Apocalypse Inc Television production.

Three phases of development...the brain dead body on the table, kept alive by machine, the brain dead body on its feet, kept alive by the machine, and the brain dead body doing tasks kept alive by the machine.


Societies wars were staged in order to justify surgically removing bad genes. The war was limited to those who preferred drug mentalities-world views almost like Lem's Futurological Congress, combined with mechanically enhanced self contained environments...sorta like controlling speech like in Religious communities , virtual realities imposed over the optic nerves.
At one moment, all those taking drugs, the psychopharmecueticals to the street, even pot, were rounded up and imprisoned, but not in punishments of the old days, merely left to rot, but instead applied to create worlds. Worlds in which they could not leave, but the "pure" people could visit at will, for entertainment.

All three effects, psychopharmetceutical drugs, controlled environments and Virtuality imposed over the actual, is termed the Artificial Reality...all three add up and compose another layer of illusion.
All in all "The Cyborg World".
Unimaginately violent, sexual, transgressive, with very little value. The goal is to get control of the Nuclear Weapons...which is impossible but it is the goal of the game, in order to destroy the world.

We men create this other world (in an underground facility) in order to create and manage and examine and be amused by, the eventual evolutionary advance, by way of Mutation and Machinery, our own destruction in order to contain it, mock it, and forestall it.

We allow volunteers to go into that world, we do not tell them when they will come out. Frequently, people never do and are destroyed, and, we erase any sense of having been here. So that once you go in, you do not understand that there is another world. Though, the best of us always conceive of it.

This is for the societal trim and prune of other people's DNA. Other people manage...we white people manage the Africans, the Africans manage the Chinese.,
It is all approved by a secret council and of course, based on the massive population that now forms huge hundred story malls encircling the Arctic; one continuous city all slowly expanding south into the lifeless scortching sand dunes, and expanding north under the water. When we built to high and it collapsed, we decided to keep the buildings low...saves on materials.

Likewise, a similar massive city but on the continent of Antarctica, which draws in to higher and higher building all working on a Space Elevator. But those people send us volunteers for our Future Genetic Man.

So, in these two worlds, Arctic and Antarctic, there is naturally the remains of languages and artifacts, all brought over on transport, of only a few Nations, and even those clinging on to Traditions of the past diminish in the necessities of adapting to the future.

However, they have been jammed together and mixing and participating in extreme Urbanity and space shortage.
So, its like Concentration City, but beyond the edged of the Antarctic City, there hurricane wall, and otherwise hurricanes that sweep across tthe almost all the time somewhere...its a big disk.

Massive wind farms top the two thousand tall interwebbed...one could walk from Western Antarctica to McMurdo Underwater base without leaving the ultra stacked up but impoverished city.

Meanwhile, the first studies initiated right before Asteroid-Nuclear War-Warming Wars and Famines...which all happen in a generation...the circuitry to control a dead body as mere walking vegetable, developed.
2050.
Then, the limbic was activated with another advance in programming and computer interface sensitivity, and that created zombies. Walking, but not really capable of running, leaping...though, capable of grabbing and biting.
By 2070 the Apocalypse had settled down...but meanwhile Xombies, increasing interface and artificial life paired with dead humanity...these Xombies are now equipped with remotes that enable ghoulish behavior...these ghouls are directed by swarms of security drones, who shoot darts into living people that transmit the signal that turns them into lifelong ghouls.

So, you dont just ride the trains to wherever you feel like. Some places are empty due to diseases, some are empty due to the mass conversion of its population to Ghouls.


Okay, so, first, the machine merely keeps autonomic systems active. The body is essentially a vegetable and in fact, a robot head can be attached.
The next progress is it keeps basic sympathetic systems active...the body walks and eats and breaths and mates, but with no sense of hygene or language. No violence though, the amygdala and other emotional parts are shut off. Kinda like Replicants...but, they just dont care to remember or learn language.
Third, they are Lizardian insofar as acting like ghouls...leaping, climbing, yelling, making noises, but rarely using language and cannibals, really. These hunt you down.
Fourth, they are subdued and entirely incapable of mounting violence, respond to simple commands, but do have some rudimentary intelligence. Some "Bartleby's" in here would be good.
Or, they are trained to inhabit military equipment and follow orders...they have no consciousness of self yet.
Finally, they are allowed consciousness of self, when the last closest slave to the controllers, which is a fully conscious normal person, but they are kept in so many states of drugged consciousness, that they have developed multiple personalities just due to being switched off and on...so, by the suspension of unconsciouss wakefulness ala such drugs as used by the CIA; scopoloamine, GABA, etc, the final slave awakens and sees he begins at the bottom of things...everyone around him has been more free, they own time not ever torn by drugged enslavement in order to commit crimes for others.
But once awakened the slave wont pursue that...all the awakening requires is believing that such drugs have the power to erase your memory even while you are a minimal slave, on your feet and completely willing to do whatever is told.
It makes you want to look over suicides!
But anyway, all these slaves are portrayed.
So thats
The body with the machine head.
The body is a bug.
The body is a lizard; hunts you down.
The body is a robot.
The body is normal, not mutated into slavery, but drugged unconscious to be used by others
The body is awakened

So I think I have one, HAROLD, who is a bug, with a machine head, who hunts you down.
JACK is a Robot Bug with a machine head.
INTRUDER is a normal, but disabled like a bug, by conscioussness being used by others. It is hard to portray that and that is not well portrayed yet.
So, such an exercise.



In each part of this world is managed behind the scenes, which is where we are with Inky.
Operate independently in increasing degrees until the most independent are revealed to be decadent insiders in the two cities (with its whacky biological reversal of pressure), or, who have inherited Clone/Cryo facilities in remote area...which are singular descendants barely surviving,
OR
There are areas in the city in the Poles where different arrangement of these orders occur just in different areas of the city. ten thousand single one of these kind of facilities, more or less supplying clone banks...along with the New You facilities and Cryo banks plundered, these ten types then mean 10 of these Bio engineering facilities, which can be one of those mentioned above, but occur in one every 1,000 people.
Most are Clone banks/Medical. People are living to 200, but there is little good tech with youthfulness.

There is a clinic, though, on this corner of the Post Apocalypse....in the Baffin part of Arctic City, a piled stone tower rising above an even higher wall of piled stone. Within it glowed tiger eye yellow, with flashes of radiation green.

So, in

A good deal of the North Pole city is flat and descendes into the water. As it is a city that surround the entirety of the edge of the North Pole cities, after radical global warming...this city is so populated that it abuts the desertificiation that divides Greenland's north from south, and also runs down under the water and out onto the edge of the continental shelf, with towers and boat islands fanning out like Water lilies.



Battle Scene: The war whistle over the fog. The massive dust storm invoked by giant vacuum cyborgs, and the small fast laser blinders and robotic eyed double pistol wavers, blade spinners, body dump trucks and processing plants.

In fly, the flying brains, thousands on drone and mock model airplanes...

On the other side of the frame, cut to

The remnant building draped in Carbon cloths, opens doors as missiles project out of a central hub, with a 1, 2, 3, 4, then 1, 2, 3 alternating pattern.

Back to the first side, cut to:

thousands of these head drones, all as a swarming cloud, are wiped out by missiles that first release a vapor...so they fly low, and then all detonate to then detinate the cloud up...so a lot of them fly up into freezing exposure...then come crashing down.

Cut to: RAM, the multiple wall of brains, inside the massive bank of brains, has led's indicating drones usage and a small number of these, distributed among a few brains...go out.
The brains are like in microwave ovens all set together to form a bank, and the leds are very tiny.

The ones incinerated near the bottom, engulfed in the superhot plasma, fall at the foot of the building...and out from sewer holes and disguised exits they arises teams of two.
One team member in jump suit, with landing assists...the other comes out with a large duffel bage, removes a tub, it pops into shape, and he gets on it and it hovers up...
this second guy enables the ground guy with supressing fire....anything that moves is shot at, from extreme distances...like a laser aimed rapid fire sniper rifle.

There was not a lot things to worry about for the hover craft...screened (it has an invisibility umbrella into which it nests while hovering...from the point of view of the oncoming cyborg ground, who are 50 yards away...he snags the crashed drone and carries it back down into the hole.
The Hovercraft descends, second jumps off, it folds up, he puts in the duffel bag (which is the surface of the umbrella inviso shield.
They jump in as Mortars coming roaring.
With sand and some debris descending along with them as ten explosions turn the air above the hole into a vortex...anyway, the sillouetes get down with their retrieved craft into a small tunnel, run some distance and collapse it with one preembedded blasting caps.
The wreckage is diassembled, the information found...cut out, then the wreckage is hoisted and they run deeper into the tunnel and disappear.




This is a synopsis of eleven scripts, two features and nine half hour episodes.
It is Post Apocalypse by Shakespeare.
The four plays adapted are Troilus and Cressida, Richard 3rd, Comedy of Errors, and Henry the Fifth.

Pay close attention to the detail, nay, the genius I put into updating and conforming four disparate Renaissance era Theater scripts into a continuous narrative in a future setting, of a Movie/Television scripts.

In most cases the winding around Shakespeare own eloquence I add, subtract and therein sculpt. This is not so rare as Shakespeare was widely treated in the late 1700's to similar, clever editing and reformatting.

But this is sci fi, and its easier to adapt because the alteration requires compressing four into only one setting. And that is what is done here.

There is also an inherent structural charm: the plays interweave and alter, break and recombine in charming and clever ways.

At script 6 opening, the first moment when A Comedy of Errors intersects with Richard 3rd is at Georges arrest, the scene right after Richard...or in the Apoc Inc case, Inky, has his speech and launches his campaign to take over.
In Richard 3rd it is some earlier contrivance that has George (or Clarence) apprehended, imprisoned, assassinated, but, in Comedy of Errors, a Master, now the same character as George, is arrested by a comic decree, which is better portrayal of a plot than by Richard 3rds, which has many preposterous occasions.
Inky lives by continuing his line...like the line of Tudor Kings of Shakespeare's History plays, which form a super narrative of succession over some seven or eight plays.
But Inky's line is his continuing line of thought, for he is a brain transferring, successively from his hordes of clones, spanning four generations.
This is what King's always sought, the closest was by son, but now, it is the actual personality and memory...long live the King.

So, after the War on the surface, the story of Cyborg vs. Human's Nomadic Road Warrier civilization, is being mostly the adaptation of Troilus and Cressida...which is Shakespeare's telling of the Illiad.

Yet, at Episode 6, instead of glossing over the pillaging at the end of the War, when the Cyborgs win and gain control over the surface, we instead continue as if the Trojans had a underground bunker, and got away for a spell, similar to Virgil.
This is otherwise a hugely clever juxtapose for having a retreat into a slumbering metropolis, a classic in general storyline of amusing dimension.
Retreating into a futuristic bunker, Richard 3rd criss crosses  with Comedy of Errors, and then criss crosses again, all in one opening scene.
Whatever later crossed, which occur in a singular frequency for a useful while, is well timed to be, and to start to be, at Episode 6, the center of the series, the middle of an overall arcing narrative. Yet, the refugees tale of Comedy of Errors, is there within a plot of Inky, aping Richard the Third, a refugee of the War of the Roses, and Shakespeare's devious and outrageous villian, interweaving with Comedy of Errors clones.
The clones make more sense than the Master twins and Slave twins in Comedy of Errors. That update alone is worth gold.
The Brechtian address to the audience is now more Brechtian, and the villian is less Richard the third.

The weirdness of Shakepeares near Comedia D'arte medieval and otherwise ridiculous comedy, as the events forestalling the invasion of the horror of brain harvesters, is an odd mixture of tones, confusions, Three's Company like miscues, yet very believable and elevating the tone of the Comedy while counterpointing Inky's savagry behind the scenes...tones between ominous assassinations with a romantic comedy of odd customs of an mad Underground City oblivious to its impending doom: this is new.

The first five half hour episodes, as stories, can be seen in its own microcosm. The five stories have the indelible and visceral split in tone, yet composed of the Tragic and Satirical, and it is well known as that most peculiar play of Shakespeare's, hard to class as History, Comedy or Tragedy.
So, there is a split in tone, but more of pastel degrees, while the split between Comedy of Errors and Richards is more primary colors.

The speeches can be compressed, as can the scenes. This will be necessary and a definitive control for pacing.
Many characters and interactions can be dialed down in speech length, or even in scene length. This is best done in editing, in experiment...meanwhile, having some wholesomeness toward the original speeches and dramatic detail...I said some scrap of remaining wholesomeness, is marketable.
Presenting the edited version, but keep a whole version of the Shakespearean's more wordy format.
That is another market, those who want to hear the Shakespearean speeches.
This then is The Shakespeare Cut.

The spin on the number of half hour bits as numbered episodes, the longer speeches in Troilus and Cressida and elsewhere, are dialed down, and otherwise enhanced by the sure-to-be-fascinating Monster Robots. These are updated, these monster robots, adapted from the council of Agamemnon...as CPU? Odysseus as RAM?
But this might have a range of change in the pagination to be perhaps one half to one hour less in length, considering a vast amount of dialing down of scenery.
You see, the edited version has more substantial reason to be expanded than any other extended version or directors cut, because what it expands into is Shakespearean monologues, character development...interesting things.
This has a prequel, which is not Shakespearean, and a post script, which is the conversion of Henry the Fifth into the final victory battle.


This could be pitched as a Gamma World trademark production. But then, it does not have to be, but it is a Post Apocalypse by Shakespeare.

Here is some production art. I hired Jimmy Ferry of Houston, to contribute the more professional looking.

https://www.pinterest.com/odilonross/apocalypse-cyborgs/
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The pinterest link also has the link to the Wordpress scripts of Apocalypse Inc.

All of Film History, Bergman, and Persona as double.

What can be said about Film History?
Consider then, these innovators, who qualify on two axis; pure cinema and advance of the art.
PC, pure cinema, already has a problem in the sense of purity, that depends on definition.
We are taught to think in pictures and sound and, much of the world goes by without speech.
We are presented with movies of no dialogue. We have films whose quality is obviously deeper than other films, but then there is kitsch, which is in fact contained in cinema, but part of a larger picture than just the movies.

What Romantic ideas can be associate with cinema.

Perhaps best is to explain the primary example...based on one's own recognition in second thought confirmed by all the others as the best of  the go to's. In other words, the best as mentioned by the best. Which is Bergman.
Ingmar Bergman.

Now, this is illustrative, lets switch to the technical...those who advanced the art, AA, insofar telling a good story, but having this extra technique that enabled a story where no story could be before...literally exemplified by the invention of sound, but that also applies to other innovations, such as small cameras creating a street realism...officially called Neo Realism.

Neo Realism is a baseline style, having no recourse to sound while shooting immediately post WW2. It is worth mentioning as probably the best of the genres and styles. In the hands of the Italians, though a few would want to disagree, there is less of a street, more of a heart, but not too sentimental, emphasizing clarity over conventional or convivial.

Innovations as in the case of New Realism, were purely by necessity and not by the mere marshalling of resources made available by an office.
Finding footage in the rubble of WW2. Having no microphones...these retrieved cameras meant for reportage...news imagery only. Yet, this created a set of movies...touching on communism, absurdism, sentiment of place, in not very spectacular ways.

Other stylistic uses emerged over the years...people sorta steadily innovated year by year in the movies. An invention that has yet to stop developing, wherein, a mere simple camera development, like lux sensitivity enough to shoot in star light.

So, in this mechanical and editorial techniques we track the viccitudes within generations, over the ages, inputting each filmmaker by age.

Purest cinema, in this case, where the mechanical and editorial techniques are fully and completely realized...not calling attention but used in virtuosity, is attributed to Bergman. Watching Bergman is just that bit of TV boring that and all the pre 70's canon has, its dated in technology of course.
But this submerges with great finality once you, the audience member, settle into the experience that a movie can become...with you.
You might not always get along, I did not always, as Bergman was presented in college. Yet, I watched The Seventh Seal a second time, on video, and it was a real pure cinema event. Even then, not the same as Persona which seems to capture the most essential Bergman drives toward...and this means the double, and on we go with Phillip K. Dick as the best example of post Bergman Modernism. Yet Bergman is in the middle of the 20th century modern, possessing a kind of authority there, understanding it fullness, seeing from where it came, and seeing where it would end still being a bit mysterious though!

Even then, there is something extra ordinary even how Bergman purifies or essentializes cinema that gets to new psychic energy, like many of the users of the new techniques...stop motion, or Depth of Field, or cross cutting...etc.  Yet Bergman does not depend on new techniques, using the means of old essential craft: sound and vision.
I will describe my own feeling of it, which is if a drama is clamorous, and makes increasing noise...then Bergman seems to have found the silent spot in such a talkie.
Added to that photographic compositions, wherein, the fleeting sense one also gets from the Abstractionist of the early Moderns wherein, the shapes of shadow and light fit the clamorous and quiet moments. The Mondrian and the Malevich. Or Rothko, Motherwell...we are seeing original visualizations in the same sense of abstraction having less yet still managing to convey a meaning...that special place of the Late-Modern painters, contemporaneous in biography.

The motion is theater virtuoso,but one is in that theater mode closer, wherien, we are not zooming around with flying camera in realistic 3-d worlds, but are instead controlled as in a theater director...who, knowing that cinema breaks down the theater and invents a psychological blurring of the boundaries.
In other words, the timing, the look of the eye shifting around the scene, the camera movement possessing a second person, more frequently and always in some way edited in, these are not blocked or timed to mix together as theater, but one can sense that horizon is not entirely forsaken...and this is not because of the anachronism of the old style cameras lack of mobility, but in seeing and communicating to us that horizon that began in the silent era.
Blocking, the actors fully within ambiguous and divided scenes...dramatizing moments we turn away from...our shames and dumb assumptions...simply what theater is suppossed to address and make comprehensive...almost to Bergman fault he would fit in with a State message of self understanding. Well, those post WW2 examinations, on the wing of Christianities left behind, though still feeling guilt and shame.

All having a transparent mastery, you really dont notice it and it doesn't care to call attention to itself, though, sometimes is does in startling ways.
Many other filmmakers then seem more limited by tricks and treats.

So, lets move then to Hitchcock, who also steps out of the swarm of Artists emerging as they use the new "film crafts"...perhaps only second to Bergman, but once we name someone second...we name a multitude, no?

Hitchcock is a dramatist, but he is interested in the drama of manipulation, more so than Bergman. Discovery in Bergman is not so often associated with murder.
To a kind of obsession goes Hitchcock. Bergman would seems like your normal neighbor, while Hitch a little too interested in the police.
Bergman seems obsessed as well, but there is a wider range of dramas and settings than Hitchcock, where the difficult subjects like human flaw, obsessions, unkind passions, resentment, rage, has a comfort with the release of theater, in a room, to think about and depend a grasp of one's own character and others.
Hitch liked the street, and the bad guys were simply bad guys. Yet, this is opposite in a way, for Hitchcock is almost always contemporaneously set in his times. Rebecca is perhaps the exception?

Hitchcock seems more spectacle, and in so doing, a host of other movies down to today seem more spectacle, yet, then if one remembers and compares that to a Bergman movie...one that you got...I got Persona, the memory is more marked...the evil was more real, common, and closer.

If one compares, there is a spectacle in Bergman perhaps related most to the visual light and dark that mixes so enchantingly, or in so fitting a way with the characters, words, and drama...

....remember, Bergman is a modernist and so informed; I sense Suprematism, or a deck of visual cues built out of shadow and light...that tell its own story, and often seem to be commentary on Abstraction in hi Modernism itself.
It fits into the Jazz purity, of Pollock, of Kerouac at the most eloquent, at Joyce, but never so much as the experiments that did not work.

Bergman lived in a world of print, but you know, he seems like someone least influenced, but capable of working in...the written word. Which makes him a figure of study worthy to be central to the Millennial.
Not Absurdist but influenced by Ionesco. Bergman is narrative strong, as if Bergman is to Beckett, Hitchcock is to Bergman.


It might be useful now, to review who are the  most important technical innovators: Mizoguchi, Welles, (Neo Realists), Ozu, Godard, Truffaut...really, the thirties through the fifties wherein most ideas were explored. TV took over, the pace changed, movies changed too, and became not so significant.

These days, the difference is digital and of a another scale...I can set up Mocap in my living room..., and the later innovations in Film History, post fifties, are more nuance, still working in the direction of pure cinema.

But not so is Ozu. This if often overlooked, but those rhythms that count down, to pause, to open up in the moment that gesture or posture which is meant, at that moment to reveal and shift the meaning...which is quite often done in all movies, but, those of Bergman and Ozu, these sets up are not like Hollywood, while Bergman seems to have a use of it, perhaps the axial dialogue shot as frequent as a chorus or even chord, but Ozu has no "180 rule", which actually is not 180 degrees, except in Ozu where it is. Heh.
The Camera is lower in Ozu movies than all other filmmakers and looks straight in eye to eye. Dialogue in most other movies is arranged slightly off center, looking in slightly askance...most of the time.
As you made a graph of the average height every film has been ever shot it, and Ozu's would the one visible line standing out below the others.
People stared into the cameras and delivered lines. A lot, weirdly so. It works...it works and in other movies, but you dont notice it. Here, Ozu found magic. The eye to eye contact is also axial around the low perspective...there is a lot of scenes at the table.
This forms a kind of backbone in all the movies...for they are all about family and of course, all of the Ozu movies I have seen have eating at the table scenes.
Family, insofar as you exclude the outside world idea of family. The line that makes everything beyond family, that things that are not family...whatever it may be...school, society, government.
Ozu explores this...its not Social Consciousness. No, its meditation by a calmer mind on the Generations, but not without centering family the way America used to on 70's sitcoms and dramas.
Since we as Americans got a huge heaping helping of this subject on TV, what Ozu did was before this American TV consumption. However, it doesn't change the message and so Ozu falls a bit flat.
Everyone is more or less well adjusted. Bergman's movie decline a bit in that a lot of people are insane.

Lastly, Ozu skips time, like David Lnych, or like Godard except Godard its off the cuff, gee whiz, criminal glee, while this is a formal idea for Ozu. He is searching for something, but I never saw it...again, like some Bergman movies, I'd rather watch Mad Max Fury Road, but, these movies stood out strongly against all other images....as if all the images were compressing in memory and stylization, in some near death reviewing experience, to feel in what you see, true differences, human voices in the roar, or chorus (its not always Beckets nightmare howling void), those being also Wells.

The real genius of Wells can be presented simply in the opening; seven different styles of filmmaking, from news realism to fantasy...which deconstructs into a simple coinage available as technique, see? Set alongside each other, they are no longer so illusory.
The effect of banishing overtakes even the 'visual survey of all cinematic style', in effect, you see all the spectacles present one after the other, and then the story begins, post spectacle.
And what it is about? How a Man's false impression of himself, leads to meaning less than a Human SHOULD mean. Which is a Bergmanesque theme too, but we are Europeans and obsessed with self.

Mizoguchi is less memorable in exactitude, but, that filmmaker used Asian painting styles, angular isometric, and seemed to shift perspective in some ways different than the real virtuosos of 30's movies, who were?
Not Hitchcock, but probably Lang, even though post Busby Berkeley, the cameras started shifting and around and the sound improved. I can mention Mamoulian, Lubitsh, Cukor but then it is like now, such a empowerment that they all moved out in the same direction at the same time, and seemed slightly more sensitive in technique than the usual horde of careerist hacks.

Overall the history of movie making, the central essential sequence, the shot reverse shot, is a neat trick. It followed from out of the Silent Era, began a kind of increasing range of motion for the camera, first a shift here, a move, a sally, jumps, runs, dives, leaps, lingers, drifting, zooms...one extra per year, as in a constant steady progress in camera movement/technique up to today.

One could mention Murnau, but, in fact, that is the kind of lighting technique, or feel, perhaps a better experience with sidereal light...coming from being up North in Sweden where the light changes more radical than in Hollywood, or down in Europe. Sven and Ingmar get it too, and better than Murnau.

But looking at Mizoguchi is I think best because Kenji tried NOT to be like Hollywood, and it worked, though, thats still a derivation. Ozu, though, stands out as the oddest in technique, odd where it consciously different and not meant to call attention to itself and, not odd to disorient, but to make more clear. Yet, odd in subject matter as spectacle,
Family, and then so near perfectly pure cinema.

Bergman has no easy to point shifts in technique, no editing styles. The style might be called minimal, and Raymond Carver has a similar quietitude or measure.
Clearly, we understand Bergman got the sense to make real what is on stage. That works in Cinema when the camera moves out of the chair and onto the stage, and then becomes part of the actors relationships. Yeah, Bergman understood more fully and deeply what this really meant, which was a kind of Munchian increase in psychology, in society.
As if everyone were reading and discussing the latest Psychology Today article...but not in a superficial way, as if everyone had a seemingly mature psyche, but the obsession with self eroding many people identity.

The great wide spectacle of action so longed for in the limitations of the stage and realized when cameras went outside and were mounted on cars.
Well, Bergman's film are not the kinematics of George Miller, but, Bergman controls psychological action so well, the otherwise more tame kinematics have the near dynamic, just not the magnitude.

And, another filmic factor than kinematics, and this is true in many good directors, is with Speilberg and Ridley Scott well exemplified, wherein, lighting is used in great effect.
This use of lighting that does not take itself for advantage and subsequently, indicates an uncanny sense of mood and tone. Bergman's sense of light is as good, but, in fact builds over time, from this lit scene to that change in lighting in that scene, and that change in lighting in the change of angle...this builds up better perhaps in Bergman's more quiet movies, wherein, our eyes are hearing sounds and seeing lighting, but not the spectacles in every Speilberg or Scott movie.
Though I would say those two have a better sense of such things than most others.

Both the fimmakers, Ozu and Bergman are quiet. The emphasis being on visual, not spectacle...not audio programming but a exploration of sound to try out, discover, new mixtures of sound, drama and visuals.
Not taking advantage of the great range in special effects, wherein, Ozu or Bergman would be creating the same films...but, some other spectacle has ensued, which is no longer Industrial Modern.
We see it close, and in closing, have the similar shape to the Medieval, the Classical, the Rennaisance, or the Enlightenment. Its no longer the mystery of being within context, for the context has been mastered in so great a degree in digital.

In this, the movie format may dwindle as has the Novel format. The entry will not be where the seekers go, instead, there is another place they will go which we can all recognize is interactive,
Meanwhile these forms grow static and age, with the minimal necessity to reach the same audience decade after decade,
Ozu and Bergman have grown past, though there is something in their technique...certainly not the story telling, as the ages have changed, unless, these stories are universal.
Bergman ranges over relationships, like Ozu, but as explained, the family content from all of the 70's? And Bergman not reaching dramatically different content, like Leone's action.

Hopefully, provocation will get generations to elaborate and reference such direct two sources, Ozu and Bergman, meanwhile, what has made all diminish is not hard to guess, interactive not passive.
Even as content is everywhere, "interactivity" (I want an exo suit) now blends with robotics, doesn"t it? Well, this is old sci fi hat.

I think that is why the double has more emphasis...as in switching realities in Families, accommodating inter-subjectivity and converting it to society. Or like in Persona, is the psychiatrist studying the actress or the actress studying the psychiatrist?
And the PKD world, which get this into clones, psychic transfer, double realities, insane reflections on the part of main characters...the inner thinking of the android...that does occur in Do Androids Dream of Electric Sheep?

But this transition into the inner self brings reflection, a stillness.

Apocalypse Inc. Intro

I am not so grandiose to think of my family in dynasties. Or, in some kind of power, or status. The placement of my family and the rest of the world means I insert them equally into all manners of belonging, one of which I can appreciate as elitist, wealthy owners, traders, workers, peasants...who are of a family, but dealing with the greater status.
I like to avoid thinking about wealth and more about consumption habits. I like to think about action. One of my early passions was weapons design. I can toss off advanced weaponry with a gesture. A lot of different kinds as well..
I guess should get my crime crew post apocalypse robot.

The best weapons, not necessarily from a absolute point of destruction...which is after all is a smaller idea within a larger idea of that part of destruction that is Nature.
No Nature has the best ideas!
These are just the coolest.

But anyway, not deadly weapons but like weapons are from Survival Research Laboratories...and those conceptually fun, written charming robot weapons, from Mona Lisa Overdrive.
I think Gibson had already invented a few new vicious weapons...the brain fry elicited by Virtual Reality Obsessions, or, duplication of the person...in some other abstract space such as an Avatar, or some Symbolic projection akin to the religiosity of the middle ages.
Indeed, I am one. This crowd also frequents and composes the Ren-Fairs, the comics-convention...there is a feel of a convert. Well, I was converted.
However I mapped that conversion.
It wasn't the first time to be converted. That happened in some unconscious, inchoate hell of infancy
No, not that conversion...to English in my case, but the religious conversion which involves Symbolism of some kind...which is a unspoken shared context with someone else.
Like the Jews invented that!|

They called it Heterogeneous thinking back in Promo times...that is a good term for Post modernism, instead of Pomo.
No, Heterogeneous meaning capable of making connections where machines cannot.
Lots of us have big RAM minds, but perhaps deficient in other areas. Humblingly deficient.

Needless to say. the best machines for killing are in Sci fi, but I was speaking of particular symbols or images, of Gibson which creates a kind of cult, in that he describes a real world.
Heterogenous enough to disappear over the horizon of a lot of readers due to Gibson being more among sci fi readers...who are populated by a particular kind of mind which is the Man of the Computer Industry.

This Man, will turn into a breakdown into tools of International Trade Organizations. All this fear of the international corporatocracy is substantiated in Gibson, but I was getting the sense of it by reading News Magazines in the 70's and 80's. And, I read Gibson in 91?

Apart from that there is more to substantial Gibson, but I was just trying to get to the giant killer robots...which shockingly the Wiki article on Gibson makes no mention of.
I cannot remember if they go berserk...I know they go into battle and are beat by.....I cannot remember. Quickly by a viral cyberspace attack?

Its a juvenile male thing to project some magic power into a sword or gun or really cool robot...but there is actually no Apocalypse in Gibson. Its a kind of symbolism of "in the future", but not really...of people who keep getting richer as technology advances, and the Earth is over populated, and mostly poor.
The more you describe it the more real it sounds.

But the weapon design I applied to robots. I have a swarm of diverse robots who form a teamwork squad to harvest human brains...including using harpoons, spearing robots, and a gin where bodies are thrown, but skull are merely cracked, and shuttled into storage while the rest of the body is discarded.

The most nightmarish is the Blader robot, who is 30 meters tall, with a bendy middle, on which there are two whips with saw blades used to break into the bunkers, or slice peoples heads off. This towering robot has massive blasting out ward air jets or chutes where, jetted down, to open vents at the base, there issues clouds of dust, mini whirlwinds that shatter homes and create a rotating cloud around, sometimes full of dust and fire from shattered office...winds strong enough to blow over brick towers.

But then it also sucks in the air from its neck. A top is a head, and the lenses, placed on its topmost part, implies a brain seeing and willing is carnage... a brain ala the Star Trek episode Gamsters of Triskelion.

People, up into the air, are then caught in the air circulation and are drawn into the vents. So, there are a storage of heads in the Blader's main form, while it meanwhile spews out blood bone, wood and other debris.
After the Bladers have done their programming gathering humans from buildings or building remnants, they move to the aforementioned Head Gin, and through an anus like hole in the side of the Blader, nears the bottom, they excrete human heads, all but the last layer of skin burned away by acid, one by one.

Thats blasphemous, but no more blasphemous than Bosch.

https://www.pinterest.com/odilonross/apocalypse-cyborgs/

That kind of hell.
There is an underground unaware of the Cyborg brain archiving squads converging on the surface, over their heads.

Imagine a cut throat political organization that encourages free speech among clones but then murders with impunity.
The Doctor King rules over a world of increasingly immortal being, even as death and suicide cults and love pacts or surreal murder sprees are far too rampant, yet, the State...which lives in pretty much a Mall-Hotel, happily keeps going...
as they live on and on.
Everywhere, built into the walls and floors of the mall, the apartments, built into the walling, and flooring...are superHG realism TV's.
Psychiatrists have sections where brains are examined in extremely weird and mentally cruel trials.


The old surface of the Earth, its anarchy, war, jump rockets like taxi, self driving all terrain vehicles, vast scorching deserts, wreckage, ruin. Water shortages...and of course, cities of atavistic humans...book readers holding out in libraries with private robots security...the four generations down of the line of today's 1%er's.

Who did not move into the massive city bunkers, or, prepare early on to have a resource of clones...in which to make brain transfers. These nomads lived for that many generations before, but now, the Cyborg Archivers are harvesting the last of humanity.

Cyborgs have also ruined the plan of living a few more generations in more or less rural anonymity, albeit, scattered in Clone or Cryogenic bases whose small crews are otherwise dwarfed by the massive polar cities, or the millions or so more sized Bunker Cities, like the Underground of Chicago.

Messengers maintained this boundary but, they were hunted by Cyborgia and disappeared, arousing a suspicion too late.
From inside many of the largest groups on the surface, the cities of up to twenty thousand, surviving by limited farming and mostly dwindling supplies...sometimes possessing such things as a mine, wherein, they have some foundries. Some tech survived from even Industrial times.
Out from these surged early cyborgs, who within ten years had overtaken foundries and factories and created the frightful Archiving robots. Those that moved across the land, killing every human possible.
Even the swarm of those ten of thousands that inhabit the ruins of New York, by the standard group, whose robots possess some adaptive intelligence.
But it is merely practical...how to keep moving.

This forms a constant migration of people, using old vehicles or sometimes having the programmic talent to convert a self driving taxi here, a half damaged battle bot there....but they are slowly herded out of the mountains and valleys, into the plains, where, from the Rockies come only two hundred thousand remaining humanoids, while from the Appalachia, there is another five hundred thousand.

Humanity was just getting over its quadruple apocalypse of Nukes, Asteroids, disease and radical global warming.

Near Chicago, which is a ruin inhabited by people yet in the Cyborg army path until this very day, when,

Some break off into rock groups, which are groups that travel in the rocket taxis with a limitation, strictly enforced by weight switches, to transport up to sixty people without goods. Sometimes, there is no message after they arrive at another rocket port. As if some others were waiting to plunder.

Rocket ports were sometimes bastions, but there are serious robot guards from the old state, which prove all to effective, especially if using really advanced weaponry like tractor beams or particle beams. Not so many around the molding library.

Anyway, into this

Inky sends a confirmation to the nearest Bunker City, underneath Chicago, in which there is inhabits several clone series, one being Inky's own, who are of varying ages, and also the oldest. Needless to say, many are in power, and Inky steps into the Rule with access to the original computer, as he possesses the password that had been lost for four clone generations.

So, Inky, knowing a few secrets of this Underground city of quite apocalyptic behavior, secretes himself into an elevator to barg into a meeting with King Inky the 2nd.

So, Inky charges up an old cell phone, then steps out of the elevator into this opening scene:

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Now, this is inserted into the story of Apocalypse Inc. wherein, the story convulutes around three plays...one with struggle over the throne, the other with clones, and the third between two invading armies, who have a prisoner exchange.

But, it leaves off with the invasion, the script of Underground Chicago invading back up to defeat the Cyborgia, and while that story is told, its finality is needed to be added, this scene:

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Inky's bride is cyborg, who he concedes to as a treaty between Upper Chicago, the surface now controlled by Cyborgs, and lower Chicago, now inhabited by the New Humans.

However, the very last scene is later, after the night's wedding nuptials, this Inky Cyborg bride removing small canisters from inside itself wherein wriggle embryos of partially evolving, mini, non- human or approximately human babies...each case some variation in the genetic editing wherein, only a head here, only legs and waist and genitalia, others a torso with stubs for arms...headless, armless, legless torso's, mutant heads with gills, some little wriggling worms whose bloated head nevertheless has large staring eyes which whip about.

Or even little cat headed humans or pig headed humans...each of these in a greenish glowing fluid in canisters which Olivia...the Cyborg Bride, is deriving.
Each is about the size of empty role of toilet paper, so there is a brief wonder at how really is she able to store all these increasing hysterical human partial Cyborg-ready growth accelerated embryos.
In fact, they are changing shape even as she inserts them into some water filled fish tank where they sink slowly and settle on the bottom like fish eggs, Meanwhile, the fish tank has an old pirate treasure chest, bubbling...and no fish.
These drop in, bottom weighted, and land floating upright...so each one that falls in falls between the other, slowly floating, clinking to foreground and background.



On the surface of the streets and empty burned frames of most of the buildings, there roams Police robots untethered from any command. They roam around like maniacs killing all creatures.
Many have fallen down stairs, or been run over, or pushed off a precipice, or caught in self ignited explosions, yet still function, firing from under fallen bricks at anything moves.

People flit around these lumbering robots..who can climb, but are easily led to pre cut beams at altitudes proving destruction despite their heavy weapon design. The Police bots that remain adapted, or were too large, or, are avoided for being too deadly.
The Atavists humans occupy and run a twenty four seven missile battery, wherein, from underground factories there operates missile manufacturing plants. That is, factories running on auto.
So, the humans have this system, and inside the lower area, under blankets of kevlar and carbon plating draped over the side of their glass and steel tower, in the sunlight and in carpeted, air conditioned comfort...a band of humans numbering 2,000.

They occupy the subway, and tunnels dug even further, that reach down (just two levels deep, mostly dirt tunnels...the size of Washington DC subways...) to the top of the older bunker city.

The top level of that city is sealed off due to the outbreak of a disease...and has been empty for decades...and truly, nothing lives there for fear of the disease. Bodies, dead from disease and no other violence, rot away in hordes over the mall-streets.

However, even on the anarchic and hazardous surface, many people scatter out into offices and basements, and big houses...about the downtown...for the multitude of malfunctioning maniacal police robots do not stay in any one area but keep moving, like hunters.
In some places the occasion of Robot and Human is not merely the occasion of running away from alarms and sensors, but some one's own personal robots have cleared some streets, wherein, there exists markets.

From other bulwarks do these markets sometimes receive, and therein, the few outlying rocket ports have been operating...also nearby the even more distant outlying bunkers of smaller scale, mostly old freezing facilities...wherein, just as the Human Race was being destroyed by the cascade Asteroids and Nuclear war in the late 21st century, there was invented reasonable means of freezing, and then thawing out human beings, in order to sleep out in safety a obvious world gone horribly wrong.

Chicago area housing many of these facilities...those from inside the city having been mostly wrecked over the three generations from whence the facilities filled with freezed, and, sadly, mostly used as meat until some establishment plunder routes were established.

Up from the south there comes this Army of Cyborgia, and Inky is at the fore of the wave, the prophet bringing doom on his heels, leading whatever people and resources, including his own clones, all that salvage otherwise a secret only among the people who are cloned.
A secret only five "original" clones possess, and none as old as Inky, for Inky is a brain transferring Immortalist.

https://jouermondiale.wordpress.com/2015/10/04/apocalypse-inc-tv-series-episode-one/

Review 9 ; Ayn Rand and Umberto Eco

The problem with Rand is that she never drops down into the specific enough, to be telling the truth about a person. It hovers always in high emotion, pride and narcissism...pride being the useful tone for those looking for an example to live by, for sure. 
So, Rand's invented a patriarchy soap opera. 
Which is very similar to the bloat in the "scenes of people talking" in the series presented as binge, except they lack the art of the soap opera, and instead...perhaps its the actors, are blanks. It broke out first for me in the 1st season of "The Lost", this inflation, and the blanks feeling in other shows seemed to increase as characters got to know one another.
Whedon has this problem, but manages it, to take advantage of plot exposition. But Star Trek did it better than Whedon.

But then I might like frame stories, like Dexter...where its the same plot really again and again, but the characters change. So maybe I am biased.

There is a kind of bloat in Rand like this, that covers over, romantic hero story like...and similar to Tolkien, a component lack of humble realism in self-examination. 
Well, that was what Tolkien strove to dig for, to found in the flat thinking of fantasy, at least a step in the right direction out, toward a truer assessment of character.

So, that makes Tolkien more realist than Rand. However, because of a lack of literacy...readers of Rand think the reverse.
Rand, you see, is also stagery for a philosophy based on 3-d thinking, which makes it creak with programmed digression (to frequently didactic tone emerges in Rand as well),
and
a bully platform; Rand says "now that I have you transfixed with Narcissistic possibility..." See the Ring here? "...let me just indulge in telling you how to be."
Remember, this is a program of the Baby Boom...and this is where they split, Harper Lee and Ayn Rand.

The long speech really violates all sense of literature. Its not narrative or specific, its RHETORIC, a gigantic boring political rant meant to instill, by mere rote domination of your attention, an internal thought process.
The problem with that Toynbee/Nietzche-internal-thought-process, is that it denies pride a suspicious place for motivation. Hence, its never suspected of narcissism, which hides perfectly well in plain sight as pride.

And this she lack as well. I mean really, who did Any Rand think she was? A philosopher? Well, yes. A storyteller, well, that to that two. Despite the fancy footwork though...I mean really bravo...sorta....despite the fancy footwork, its still not so good on either count as story or philosophy.
But its not that bad either. She should have written script for Hollywood after Fountainhead.

Her descriptions are about as good as pedestrian Sci fi writers like Hubbard, still, there is a kind emotional integrity and reflecting on mental discipline. Useful. Who doesn't do that naturally though? Can the hysteria, we all have egos.

It proposes a kind of secondary literature that we can down reference as that which was peculiar to its time, along with Catcher in the Rye, Grapes of Wrath, Gone with the Wind, Tarzan...

American Lit classes do have a survey of ages...Rennaisance, Restoration (obscure...it refers to the three or four generations of political turmoil), Neoclassical...which is also just fancy for Greco-Roman Revivalof wide consumption...anyway

Modern standard is codified by 1930, bolstered in great part by the sins of Industrialism: child slaver, racial slavery, ongoing Imperialism, Capitalist running on Coal...really, oil covering everything and local population extinctions...but I think the self consciousness of the Mid Modern, is exemplified best by Joyce.
The blind romantic confidence in Conan or Tarzan...really, Ayn should have written scripts for these characters.

Yet, then as rooted in the fifties, Rand and Lee, I would have to add the reading habits and how those inspired the generation that read them...Catcher in the Rye being a good example, but then, another example is Hermann Hesse or N. Scott Momaday, etc.
The point being they looked back and read stuff, and what from the past did they equate or find mirrored in the present...
that is a secondary frame based on, but not limited to, the Literary canon taught by way of College.

Because I interacted with the Baby Boomers a lot. I was right behind them in the transition. My older sister not have much trace of the Baby Boomer at all, and certainly more a GenX.
The oldest, he was a Baby boomer.
But I studied them...I deliberately read "their books", as suggested from a variety of sources.
This does not include almost all the books assigned in School, from elementary to a degree in English, which is odd to think about. Some crossed over...
Joyce..crossed over paths, as did Fitzgerald. I enjoyed Chandler the most, which is probably dropping to the secondary tier of Literature-to-be-studied.
Shakespeare, Chandler, but then other writers in genre's other than stories.

So, speaking of Philosopher-Novelists: Umberto Eco tells a better story than Rand...yet, is similar in having a kind of creakiness, perhaps a lack of a few stronger dramatic choices set aside for reflection, erudition, exposition; bloating.
Similar in that way in having a corruption from a didactic tone.
Yet, Eco's didacticism is more self aware. He pokes fun at himself.

Yet, you want to include him, make people read him, because of the really cool Semiotics book he wrote. Some stuff which would be okay but not qualifying, should be included merely for the quality of the philosophy.
Do we really need any other Semiotics book than Eco's?
No. Its a great manual for training one to think more along a scientific basis and not an internal emotional strain of personhood and will...the Modern, OR iron age eloquence.
Which one, do you ask, is more error prone?
Well, back in the industrial, the poor scientist was limited to books at hand...well, no, way over there, or, over there...while the lab was...over there....
but not anymore.

Anyway, Pirsig...who kind of taps Joyce as a similar demeanor, more graceful in inserting reflections...he seems to be polite and I think apologizes a few times? Pirsig hits the precise tone of the late Modern. Soldiers overseas, others traveling the roads...a road trip. A head trip which is the self consciousness of the Mid Moderns informing the 50's kids: Grapes of Wrath, On the Road, Catcher in the Rye, Atlas Shrugged, Lord of the Rings, Demian...and the one to come out of all that, To Kill A Mockingbird.

Its a really good story, beyond the moral message that really is a great deal of the effort behind the anti-Capitalist...later assuaged down into the not so for Communist but still estranged from the Capitalist...this crowd...Late Modern, To Kill hits all the social reform, and Zen the internal mind set so desperately sought in the early self consciosness.
Mid Modern was deprogramming, as the subject of Portrait of the Artist.
The tone increased, found traction in an audience much more aware of the old Capitalist criminal etiology: expect mere dystopia: Brave New World, 1984, Iron Heel...
all pinned into To Kill A Mockingbird.

For as I am still referring to be inside the Modern, the late Modern, the Modern that turned a crank on the Oral Tradition,
there is a "village idiot" in the Modern...the Boo of Mockingbird is exactly who the Roark of Rand would deem an easy target. The Forrest Gump...the divine fool, Perriot, codified in the Modern, fashioned out of the old reflection on the worst of humanity, the Commedia.

In Modern thought is a great deal of gene anxiety, or we dont know what genetics are, but they seem visible, sort of. This emerging out of Europe in the 1900's.
There is an analogy: German Archeaology of the 1860's, is like British Social Darwinism of the 1890's (frequently confused with Protestant Work Ethic)
is like American Eugenics of the 1920's.
Neither knew what they were talking about...but then Paradigm shifts later, the politics this spawned; genocide (not new), arranged marriages (not new), eugenic (Sparta? Amazons?), gene therapy, genetic diseases, genetic markers for traits...there you go. Racism.

Really, race, the term, is not so one sided anymore. Its not the same but still out there in the sticks, it has not got past To Kill A Mockingbird.
What balking them is "White Overreach": they cant be allowed to learn about others as races, because its Federally sponsored.
You know, the reactionaries in the rural communities. A lot Mexicans do not want to learn English. Many Chinese do not want to either. Communities are exclusive.
Cant just count them out, a lot of them run things, responsibly.
Thats always a voting bloc, too. Race.
No non-whites, no women, maybe, just maybe a Catholic.
Those people. They aren't bad, they just are holding onto power while being oblivious to Historical context...we might call it illiteracy but its a kind of illiteracy. A lack of reading creates a lot of ignorances in different subjects.
Cant really say if we can depose them but then again, their power is limited by law and there are plenty of exchanges of money based on civil lawsuits.
I remember those days. Back when there seemed to be a lot more lawsuits mentioned. Then there was a courtroom thriller novel, seems well-market-timed at this point.
Has the law been gamed since?
Libertarians complain.
Tort reform....you dont hear that anymore.

Fear of the Bernie Campaign

Rich, Middle Class, Poor

Maybe this is an old Industrial idea that is not keeping up with the digital age?


It would be a better trick for the New Financiers to hide or make ambiguous the way wealth has stretched and molded society differently, not a single bell curve, but an acceleration into an ansceding wall, of holding, which looks like a big investment in a bond market.
Yet, more so than ever, what was a sure thing is more risky...manufacturing and all that is changing to the Oil glut, but the Digital Age marches up and on...
The effect not so much Shock to the System as Naomi wants to make clear, but more subtle, civil methods of obscuring money, gradually, behind the curtain of the news cycle.
Well, how that used to work! You still have cable? Ideologue.

So, this curve represent a bell curve to a smoother curve with a flattening out at incremental wealth over (was it 250,000?), while it looks like the largest amount swells up, as it is put aside in land and the bond market. Long term investments.
However, if the Oil deals are being shaken up, then many other deals will be too.

Its not such a guessing game anymore. Furthermore, the flexibility, ubiquity, and fluency with instant research technology, along with a massive increase in employment in IT security by Corporate and Federal Government, creating not just the new wealth in the Shipping class, I mean...its 2015, not 1680..., the Computer class, but within that creating heretofore never so powerful, intelligence agencies. Like there was the royal tax society of 20,000, modeled on the Theocracy...but now, its a larger percentage of the workforce that has grown more than any other...or, whose growth is more significant as it is really really smart people...120 IQ's and up, all networking intelligently.
Its not paperwork anymore. Its global and instant.

Let me paint a picture:

Russia and NATO, mostly Americans, as encouraged by the EU due to NATO, are to go to war over the Black Sea. Well thats where its staged, America as "NATO", confronts Russia in the Black Sea as they "invade" Turkey.
However, the intelligence agencies stage this instead.
The Russians and the Americans meet in ships, but they get together every night and socialize, drink, hang out...first online, but later they hang out at each others ships. There are men and women in the militaries of both Russia and America, but its also that kind of dress up where a American officer might be introduced to a potential Russian spouse. You know, arrange marriages.
Spys are exchanged next morning.
Meanwhile, they pretend they have battles while there is all this mess going on in Turkey, Syria, Lebanon, Israel, etc.

And they have a meeting about Global warming because Russia is going to have to accept most of the Bangldeshi...they have to offer their hand, I mean, thats what America says.
Russia says yes, same amount in Alaska.
America agrees...so all the oil and damage to the ship and so on that we pretend we lose here, we spend over there!
Huzzah!
Because, the military knows the global warming is not going to be just 2 degrees.
No, all the ice is going to melt.
Also, most of the water is going to, well, already does, bulge at the center, and the currents are going to increase. The Earth will look more oblate, and more symmetrical...the ice cap on the Antarctic is quite pear inducing of a shape.

Meanwhile, law enforcement is a serious subject. There are people who enforce the law. However, they are not lawyers. So what are they enforcing?
They are given a code...a short hand of the law. All of them must study this, and so then I would argue, they be constantly engaged, via social media on their jobs, in the debates, either reading or participating.
Whether they get promoted is based on the quality of this participation, leaving behind a record.
Up the pay for policemen to be worthy of Liberal Arts BA's graduate, and fix a discount to their loans to accelerate the pay.

This is based on the its a digital age vs a industrial age. Meaning, in particular, social media is also a domain police should "patrol", or have bots patrol for them. So if there is a policeman on your social media feed, they are allowed to investigate who it is they are socializing...this is not public data but only owned by the local police.
Its way of getting control of the local information away from the gigantic effort to build up an Intelligence Edifice...done, as we can see, through a psuedo fascism...what I like to call to point our way further East a Zaibatsu.
It is the computer class level Zaibatsu that is the core of the Baby Boomer political elite.
You can call it a big stinking capitalist pig mess only if it did not get flushed and that is exactly what eventually happens. |
Maybe not enough for NOW, but in a two decades...all of that Zaibatsu new money is going into inheritance. Probably not a ruthless and vicious if its a subdued civic era of culture...if dividends are taxed more, so that workers get more pay...from business...and a lot of small businesses might be exploding from the inherited (psst, the bloody Capitalists need this to continue the myth...)
No, we wouldn't expect that to happen in our pragmatic dog eat dog brutal regime...no.
But a non political digital native "enough piracy!" civic reactionaries, clued in to the bizarrely uninformed, willfully ignorant and shameful narcissism that was accepted "back then".
Oh yes its a back then to them like its never been a back then to any other generation. Anything pre-digital is all of one class.
You like they saw the steam machine pumping air into a mine and said, expect "the transformation after this", well, thats the same idea here, but even more comprehensive.

Maybe there is a intelligence agency Actuary...the cousin of accounting which data-digitalize. You know there's friggin fractal models of society now and people who use them to make plans about how to spend all that money.
Even if its in private hands, a war can seize it...though I suggest a Justice system that confiscates, seizing bank accounts...secretly, it will seize overseas bank accounts as well.

And then a whole other academic realm, certainly to be future entire wings of computer IT staff at intelligence agencies, are political scientists graduates.

There is an oligarchy at the helm. The plutocracy never wins for very long for out come the willfully ignorant but charming salesmen thugs...always.
A couple generations of brutality, this one now ending by the sword of social media.

If you want an authoritarian police, those not knowing the law yet enforcing it, that comes with a couple other personality traits which is ambiguous in service of enforcing the law: panicky or not, and who here has never had their courage tested and failed?
Those who cannot admit...I guess it would be like a Catholic confession...those who cannot admit ever failing a courage test should be suspected of narcissism...which does not properly assess one's own coolness in a potential deadly situation, as criminal have guns.
Just ask a woman what going out for a walk alone at night means.

And, a abundance of trust and confidence not really compatible with a scientific majority of people...the non questioning person is not likely to be a man of action.

Now, it might be worthwhile to examine a court with skilled research into the perfect depth of a legal database, updated by law enforcement/cameras by the minute.
Into this thrust a compelling Testimony. Every fact is checked, live. Like a game.
Add to this plot the one of High Noon, but High Noon with a robot swarm. Not the same effect.
No way the criminals have all the abudantly cool tech, but, they probably would have Mona Lisa Overdrive like battle droids, put together with charm. Yet, their stupidly ineffective...as the ever hovering solar maintained drone swarm drops down into the city, each having a cross shaped cartridge, where the bullets drop down into a rotating turret of some twenty muzzles.
Say, one thousand of these mini globular guns, which shoots 28 rounds.

But then, the invading gang's mastermind has a one last rigged weapon to play...the night before was the Perseid Meteor Shower, and MM had launched, hours before, graspers with heat shields and relativistic guidance controls, to then have them rain down upon the town...

Yeah, that story doesn't work anymore.

Law enforcement is very peculiar and particular, however, Shakespeare serves here as: "More is in reality than in anyone own imagination" I paraphrase, dear Horatio.
Like you could challenge that thought, coming from Shakespeare.
Surely you can if you believe in Authority. Because Shakes is no slouch at understanding politics, and have you even read Hamlet? Watching the movie is okay...unless watching is more a habit.

To be an Authority requires dismissing more and more and more information that requires a scientific or reasonable sense of doubt and hesitation to risk, that a careful, scientific mind requires.
Into cop work there is surrealism...even as to Breton's most famous definition. Bizarre things happen...and the police put themselves in that State.

But yes, instead, some are there to continue the rough-housing. Big tough immoral brutes who somehow, perhaps by possessing 140 IQ's, get by.

Perhaps they lack integrity, having been remorseful, guilt ridden thugs as boys. Growing up (from all classes do join the police: rich, middle class, poor) more free in a secular society, whose rules is it going to be?
I mean, we could enforce speech laws. That would put an expectation on people to behave.

Someone whose talking over rules in socializing, however is a practical advantage used by the Temple, Cathedral and Mosque, long before we thought up anything secular.

Its difficult enough to read the material...much less then remember, but through all that difficulty one also socializes in secular homes, and some of those have the same ills as the Christian homes, some the same virtues.
But that they slip by at all suggests more of a risk in secular homes...the intensity of one's moral instruction is at risk.
Yet, is it better managed now, better than ever, by media like TV-Cable-Youtube?

... but then the greater problem of a me generation of narcissism, is neglecting children. Just leave them to the moral and ethical instruction of the TV.
Does not mean the same as Just leave them to the moral and ethical instruction of the Computer.

Perhaps some bad police do not understand a "self" deep enough, full of flaw. A religious training in discussing the topic of sin would be useful.
...I am not sure I understand myself deep enough! Well I read a lot more than most everyone.

..but either way all are needing some other honor, something to honor, besides self, to believe in society, and police are vulnerable and blind to this need. They want to be more honorable but instead its not in the culture of the Pirate.

To found a punishment to piracy one creates a persecution first of the downtrodden. Then, after that database is established and can be used as reference, one goes after the Pirates on up the scale of money, to confiscate millions from corrupt, criminal millionaires.
This appeals to lawyers as they are "a conspiracy" along with the Judges and the Law itself, to make things work.
So, the confiscation law, built up from drug enforcement, that'll be a bitch that bites back at Billionaires who banked on that money.
Money, largely gone to parts of the Intelligence agencies.

If you are more or less fair and legal in your riches gained...and a lot of the up swing in wealth in the new Computer Class got their riches legally and simply just participating the eddies and repurcussions of the Zaibatsu....those nearby the Zaibatsu, which is only guilty of conspiring against other businesses through super conglomeration...easily handled now by computer when back then...in the 80's, that would have been too much of a paperwork headache.

No, those who did Zaibatsu probably outnumber those who did not. Some at the very top are very guilty of being Pirates. However, its a pyramid, so, we start at the bottom, where the rich sit back and laugh while the brutes they hire get promotions for doing what their told...
...sets legal precedences. Thats how the stupid rich ARE! Law? Hah, doesn't apply to me, Im RICH!

Except...oh, look, its a Civic generation! Heh...while you fat lazy 60s f*ks have been laying around enjoying your Ego props, some whip of a digital American in his late 20's, with a 160 IQ and parents who are Generals, or former Senators, is going to make a lot of people richer, taking you down.
Look, we persecuted this black community with fines and bills and citations, and sucked all the money out of them.
But, now its going to be you.

Is the fear that a Bernie campaign will bring.

So, watch the money...see where it comes from to destabilize Bernie. Watch for an assassination, done sloppily, with a kid who possesses the mind of a psychopath, behind it, Hilary legitimately not having any involvement.

Because, my friend recently died. He was a good guy; B. There was a guy who was a bad guy: M.
M would assault people whimsically, impulsivly, viciously. A golden gloves champion at 12 years old, a rage machine never ever getting over his psychopathy of "boyhood interrupted", he would not just beat up, it was all precurser to domination, for, after inflicting terrifying damage, the threats to obey would then follow.
Homecoming King of the High School, actually. Everyone was terrified of him, but he showed up my senior year, and was a year younger, so blip, he was gone.

Years later I make friends with B. B tells me M is totally evil and must be stopped. B never really spoke in terms so strained: B, I was later informed, with a witness, Ron, that indeed, B had been in 5 fights with M, after High School. Lost every one of them.
Now, B had been in another fight, with another guy, another night, whom hide a small hammer in his hand...B was too drunk to know what was going on, and the hammer's claw took chunks of his scalp off, until B's head was covered in blood.
B won that fight though.
But he lost all of them to M.
M, later I heard, but its hearsay from a neurotic...formed a gang that robbed a bank. M was not caught, but the others were. Then, they were all let go.
However, M, as highly effective he would be in small arms combat...was not a mastermind.

No, there are guys like that, who are. Those that are rich, and have that kind of psychopathy, to deploy as domination...that is what I mean by Pirates.

Rendevouz with Rama

Anybody read this? Arthur C. Clarke's book...the best hard sci-fi I read, but I have not read all that much hard sci-fi and there is quite a bit. I think Niven's Ringworld qualifies, although a lot of what is lost in Ringworld is the humor, and the aliens are characterized so well the hard bits de-magnify. Which is funny to say about Ringworld isn't it?

But the point is I met a Russian agent, here in the United States, stationed, as he was clearly military and in no way interested in becoming a citizen. In Houston, which is a strategic location as its a good part of the Oil that runs a modern military.

Yet, we loved him. I'll call him Ivan. He had his blood type tattoo'd to his chest, and behaved in the way a Vet does regarding his service...when it had been expected of him to do his worst, or best.

Ivan looked less fit than I. Being in Houston I also had a friend, well a few, that worked at NASA. Dan, one of the NASA friends, spoke Russian and so when I had a party Dan and Ivan really hit it off and Dan then later related that Ivan had flown Migs.
I went to work out with Ivan. I looking quite fit for having been a Jock pretty much the first twenty years of my life (I was in my mid thirties and indeed, keeping fit...). I was always one of the weakest in strength but then I played better than most and most of team sports really is "game head" and speed, not strength.
Ivan, again, looking not all that buff or fit, proceded to do, over a brief stretch of time, 18 reps with 200 pounds. He said he hadn't been there in months, but that also, and this is worth mentioning, that he had negotiated Bally's, which did indeed have these ridiculous negotiations, to a penny a day for the rest of his life.

The point is, Rendezvous with Rama was published in 1973, long after the conception of using gravity well to swing or fling satellites about the Solar System (and beyond), thus conserving fuel. Ivan, who was making a side living writing English papers for local University of Houston graduates, and otherwise was strinkingly intelligent, did not understand gravity assist.
I was really flabbergasted, but if one looks at the Russian space program, this seems evident.

Furthermore, I dont know if it was due to too many "Boy meets Tractor" social realistic strictures in storytelling, but Ivan did not understand "Good Cop vs. Bad Cop". Both of these I had to explain, and Ivan was tolerant of me, and otherwise didn't care to listen to me.
His girlfriend, owning some substantial piece of real estate, was using me to estrange him from her, a sorta of Jules and Jim situation, and furthermore, I had suggested to him that American were manufacturing chipped guns which would malfunction when receiving a satellite transmission, which was patent mis-information. So, he didn't really want to listen to me anyway.

But this indicates to me a clear advantage in general knowledge possessed by those who care enough to be literate, ask questions beyond the education provided in State school curriculum, naturally, as per the wisdom of the founders. It confirms the natural advantage of having a first amendment, and of course, the Scientific establishment benefitting from such a habit or custom...which it is indeed now.

This stand in contract, literally, the rest of the world.
And, it figures that in this dawn of a new age, a leap forward akin in writing, such a custom serves to create a trump in speculation, critique, debate and dissemination of ideas far beyond whatever secrecy all other states have grown to customarily value, including Europe. I might exclude France or Holland, or, the wisdom of Italy in creating the conditions of the scientific genius to thrive, or indeed the German value in scholarship above all else, including Germany (at least according to Nietzche), but, not having it part of the enforced Government policy, therein, creating a vigorous culture and custom, I would have to conclude that the United States gleans from this great cloud of sound and fury signifying nothing, great advantages in technical and scientific progress.

Which is also evident insofar as the United States founded and promulgated the Computer Industry and the Digital Age. Not that Europe at large contributed nothing...one thinks of CERN's own nascent network, but, one could transfer such accomodation and careful non discriminatory micro aggression to China and conclude otherwise that more minds would contribute more knowledge.

Its highly likely I am wrong about Russian science, as they all might have figured out Gravity assist and Ivan just was not informed. One did not have a Popular Science in Russia, but instead, an ideological editorial staff imposing upon the whole of Soviet publishing a blanket of prejudice meant to provide a sense of safety in its people.

Gravity assist is rather obvious from the Einstein observation of light bending, and inherent in any curvature there is acceleration. The whole of material reality then bends and accelerates about this increasing hierarchy of material...and invites a popular consumption of the eventual dumpsite of all acceleration, the popular black hole.
Oh, how I love the Goths of my GenX!

But regardless of my sentiments for belonging in time to a smarter generation of American yet, I wanted to then address the mystery of why a Galaxy spins without twisting, but, like a fat person snug in almost ill fitting suit...requiring a bit more effort but then also more evocative spin, the answer to this mystery, which makes Spiral Galaxies look less like they are material draining into a black hole and more like stable structures.

They explain this by dark energy and dark matter, two different things. Dark energy, according to a Goth interpretation, would be issuing from Dark Matter, but lets just keep with the Science!

Dark Matter is considered a accelerent along the outer edge of the galaxies and contribute the perfect amount of extra energy to make the edge of the galaxy spin around, like a LP record on a turntable, and not spin as one would intuitively assume, faster in the middle and slow outside.

I mean, the spiral shape otherwise makes this a foregone conclusion. But no, there is this accelerant around the galaxy that adds spin. There are a lot of satellite galaxies and even globular clusters, orbiting probably much like moons around Jupiter.
And, I may be too much given to popular science descriptions wherein the very detail, some of the galaxy does move slower, some moves faster. I do remember something about gravititational arms spiralling out, into which stars...bright indicators not necesssarily of gravitational increases...stars then flow down into and then bottom out and flow back up out of...as if the gravity well was not a singular point but a line issuing from the sheer power of Galactic central gravitation having folded over on itself over time to create a kind of criss crossing tornadoes of invisible galactic trenches not unlike the way the Sun's Heliosphere is manifolding.

The model then might mean that large gyros, perhaps counter rotating as they spin, exist as a galactic structure that stretches not too far beyond the evidential stars..again, the stars are not like pointillist "markers", wherein, we fill in the invisible shape as in connect the dots.
That just the prejudice of the human eye.

It might be hard to describe, while a drawing easy to make it clear, but the shape might look like, edge on from outside looking, that the Galaxy, spiral in general, is composed of so many, well, substantially gigantic, counter-rotating wheels, slightly bent upward and downward, which then funnel down, twisting on axes, to connect to the small black hole at the center.
Two shallow glass plates, places back to back, seen edge on.
The distribution of gravitation energy riding a carrier wave of the Black hole.

If you built a wheeled device, setting each wheel alongside each other, these would work together...(these theoretical wheels not of rubber!) to make its neighbor spin opposite. This so doing, creates a motion of material that would reach a point of homeostasis?

One mystery is the spinning black hole moving faster at its equator than at its pole.

It seeking to build a vision of the Universe we may look at the fine distribution of all matter in equal parts, then subject to initial spins and then later spins, which apply themselves in greater power until they, well, exceed human capability to measure.

Aren't we all looking out from the gravity of a local supermassive black hole? Sure, the distribution of matter might create a kind of ordinary state of super conductivity, insofar as all matter is lining up in straighter and straighter lines as we zoom out, but then within this black coffee we see the heat and pull of black holes creating shapes...increasing Ohms and distorting light trajectories.

To continue on, what would the straightest light would be the tiniest, but even as nuetrinoes are straighter line, something makes them shift in electrical potential, something imparts charge or spin...though, in detecting this probably slow spin we might have evident of gravitational effects from more powerful sources, further away.

That is, if the line of the trajectory of a neutrino could be drawn as three colors, so we can see the spin by it twisting..and the trajectory twists less than all other trajectories, and the twisting is not uniform...its not like one end it held over there and the other over here and we turn the threads in opposite directions! But, this twist occurs here....and over there, perhaps with a periodicty that is more symmetrical that any other spin, as its slight changes in potential/spin less effects, then becomes the basis of the extra influence creating variations in the heavier particles trajectories signature spin.

Because the spin is so much less the neutrinos signature is more legible.

The last time I saw Scott Childress

Scott Childress called me. He was not really a friend but Scott was a friendly guy and I had gone to a few of his parties...though, Scott was normally more frustrated with my social idiocy, and was at least willing to call me on the carpet about it.

I had worked with him, a summer, at the Arizona Inn. I was a busboy, and he was he Maitre'd. He was okay to work with, but did not want to socialize as he meant to keep up a professional appearance.

So, he called me. He invited me over to his parents house. Which, was a apartment complex with a house on site, and there he brought me into the living room. We sat down to watch "Star Trek".
The Childresses, they had an old style console TV.
What follows is as well as I can remember:

"Well, I have AIDs, I think I got it from that party...you remember, they guy in the trunk? I think he gave it to me.."this Scott said while almost crying.
I said something back. Not enough I am sure. Something like 'I am sorry Scott. I liked you. I thought we might have been friends somehow..."
"Do you want a drink of water?"
I said, 'okay'. He brought me a drink. I took a few sips. He gave me the estimated time of his death.
But after I had drank just a couple of sips really, he said, " I just killed you, James."
"What?"
"I could have given you AIDS...why not? Someone gave it me, on purpose, murdering me. I am leaving...my life is over...and I dont really think that much of you. But I know you are not one of those people who you have been made out to be."
Or, he said something like, "tell me you aren't who they are making you out to be...I dont think you are because I could have drugged that water. Dont you know about the drugs they have now?"
I think that pretty close, but not really the main point.
And he did say for sure that he could have murdered me, that it was all meaningless to him now, and he was bitter, angry, full of rage, cheated. But that he wouldn't because he wasn't a murderer. I guess he wanted to prove to himself and considered me, an obviously oblivious target. Perhaps to wise me up, too.
Scott would think about what you said. You could see him thinking, deeply, mulling it over..and it was charming trait.
Uh, hard to remember how I responded, but I felt I should go. There might have been more conversation, I think I said something really shitty, like, "I am sorry Scott, that you are dying. I dont know what I can say. You had a lot of friends Scott. You were always warm and, honest."
I did not cry. Or feel sad.
I was more worried he had a gun and would shoot me. Silly of me, but I remember thinking that to.
I really did not understand how he could have given me AIDS. I did not understand the power of those date rape drugs then.
As I left, the hard look on his face softened. I stood, in that entry room, other side of cabinets, that room with next to the kitchen, opposite side of the living room.

The back door was there, and I had parked in the back.
I stepped out. He said he wanted me to remember him, what he did at that moment. Not for me I think he said, but that I was a writer and that I might write down someday, his last words.

I thought he said more awful things, that his soul was diminishing so...it was more scarey than heartwarming. But I remember the softening of the look in his eyes.
So, I remembered Scott. I remembered when John Watkins finally contacted me in 2015, I remembered what you wanted me to remember...that you were facing the biggest moment, and that you did not become one of them. One of them that I bet Scott knew I had been cruelly handled by, and that he wanted to say that he didn't.
He made a point to say that he had drugged people, I guess. Something like it wasn't something he hadn't done to others.

But since he had contracted AIDS, was murdered by a nihilist really, from a revenge plot, that he wouldn't then, do that to me.
Scott if you only knew what that means to me now.
So long. Never forget you dude. A little blip of humanity in an otherwise huge panoply of cruelty and viciousness and by people with far less of a reason to vengefully seek cosmic justice on others for no good reason other than a lust to kill and rape.
You weren't one of them Scott. We loved you. He knew it.

the 50's?

I have no memory of the fifties. I have some of the sixties, but it is also a carry-over from the sixties...how kids and schools spent their money and dressed themselves up, and what shows were on tv...into the seventies. A kind of pause in the market churning. A lot of toy fads...is that a dead word now, "fads"?
Books were an invention, without any context when I was very young. I read first comic books. Going to church made a context out of a book, which was marvelous, really. Good music...choir, pipe organ, and oneself singing along. Grand and public.
However, books overcame the public and grand with the private inner worlds created in my view, time after time, author after author, setting after setting, genre after genre, historical or lit-pulp or technical.

But then books became mediums of exchange, a bit of theater with ranking, valuing...another public space, book stores...but this was at first also for others, as to me...role playing sets and characters, but soon enough ranking and valuing and means of exchange.

First in the ranks is Zen and the Art of Motorcycle Maintainence...published as the New Age movement let in some of the serious Easter scholarship and Japanese cultural exchange which was from the fifties.
Soon to be taken over by the Human Potential Movement and that publishing genre..but I digress.

What I saw and remembered was images and action. I heard voices...meaning, the characters sounded different, their voices real. That took a bit of time early on to kick in...the first few novels I read, "Day of the Triffids", "A Wizard of Earthsea", "The Sentinal", "Myth of Perseus" and a spate of library books at Himmel Park, these books the voices suddenly came in...or sorta compiled in...becoming more real sometimes in leaps and jumps.

What books affected you in such transformative way early on?

The question here being how long did it take for another part of the Brain to adapt...perhaps get decoded or unlocked or activated or keyed by developing reading through constant exercise?|
There is a horizon there, where reading at first a improvisation, a leap, but that is soon overcome with a constant increasing capacity over years, reading a lot, to get more and more information out of reading.

That occurs in language, as language can be natural or programmic. Expression is now a sub-catagory of programming.
I think the old use of programming was "whats tonight's programming?", which was lingo for the schedule of shows. That sense of programming was more symbolic and political, programming aimed inward, to shape imagination and engage the viewer in easier, soothing symbolic math and logic, consuming a Public Image.

Anyway, the authors voice was just my voice.

The best voice performance I heard was Fitzgerald's Nick in the Great Gatsby. Tolkien had a voice but it was strangely and marvellously constrained in artifices of tense. Kerouac, and Finnegan's Wake, are fun to read as one' own performance. One has to have a sense of Performance to appreciate those two.

But most other voices...maybe King's being closest in sound...with a strange afterglow of the fifties...maybe that's part of the charm; King's grasp of the essential fear of the 50's.

Developing further meant listening too.

We read Shakespeare's Romeo and Juliet aloud in the advanced English class in 7th grade. This was great...I also exhibited good reading aloud skills, but for the life of me I had no idea, and still have a strange gap in knowing anything about what I am reading aloud.
The focus is so strong memory is shut down. Nor is comprehension acting...just my voice.
Picking up copy for the first time, sure, I will falter, but within my memory is a vast database of accents and syntax patterns...like a chessmaster remembers chessboard configurations.
I cant 'see it'!

But soon enough, after three sentences, and probably a key clue in the title, I have got the voice down. Perhaps its my own voice coming out but the style of speech fits into what the context of the words are...sales is one voice, character is another.

Voice is a construct and a performance so it has practice and improvisational demands. One cant develop technique in a vacuum, so there needs to be a place to deploy ones voice, seriously.

I read a lot of people, authors, deploying their voices in history and text.
That voice attempts clarify and inspire authority, more than the character voice which strives to reveal faults and sin and failure.
The Drama.
Among those Goodreads books I think I am more a reader of plays than most others.
I had a friend who read more sci fi than I did...about twice as much. Probably about the same amount of Fantasy.
But Fantasy was beyond his contextualization of is. In fact he was no English major as I was, but a Computer and Electrical Engineer.
In lacking a context of Fantasy, one does not see the criss crossing continuum's between history of publishing...fantasy is fairly new as a novel, but ancient as poetry. Psychological tool (what are we suddenly not Moderns, having read at least Jung?), roots of tribal views, abstractions of form and containers of sentimental ludditism, role-playing and medieval and physics modeling.
You know, the spell lightning bolt, from the Wizards finger, should produce a sci fi idea of how would one really look.
Fantasy and Sci fi are not really usefully clumped together. It feels like the prejudice of the Bible, which also had been thought off, for awhile, by NOW FORGOTTEN MODERNS, that the Bible and Greek Myths were fantasy.
But actually a lot of it is history.
That attitude or value died in my vision of life. It was a Major removal of a value.
Also, the Giant Monster movie died in my lifetime. Sci fi horror audience shriveled in the face of True Crime and the Silver Age...when Sci fi grew up.

I have read L Ron Hubbard Battlefield Earth: straight forward old style 30 sci fi brands. One of the first big tome sci or fantasy (or modern really) publication.
Not as good as Edgar Rice Burroughs or London, who is the early realist, however action oriented as was the West too. London transformed from Western style action yarns to libertarian revolt against a variety of aggregate government schemes...from Authoritarian "The Sea Wolf" (a very well disguised allegory), to the bores of "Iron Heel" and "Martin Eden".
Hesse seems a more capable writer of the inward without the clunky use of Conradian symbolism that London practiced so well early on.

I tried reading both Eden and Hell, but apart from the Ayn Randian authoritarian, however couched more gently in symblism London, the points he was making were made better by the philosophers that influenced him: Nietczche and Mark.
I read with an open mind, The Communist Manifesto. Required reading in History in the early 80s'. Heh.
But earlier, in High School, in the Free Enterprise class, I had already put myself into the camp of the only other person raising their hand, the avowed outspoken Socialist in the classroom. Her and I believed Man was ultimately good.
Most of the class, and most of the class was participating, raised their hands in regard to man as ultimately evil, which was the preceding question.

So my sensibilities were not pre judging though I had read years of Time and US News magazines and other newspaper articles, history...
But as fun as the "Sea Wolf" retains some of the vigor of his Snow Stories, London is a storyteller who did not tell the story of "The Heart of Darnkess", which not only encompasses London, but is more generally emblematic of the early twentieth century turn of mind, from the Bible to Jack the Ripper, so, transcending London.
Still, I'd rather read the London snow adventure stories, of similar tone.


The early print culture and the modern.

Not the printing that ramped up in the late 1780's, for other comforts and luxuries were not available. Nor was that initial pairing of that old John Henry printing activity (later eclipsed by steam powered presses) that divergent from the rule of the book, the Bible...cracks were contemporaneously appearing at that time, but later they would form entire mass audiences, and a dethroning of the 'democratic truth' later on.
No I mean to focus on the late nineteenth century, the late Gilded Age time, wherein a generation of three were transformed with the two later generations having lived through the civil war as the most recent kids & adults.
This "Gilded Printing" saw poster and illustration along with printing, and photographic advertising and even its own early competitor, the Nickelodeon. The World's Fairs were more like today.
Theater was still dominant, which is a major media form set apart from the Modernism. That Modernism is what we now see ending around us, as Theater saw it back then taking away from it, to the amusements of cheap goods.

That print culture did not came to an end. Its expanded is more the generative condition than anything else, to how the digital is consumed: images, sounds, text.
In those three generations (a good rule of thumb) motion pictures rose up to take over. But that did not displace the public attention for posters and personal dressing of ones rooms otherwise, it increased with picture books becoming ubiquitous when they had once been rare.
This coincided with the beginning  focus on the mass teen market in the 50's, another amplification, so, that we may conclude graphics march to the beat of population better than most other productive arts which see fluctuations in talents.
But the real fulfillment of graphics was television, it leaped into new forms of inner vision expansion.
Psychedelic baby.
Much as the way Video stores took a share of the margin of book sales. Used bookstores did better then, no (1980-1990)?

But the larger point, in pursuit eliminating moderns and saving modernism, is that in the 50's the sci fi generation, coming of age, had these books that we...me and my generation of sci fi readers, have read. Heinlein, Asimov, Bradbury, Herbert, Clarke, wherein, I took a few steps elsewhere and read PKDick, Gibson, Sterling, Adams. Serious books on serious themes, unlike adventure books.
This being where a common ground then diverges, the Sci fi readers fragment into other authors.
But those, are those being read anymore?

Did Kubrick really define the serious sci fi movie? No, lately there has been some serious sci fi, but the point is that the feature film has great limitations in creating sci fi, while Television really could.

Mixing of genres works better using visual means, because it simply makes sense visually, while in wordage it is difficult to make it make sense. Besides all the goofy cliches, as in the space transporting gas of Burroughs John Carter Warlord of Mars, or simply the goofy space folding, or simply turning up the volume and pitch on the hyperwarpdrivejauntingleapfolding engine...did fall as to serious sci-fi to pulp sci-fi, but the bending of time and space was still a means of serious storytelling otherwise.

These "serious" novels explored ideas at slight, more or less, sacrifice plot and characters...but not really so long as the writer threw us a bone (of character or plot). The more of such novels, ideas set in the future, the more bound to the date it was published.

Its just a kind of formatting that is, cross disciplinary, now a historical seriousness of future prediction worked as hard as Historical construction, or there, arguing values for the ensurement of the safety of humanity. And, defining what it is to be human.
This binds it to, with multiple lines, into its time of publishing.
Serious sci fi certainly displaces the Bible. But not refutes it. What clown cant do that?

So the dissolution of boundaries is a blow back effect on literature that issues from the transformative power of Film/TV, which combined as motion pictures, has been programming audiences for over twelves generations. When this happened, in the fifties and the baby boomer watching TV, this obscured the old methods and within there was inserted new themes addressing a post Imperial possibility for America that was more inclusive.
This melding created another current, it was furthered in youth empowerment through Cameras and presses, the meaning of what they were actually printing NOT as important as the empowerment as it would sustain the means by which to continue the counter narrative.
Underground then became above ground on the dawn of the market of Gen-X and the dusk on the market of the baby boom.
A transformation had happened from 1963 to 1980, at all levels of American consciousness, a parallel occurance of a new set of values and world view.
Its still up to debate who owns this new deal, but it is there, as a culture beyond political spin.

And THAT we will see end in our times as well. That I would call the penultimate Modern developing, vicerally, its own obselescence. We discard the Imperial as Printing presses are huge wastes of energy, time and dangerous and expensive.
Oh, they aren't gone yet!

As in, what part of the Modern is going to go away, obsolete, not just the heroism of the silver airstreamed pilot, as in a kind of anthropological start point, but instead, listening to Foucault,
start with the most immediate and simple consideration: what came out of the fifties that so influenced the sixties, and in so doing, shaped how I consumed the next forty decades?
And what did not make it out.
Like, Elvis. Did he really make it out, or did the Beatles get that slot?

Big Monster Movies.
Military Culture
Sitcoms and TV (really, the same thing).
Wonder bread diet.
Car culture.
First theater setting: Elite Corporate Military Industrial Complex Spy
Second theater setting: Animated cartoons on Saturday and Sunday Morning
Third theater setting: Church (there were no public kindergartens...even that word sound strange, when I was growing up but that changed the very next year).
Fourth theater setting: Public schools.
Fifth theater setting: Libraries
Six theater setting: House-Yard-Toy-Family
Last: House-Yard-Toy-Neighborhood.

Those are the first setting...one could call the dimensions of "Everyman's" modern phenomenology.

Into this strode the times.

Beyond the personal, what I remember that are distinct from other people's experience, is Military edifice. Huge where I grew up.
More wildlife...eventually I think the rise in the popularity of cats led to a fall in all small creatures in yards and neighborhood fields. But those small creatures of my yards and fields were not your small creatures...it was a distinctly different environment.
Which, remember when most Americans grew up in snowy winters?
Immersion in books: mom was a librarian.
Immense family pathology...attributed to the past. Mine's worst than yours.

There was Gunsmoke and Wild Wild West and all kinds of cowboy heroes. But out of there, before I could address these as a teen, there came in the other ideas.
Roots, the Alex Haley books, probably being the most resounding wake up call to issues of color of one's skin. Before that, I had no sense of it so much. Oh, I was prejudicial but just stupid and ignoranly so, with no malice.
Really, socially, I was more a kid looking to role play than anything else. Like a healthy amount of my inner life, perhaps some 90%, is merely role playing: acting or writing stories.

But the 50's really ended with the kids of the 60's and 70's attacking Imperial icons. I did not know that was what was happening because I had no idea of what Imperialism meant, I just felt they were mad at people, and then it came to me, all people were mad at white people. Or so I came to believe as a boy consuming 70's media.
But I pretty much ignored it. Got in fights with all the races at school. Risk taking...

So this was the dominant theme, racial persecution to ME, UNLIKE how others may write about it as an abstraction...a sense of argument or dispute. No, for me, its targeted aggression, because I was white and arrogant and tall.

Meanwhile all around me were books and TV shows and movies and talk and social pressure, from Church and Teachers and elementary schools and peers...not my parents, but all these other places and people, they preached Anti War.
It seemed to fit into the idea of the Establishment having become way too risky, and then some forgiveness on the panic of others vented onto me, for whether over class or race or sex...I agreed, MAD was reason to protest. By whatever political means.

But then I read Buddhism, books about peace and war in history, about Vets reactions to War (the American Heritage books has excellent photo books on every war. Large format.)
And took Christian teaching to heart, to be gentle. The Catholic kids, dressed in uniforms, would bully us public school kids. What were they teaching there, in the local Catholic school!?

But I had trouble anyway, controlling aggression. Risk taking was far too high. Also, grokking the 60's seemed important, so I immersed myself in the immediate past, and lost touch somewhat with my generation of the 80's. I would have been goth, but it wasn't around then.

So the troubling took on Casteneda, Leary, the drug culture and the alternative press of things.
Underground is dead...I think it spawned in the 60's and became a Market in the 80's.

Television was so meaningful. Now I can see its end although there are probably a increase in the number of screen to 2 or 3 powers of 10. But that is not Television.
Oddly, it does attract an audience...those that like this intimate theater that was spawned in Modernism...through the fusion of word and image to now, where its all publishing and everyone reading and watching and listening...into the device. It seems to fit in a bar, not in a home where the computer has now replaced it.
Reading has transformed and increased, more signal, more text to comprehend, and not just by sound byte and social media posting, but as a capacity of the human brain.

The digital age has unlocked a "reading" level...comprehension of simultaniety, or heterogeniety, has increased.

How, or really what kind of memory does a reader use to remember...these are also coming more into focus. One reads and remembers the words, or the inner images as pictures of action, or one remembers the sounds and rhythms, or one remembers the relationships, the symbols, the otherwise larger Proustian context...all of this has fed on each other more densely that it used to.

Performance in reading is going to be more a metric, more legible, as in having multiple dimension, turning into a skill wherein, what the person remembers in greater capacity is going to be where they work.
But this will increase in subjects: not just blueprints, or melody, but some kind of new level of indexicality wherein what is now to be brought to the fore of the discussion can be heard and understood by more than the old tyme specialist audience, as that diffuses into multiple specialities and those cluster and configure in social ways.

All clicking together within a generation, easily. Its almost a done model: the social universe of America is probably a totality in color code of hues and percentages, attached to each and every person, available as a dossier, constructed by the NSA, and paid for by Corporations and Acadamia and Government.
What is social media but akin to a Detective or FBI file about a person? The resemblance is startling.