer yourself the compost is still
useful and it helps eliminate the extra waste that gets shipped to the
landfill. - phantasm
References:
[1]"Composting Your Garbage" [on line] Available at
http://www.guvswd.org/compost<br>
[2]"Composting Your Organic Kitchen Wastes with Worms" [on line]
Available at http://www.ext.vt.edu/pubs/bse/442-005/442-005.html#L3
[3]"Composting in an Apartment or Condo" [on line] Available at
http://www.dfwnetmall.com/earth/compost-condo-apartment.htm
[4]"The Way of the Compost" [on line] Available at
http://www.humboldt.edu/~ccat/wastereduction/composting/ralphSP2002/comp
osting.html
[5]"Carbon to Nitrogen Ratio for Various Compostable Materials" [on
line] Available at http://www.microtack.com/html/compost_carbon.html
------------
Literature
------------
"Forgotten legend"
Iron barrel, golden visor
A midnight trance has opened its door
The oldest plains of my consciousness
Near the astral fortress
Marrow and bone, flesh to stone
A hand in your heart a planet'shone
Where light grows and green sows
The shadow died, and blood flowed
An ant with a sword on a winged horse
Through an opening, he marches with force
A victorious ride to the land of the dead
The insect hero approaches the war gate. - ted olieken
-=-
"Fatal Embrace"
A sunrise that would have had a more emotional person in tears rose
above the treetops. For Nick, it was neatly filed in the mental folder
of "things to give a shit about when I have children", a thought which
inevitably trod the logical next step down that mental path: You have to
find a wife first. At least, a woman who didn't recoil from his
personality as though it were a rabid canine.
Interesting considerations, but Nick had to get ready for work. Usually,
he was the kind of guy who liked having a morning to himself before
heading off to his daily drudgery; unfortunately, a spur of the moment
gathering with some work acquaintances at a bar the night previous had
disintegrated that routine. He had woken late with that sandy feeling
behind the eyes and the bitter aftertaste of whatever insipid brew he'd
been drinking curdling his tastebuds. He didn't usually suffer the next
day when these events happened, but it did throw a pall on everything
that chanced his way, as Nick couldn't commit his full potential to
anything. It was no matter to him though. He'd lived through enough
hangovers to survive this one.
By profession, Nick was the nighttime line cook at a restaurant in town
whose only claim to fame was the quality of its breakfasts; it turned
over some two hundred breakfasts a day, mostly commuters off the highway
passing through in need of a quick bite, but when it came to the dinner
shift, it was a ghost town. He usually worked them by himself, a
scheduling marvel which oftentimes came back to remind him of just how
insightful the bureaucratic forethought of his superiors was when a
large turnout suddenly materialized, leaving him cursing and struggling
to meet the demand. His chef was a short-tempered, high-strung
individual who was an affable guy outside of work demands, but an
insufferable tyrant whilst working his breakfasts. Nick was glad that he
didn't work with him all that often, as the man set his teeth on edge
with his constant, incessantly impractical orders when the pressure was
on.
Nick admired the older bus he had stepped onto that was taking him
downtown, as its construction dated to when the use of actual cushioning
in the seats was not a costly consideration, but noted as usual the
degeneration time had worn on its chassis and wondered why they didn't
just upgrade the entire fleet. He wasn't about to get a second and third
job to afford a car though; he was in a deep enough hole trying to get
into culinary school, as that was the only way to advance in this town
and in the industry, and schooling required money - money which flew out
of his hands as soon as he touched it. He considered carving something
into the antique seats.
The politics of a bus were fascinating to him. It was a fantastic
vantage point to observe humanity; you could literally see the
self-absorption of each and every person. Cackling teenage girls
nattering on loudly in the back about some dreamy guy who treated them
like slime, the autistic retard who couldn't grasp the concept of
walking up stairs to save its life, the old woman who falls accidentally
with everyone around her too busy blathering on their cell phones to
notice, or the driver himself who flies through the bus route, totally
disrupting the purpose of the schedule, so that he can linger at one of
the major stops for ten minutes to smoke and chat on his own cell phone
- all of it was complete and utter insanity to Nick. Often, he had to
stop himself from noticing it all and focus on the outside world
drifting by, or his own thoughts.
His thoughts often centered themselves around what he would do that
evening when he got off work. Nick was mentally an outsider to the ebb
and flow of civilization, and as such, he didn't really partake in the
same activities that most of the crowd believed were interesting methods
for killing time. He didn't do much in the mornings; he kept his time
usage to simple things in order to quiet the oncoming stress of the day.
The nights were frequently spent imbibing so as to bury the stupidity of
the day now behind him. Because of his lack of care for finding a social
niche, Nick could venture anywhere that had a decent selection of
alcohol and a distinctly unannoying bartender to pour it. Occasionally,
it made for some interesting viewpoints into society, its disparate
scenes, and the fools who populated them.
Nick often chatted with the bartenders while there - the guys who poured
the drinks were usually pretty funny individuals who could keep anyone
idly engaged for a night. It was a welcome change from the sterility of
his own dwindling circle of friends, albeit a very fleeting change.
Sooner or later, Nick was either going to have to cut ties with those
friends, although this was already happening in its own passive fashion
as they themselves grew up and became more entangled within their
developing lives with their new spouses, homes and children; either
that, or he was going to have to find a way to renew interest in himself
for catching up to them socially, find himself a nice girl, and "settle
down, man."
"what the hell would I want to do that for?"
Ryan always fidgeted nervously when he brought this subject up around
Nick; he was of the impression that he was the sole voice of reason left
in Nick's life, and thought that with enough persuasion, he could get
him to see it for himself. "I don't know man, you're always out
drinking, or sunk in your books, or working too much to get away from
yourself. A good woman would help you out, help you find some sort of
center in your life."
Nick casually rolled his eyes at the expected response. "in case you
haven't noticed, I'm not really marriage material. If I don't want it,
why should I go looking for it?"
"I'm not saying marriage, dumbass. Just get yourself a girl and settle
down. Everyone else that you know, including myself, has married or is
about to be. Why else do you think I hardly have time to hang out
anymore? I'm growing up, and I have different responsibilities now,
specifically to Sarah and our future plans."
"and you know that I wish you and her the best in those plans. I just
don't see why that has to change or negate the person you used to be.
It's that exact sort of 'settling down' that makes me question the whole
thing."
"jesus, you and your goddamned individuality. It isn't hard to give of
yourself and still be the same person you always were, but
responsibility takes a toll, whether we like it or not. Look Nick,
people talk. All I hear when I get together with the boys and their
ladies is 'what's up with Nick? Why no woman in his life yet?'"
"well, be sure and give them all my fondest regards for their concern."
Settle. The word carried such frighteningly ironclad connotations when
he pondered it through these remembered discussions. Maybe he enjoyed
his "freedom" (such as it was) too much to shackle himself to a
situation like that for the remainder of his existence, but maybe he was
scared of commitment to responsibility. Maybe it was a death wish, what
with all the drinking he did.
In any case, that was his life pattern outside of paying the bills and
sweating over a volcanic charbroiler flipping steaks. He didn't really
question much any longer, having outgrown his phase of youthful
rebellion from a system that he quickly realized was too big to fight.
He simply existed from each day to the next, going from one meaningless
social encounter to another, worrying in the back of his mind about
whether he could afford another night out tomorrow balanced against the
rent check being due in a week, wondering whether that cute waitress who
had given him a smile the other day was just doing her job or extending
an offer of something more, mentally counting the months until he was
able to take that week and a half off of work, infrequently making a
fool of himself publicly for having had two drinks too many and acting
stupidly. Suffice it to say, landing in the drunk tank had inadvertently
cost him his job once before; he didn't need that to happen again, so he
had taught himself to keep his drinking within sane limits.
* * * *
Service didn't end up going well for Nick - four steaks overcooked, and
a burnt liver that ended up going out because he made the mistake of
believing the server who told him the customer would never notice its
carbonized exterior in the dim light. It was no wonder he hated servers.
If they weren't of the completely airheaded variety, they were
ineffectual prima donnas who were "just passing through" the industry on
their way to their promising careers in dental work or acting. Nick
wasn't too concerned about the foul-ups; in the grand scheme of things,
it didn't really matter - the customers were fine with the wait for
replacements and left the restaurant happy, barring one asshole that
made a big production of the affair. Maybe the chef would listen now
when Nick asked for a second person on Friday nights.
As he got out of his grimy uniform, Nick reflected that it was probably
the night out yesterday that had rendered him incapable of being at the
top of his game today; he also had a bad problem of worrying excessively
when the reservation numbers shot up unexpectedly, which in turn
effected his performance. In any event, the problems weren't all
external, as he was the common denominator in the equation. He couldn't
help his reactions though, so he shrugged off the matter, as it was in
the past now.
What to do? - this was the question plaguing Nick. He was tired, but he
also wanted a drink to wind down. That was the other problem with
working nights in the restaurant business: you couldn't relax after the
shift for the life of you, no matter how tired you were going in and
coming out. You were still so keyed up and adrenalized that you stayed
awake for hours after. This might have played its part in Nick's and any
industry worker's mutual decision to become borderline alcoholics. He
also felt remarkably strange; he had in mind a weird premonition that he
was going to meet his death that night, as though he were part of some
old detective story, about to get caught in the crossfire of something
that didn't concern him. No matter. Nick's overactive imagination often
got the best of him. He was still somewhat afraid of the dark, for
Christ's sake. He dismissed the feeling, and headed to a rather low-key
bar down the street which didn't typically have an irritatingly
high-volume turnout on the weekends. The beer was cold, and the one
bartender that was usually on duty was a good sort of chap to converse
with.
He swung open the door, handed over his ID to the disinterested bouncer,
and pulled up a stool at the bar to the serenade of some schmaltzy Top
40 ballad. The few customers who were there quietly chewing the fat over
their pitchers were people Nick had never seen before, as was the
bartender who opened two frigid bottles of cheap domestic at Nick's
request. The bartender tried somewhat unsuccessfully to balance idle
chatter with an unresponsive Nick alongside flirting with an older woman
at the other end of the scratched counter who was very deep in her cups,
but still resiliently opposed to the idea of heading home either with
the bartender or alone. Nick downed the two beers in short order with a
soundless laugh at the two of them, and mused that he would be much
better off with a double rye and water. Nick despised scotch, but adored
whisky - just not straight up. This drink was one of his favorites, as
it made an ideal sipper. Besides, he was in no hurry to get anywhere.
The beers soon kicked in alcoholically, and Nick started to relax; when
the bartender asked him something trite, he now responded in an effort
to make the conversation actually flow a bit. They chatted mainly about
the trivial nothings that two strangers put into a position of forced
socialization discuss, with no expectation of any lasting bond being
forged. Sometimes, in situations such as this, it was all Nick could do
not to scream in utter dejection at the pointlessness of it all.
Tonight, he couldn't care less. In the midst of their banter, a woman
sidled up to the bar three seats to the right of Nick and ordered
herself a Caesar. She gave a short non-committal smile to him, which he
did not return.
As the golden line of his drink slowly descended beneath the level of
the ice cubes, he intermittently thought about work tomorrow, and
struggled to keep the conversation with the bartender going. The fellow
was a bit of a slow one, and his jokes just weren't all that funny, but
he was clearly as bored as everyone else there, and just marking time
until last call. Nick scanned the bar again, looking for a way out of
the dead-end conversation. He didn't feel like trying his luck on the
girl who was sitting by herself around the other side of the bar. She
had obviously come there with intent herself - she wasn't dressed to
kill, but it was rare to see a woman of her apparent young age at a bar
by her lonesome without a reason.
After a few inviting glances thrown his way, Nick mustered the nerve to
ask her how she was, silently cursing the fact that he hadnt the social
skills to play these games.
"I'm good. Yourself?" Her voice was light, but the tone was rehearsed.
"well, I can't complain, but even if I could, I wouldn't."
It was answers like this that usually ended conversations for Nick, and
this one was no different. He could see the evident confusion in the
girl's eyes at his response to her advance, and she gave him that
half-smile of polite dismissal that he was becoming all too familiar
with. Looks like he wouldn't be settling just yet. Nick was content for
now, but he would have to confront that problem at some point. Keeping
up with the Joneses was a tiring task that he wanted to put off as long
as he could, but the pressure kept building in his head. Sadly, he was
the one putting most of the pressure on himself, despite Ryans
badgering.
He wished he could regain his youthful disregard for social convention
and expectation, but having had to exist in the real world for some
years now, that idealism had been molded into resignation. Remnants of
it still cropped up in his thinking patterns now and then, but for the
most part Nick was reconciled to his existence as it stood. He had his
fun, and his stress, and his dog, and the comfort of the routine he'd
carved for himself, but nothing of that existential peace with the world
that he imagined the monks in Tibet possessed. Nick knew now from
experience that he couldn't stop the flow of real life, regardless of
the bad or good choices he had made and would make, and it was all he
could do to hang on for the ride.
As he said his farewells to the bartender, he stumbled accidentally into
someone carrying a pitcher who himself wasn't paying attention; not too
much beer was lost, and Nick offered to pay the guy he'd bumped, but the
other man realized his own part in the accident, and told Nick not to
worry about it. He thanked the man, silently appreciating him for not
causing a scene Nick was in no mood for, and headed out into the night.
As he said his farewells to the bartender, he stumbled accidentally into
someone carrying a pitcher who himself wasn't paying attention; not too
much beer was lost, and Nick offered to pay the guy he'd bumped, but the
other man realized his own part in the accident, and told Nick not to
worry about it. He thanked the man, silently appreciating him for not
causing a scene Nick was in no mood for, and headed out into the
night.<p>
Arriving at home after a relatively painless cab ride through chaotic
streets, he paid his fare, and fumbled with his keys to get his back
door open. He wasn't drunk by any means, but what he had digested was
enough to combine with the long day and put him out like a light when he
sat on his old couch. He'd woken up there many times after a night out,
and he was sure he would do so many more times in the future. Such was
the life he lived. It was no longer a challenge for him to live like
this, and he had accepted it into his habits unconsciously. Nick had
what he needed, even though he didn't necessarily have what he wanted.
That was enough. All he could hope for now was that he would wake up in
time for work tomorrow, having neglected to set an alarm of any kind
before passing out. - blaphbee
-=-
"Towards the end of the cycle"
A glance that pierces all
Searching for untouched flesh
Cellars of despair
Free figures find their course
I closed my eyes for this sorrow
But bitter escaped me not
The shadow of loving
Creates the spiritworld
On the door of peace there's a raging sound
Its the painful reality that rings again
Arms are coming for me
Cursed echo's dwell in the deep
At night they crawl back to their homes
Not aware of the spirit that roams
He is the chosen will
Seizing the inferior soul
The lost hope that once triumphated
Shall burn in the hearts of the dishonored
A dying gift from below
For the balance of the here and now. - ted oliekan
-=-
"An Exercise in Realizing One's Will (Growth)"
An exhausted figure leers at the biting cold, slowly
Sinter-sauntering along the dimly lit shores of misery
How retchingly despairing an existence
Whilst with only two eyes lachrymosely thee
You weep for the world? Others? Or is it your self?
Awkwardly embracing the three, though with honest effort
Nonetheless curtailed by a fatuitously limited perspective;
That each mind is an island in and of itself!
How fortunate, then, that you have washed up onto these shores
Wrought with agonyas stark contrast from my domain...
Shown the image of a churning tempest, the unconscious macrocosm
Where your two eyes go unacknowledgedbut look forever outward!
"This is truth." I spoke. You struggled with those words...
That we should surface only to submerge once more!
A loss, a tear, soon enough forgotten.
Or would you rather not admit to the death of your name amidst such
depravity?
Desperation upon your lips; thirsting for immortality. You who killed
the gods.
You who killed your own idealsor perhaps you'd rather have it
remembered this way:
That you guided the hand which destroyed your sense of wonder and
anticipation.
Never lifting your gaze from the dust in which you kneel trembling.
Forgiveness comes only from those who bear compassion for those who've
erred,
And I am not inclined to do as those who recall the spirit of the men of
the cloth.
The task is laid before you; heed these words of mine: there is honor to
be reclaimed.
Yet in an age where such a mind is reproached from below, a greater duty
still:
Remonstration through force, replace the foundations whereupon such
ideals may grow... - faustian dreams
[ exponentiation ]
Issue [3.0]/July 2nd, 2006
Published Quarterly
by the Center for Nihilism and Nihilist Studies
http://www.nihil.org/
With assistance from
The American Nihilist Underground Society
http://www.anus.com/
Editors: Blaphbee and Phantasm
Writers:
No Fun
Alexis
Smog
vijay prozak
Fieldmouse
unzeitgeist
frostwood
ted oliekan
"When a place gets crowded enough to require IDs, social collapse
is not far away. It is time to go elsewhere. The best thing about
space travel is that it made it possible to go elsewhere."
-- R.A. Heinlein, Time Enough For Love
[EOF]
